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tocinephile · 3 years

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T'was the night before the Oscars...

Here we are again. The final stab at a decent award show ceremony amidst a global pandemic. I'm not getting my hopes up after the Golden Globes and SAG zoom calls, in fact I've read very little about the upcoming ceremonies since they announced they would not be using zoom... and then promptly reversed that decision.

It would seem no matter how late we delay the Oscars, I still find myself the night before the show scrambling to watch all the Best Picture nominees. It also hasn't slipped my mind all the promises I'd made to discuss my top films of 2020 and the things I would not have seen if not for this global catastrophe. Having had a number of conversations with fellow cinephiles, many have also found themselves very unenthused about award season contenders, dramatic pictures or anything with heavier content so to speak, or even movies in general. The struggle to concentrate is real.

I'm going to get right into my list of predictions with the caveats that I have yet to see Sound of Metal, and I have to watch the second half of Judas and the Black Messiah after I hit 'post' here. You will find as we go through, there's lots more I haven't seen.

Best Picture

“The Father”

“Judas and the Black Messiah”

“Mank”

“Minari”

“Nomadland” - Will win

“Promising Young Woman” - Should win (though I liked Nomadland very much as well)

“Sound of Metal”

“The Trial of the Chicago 7”

Best Director

Thomas Vinterberg (“Another Round”)

David Fincher (“Mank”) - excellent director but I actually don't think he left his mark on Mank as much as he did many of his other films, I've questioned previously whether he should have gotten the nomination

Lee Isaac Chung (“Minari”)

Chloé Zhao (“Nomadland”) - Will win/should win

Emerald Fennell (“Promising Young Woman”)

Best Actor in a Leading Role - very strong contenders all around in this category, every one of them (I'm sure I'll have the same reaction about Riz Ahmed) made me say "holy shit" in amazement out loud

Riz Ahmed (“Sound of Metal”)

Chadwick Boseman (“Ma Rainey’s Black Bottom”) - Will win/should win

Anthony Hopkins (“The Father”)

Gary Oldman (“Mank”)

Steven Yeun (“Minari”)

Best Actress in a Leading Role

Viola Davis (“Ma Rainey’s Black Bottom”) - I think if not Andra Day, then Viola will win it

Andra Day (“The United States v. Billie Holiday”) - Will win?/should win

Vanessa Kirby (“Pieces of a Woman”)

Frances McDormand (“Nomadland”)

Carey Mulligan (“Promising Young Woman”)

Best Actor in a Supporting Role

Sacha Baron Cohen (“The Trial of the Chicago 7”) - I think he's also got a decent shot in this category

Daniel Kaluuya (“Judas and the Black Messiah”) - Will win/should win

Leslie Odom Jr. (“One Night in Miami”)

Paul Raci (“Sound of Metal”)

Lakeith Stanfield (“Judas and the Black Messiah”)

Best Actress in a Supporting Role

Maria Bakalova (‘Borat Subsequent Moviefilm”) - truth be told I didn't think her performance was so great that she should get an Oscar nomination for it

Glenn Close (“Hillbilly Elegy”)

Olivia Colman (“The Father”) - another potentially unpopular comment... while I think Olivia Colman is one of the best actresses and most delightful people in existence, given her range and talent I don't she particularly excelled in The Father to make it an Oscar-worthy performance.

Amanda Seyfried (“Mank”)

Yuh-jung Youn (“Minari”) - Will win/should win

Best Animated Feature Film - I only saw one film so I have no basis for comparison

“Onward” (Pixar)

“Over the Moon” (Netflix)

“A Shaun the Sheep Movie: Farmageddon” (Netflix)

“Soul” (Pixar) - will win

“Wolfwalkers” (Apple TV Plus/GKIDS)

Best Adapted Screenplay

“Borat Subsequent Moviefilm.” Screenplay by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman, Lee Kern; Story by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Nina Pedrad

“The Father,” Christopher Hampton and Florian Zeller - should win...and will win?

“Nomadland,” Chloé Zhao

“One Night in Miami,” Kemp Powers - might also win?

“The White Tiger,” Ramin Bahrani

Best Original Screenplay

“Judas and the Black Messiah.” Screenplay by Will Berson, Shaka King; Story by Will Berson, Shaka King, Kenny Lucas, Keith Lucas

“Minari,” Lee Isaac Chung

“Promising Young Woman,” Emerald Fennell - 50/50 will win/definitely should win tho!

“Sound of Metal.” Screenplay by Darius Marder, Abraham Marder; Story by Darius Marder, Derek Cianfrance

“The Trial of the Chicago 7,” Aaron Sorkin - 50/50 will win... I really didn't get onboard this movie, but I will say the script was the best thing about it

Best Original Song - I'm not even going to venture a guess...

“Fight for You,” (“Judas and the Black Messiah”). Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas

“Hear My Voice,” (“The Trial of the Chicago 7”). Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite

“Húsavík,” (“Eurovision Song Contest”). Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson

“Io Si (Seen),” (“The Life Ahead”). Music by Diane Warren; Lyric by Diane Warren and Laura Pausini

“Speak Now,” (“One Night in Miami”). Music and Lyric by Leslie Odom, Jr. and Sam Ashworth

Best Original Score - I actually didn't think much of any of the scores in any of the films I've seen in 2020...

“Da 5 Bloods,” Terence Blanchard

“Mank,” Trent Reznor, Atticus Ross

“Minari,” Emile Mosseri

“News of the World,” James Newton Howard

“Soul,” Trent Reznor, Atticus Ross, Jon Batiste - will win

Best Sound - I suspect it might be Sound of Metal but I haven't watched it yet. I've also not seen Greyhound.

“Greyhound,” Warren Shaw, Michael Minkler, Beau Borders and David Wyman

“Mank,” Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin

“News of the World,” Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett

“Soul,” Ren Klyce, Coya Elliott and David Parker

“Sound of Metal,” Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh

Best Costume Design

“Emma,” Alexandra Byrne - will win

“Mank,” Trish Summerville

“Ma Rainey’s Black Bottom,” Ann Roth - should win

“Mulan,” Bina Daigeler - should also win

“Pinocchio,” Massimo Cantini Parrini

Best Animated Short Film - I didn't watch a single Oscar-nominated short this year

“Burrow” (Disney Plus/Pixar)

“Genius Loci” (Kazak Productions)

“If Anything Happens I Love You” (Netflix)

“Opera” (Beasts and Natives Alike)

“Yes-People” (CAOZ hf. Hólamói)

Best Live-Action Short Film - I didn't watch a single Oscar-nominated short this year

“Feeling Through”

“The Letter Room”

“The Present”

“Two Distant Strangers”

“White Eye”

Best Cinematography

“Judas and the Black Messiah,” Sean Bobbitt

“Mank,” Erik Messerschmidt - will win/should win

“News of the World,” Dariusz Wolski

“Nomadland,” Joshua James Richards

“The Trial of the Chicago 7,” Phedon Papamichael

Best Documentary Feature - I thought I watched a decent number of docs in 2020, but apparently not the right ones because I saw none of these.

“Collective,” Alexander Nanau and Bianca Oana

“Crip Camp,” Nicole Newnham, Jim LeBrecht and Sara Bolder

“The Mole Agent,” Maite Alberdi and Marcela Santibáñez

“My Octopus Teacher,” Pippa Ehrlich, James Reed and Craig Foster

“Time,” Garrett Bradley, Lauren Domino and Kellen Quinn

Best Documentary Short Subject - I didn't watch a single Oscar-nominated short this year

“Colette,” Anthony Giacchino and Alice Doyard

“A Concerto Is a Conversation,” Ben Proudfoot and Kris Bowers

“Do Not Split,” Anders Hammer and Charlotte Cook

“Hunger Ward,” Skye Fitzgerald and Michael Scheuerman

“A Love Song for Latasha,” Sophia Nahli Allison and Janice Duncan

Best Film Editing

“The Father,” Yorgos Lamprinos - 50/50 will win/should win

“Nomadland,” Chloé Zhao

“Promising Young Woman,” Frédéric Thoraval

“Sound of Metal,” Mikkel E.G. Nielsen

“The Trial of the Chicago 7,” Alan Baumgarten - 50/50 will win

Best International Feature Film

“Another Round” (Denmark) - will win

“Better Days” (Hong Kong) - should win (yes, because I'm biased, plus it's also the only other film aside from Another Round that I've seen in this category and I liked it a lot better, but also, just because it's very fine film)

“Collective” (Romania)

“The Man Who Sold His Skin” (Tunisia)

“Quo Vadis, Aida?”(Bosnia and Herzegovina)

Best Makeup and Hairstyling

“Emma,” Marese Langan, Laura Allen, Claudia Stolze - will win

“Hillbilly Elegy,” Eryn Krueger Mekash, Patricia Dehaney, Matthew Mungle

“Ma Rainey’s Black Bottom,” Sergio Lopez-Rivera, Mia Neal, Jamika Wilson - should win

“Mank,” Kimberley Spiteri, Gigi Williams, Colleen LaBaff

“Pinocchio,” Mark Coulier, Dalia Colli, Francesco Pegoretti

Best Production Design

“The Father.” Production Design: Peter Francis; Set Decoration: Cathy Featherstone - I don't think this is the best Production Design but I do think it's underrated what they did and that it should be recognized a different kind of creativity went into designing the sets for this film.

“Ma Rainey’s Black Bottom.” Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton

“Mank.” Production Design: Donald Graham Burt; Set Decoration: Jan Pascale - will win? I do think the Production Design was spectacular...

“News of the World.” Production Design: David Crank; Set Decoration: Elizabeth Keenan

“Tenet.” Production Design: Nathan Crowley; Set Decoration: Kathy Lucas - should win

Best Visual Effects

“Love and Monsters,” Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox

“The Midnight Sky,” Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins

“Mulan,” Sean Faden, Anders Langlands, Seth Maury and Steve Ingram

“The One and Only Ivan,” Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez

“Tenet,” Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher - will win/should win... like why would it not win??

Ok, I wasn't very decisive in some of those categories and since I'm taking part in an Oscar pool I will have to make some choices and refine my selections before tomorrow. I will share my final Oscar pool pics, do my part bombarding everyone's twitter tomorrow evening, and review after the awards where it all went right/wrong.

#oscar predictions #academyaward

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geekgirles · 4 years

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Goodbye & Broppy

After the song was released, I felt the need of doing something I haven't done in a while for the Trolls fandom: an in-depth analysis.

The lyrics of the song were a real tearjerker; the separation, the longing, the sadness, the impression of giving up as the only option... And, considering it said Justin Timberlake was supposed to sing it, and the mentions of "My queen", "My love"; it totally sounds like a Broppy song.

Now, I know @georgebeard mentioned they'd talked to an animator who confirmed the scene was indeed deleted from the film. However, as a loyal and experienced member of the Miraculous fandom, I know better than to cross out the possibility of being misled in order to avoid spoilers (I'm looking at you guys, Chloé redemption, Félix , and Chat Blanc). So, there's that.

And even if the song did not make it in the end, we must not forget the first movie and its extra content.

If you purchased a DVD copy (like myself), or were obsessed enough to search for every possible Trolls-related video on YouTube (like myself), you must have surely found the deleted scenes from the film.

Poppy's dresses.

Poppy's storytelling.

"Bringing Back Happy."

And that's what I wanna talk about!

Bringing Back Happy was a, rather early (considering its storyboard stage), villain song that Chef was supposed to sing. So, even if Goodbye doesn't make it into Trolls World Tour, the chances of it appearing as extra content are pretty high, considering it was even mentioned before the release of the movie.

If that weren't enough for ya, there's more. Don't worry.

As I mentioned earlier, if you're familiar with the deleted scenes, you'll know 2/3 were in a very advanced stage of animation before being scrapped. Not to mention, the one major change we got no info about: turning Poppy's coronation party to the 20 year anniversary since they escaped the bergens. Again, a scene so advanced in its animation stage that even made it to the trailer!

Moreover, there's this detail in the very first trailer of Trolls World Tour that stuck with me: Branch's quote "This is a terrible idea that will blow up in your face!"

Which, if we compare it to his supportive attitude in the latest trailer ("I'm coming with you"), is completely different and even unexpected.

And that leads me to this: there are many reasons why a scene would be deleted; it gives a character a quality they didn't want, Chef didn't get to sing because it made her too funny, while Poppy didn't wear her dresses because it made her look spoiled; it becomes longer than they expected, another reason for the dresses and, I think, for the storytelling; or it changes the vibe of the movie greatly (if you guys knew the original script for How to train your dragon 2...).

On a side note, I remember a post from long ago that explained that one of the reasons its OP liked trolls so much was because, unlike the vast majority of films, Poppy and Branch never really had a fall out. They were always together.

What do I mean with this?

What if their fall out happens in this movie? What if Branch says that line out of frustration and Poppy and him, both devastated, are forced to go their separate ways?

That would be the perfect cue for a song as romantic and heartbreaking as Goodbye.

Not to mention, it would also explain how on Earth Poppy could be captured by Barb, alone. Because there's no way Branch wouldn't go down with her otherwise, and you know it.

Now that the song analysis and theorizing is out of the way, let's move on to the deeper part of the analysis: Broppy itself.

As someone who's been a hardcore Broppy shipper even before watching the movie, you can believe me when I say that it'll devastate me if they killed Broppy.

Even so, I also consider myself as someone both highly emotional and analytical, hence, why I create such analysis on the things I love. Trolls being no exception.

Something I want to talk about to make you all understand my point of view is the way Dreamworks works (as I see it). And for that, I'd like to compare Trolls, HTTYD, their tv shows, and their main ships, Broppy and Hiccstrid; respectively.

If there's something I've noticed about Dreamworks and Disney, that's that Disney movies have a much greater stand-alone value than Dreamworks'. That's why 95% of its films end with an extra-official couple or why their sequels are either shitty compared to the original (Lion King, The Little Mermaid, Mulan...) or a fucking masterpiece. I mean, take Frozen, for instance. The film made a major point on criticising Disney's "I get together with someone I barely know and we live happily ever after" trope. And yet, even if it was much subtler and less intense than usual, that's exactly what happened with Anna and Kristoff. Maybe they weren't married, but they got officially together. And as for Frozen II... I haven't seen it, but I've been told it's very, very different than the first one, and very, very good.

So, yeah. Stand-alone value.

But Dreamworks... Dreamworks manages to reach beautiful conclusions that, at the same time, let the plot perfectly open for more stories to be told.

Seriously, just watch How to Train your Dragon!

Every film had its ending, but it also made you wonder what was gonna happen next. It made you understand that the saga wasn't over, just a part of it. And I think that's what they're trying to achieve with Trolls.

I mean, sure. The plot of the sequel wasn't what we expected at all and made many of us think about the astounding amount of fanfics that delved in the possible existence of different kinds of trolls... But it left us all with one question in our minds, "what now?" And, at the same time, the film had reached a beautiful conclusion.

See what I mean?

I wholeheartedly believe this is something Dreamworks aim to achieve with its pairings. They don't want them to be rushed, they want to develop them. Sure, they want us to see there are ships, but they strive to form deep, strong relationships with much more meaning behind than just sharing an adventure together.

And that, that is something I can clearly see with Hiccstrid and Broppy.

If we take HTTYD, the hints on the romantic relationship between Hiccup and Astrid were even greater than Poppy and Branch's. Heck, they even kissed. And you know what was their official description for Riders of Berk to half of Race to the Edge? Not-so-platonic best friends.

But that's because they took the time to naturally develop and strengthen their bond!

Which is what I think is supposed to happen to Poppy and Branch.

Sure, they are close. Sure, they were on a life-changing adventure together. Sure, they are countless hints on their romantic feelings.

But they still spent 20 years being practically strangers.

They still need to learn how to be a team together. They still need to learn how the other works. They still need some basic ground.

If we keep on comparing the two films, we must not forget that HTTYD 2, despite having Hiccup and Astrid as betrothed, wasn't as heavy on their romance as the first and third movie were.

Because the focus of the film was Hiccup becoming a leader. Not becoming Astrid's husband.

And, considering the plot of Trolls World Tour, it's still very possible that it won't be as heavy on Broppy as it was the prequel. After all, TWT is more about diversity and harmony than happiness, which is what made the contrast between the optimistic princess and the cynical survivalist so important for Trolls.

But, please, fear not. This does not necessarily mean that Broppy is dead. It just means we might have to be careful about letting our hopes up and, more importantly, in case nothing is conclusive about these two in Trolls World Tour, that we just have to be a little more patient.

After all, a good written ship never disappoints.

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brokehorrorfan · 4 years

Photo

Vampire in Brooklyn will be released on Blu-ray on September 15 via Paramount. The 1995 horror-comedy is directed by Wes Craven (A Nightmare on Elm Street, Scream).

Eddie Murphy stars with Angela Bassett, Allen Payne, Kadeem Hardison, and Zakes Mokae. Charlie Murphy (Chappelle's Show) and Michael Lucker & Chris Parker (Mulan II) wrote the script.

Vampire in Brooklyn is presented in high definition with 5.1 DTS-HD master audio. No special features are included.

A ship sails into Brooklyn with all its crew dead. But something gets off and the killing continues on land. The vampire is looking for a specific woman - half-human, half-vampire. Rita's the cop detective investigating the many killings.

#vampire in brooklyn #eddie murphy #wes craven #angela bassett #horror #horror comedy #paramount #dvd #gift #allen payne #kadeem hardison #zakes mokae #charlie murphy #90s horror #1990s horror

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adamwatchesmovies · 3 years

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101 Dalmatians II: Patch’s London Adventure

I never thought I’d ever describe Mulan 2 as original and daring, but it’s starting to feel that way. 101 Dalmatians II: Patch’s London Adventure feels more like a rip-off made to cash in on a desperate audience’s nostalgia than a sequel.

One year after their escape from Cruella de Vil's clutches, the 101 Dalmatians, their pets Roger (Tim Bentinck) and Anita (Jodi Benson), and Nanny (Mary MacLeod) are leaving London to go live on a farm. When they depart, they accidentally leave behind TV-obsessed Patch (Bobby Lockwood). When he bumps into his hero, the heroic cinematic canine Thunderbolt (voiced by Barry Bostwick), they set off on a media-grabbing adventure. Meanwhile, cured Cruella de Vil (Susanne Blakeslee) begins reverting to her old self when she sees an art exhibit of black spots on a white canvas.

I had hope when this film began. The re-introduction of Cruella is cleverly handled. She’s been put through the wringer thanks to her dognapping scheme being exposed (I’m not entirely sure how that happened considering the only witnesses were dogs… did the dalmatians testify in court?) but still craves fur. When she spots that abstract art exhibit, it's funny. She becomes obsessed with dots and the artist (Martin Short as Lars) thinks he’s found his muse. Looks like they spent those 42 years polishing the script!

My hopes were quickly dashed. This plot is nothing special. 101 II is a little more than a jazzed-up episode of the 1997 TV series with a bigger budget and a lot of material borrowed from the Disney Classic. The new villain isn't interesting. We don’t get to know any of the Dalmatians besides Patch. No surprise but it’s like if Gremlins 3 followed some random Mogwai instead of Gizmo. Something's missing. This sentiment also applies to the visuals. In a way, this movie looks just as good, if not better than the original with its frequently sketchy lines… but this makes it look generic.

I hate to keep comparing the two, but let’s examine some facts. This movie was made decades after the first. It’s released on home video and depends on you having seen the first one to understand what’s going on. It’s aimed solely at children whose untrained eyes won't notice the difference and haven’t seen enough movies to recognize how predictable this tale is.

The humor is broad and there aren’t any chances taken character-wise. I noticed at least a couple of plot holes or mistakes and I wish I could give away a truly baffling moment at the end but I can’t so let me say this: When Pongo, Perdita, Anita, and Roger are off-screen, something big happens. When they learn about it, they’re not surprised at all. How come?

The animation looks pretty good, but overall, the film is just the same pieces you’ve seen before, shuffled around, and tacked onto a generic story. I don’t hate this movie; it just fails to rouse any enthusiasm at all. If you do choose to check it out, stick around to the end of the credits. There’s a scene worth waiting for. (On DVD, May 31, 2015)

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reneecortez245 · 4 years

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Watch!! ^”After We Collided”^ (2020) FULL MOVIE ONLINE

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If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama, Anime Movie, etc. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! United States When a person or company decides to create a new series, they develop the show’s elements, consisting of the concept, the characters, the crew, and cast. Then they often “pitch” it to the various networks in an attempt to find one interested enough to order a prototype first episode of the series, known as a pilot.[citation needed] Eric Coleman, an animation executive at Disney, told an interviewer, “One misconception is that it’s very difficult to get in and pitch your show, when the truth is that development executives at networks want very much to hear ideas. They want very much to get the word out on what types of shows they’re looking for.”[7] To create the pilot, the structure and team of the whole series must be put together. If audiences respond well to the pilot, the network will pick up the show to air it the next season (usually Fall).[citation needed] Sometimes they save it for mid-season, or request rewrites and additional review (known in the industry as development hell).[citation needed] Other times, they pass entirely, forcing the show’s creator to “shop it around” to other networks. Many shows never make it past the pilot stage.[citation needed] The show hires a stable of writers, who usually work in parallel: the first writer works on the first episode, the second on the second episode, etc.[citation needed] When all the writers have been used, episode assignment starts again with the first writer.[citation needed] On other shows, however, the writers work as a team. Sometimes they develop story ideas individually, and pitch them to the show’s creator, who folds them together into a script and rewrites them.[citation needed] If the show is picked up, the network orders a “run” of episodes — usually only six or 11 episodes at first, though a season typically consists of at least 22 episodes.[citation needed] The midseason seven and last nine episodes are sometimes called the “mid-seven” and “back nine” — borrowing the colloquial terms from bowling and golf.[citation needed] Thanks u for visiting, I hope u enjoy with this Movie Have a Nice Day and Happy Watching 🙂

#covid-19

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ivanpage61 · 4 years

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Free Watch!!! ^*^After We Collided^*^ (2020) Full Movie

➥➥ https://t.co/QmND8vdZpS?amp=1

#COVID-19

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kimabutch · 5 years

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Critical Role fan playlist masterpost

Based on an anon request, here are the songs that people have sent in for Critical Role characters (and groupings/pairings.) Apologies if it’s a little confusing — I figured that if you were looking to see who a certain song’s about, you could CTRL+F to find the song.

I’ve put almost all the songs — all the songs that I could find! — in the Spotify playlist. I will update the playlist and this masterpost as I answer asks, although I can’t promise I’ll answer the asks in the most timely manner!

CAMPAIGN 1

Vax

Immortals - Fall Out Boy I Knew Prufrock Before He Got Famous - Frank Turner Bargain Store - Dolly Parton Two - Sleeping at Last Dinu Lippatis Bones - Mountain Goats Fortune 500 - Everything Everything The Parting Glass - The High Kings

Percy

Spirits - Strumbellas Dust Bowl Dance - Mumford & Sons Bad Bad Things - AJJ There’s Something Dark - Dustin Kensrue In Fantasia - Kishi Bashi

Keyleth

Overgrown - Machineheart

Scanlan

You’re Gonna Go Far Kid - Offspring

Vox Machina

Noah - Amber Run Windmills - Toad the Wet Sprocket In the Embers - Sleeping at Last Which to Bury: Us or the Hatchet - Relient K

Percy & Vex

Meet Me in the Woods - Lord Huron Shrike - Hozier Surrender - Stephanie Mabey

Vex & Keyleth

I Do Adore - Mindy Gledhill

Vax & Keyleth

Photographs & Memories - Jim Croce NFWMB - Hozier Save the Last Dance for Me

Keyleth, Vax, Gilmore

Love Love Love - Of Monsters & Men In the Middle - Dodie

Percy & Cassandra

Malinda Kathleen Reese - Surrender

CAMPAIGN 2

Caleb

Glitter and Gold - Barnes Courtney Arsonist’s Lullaby - Hozier This Night - Black Lab OK - 8 Graves Welcome to the Family - Watsky Burn It Down - Daughter Bad Luck Charm - Jeff Williams Evil - Interpol Outer Scorpion Squadron - Mountain Goats Overgrown - Machineheart All These Things I’ve Done - The Killers אם אין אני לי מי לי - Yonatan Razel Sunny Came Home - Shawn Colvin Gallows - Shelby Merry You’re Gonna Go Far Kid - Offspring Bury a Friend - Billie Eilish Running Up That Hill - Placebo Play With Fire - Sam Tinnez Icarus - Jason Webly The Village - Tuung Losing Control - Nell Beekper - Keaton Henson Home Alone - Ansel Elgort An Act of Kindness - Bastille Micro Cuts - Muse Library Magic - The Head and the Heart Believe - Hollywood Undead Bullets - Tunng I Have Made Mistakes - Oh Hellos

Molly

Dead Man's Party - Oingo Boingo Last Ride of the Day - Nightwish Moondance - Nightwish The Only Thing - Sufjan Stevens JOYFUL - X Ambassadors Youth - Daughter Remain Nameless - Florence + the Machine Blood on My Name - The Brothers Bright Hopeless Opus - Imagine Dragons Dying in LA - Panic! At the Disco Black Dirt - Sea Wolf Dog Days are Over - Florence + the Machine Rather Never Know - Bronze Radio Return Amy aka Spent Gladiator 1 - Mountain Goats Help I’m Alive - Metric Still Feel - Half Alive Old You - Madison Cunningham

Yasha

Last of the Wilds - Nightwish Thousand Eyes - Of Monsters and Men Stormbringer - Deep Purple Chasing Twisters - Delta Rae Misguided Ghosts - Paramore Breath of Life - Florence + the Machine You Won’t Feel a Thing - The Script Carry You - Ruelle Saint Claude - Christine & the Queens Good Grief - Dessa

Fjord

In All My Dreams I Drown - Devil’s Carnival Everybody Wants to Rule the World - Avantika Broken Crown - Mumford & Sons Ship in a Bottle - Steffan Argus Notos - Oh Hellos Pacific Blues - Sleeping at Last

Jester

Song of the Traveling Daughter - Abigail Washburn Don’t Leave Me - Regina Spektor Breaking Down - Florence + the Machine Something Wild - Andrew McMahon Boy Crazy - Dessa Velodrome - Dessa Lollipop - Jester Brand New Key - Melanie Shallow - Carys Selvey

Beau

Wild Things - Alessia Cara Somebody to You - BANNERS Firedrills - Dessa Say When - Dessa You Won’t Feel a Thing - The Script Overgrown - Machineheart 5 out of 6 - Dessa All These Things I’ve Done - The Killers Handmade Heaven - Marina & the Diamonds Sky Full of Song - Florence + the Machine Breaking the Habit - Linkin Park Nobody - Mitsiki She - Green Day Get Up - The Blow Come With Me Now - Kongos The Biggest Disappointment - Missy Higgins Dutch - Dessa Fighting Fish - Dessa Solemn Oath - Band of Horses Fille de Personne II - Hubert Lenoir

Caduceus

In a Week - Hozier Sound the Bells - Dessa Follow the Sun - Xavier Rudd

Nott

Reflection - Mulan Drown - Seafret Bottom of the River - Delta Rae Absolutely Smitten - Dodie Watertight - Zero She Flies Brave as a Noun - AJJ

Frumpkin

Plea from a Cat Named Virtue - Weakerthans

Mighty Nein

Home We’ll Go - Walk Off the Earth Shameful Company - Rainbow Kitten Windmills - Toad the Wet Sprocket Re: Scripts - Bon Iver Degenerates - I the Mighty Friends - Miracle of Sound Family - Mother Mother Abandon Ship - Steffan Argus Lost - Amanda Palmer Turn the Lights Off - Tally Halls Little Wonders - Rob Thomas Which to Bury: Us or the Hatchet - Relient K

Beau & Yasha

This Empty Northern Hemisphere - Gregory Alan Isakov Paper Bag Princess - Hello Kelly

Beau & Jester

Spell - NIKI Send Me the Moon - Sara Bareilles Paper Bag Princess - Hello Kelly

Caleb & Beau

Quite Nice People - Katla LA is Burning - Bad Religion

Marion & Jester

Altas: Daughter - Sleeping at Last Seal Lullaby - Erik Whitaker

Caleb, Nott, & Beau

It’s Alright - Mother Mother

Beau & Molly

We Were Here - Lights

Nott & Yeza

Like the Dawn - Oh Hellos Fresh Eyes - Andy Grammar

Nott, Beau, Jester, & Yasha

Honey - Kehlani

Fjord & Jester

Whiskey and Wine - Tow’rs Waterloo - ABBA

Caduceus & Jester

Laughing With - Regina Spektor

Caleb & Nott

Friend Without a Name - The Nursery No Children - Mountain Goats Two Birds - Regina Spektor

Fjord & Caleb

If I Had a Heart - Fever Ray

#critical role

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weekendwarriorblog · 4 years

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The Weekend Warrior February 21, 2020 – CALL OF THE WILD, BRAHMS: THE BOY II, THE IMPRACTICAL JOKERS MOVIE, EMMA and more!

After overestimating Birds of Prey… I mean, Harley Quinn: Birds of Prey… it looks like I underestimated Paramount’s Sonic the Hedgehog… I mean Jim Carrey’s Dr. Robotnik… with Sonic. It truly spanked my lowball prediction in the mid-$40 millions, but I wasn’t alone there at least. Hey, it’s a fun movie and my positive review wasn’t off-base with the critical world at large, so there’s that, too. (Apparently, I liked both Downhill and Fantasy Island more than most people, including CinemaScore voters who gave the movies a “D” and “C-“ respectively… ouch!)

This is likely to be another down week as neither of the two new movies are particularly strong, which gives me a chance to focus instead on this week’s FEATURED MOVIES! And we have four of ‘em this week, no less!

That’s right. I think it’s time I go back to my previous desire to use this column to focus on smaller movies that you may have missed since very few of the bigger outlets bother to cover them, and there’s a few worth pointing out this week. I’m gonna start with the two foreign films, because hopefully, you’ve listened to Bong Joon-ho and his translator and are not as fearful of subtitles…

First up, opening on Wednesday at New York’s Film Forumis Jan Komasa’s CORPUS CHRISTI (Film Movement), Poland’s selection for the Oscar International Feature category, which was actually nominated for an Oscar in the category in which everyone already knew Parasite was always gonna win! It’s a shame, cause this is a really amazing film with Bartosz Bielenia playing Daniel, a troubled youth just out of juvenile hall who steals the trappings and identity of the youth prison’s pastor and is therefore mistaken as an actual priest when he arrives at a small community village that has suffered a tragic loss. It’s an amazing film about faith and forgiveness and redemption, and how the script came to Komasa from screenwriter Mateusz Pacewic is an equally amazing story. Seriously, if you get a chance, definitely check this powerful drama out, since it’s another fantastic film from a country that has continually been delivering the goods in terms of original storytelling.

I was just going to do three featured movies this week, but a really good German thriller is finally hitting the States, opening at the Quad in New York Friday then in L.A. on March 13 before a nationwide rollout. Michael Bully Herbig’s incredibly suspenseful German thriller BALLOON (Distrib Films USA) is about two families from the GDR (aka East Germany) who try to cross over into West Germany in 1979 using a hot air balloon, over a decade before the fall of the Berlin Wall. Based on the actual events, their story previously was adapted into the Disney movie Night Crossing (which oddly, isn’t on Disney+ yet-- I checked, but it’s on Amazon Prime if you wanna compare the two movies). The movie doesn’t spend nearly as much time in the balloon as something like The Aeronauts, as the family’s first attempt fails miserably, so much of the film involves them working towards a second attempt, while trying not to be caught.

Balloon is a pretty heavy film (irony?), sometimes a little overwrought with drama but it keeps you on the edge of your seat as it cuts between the families trying to figure out their escape plan and the authorities trying to put together the clues to find these defectors. There’s a particularly amusing man in charge of the investigation, played by the always-amazing Thomas Kretschmann (The Pianist), who is constantly berating his men, something that helps lighten the otherwise heavy tone that permeates the film. This is another fairly low-key foreign film that’s worth seeking out.

Another movie people should make an effort to seek out is Rashaad Ernesto Green’s PREMATURE (IFC Films), an amazing film that follows the relationship between two young people in Harlem over the course of a summer. We first meet Zora Howard’s Ayanna as she’s hanging with her friends kibitzing about boys, as they begin their last summer before Ayanna heads to college. Shortly after, she meets Josh Boone’s Isaiah, and the two hit it off. The rest of the film follows the ups and downs of their relationship including incredibly intimate moments that lead up to Ayanna getting pregnant.

I won’t go through the plot play-by-play style, because it’s interesting to discover the twist and turns in their relationship in a similar way as we do our own relationships. Needless to say Green has a pretty amazing partner and lead in Howard, who co-wrote the screenplay, which is probably why it feels so authentic and real. Sure, there are a few scenes between Howard and Boone, both fantastic actors, that feel a bit too showy dramatically but otherwise, it’s a fantastic second feature from Green who has mainly been directing TV since his earlier film Gun Hill Road. I’ll definitely be very curious to see what Green and Howard get up to next either alone or working together.

Opening in New York and L.A. this Friday but in theaters nationwide on March 6 is the latest incarnation of Jane Austen’s novel EMMA. (Focus Features), this time starring the wonderful Anya Taylor-Joy (from The VVitchand Split/Glass) as the title character, Emma Woodhouse, a 28-year-old matchmaker who prides herself on the relationships she’s put together even while unable to find her own mate. The film follows as the latter starts coming in the way of the former as she infiltrates herself into things as an “expert on love” who can’t find it herself.

Maybe it’s not surprising that I haven’t read much of Austen’s work and have missed this one altogether, never having seen any of the other iterations, but it’s a fairly wild and witty ride. Much of that is due to the amazing and wonderful cast around the young actor, the most surprising behind Mia Goth, who is in fact three years older than Taylor-Joy, but plays the younger wide-eyed Harriet who looks up to Emma and elicits her advice. Emma basically steers Harriet from the farmer she likes to Josh O’Connor’s Mr. Elton, the wealthy local vicar who is more than a little bit of a dark. This leads to a bit of a revolving door of who is interested in whom, etc especially when Emma’s nemesis Jane Fairfax (Amber Anderson) returns to Hartfield.

Some of the other men in the mix are Johnny Flynn’s dashing George Knightley – the brother-in-law to Emma’s sister – and Callum Turner’s wealthy Frank Churchill, whose attentions lead to more misunderstandings. Both were great but I was more impressed with O’Connor who transforms into a completely other person when Emma spurns his affections and seems like a different person from the way first-time features director (and photographer) Autumn de Wilde shoots him. Of course, Bill Nighy is as great as always as Emma’s father, always feeling a slight draft, but even more impressive is the wonderfully hilarious Miranda Hart (from Spy) as Miss Bates, a woman who gabs at length about how wonderful Jane Fairfax is, much to Emma’s annoyance. As much as Emma. is Anya Taylor-Joy’s show, it’s the ensemble cast around her that makes the movie so infinitely enjoyable, getting better as it goes along.

This is a very good first feature from de Wilde, who has directed quite a number of music videos for Beck, and Emma. seems very different from the movies we normally get from video directors, much of that to do with Austen’s source material and the cast. Either way, how things develop over the course of the film makes it more enjoyable as it goes along. (Although I have never read the book, the film seems fairly faithful to the book’s Wikipedia page, so Austen fans should enjoy it, too.)

I guess we can now get to the wide and semi-wide releases and the rest of the movies – merging my two columns into one means you get more 5,000-word columns, you lucky ducks!

The higher-profile of the two new wide releases is probably CALL OF THE WILD (20thCentury Studios), a PG adaptation of Jack London’s classic novel starring Harrison Ford and the most adorable CG dog (i.e. not real, so back off PETA!) you’ve ever met named Buck! Sure, dog lovers might say, “Why would we want to watch a movie with a CG dog when clearly, a movie with actors in green suits turned into dogs using CG would suffice?” But no, it’s actually a very heavily CG movie directed by Chris Sanders, who directed Lilo & Sitch, the first How to Train Your Dragon and The Croods before giving a go at live action. (Sanders also provided quite a few voices in earlier animated films like Disney’s Mulan and Tarzan.)

A film that already was well into production when Disney bought Fox (now 20thCentury Studios), Call of the Wild also stars Omar Sy (returning for next year’s “Jurassic World” finale), Karen Gillan, Dan Stevens, Bradley Whitford but the real star of the movie is the dog Buck, which is performed by the immensely talented Terry Notary, who you’ll know for his work on the “Apes” movies with Andy Serkis, Kong: Skull Island and some of the characters in the last couple “Avengers” movies.

Of course, opening the weekend after Paramount’s Sonic the Hedgehog, which has turned out to be a bigger hit than anyone imagined, certainly won’t help The Call of the Wild.

In many ways, this reminds me of the 2002 Disney movie Snow Dogs, which opened with $17.8 million over the 4-day MLK weekend. The combination of Ford (who appears in very few movies) and the adorable dog antics might be enough for the movie to make $15 to 17 million this weekend, maybe a little more, although it only has two weeks to do business before Disney’s next Pixar movie, Onward, takes over, not giving it much time to make bank.

Mini-Review: It’s pretty evident that this exceedingly faithful take on Jack London’s book will not be for everyone. While I personally was mixed, I expect this to be one of the rare positive reviews just ‘cause. Surprisingly, it’s also the most “Disneyfied” movie that could possibly come from the newly-renamed 21stCentury Studios as it’s a movie clearly made for kids and animal lovers even if never the ‘twain shall meet, in some cases.

The story follows a large St. Bernard named Buck (portrayed by Terry Notary – but we’ll get back to that), who begins his life as the spoiled and pampered pet of a wealthy judge in California but is sold to a man who trains Buck with his club sending the dog on a wild journey across the Yukon as part of a dog sled for a pair of Canadian postal workers (played by Omar Sy and Cara Gee from “The Expanse”). Eventually, he’s paired with an alcoholic frontiersman (Harrison Ford) and he finds true love, as the two of them go off looking (and finding) gold.

Some might be surprised that director Chris Sanders (who has an extensive animation background) decided to go for straight-up CG when depicting the animals and some of the environments in Call of the Wild. In fact, it feels almost necessary to make Buck as expressive as he needs to be to carry this film, and that’s where Terry Notary (Andy Serkis’ partner-in-performance-capture from the “Apes” movies) and the CG team comes in handy. Buck is already lovable but being able to make him so expressive doesn’t hurt, and the scenes where he’s interacting with other animals are pretty amazing.

We do have to discuss the negatives, and one of them is the episodic nature of Buck’s story that means that Harrison Ford, other than the narration and a brief appearance, doesn’t play a large part in Buck’s story until about the 45-minute mark. I didn’t think much of the performances by Sy and Gee or Dan Steven and Karen Gillan as the spoiled rich people who buy Buck to drive their dog sled off to find gold. Buck’s experiences as part of the first dog sled is far more positive even though it’s rigorous and it puts him at odd with the dog pack leader. The problem is that most of the human actors don’t come close to delivering what Notary does as Buck, the exception being Ford, but it’s still one of those odd CG-live action amalgations that doesn’t always work.

If you’re fond of Jack London’s Arctic adventures (as I generally am), Call of the Wild offers as much good as it does bad, but it’s worthwhile more for the amazing vistas and terrific use of CG (and Terry Notary’s performance as Buck) than anything else.

Rating: 6.5/10

I won’t have a chance to see the horror sequel BRAHMS: THE BOY II (STXfilms), but I never got around to seeing the first movie either, although this one, starring Katie Holmes, does look kind of fun. 2020 has not been a great year for horror so far with almost a new horror every weekend and few doing particularly well – The Grudge tops the heap with just $21 million and that opened almost two months ago!

I really don’t have a lot to say about this other than the fact that the original The Boy(not to be confused with The Boy, The Boy or The Boy, which are also movies about a different “Boy”), also directed by William Brent Bell, opened in January 2016 to $10.8 million on its way to $35.8 million domestic but it also opened at a time when there were no strong horror films in theaters. Some could argue that there are still no strong horror films in theaters, especially since so many of them quickly lost theaters after bombing. Still, there have been a lot this year already and the most recent one, Blumhouse’s Fantasy Island underperformed this past weekend, so why would anyone want more?

STXfilms’ marketing has been solid even as this moved from its December release to now, but I still think it will be tough for this to make more than $10 million this weekend and probably will end up closer to $8 million or less.

Opening in limited release but also sure to be exciting to the fans of the TruTV hidden camera prank show is IMPRACTICAL JOKERS: THE MOVIE, which brings the hilarious Tenderloins comedy troop – Q, Murr, Sal and Joe -- to the big screen as they go off on a cross-country adventure to attend a party in Florida, playing their usual prank-filled games to see which three get to attend. At this writing, I have no idea how many theaters it’s opening – I’m assuming 150 to 200 maybe? – so no idea how it might do although there are already some sold out showings in my general area (NYC) where the guys are from.

Mini-Review: It feels like there need to be two reviews for this movie – one for those who already know and love the show and find the Tenderloins hysterical (this includes me) —and then one for everyone else. The former can probably skip the next paragraph.

The Tenderloins are a group of four Staten Island friends (names above) whose antics led to a successful TruTV hidden camera show where they pull pranks and challenge each other to say and do whatever they’re told. The show has run eight seasons, and it’s made the Tenderloins such big stars they regularly sell out enormous venues (like Radio City Music Hall) to perform live for their fans. Considering the success Johnny Knoxville’s “Jackass” show has had in movie theaters where it can take advantage of an R-rating, there’s little reason why the “Impractical Jokers” shouldn’t be able to do the same. (For some context, I watched this movie with a theater full of the group’s friends, crew as well as Q’s firehouse buddies, in other words, 75% of Staten Island.)

The movie, directed by Chris Henchy, long time McKay and Ferrell collaborator – the film is presented by their “Funny or Die” brand –opens with one of a number of scripted/staged scenes to frame the road trip the Tenderloins to attend a party in Miami being held by Paula Abdul. Since they only have three passes, they need to compete in their usual challenges to determine who misses out.

If you are a fan of the show, I’m not going to spoil any of the challenges or pranks they plan on each other, but they generally get better and funnier as the movie goes along, to the point that when it returns to the “story” and the scripted stuff, the movie does falter a little. Although the Tenderloins aren’t the greatest actors, they are great improvisers and you can tell when they’re coming up with lines by the seat of their pants.

The majority of the movie is basically what we see on the show without all of the commercial breaks cutting in just as things start to get outrageous, and as someone who watches more of the show than I probably should admit, I find it hard to believe no one watching the movie will at least get one good snicker out of the movie. There are a few recurring gags throughout the movie as well as a follow-up to a memorable punishment from an earlier season. (Like with the show, you’re likely to feel bad for Murr and Sal, the nicer half of the group who always get the most abuse because of it.)

If you’re already a fan of the Impractical Jokers, you’ll probably like the movie, but if not, you might not get it and there’s just no real use trying. In other words, not a great intro to the “Impractical Jokers” but a fine bit of fun for the already-converted.

Rating: 6.5/10

This week’s Top 10 should look something like this…

1. Sonic the Hedgehog (Paramount) - $29 million -50% (up $1.5 million)**

2. Call of the Wild (20th Century) - $17 million N/A (up .3 million)** 3. Harley Quinn: Birds of Prey (Warner Bros) - $9 million -48%

4. Brahms: The Boy II (STXfilms) - $7 million N/A (down .6 million)**

5. Bad Boys for Life (Sony) - $6 million -48% (down .1 million)**

6. The Photograph (Universal) – $5.5 million -55% (down .6 million)**

7. Blumhouse’s Fantasy Island (Sony) - $5.3 million -57%

8. 1917 (Universal) - $5 million -38%

9. Parasite (NEON) - $3.6 million -35%

10. Jumanji: The Next Level (Sony) - $3.3 million -42%

-- The Impractical Jokers Movie (TruTV) - $1.8 million*

-- Las Pildoras de mi Novio (Pantelion/Lionsgate) - $1.3 million*

* These last two projections are made without much info on either movie, including theater counts for the former.

**A few minor tweaks as we go into weekends with actual theater counts, although this weekend will still mostly be about Sonic the Hedgehog. I still don’t have any theater counts for Impractical Jokers on Thursday night so I guess we’ll just have to see if the theaters playing it report to Rentrak and it gets some sort of placement, presumably outside the top 10, on Sunday.

LIMITED RELEASES

There are lots of other new limited releases this weekend beyond the ones I mentioned above.

On Wednesday night, Fathom Events is releasing Masaaki Yuasa’s new movie RIDE YOUR WAVE (GKIDS) across the nation for one night only in some places, although it will get a limited release on Friday at New York’s Village East and maybe other places, as well. If you’ve seen any of Yuasa’s other films like 2017’s The Night is Short, Walk on Girl or Lu Over the Wall or Mind Game, then you can probably expect this to be another wild ride, except this time it’s on a surfboard. It follows the story of a surfer and a firefighter who fall in love. You can learn more about how to get tickets here.

Like Portrait of a Lady on Fire last week, Una director Benedict Andrews’ SEBERG (Amazon) received a one-week release in 2019 but it’s getting a legit limited release this Friday. It stars Kristen Stewart as French New Wave icon Jean Seberg who came to the States in the late ‘60s and began a relationship with civil rights leader Hakim Jamal (Anthony Mackie), putting her in the sights of the FBI who were hoping to use her to bust the Black Panthers. The film also stars Jack O’Connell, Margaret Qualley, Vince Vaughn, and Stephen Root, and it’s a pretty solid historical drama, although I haven’t seen it so long I’m not sure I can say much more about that.

I was never a huge fan of Bob Dylan or the Band but I found Daniel Roher’s doc ONCE WERE BROTHERS: ROBBIE ROBERTSON AND THE BAND (Magnolia) (about the latter) to be quite compelling as the story is told by various people who were there, including the film’s exec. producer Martin Scorsese who directed the band’s legendary concert film The Last Waltz. This is also produced by Ron Howard and Brian SGrazer of Imagine, so you know it’s gonna be a quality music doc, and it certainly is, although I’m not sure it will be of that much interest to people who aren’t already fans of The Band.

Opening in roughly 350 theaters this weekend is LAS PILDORAS DE MI NOVIO (Pantelion), translated as “My Boyfriend’s Meds,” a comedy about a woman (Sandra Echeverria) who falls for a mattress store owner who suffers from multiple personality disorder and when they go on vacation… he forgets to bring along his meds! Humor abounds. As usual, this won’t screen in advance for critics.

Tye Sheridan stars with Knives Out’s Ana De Armas in Michael Cristofer’s thriller The Night Clerk (Saban Films), Sheridan plays a hotel clerk with Asperger’s Syndrome who witnesses a murder in one of the rooms but ends up as the main suspect by the lead detective, played by John Leguizamo. The film also stars Helen Hunt and it will be released in select theaters (including New York’s Cinema Village), on demand and digitally this Friday. Just couldn’t into this one, having at least one good friend with Asperger’s, due to the way Sheridan played this often-debilitating disease. (Think Rain Man without the talent of Dustin Hoffman.)

Opening exclusively at theMetrographFriday with an expansion on March 3 is Portugese filmmaker Bruno de Almeida’s Cabaret Maxime (Giant Pictures), starring Michael Imperioli as Bennie Gaza, the owner and manager of the title nightclub specializing in a mix of burlesque, striptease, music and comedy. Bennie is fairly old-fashioned so when a modern day (translation: trashy and demeaning to women) strip club opens across the way, Bennie finds himself pressure to make changes to stay in line as he starts getting pressure from his mobster financer to change. I was kinda mixed on this movie, which delivers another typically great performance from Imperioli but the way it cuts between various acts and disparate scenes that do very little to move the story forward (including the far-more-interesting subplot about Bennie’s wife Stella, a performer suffering from depression, as played by the amazing Ana Padrão). I think one of the reasons I just couldn’t get into the movie is cause a friend of mine attempted a similar film based out of a nightclub and the film never got much traction. De Almeida should have paid more attention developing the storytelling than showing off his talented musical singing/dancing friends.

A second Portugese filmmaker, Pedro Costa, also releases a new film this week. Vitalina Varela (Grasshopper Film) will open at New York’s Film at Lincoln Center on Friday. The title of the film is also the name of the non-actor who returns from Costa’s Horse Moneyto play a woman from Cape Verdean who comes to Fontainhas for her estranged husband’s funeral and sets up a new life there.

Also opening at the Quad Friday is the latest from the Dardenne Brothers, Young Ahmed (Kino Lorber) about a 13-year-old (Idir ben Addi) who has come under the grips of radical jihadism in his Belgian town, putting him at odds with various factions. When he carries out an act of violence, he ends up in a juvenile detention facility. The Dardennes won the Best Director award at last year’s Cannes Film Festival, where their films have been honored with the Palme d’Or twice. I’ve never been much of a fan but what do I know?

Opening at the IFC Center Wednesday is Nicolas Champeaux, Gilles Porte’s documentary The State Against Mandela and the Others, which is built around recently recovered audio recordings of the 1963-4 Rivona trial in which Nelson Mandela and eight others faced death sentences for challenging Apartheid. The film mixes animation showing the trails with contemporary interviews with the survivors including Winnie Mandela, about their fight against the country’s corrupt system.

Another doc I know little about is Andrew Goldberg’s Viral: Antisemitism in Four Mutations, which will open at the Village East Friday but it includes the likes of Julianna Margulies, Tony Blair and Bill Clinton as anti-semitism rears its ugly head over 70 years after the end of World War II and the Holocaust.

Also opening at Cinema Village is Matt Ratner’s Standing Up, Falling Down (Shout! Studios) starring Billy Crystal and Ben Schwartz (the voice of Sonic the Hedgehog!), the latter playing a stand-up comic whose L.A. dreams have crashed and burned leaving him with little money, forcing him to return to Long Island. Once there, he pines over his ex (Eloise Mumford) and becomes friends with an eccentric dermatologist (Crystal) as they help each other deal with their respective failures.

Playing at the Roxy for a one-week run starting Friday is Sam De Jong’s Goldie (Film Movement), starring actress/model Slick Woods as the title character, a teenager in a family shelter pursuing her dreams of being a dancer while trying to keep her sisters together. This premiered at the Tribeca Film Festivallast year.

Oscilloscope (the distributor that brought you the cat doc Kedi) is doing something called “Cat Video Fest 2020,” which will take place at the Alamo in Brooklyn (although the Saturday screening is sold out there) and the Village East Cinema. This screening of pre-selected cat videos is also taking place at other cities throughout the country, and you can find out where right here.

REPERTORY

METROGRAPH (NYC):

This Friday, the Metrograph will debut its newest series “Climate Crisis Parabels,” a series of varied future shock films, this weekend with Robert Bresson’s The Devil, Probably (1977), Steven Spielberg’s 2001 film A.I.: Artificial Intelligence, Miyazaki’s Princess Mononoke (1999) (hosted by Naomi Klein Sunday afternoon, but also playing as part of the Playtime Family Matinees”) and Ridley Scott’s Blade Runner: The Final Cu ton Sunday night. “To Hong Kong with Love” also continues with screenings of Stanley Kwan’s Rouge (1987) and the 2016 film Raise the Umbrellas. The ongoing Welcome To Metrograph: Redux also continues with HarunFarocki’sdocumentary Before Your Eyes: Vietnam (1981). This week’s Late Nites at Metrograph is another Japanese thriller, Hiroshi Teshigahara’s 1966 thriller The Face of Another, and the Metrograph’s Japanese love continues as Playtime: Family Matinees will also show Miyazaki’s Princess Mononoke from 1999.

ALAMO DRAFTHOUSE BROOKLYN (NYC)

Tonight’s “Weird Wednesday” is Ken Russell’s 1987 film Gothic, and this week’s “Kids Camp” offering is the 2006 animated Curious George with a special “pick your own price.” In preparation for the release of Emma. On Friday, the Alamo is doing a “Champagne Cinema” screening of the 2005 Pride and Prejudice, starring Keira Knightley, which unfortunately, is sold out already. (Waugh Waugh) Monday’s “Out of Tune” is the Prince film Under the Cherry Moon from 1986, which is also sold out. (Hey, Jeremy Wein, why don’t you tell me these things are going on sale so I can go!?!) Next week’s “Terror Tuesday” is the horror classic Candyman (1992), which is ALSO almost sold out and then we’re back to “Weird Wednesday” with next week’s offering, 1985’s soft-core actioneer Gwendoline.

If you’re one of those poor souls living in L.A., you can also go to see Don Coscarelli’s 2002 film Bubba Ho-Tep, starring Bruce Campbell, on Wednesday night or the 1986 Little Shop of Horrors on Thursday at the grand, new(ish) Alamo Drafthouse Cinema Downtown Los Angeles. Saturday afternoon is a matinee of Steven Soderbergh’s Out of Sight (1998), starring George Clooney and J-Lo and Saturday night, you can see Cassavetes’ Minnie and Moskowitz (1971), starring Seymour Cassel and Gena Rowlands. Monday night is Juliet Bashore’s 1986 Kamikaze Hearts, which looked into the X-rated SF underground of the ‘80s. The West Coast “Terror Tuesday” is Francis Ford Coppola’s 1992 film Bram Stoker’s Dracula, starring Keanu Reeves, Gary Oldman and Winona Rider!

THE NEW BEVERLY (L.A.):

Wednesday’s afternoon matinee is the classical musical The Sound of Music (1965) and then Weds and Thurs night’s double feature is Robert Redford’sThe Hot Rock (1972) and Cops and Robber (1973). Friday’s matinee is the late Tony Scott’s The Hunger (1983) and then the Tarantino-pennedTrue Romance (1993, also directed by Scott), will play Friday midnight and Saturday’s midnight movie is the 1967 film Carmen, Baby. This weekend’s Kiddee Mattine is Harry Potter and the Goblet of Fire (2005). Monday’s matinee is Terrence Malick’s Badlands (1973) and the Monday night double feature is A Man for All Seasons(1966) and The Mission (1986). Tuesday’s Grindhouse double feature is 1980’s Super Fuzz and 1977’s Death Promise, both in 35mm, of course.

EGYPTIAN THEATRE (LA):

Weds’ “Black Voices” movie is William Greaves’ 1968 film Symbiopsychotaxiplasm, and then on Friday night in the Spielberg Theater, you can see the 1913 film Traffic in Souls with live music as well as a couple shorts. The Japanese horror film Kwaidan(1965) will play in the normal theater. On Saturday, the Egyptian is presenting “Leigh Whannell’s Thrill-A-thon” a series of four films that helped to inspire Leigh Whannell’s The Invisible Man, which comes out next week with some great options worth seeing, including 1987’s Fatal Attraction, David Fincher’s 2014 film Gone Girl, Rob Reiner’s Stephen King adaptation Misery(1990) and the classic Aussie thriller Dead Calm(1989) starring Nicole Kidman … all for just 15 bucks!

AERO (LA):

The AERO’s “Black Voices” film for Weds. is the great Stir Crazy, starring Gene Wilder and Richard Pryor, and then on Thursday afternoon, you can see Stanley Kubrick’s 1964 classicDr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb for $8 (free to Cinemateque members!) New restoration of the Russian film Come and See (also opening at the Film Forum in New York) will play on Saturday evening as part of the “Antiwar Cinema” series. Sunday’s double feature in that series is Kubrick’s Paths of Glory (1957) and the Russian film The Ascent (1977). Tuesday’s “Black Voices” matinee is Julie Dash’s Daughters of the Dust (1991) and then Greg Proops will screen the 1996 film Ridicule as part of his Film Club podcast which precedes the film.

MOMA (NYC):

Modern Matinees: Jack Lemmon continues through the end of the month with Mister Roberts (1955) on Weds., Billly Wilder’s Avanti (1972) and the classic (and one of my all-time faves) Some Like it Hot (1959) on Friday. This weekend also sees movies in the continuing “Theater of Operations” series, which will include Kathryn Bigelow’s Oscar-winning The Hurt Locker (2009) on Saturday afternoon and a bunch of docs including Werner Herzog’s 1992 film Lessons of Darkness on Sunday. Weds also kicks off “Television Movies: Big Pictures on the Small Screen” – pretty self-explanatory, I think – with 1953’s The Trip to Bountiful and 1955’s Tosca on Weds. and Sunday, 1967’s Present Laughter Thursday and Tuesday and more. (Click on the link for full schedule!) Following Film Forum’s focus on black actresses (for February, Black History Month, get it?) MOMA begins a “It’s All in Me: Black Heroines” series with All By Myself: The Eartha Kitt Story and Julie Dash’s Illusions, both from 1982, on Thursday and many more running through March 5.

ANTHOLOGY FILM ARCHIVES (NYC):

The Anthology still has a few more films in its “Devil Probably: A Century of Satanic Panic” including Eric Weston’s Evilspeak (1981) tonight in 35mm, but also David Van Taylor will be at tonight’s screening of his 1991 film Dream Deceivers. I’ve never seen either of these, by the way. Robert Eggers’ The VVitch and Alan Parker’s Angel Heart screen one more time on Thursday night, as well. This weekend also begins a new series, “Dream Dance: The Films of Ed Emshwiller” but since I have no idea who that is, I have nothing further to add. (Sorry!)

NITEHAWK CINEMA (NYC):

Williamsburgis showing David Lynch’s 1990 film Wild at Heart as part of its “Uncaged” series on Friday just after midnight and John Singleton’s Poetic Justice on Saturday morning as part of “California Love.” They’re also showing Rob Reiner’s The Princess Bride on Saturday morning for an “All-Ages Brunch Movie.”

FILM FORUM (NYC):

Elem Klimov’s 1985 Russian drama Come and See (Janus) will have a DCP restoration premiere at the Forum and Sunday afternoon will be a screening of the 1953 Mexican film El Corazon y La Espada in 3D. This weekend’s “Film Forum Jr.” is the 1953 pseudo-doc Little Fugitive. Monday night is a screening of David Rich’s Madame X (1966) introduced by actor/playwright Charles Busch.

IFC CENTER (NYC)

This weekend’s Weekend Classics: Luis Buñuel is the Mexican film The Exterminating Angel (1962), while Waverly Midnights: Hindsight is 2020s will screen Keanu Reeves’ Johnny Mnemonic and Late Night Favorites: Winter 2020is taking a surprising weekend off.

QUAD CINEMA (NYC):

Still waiting to see if Pandora and the Flying Dutchman continues through the weekend, as at this time (Monday), there is nothing repertory listed.

BAM CINEMATEK(NYC):

Horace Jenkins’ Cane River continues through Friday. Saturday night’s “Beyond the Canon” is a double feature of Ida Lupino’s The Hitch-Hiker(1953) and Malick’s Badlands (1973).

MUSEUM OF THE MOVING IMAGE (NYC):

This weekend’s “See It Big! Outer Space” offerings include1974’s Space is the Placeon Friday and 1924’s Aelita, Queen of Mars and the 1980 Flash Gordonscreening on Saturday and Sunday. As usual, 2001: A Space Odysseywill screen on Saturday afternoon as part of the ongoing exhibition.

ROXY CINEMA(NYC)

Weds’ Nicolas Cage movie is Martin Scorsese’s Bringing Out the Dead (1999) and then Thursday is a 35mm screening of Ghost Rider: Spirit of Vengeance (2012)!

LANDMARK THEATRES NUART (LA):

Friday’s midnight movie is Who Killed Roger Rabbit (1988).

STREAMING AND CABLE

Let’s see what’s going on in the world of streaming this week, shall we?

Netflix is debuting Dee (Mudbound) Rees’ new movie THE LAST THING HE WANTED on the streaming service Friday, even though apparently, it opened in select cities last week, including New York’s Paris Theater, although it got such terrible reviewsout of Sundance, maybe Netflix didn’t want any more bad reviews before it begins streaming. Regardless, it stars Anne Hathaway, Willem Dafoe, Ben Affleck and Rosie Perez, and it’s based on Joan Didion’s novel about a D.C. journalist named Elena (Hathaway) who abandons her work on the 1984 campaign trail to run an errand for her father (Dafoe). I guess I’ll watch it when it’s on Netflix just like everyone else but my expectations have been suitably lowered.

The Jordan Peele-produced series “Hunters,” starring Al Pacino, which is about a group of Nazi hunters will hit Amazon Prime this Friday as well, and a new season of the popular series“Star Wars: The Clone Wars” will debut on Friday on Disney+, adding to the amazing amount of content already available on that network.

Next week, Saw and Insidious co-creator Leigh Whannell revamps The Invisible Man for Universal with Elisabeth Moss, and there’s also (supposedly) a movie call The Ride, which I know nothing about. You can guess which movie I’ll be focusing on.

By the way, if you read this week’s column and have read this far down, feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or send me a note on Twitter. I love hearing from readers!

#TheCallOfTheWIld BrahmsTheBoy Premature Emma Balloon CorpusChristi Movies Reviews Repertory Streaming TheWeekendWarrior

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nemesisbinxartifactseries · 5 years

Text

Artifact Series S

Saburo Miyakawa's Hachimaki *

Sacagawea's Cradleboard

Sacagawea's Indian Peace Medal

Sacred Papyri of Seleucia *

The Saddle of Bayard

Sadhu Fingernails

Sailor Mars' Transformation Pen

Saint Cuthbert's Chapel Gargoyle *

Saint George's Ring

Saint George's Lance and Shield

Saint James' Fuller's Club

Saint Jude's Carpenter's Rule

Saint Jerome's Lion Claw Thorn

Saint Lucia's Skull

Saint Matthew's Tax Lodger

Saint Matthias' Axe

Saint Nicholas' Gift Bag

Saint Nicholas' Three Stockings

Saint Patrick's Bell

Saint Paul's Cross-Hilted Sword

Saint Paul's Letter

Saint Peter's 2 Keys

Saint Peter's Sword

Saint Philip's Basket

Saint Sebastian’s Arrow

Saint Simon's Saw

Saint Thomas' Carpentry Square

Saint Valentine's Amethyst Ring

Sakyo Komatsu's Typewriter Ink Ribbon

Saleh's Camel Bone

Salem Saberhagen Animatron

Sallah, the Soothsaying Sultan *

Sally Rand's Ostrich Feather Fans

Sally Tompkins' Medical Kit

Salmaan Taseer's Glasses

Salt from Dallol, Ethiopia

Salvador Dali’s Cane

Salvador Dali's Moustache Wax

Salvador Dalí's Paintbrush

Salvation Army Bell

Salvator Fabris' Fencing Doublet

Salzburg Marionette Theater Marionette

Samantha Smith's Cap

Sam Hide's Half Crown

Sam Loyd's Black Queen

Sammy Davis Jr.'s Mezuzah

The Samsara Lotus

Sam Sheppard's Wrestling Boots

Sam Snead’s Golf Bag

Samson's Jawbone *

Samuel Allison's Dark Tinted Goggles

Samuel Clemens' Riverboat Whistle

Samuel Colt's Gun Barrel

Samuel Franklin Cody’s Kite

Samuel J. Seymour’s Safety Pin

Samuel Loring Morison’s Magazine Rack

Samuel Madden's Letter Opener

Samuel Pepys' Monocle

Samuel Pepys' Wheel of Parmesan Cheese

Samuel Taylor Coleridge's Fishing Net *

Samuel Whittemore’s Musket

Samuel Ruben’s Batteries

Samus Aran's Armor

Sancho II of Portugal’s Ciborium

Sandbags from the Great Mississippi Flood of 1927

The Sanderson Sisters' Black Flame Candle

Sandford Fleming's Postage Stamp

Sands of Hiroshima

Sands of Iwo Jima *

Sands of Normandy

Sandstone Bricks from the Pyramid of Giza

Santa Claus™ Hat

Santiago Ramón y Cajal's Microscope

Santorini Event Pumice Stone

Sapphires of Vali

Sarah A. Bowman’s Bread Tray

Sarah Bernhardt's Evening Gloves

Sarah Knauss' Personal Compact Mirror

Sarah Osbourne's Dress

Saraswati’s Veena

Sargon the Great's Mirrors *

Saturn V

Saxon Yule Log *

Sburb Beta Disks

Scaenae Frons from the Theatre of Dionysus

Scallop Shell of Zebedee

Scarab of Imhotep *

The Scarab Beetle Statue of Luxor

Scarecrow's Mask

“Scary” Lucille Ball Statue

Schaefer Beer Tray

Scheherazede's Bracelet

School of Salmon

Schrodinger's Cat

Schwinn Exercise Bike

Scope & Rifle from Elbe Day

Scorpion's Ropedart

Scorpus' Chariot

Scot Halpin’s Tour Jacket

Scott Joplin's Cigarette Case *

Scott Joplin's Piano *

Scott Joplin's Score for A Guest of Honor

Scott O'Grady’s Ejection Seat

SCP-WH13

Scroll of Qi

The Sea Cat

Searchlight from Alcatraz

Seat from Global Airlines Flight 33

Seaweed Stone Ball

Second Chance Heroes Artifacts

Secondo Pia’s Flashbulb

Secretariat's Horseshoes

Sedna's Seashell

Seductive Spectacles

SEES's Evokers

Selene's Tiara

Self-Answering Rotary Phone

Self-Constructing Building Blocks

Self-Replicating Birthday Candles

Senchán Torpéist's Lute

Seneb's False Door

Seraphim of Sarov’s Icon and Lestovka

Serial Killer Camera *

Serial Killer Hook

Sergeant Stubby's Coat

Sergei Brukhonenko's Autojektor

Sergei Korsakoff's Ruble Coin

Sergei Prokofiev's Chess Board

Sergio Corbucci's Personal Script of Django

Sergiusz Piasecki’s Grammar Book

Sessue Hayakawa’s Pierce Arrow

Seth Kinman’s Elkhorn Chair

Seth MacFarlane's "Family Guy" Concept Art

Seti I's Obelisk

Severus of Athens' Cronus Ring

Sexist Pickle Jar

Shah Jahan’s Peacock Throne

Shah Jahan's Taj Mahal Spire

Shaista Khan’s Sash

Shards of the Cross of St. Andrew

Sharicite Pendants

Shaka Zulu's Nkoka

Shaka Zulu's Iklwa

Shamu's Tank

Shang Rang's Army Shield

Shaolin Temple Robes

Sharbat Gula's Shawl

Shard from the Lens of the Lighthouse of Alexandria *

Sharkeisha's Winter Hat

Sharpie Permanent Marker

Sheet Music of Faerie's Aire and Death Waltz

Sheldon Silverstein's Guitar

Sheldon Silverstein's Shaving Razor

Shelvern's Black-Magic-Eyed Peas

Shell Fragment from the V-1 Doodlebug

Shem Drowne's Grasshopper

Shennong’s Plow

Sherman Adams’ Fur Coat

Sher Shah Suri's Helmet

Sheut Statuette

Shield from the Battle of Thermopylae

Shifting Chicken Egg

Shig Murao's Copy of "Howl"

Shigechiyo Izumi's Kimono

Shig Murao's Copy of "Howl"

Shigeru Miyamoto's Keyboard

Shinichi Suzuki's Violin

Shirley Jackson's Jewelry Box

Shiro Ishii's Medal *

Shirt of Nessus

Shivaji’s Bagh Naka

Shizou Kakutani's Geometry Set *

Shoes from the Tank Man

Shoichi Yokoi's Uniform

Shō Shin's Tonfa

Shotaro Ishinomori's Pen and Sketch Pad

Shower Head from "Psycho" *

Shylock's Coin Purse

Siberian Jukebox

Siberian Mammoth Tusk

Sigismund I the Old’s Tankard

Sigismund’s Order of the Dragon Emblem

Sigmund Freud's Cigar *

Sigmund Freud's Glasses

Sigmund Freud's Lighter

Sigmund Freud's Mantle Clock *

Sigmund Freud's Marble Tablet

Sigyn’s Bowl

Silap Inua Totem

Silene stenophylla

Silencing Librarian Glasses

Silk Sash of Mulan

Silver Bracelet *

Silver Bullet

Silver Cross Tavern Barrels

The Silver Crystal

Silver Necklace from the Atacama Desert Mines *

Silverpilen

Silver Transmuting Goblet

Simeon Bourgeois' Torpedo Shell

Simo Häyhä's Rifle

Simon Tookoome's Bullwhip

Simonides of Ceos' Tally Stick

Simon Stevin's Windmill

Sinclair Lewis' Desk

"Singin' in the Rain" Umbrellas

The Singing Bone

Sinon's Helmet

Sir Gawain's Jousting Helmet *

Sir Mix-A-Lot's Bling Ring

Siren Rock Pendent

Sister Parish's Rose Brooch

Sitting Bull's Riding Blanket *

Skanderberg's Helmet

Skeleton Key

Ski Gloves

Skip to My Lou Violin

Skis from the Winter of Terror

Slava Raškaj’s Alabaster Owl Carving

Slavoljub Eduard Penkala’s Hot Water Bottle

The Slayer's Scythe

Sledge Hammer from the Ohio State Prison Fire

Slender Suit

Slot Machine

Slow Mo Guy's Lab Coats

Slue-Foot Sue's Bustle

Smenkhkare's Coffin

Smiling Dog Photograph

Smell Negating Clothespin

Smokey Yunick's Cowboy Hat

Smoking Railroad Spikes *

"Snakeman's" Basket

Snarky Reading Glasses

Sneezing Panda Video Camera

Snowman Jack-in-the-Box

Snow White's Apple

Snow White's Mirror

Sobriety Coin

Soccer Ball from the Death Match

Sock Sowachowski's Hat

Socrates' Cup *

Socrates' Toga

Sodom and Gomorrah Salt Mask *

Sogdianus' Scimitar

Soichiro Honda's Bicycle Pedals

Solac Electric Toaster

Soldier of Fortune's Cloth Cap

Solomon W. Golomb's Polyominoes

Sonman Mine Pickaxe

Sonny and Cher's Old West Costumes

Sopdet's Star

Sophie Blanchard's Costume

Sophie Lyons' Gloves

Soren S. Adams' Jam Jar

Southern Cross Expedition Candle Holder

Souvenir Ashtray *

SpaceShipOne

The Spaghetti Tree

Spanish Flag from the Battle of Rocroi

Spanish Inquisition Costumes

Spartan Armor *

Spartacus' Armor

Sparticus' Retiarius *

Special Order 191 Cigars

Speed-Reading Lamp (canon)

Sphinx's Gear

Sphinx's Nose and Tablet

Spiked Torture Mask (canon)

Spindle from the Duke of Exeter's Daughter Torture Rack (canon)

Spirit of St. Louis' Propeller Spinner

Spine of the Saracen *

Splattering Heinz Ketchup Bottle

Spoon from Al Capone's Soup Kitchen

Spirit of St. Louis' Propeller Spinner

Spirit Tablets from the Boxer Rebellion

Spitball-Producing Straw

Spriggan Wings

Spring-Heeled Jack's Boots

Spyridon Louis’ Fustinella

Srinivasa Ramanujan's Stick

Squee's Teddy Bear, Shmee

SS Andrea Doria

SS Baychimo

SS Indiana's Hand Bell

SS Noronic Whistle

SS Violet, Griffon

Stack of 12 Cans of Campbell’s Soup *

Stacked-Deck Poker Table

Stadium Seats from the 1896 Olympics

Stage Door from CBGB's *

"Stagecoach" Mary Fields S&W .38 "Lemon Squeezer"

Stagelight from the UFO Club

Stairway B Railing

Staff of Set

Stamata Revithi's Document

Stan Rogers's Wedding Ring

Stanislaw Ulam's Calculator

Stanley Green’s Placard

Stanley Kramer's Film Reel

Stanley Thornton Jr.'s Baby Bottle

Stare Promoting Glasses

Star Jelly

Starkad's Norse Pendent

S.T.A.R.S. Samurai Edge Pistol

State vs Bonner Cap Gun

Statue from Trajan’s Column

Statues of Castor and Pollux *

Statue of Euryale

Statue of Heket

Statue of St. Bartholomew

Statues from the Mausoleum of Halicarnassus

Statues of Zeus and Hera

Statuettes of Aphrodte and Eros

Steam Locomotive from the Burma Railway

Steel Girders From Warehouse 12

Stefania Follini’s Guitar

Stephen Decatur's Disguise

Stephen Hawking's Wheelchair

Stephen Hillenburg's Hawaiian Shirt

Stephen Wiltshire's Pen

Steve Bolander's '58 Chevy Impala

Steve Brodie's Dummy

Steve Clemente's Knife Box

Steve Irwin’s Australia Zoo Patch

Steve Jobs' Hardrive

Steve Kordek's Pinball Machine

Steve McQueen's 650cc Triumph TR6 Trophy Motorcycle *

Steven Spielberg's Clapper Board

Stewart Farrar's Besom

Sticky String *

Stingy Jack's Turnip Lantern

"Stinking" Bishop's Kettle

St. Stephen's Church Weather Vane

Stolen Arm of Shiva

Stone-Changing Cheese Knife

Stone from Stonehenge *

Stone from the "Wailing Wall"

Stones from The Dancing Plague of 1518

Stones from the Flims Rockslide

Stone of Destiny

Stone of Truth

Stonewall Inn's Neon Sign

Stonewall Jackson's Piece of Shrapnel

Storage Door Knob

Stormtrooper E-11 Blaster Rifle

Strait of Messina Grindstone

Straightjacket from St. Mary of Bethlehem Asylum

The Straw that Broke the Camel's Back *

Studio 54 Disco Ball *

Stuffed Speckled Chachalaca

St. Valentine's Day Massacre M1 Thompson

Subtle Knife

Sucellus' Hammer

Sugar Ray Robinson's Pillow

Sugar Skull

Sulla's Grass Crown

Summer Camp Inflatable Mattress

Sunbeam Mix Master

Sundiata Keita’s Balafon

Sunny Malone's Chalk Drawing

Sunrise High Sierra Camp Hat

Sun Tzu's Dao Sword

Sun Tzu's "The Art of War"

Superman's Suit

Supermarket Sweep Shopping Carts

Susan Hayward's Silk Dress

Susan Nolen-Hoeksema’s Glasses

Susanoo's Totsuka-no-Tsurugi (Sword of Strength)

Su Song's Armillary Sphere

Suzanne Oldsworth's Silver Thimble *

Svante Arrhenius’ Gloves

Svetlana Pankratova's Shoes

Svyatoslav Nikolayevich Fyodorov's Patient's Glasses

Sweeny Todd's Barber Shop Razor

Swiss Miss-Hap Mug *

The Sword in the Stone

Sword of Damocles

Sybil Leek's Smudge Fan

Sydney Newman's Rotary Phone

Sylvanus Morley's Pith Helmet

Sylvester Graham's Original Graham Crackers

Sylvia Browne's Pearl Earrings

Sylvia Plath's Typewriter *

2 notes · View notes

ethanalter · 7 years

Text

'The Zookeeper's Wife': How "Animal Whisperer" Jessica Chastain Charmed a Real Elephant

Jessica Chastain and Daniel Bruhl greet their elephant co-star in ‘The Zookeeper’s Wife’ (Photo: Jessica Chastain/Facebook)

As Helmut Zemo, the secret architect of the Marvel Cinematic Universe’s status quo-rattling Civil War, Daniel Brühl showed no fear when pitting Team Iron Man against Team Captain America. But the German actor confesses to Yahoo Movies that he’s considerably less at ease sharing the screen with animals rather than superheroes.

Brühl’s latest role in the World War II drama, The Zookeeper’s Wife, required spending lots of time with various members of the animal kingdom. Within the first 10 minutes of the Niki Caro-directed film, now playing in limited release, he and co-star Jessica Chastain get up close and personal with a pair of nervous elephant parents whose young offspring is struggling to breath. “It was impressive to see that Jessica can handle animals very well,” Brühl says of Chastain’s general comfort around the film’s cast of creatures great and small. “She was fearless, even with the wildest ones. That was pretty impressive. It annoyed me a little bit, I have to say, being the sissy!”

To be fair, Brühl didn’t anticipate he’d be acting opposite a literal elephant in the room when he first read the script for The Zookeeper’s Wife, based on the true story of Antonia Żabiński (Chastian), who worked alongside her husband Jan (Johan Heldenbergh), to make the Warsaw Zoo a safe place for animals — and Jewish prisoners — during the Nazi occupation of Poland. Brühl plays Dr. Lutz Heck, a Nazi-affiliated zoologist who has his own plans for the zoo’s animal population…and clear designs on Antonia.

Chastain in ‘The Zookeeper’s Wife’ (Photo: Universal)

Early on, the actor assumed that Caro and the production team would create a CGI menagerie to avoid the safety concerns and budget constraints that accompany using live animals. In a separate interview, the Whale Rider director says that option was a non-starter with her from the get-go. “I couldn’t conceive of making an authentic film out of a real story and using fake animals. So we used real exotic animals and, might I say, very respectfully and very safely.”

Caro points to the elephant sequence as an example of the benefits of using real animals rather than CGI doppelgängers. “This movie is really an interspecies love story between Jessica and the animals. The otherworldly connection between her and the animals was really something to behold and a great gift.” As Antonia works to clear the young elephant’s blocked breathing passages, she also has to calm the mother and father, whose natural instinct to protect their child threatens to put her in harm’s way.

Daniel Bruhl as Lutz Heck in ‘The Zookeeper’s Wife’ (Photo: Universal)

While Dad stomps his feet and trumpets aggressively, Mom slides her trunk all over Chastain’s kneeling figure, a gesture that reads onscreeen as both a plea and a warming. In actuality, though, Caro says that the elephant actor was mainly searching for a snack. “We concealed apples on Jessica’s body, just underneath her outfit, actually. So the elephant was looking for an apple. That sort of thing — utilizing natural behavior, but creating a very different story onscreen — is just genuine old school movie-making.”

Although Chastian was comfortable with turning her body into a kind of elephant picnic basket, Brühl struggled somewhat with his own role in that sequence. In an effort to protect Antonia, Lutz leads the increasingly angry father elephant away from his mate and child, into a separate pen. “Did Daniel tell you how frightened he was to lead the elephant through the gate?” Caro says, laughing. “We really heightened the bar for him; he couldn’t wuss out on any of the animal work with Jessica Chastain around. She’s a true animal whisperer.” Brühl cops to being nervous, but credits his elephantine co-star with making the scene a painless one to perform. “I think he wanted a lunch break as quickly as we wanted one,” he jokes. “You look into the eyes of this massive animal, and it’s incredible to see how much intelligence there is. After one take, he completely understood what we wanted from him.”

yahoo

Read more from Yahoo Movies:

Mulan Is the Best Disney Princess, Says ‘Mulan’ Director Niki Caro

Jessica Chastain’s 5 Best Performances

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#news #_uuid:09391216-a794-385a-85d8-7624b54bb68e #movie:the-zookeepers-wife #_revsp:wp.yahoo.movies.us #_author:Ethan Alter #jessica chastain #_lmsid:a0Vd000000AE7lXEAT

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filmsandtheirreels-blog · 6 years

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My Top 10 Favourite Films I Can Think of Right Now

Hey my name is Daniel and welcome to my blog I guess. In this Blog, I will be looking at my love for film, the history of film, essays about film and other things that interest me. For my first piece, I thought I’d let you know me by telling you about my favourite films. As any cinema fan knows it is really hard to think of a cohesive list of favourite films so they are kind of random pics of my favourites. None of these are in order and there are definitely ones that I left out, hope you enjoy.

10: The Scifi

Sci-fi has always been one of my favourite genre’s. From watching Jurrasic Park and Star Wars as a kid to films like Bladerunner when I got older. Sci-fi is great because it comments on today by looking to our future. This could be like Toxic Masculinity in Ex Machina and the concept of identity in Bladerunner, to even shows like Black Mirror. However, the film I will be looking at is Dennis Villeneuve’s Arrival.

Arrival is a film that follows Louise Banks, a linguist trying to figure out why Aliens arrived on our planet by speaking with two of them. The film teaches important lessons about empathy and the importance of communication. The film speaks of how empathy and language are linked. It is a brilliantly shot sci-fi with an intelligent story structure. Also one of the first films I ever wrote a paper on (The first was Get Out but that was not the only part of the essay).

9. The Aesthetic

In this category, we are going to look at the purely aesthetic. The films that look simply amazing. The films that understand the visual aspect of filmmaking. It could be the symmetry of The Grand Budapest Hotel or the colours of Hero but for my number 9, and I swear I am not playing favourites here, is Blade Runner 2049.

Director of Photography Roger Deakins is a master behind the camera. It is no wonder the man won the 2018 Oscar for cinematography. Every still you can find of 2049 deserves to be hung up in a gallery it is such an incredible feat in cinematography.

8: The Animation

Whenever I look back at my favourite animations it is always the ones that teach an important lesson, like The Iron Giant, Mulan or The Secret of Nimh. Yet, there is always one animation I go back to, with memories of sitting on the couch with my granny and watching it. That film is An American Tail.

An American Tail tells the story of a young immigrant mouse cut off from his family once they reach the shores of America as he tries to find his way back to them. The film teaches important lessons about acceptance and family. It never speaks down to its audience and handles its subject matter in a very mature way. This is no surprise as it was directed by none other than Don Bluth a man known for directing animation with important messages. If you grew up in a house without this film I definitely recommend you seek it out.

8: The Horror

I always believe that a good horror film should always leave the viewer with an insane sense of dread. You should never feel comfortable while watching a horror. You should always feel unease an discomfort. To be fair these past few years have given us some excellent horror film like Get Out, The VVitch, It Comes at Night, IT Follows, IT, and more recently Hereditary. If I am going to pick my favourite horror film I am going to have to go back to a film that still freaks me out today (granted I still have not seen Suspiria) is The Shining.

The Shining is still and will always be a film that I am deathly afraid of. The entire film makes me feel unsettled and with Jack Nickolson's performance making me feel uneasy all throughout. If you have not seen it yet I would highly recommend it as it still can shake you to the core today. Just don’t go into room 237.

7: The Romance

Whenever I look for a romance film I always look at the unconventional, Blue Valentine, La La Land, When Harry Met Sally and Eternal Sunshine of the Spotless Mind. I prefer the stories that either don’t end happy, have a weird beginning or just go completely out of the genre. That is why my favourite Romance film is The Shape of Water.

The Shape of Water tells the story of love and loss as Eliza (Sally Hawkins) falls for an amphibian man in the government facility where she works. The film is just simply beautiful in its delivery, striking and sweet. It tugs at your heartstrings every single step of the way. With an incredibly raw performance from Sally Hawkins and Guillermo Del Toro’s incredible direction. I loved this film so much I even bought the art book.

6: All The Laughs

Sometimes you need a film to tickle your funny bone. However, that is very hard to do with Adam Sandler films churned out way too often and very mediocre comedies littering the box office. That being said there are definitely amazing comedies auteurs out there. People who understand how to use film and comedy together. You need to look no further than Edgar Wright. Edgar Wright understands how comedy works in this medium. He uses every asset to enhance the gags in his films. His cornetto trilogy is a testament to that which is why my number 6 is Shaun of The Dead

Shaun of The Dead is still one of the funniest comedies of the 21st century using every kind of filming technique to make the audience laugh. Every transition, every line and even music ques makes you burst out with laughter. All you really have to look at is the Bar fight scene see what I am talking about. I always go back to this if ever I am in need of a really good laugh.

5: All about those talking heads

While film is a visual medium dialogue is just as important. I am always a sucker for incredibly witty dialogue, especially considering I’m studying film in college to be a scriptwriter. Whether it be the snarkiness of Aaron Sorkin or the sharpness of Quentin Tarantino. However, the film I am going to pick is Whiplash by Damien Chazelle.

While this film is great for so many other reasons the dialogue in it is just outstanding. With JK Simons hurling unrelenting abuse at Miles Teller, you feel like you are on that drum stool with him. It does a good job of invoking terror through words. Everything Simons says, you reflect back on yourself and I think that is why it is an amazing script.

4: The Weird Yet Wonderful

Ok so The Shape of Water could have totally also gone into this category but I saved this spot for another Gullermo Del Toro project Pan’s Labyrinth.

Pan’s Labyrinth is such a unique, fascinating and horrifying film that how could it not be one of your favourites. With amazing monster designs and incredible lore. Pan’s Labyrinth is such an incredible dark fantasy that I am surprised there isn’t more like it.

3: The small yet courageous

One thing that I love in cinema is when a small film has a big idea. It is like how Being John Malkovich was a small enough film but with a huge premise. Whenever I look at this I always turn my eye to the indie scene and there is always one film that keeps on sticking out to me. Coherence.

Coherence is about a simple dinner party until a meteor flies overhead. Honestly, I really do not want to say more about it as it is a film you kind of just have to see for yourself.

2: The Action

Everyone has an action film that they adore. A film with high octane adrenalin and incredible feats and stunts. I always enjoyed the action films that know how to use the camera to complement the action on the screen. That is why my pick is Mad Max: Fury Road.

could it have been anything else? Fury Road is honest to god best action film of all time. With incredible stunts and amazing characters like Furiosa. The film is just mad and so much fun which is something that action should be. It knows how to do the tone of the action as well.e most bad action just bombards your senses with shaky cam and rooftop races. With Fury Road, it knows when to slow down, it knows how to slow down and speed up and it knows how to focus on the action.

1: The Classics

Now I feel like I need to look at the Classics. Films that changed were so influential that they still stand the test of time today. There are so many options, from the frightening Psycho to the triumphant Spartacus. However, for my pick, I am honestly going to have to go with Casablanca.

This film tells of an ex-freedom fighter who owns a gin bar in Casablanca in the early days of World War II when an old love comes to his bar asking for his help to get her famed rebel husband to America. The film was ballsy for its time speaking about serious issues that were happening in the world and being respective about it. It has some of the most quotable lines in history and was incredibly smart in its delivery.

Well, there you have it. A list of films that I like. While there are so many other favourite films of mine, these are the only ones I could of at the moment. Hope you enjoyed it and you will enjoy my blog.

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ivanpage61 · 4 years

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^^karebet.xyz^^ After We Collided (2020) ONLINE FULL Movie FREE

🎥➠ https://t.co/QmND8vdZpS?amp=1

Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. ¦H¦A¦P¦P¦Y¦ ¦W¦A¦T¦C¦H¦I¦N¦G¦ ¦E¦N¦J¦O¦Y¦ Find all the tv series and movies that you can stream online, including the series that aired today. If you are wondering what can you watch on this website, then you should know that it entails genres that include Crime, Drama, Mystery, Action & Adventure series, shows. Thank you very much. We say to all those who are happy to accept us as news or information about the program schedule of the season, episodes and how you watch your favorite television shows. Hopefully we can become the best partner for you in finding recommendations for a television show from various countries around the world. That’s all from us, greetings!, Thanks for watching Guys, keep in touch on Twitter and make sure you let us know if you enjoyed it or not (we don’t give a fuck if you don’t like it). Don’t forget to make around you smile with a sense of optimism. :)) TELEVISION SHOW AND HISTORY A television show (often simply TV show) is any content produced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set, excluding breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might also be called a television program (British English: programme), especially if it lacks a narrative structure. A television series is usually released in episodes that follow a narrative, and are usually divided into seasons (US and Canada) or series (UK) — yearly or semiannual sets of new episodes. A show with a limited number of episodes may be called a miniseries, serial, or limited series. A one-time show may be called a “special”. A television film (“made-for-TV movie” or “television movie”) is a film that is initially broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time (live), be recorded on home video or a digital video recorder for later viewing, or be viewed on demand via a set-top box or streamed over the internet. The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 1937 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 1947 World Series inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 1972, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. FORMATS AND GENRES Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows. A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little. If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order. Since the 1980s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,while the later series Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intended five-season run. In 2012, it was reported that television was growing into a larger component of major media companies’ revenues than film. Some also noted the increase in quality of some television programs. In 2012, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television. CREDITS Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama, Anime Movie, etc. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That��s all from us, greetings! United States When a person or company decides to create a new series, they develop the show’s elements, consisting of the concept, the characters, the crew, and cast. Then they often “pitch” it to the various networks in an attempt to find one interested enough to order a prototype first episode of the series, known as a pilot.[citation needed] Eric Coleman, an animation executive at Disney, told an interviewer, “One misconception is that it’s very difficult to get in and pitch your show, when the truth is that development executives at networks want very much to hear ideas. They want very much to get the word out on what types of shows they’re looking for.”[7] To create the pilot, the structure and team of the whole series must be put together. If audiences respond well to the pilot, the network will pick up the show to air it the next season (usually Fall).[citation needed] Sometimes they save it for mid-season, or request rewrites and additional review (known in the industry as development hell).[citation needed] Other times, they pass entirely, forcing the show’s creator to “shop it around” to other networks. Many shows never make it past the pilot stage.[citation needed] The show hires a stable of writers, who usually work in parallel: the first writer works on the first episode, the second on the second episode, etc.[citation needed] When all the writers have been used, episode assignment starts again with the first writer.[citation needed] On other shows, however, the writers work as a team. Sometimes they develop story ideas individually, and pitch them to the show’s creator, who folds them together into a script and rewrites them.[citation needed] If the show is picked up, the network orders a “run” of episodes — usually only six or 11 episodes at first, though a season typically consists of at least 22 episodes.[citation needed] The midseason seven and last nine episodes are sometimes called the “mid-seven” and “back nine” — borrowing the colloquial terms from bowling and golf.[citation needed] Thanks u for visiting, I hope u enjoy with this Movie Have a Nice Day and Happy Watching 🙂

#covid-19

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ivanpage61 · 4 years

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Movies!! (After We Collided) (2020) Full Movie Watch HD Online

🎥➠ https://tinyurl.com/y2kmthg6 Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. ¦H¦A¦P¦P¦Y¦ ¦W¦A¦T¦C¦H¦I¦N¦G¦ ¦E¦N¦J¦O¦Y¦ Find all the tv series and movies that you can stream online, including the series that aired today. If you are wondering what can you watch on this website, then you should know that it entails genres that include Crime, Drama, Mystery, Action & Adventure series, shows. Thank you very much. We say to all those who are happy to accept us as news or information about the program schedule of the season, episodes and how you watch your favorite television shows. Hopefully we can become the best partner for you in finding recommendations for a television show from various countries around the world. That’s all from us, greetings!, Thanks for watching Guys, keep in touch on Twitter and make sure you let us know if you enjoyed it or not (we don’t give a fuck if you don’t like it). Don’t forget to make around you smile with a sense of optimism. :)) TELEVISION SHOW AND HISTORY A television show (often simply TV show) is any content produced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set, excluding breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might also be called a television program (British English: programme), especially if it lacks a narrative structure. A television series is usually released in episodes that follow a narrative, and are usually divided into seasons (US and Canada) or series (UK) — yearly or semiannual sets of new episodes. A show with a limited number of episodes may be called a miniseries, serial, or limited series. A one-time show may be called a “special”. A television film (“made-for-TV movie” or “television movie”) is a film that is initially broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time (live), be recorded on home video or a digital video recorder for later viewing, or be viewed on demand via a set-top box or streamed over the internet. The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 1937 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 1947 World Series inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 1972, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. FORMATS AND GENRES Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows. A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little. If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order. Since the 1980s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,while the later series Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intended five-season run. In 2012, it was reported that television was growing into a larger component of major media companies’ revenues than film. Some also noted the increase in quality of some television programs. In 2012, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television. CREDITS Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama, Anime Movie, etc. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! United States When a person or company decides to create a new series, they develop the show’s elements, consisting of the concept, the characters, the crew, and cast. Then they often “pitch” it to the various networks in an attempt to find one interested enough to order a prototype first episode of the series, known as a pilot.[citation needed] Eric Coleman, an animation executive at Disney, told an interviewer, “One misconception is that it’s very difficult to get in and pitch your show, when the truth is that development executives at networks want very much to hear ideas. They want very much to get the word out on what types of shows they’re looking for.”[7] To create the pilot, the structure and team of the whole series must be put together. If audiences respond well to the pilot, the network will pick up the show to air it the next season (usually Fall).[citation needed] Sometimes they save it for mid-season, or request rewrites and additional review (known in the industry as development hell).[citation needed] Other times, they pass entirely, forcing the show’s creator to “shop it around” to other networks. Many shows never make it past the pilot stage.[citation needed] The show hires a stable of writers, who usually work in parallel: the first writer works on the first episode, the second on the second episode, etc.[citation needed] When all the writers have been used, episode assignment starts again with the first writer.[citation needed] On other shows, however, the writers work as a team. Sometimes they develop story ideas individually, and pitch them to the show’s creator, who folds them together into a script and rewrites them.[citation needed] If the show is picked up, the network orders a “run” of episodes — usually only six or 11 episodes at first, though a season typically consists of at least 22 episodes.[citation needed] The midseason seven and last nine episodes are sometimes called the “mid-seven” and “back nine” — borrowing the colloquial terms from bowling and golf.[citation needed] Thanks u for visiting, I hope u enjoy with this Movie Have a Nice Day and Happy Watching 🙂

#COVID-19

0 notes