I offer insight and analysis into the next hit of Disney’s swashbuckling saga Pirates of the Caribbean, Dead Men Tell No Tales.
- It generally moved quicker than most of the past films– The official run time for Dead Men was 2 hours and 33 minutes, which is actually the second-longest film of the franchise behind At World’s End (my least favorite film of the franchise and which seemed like it’d never end). Still, the action was engaging and easy to follow, captivating the audience’s attention which, for me, made it seem to go by fast. In the past, lengthy shots of ocean scenery and irrelevant background images have made the film drag on, but that was kept to a minimum in this film.
- The movie followed the plot line of past films- If you’re a fan of Jack Sparrow’s (Johnny Depp) random appearance on any Caribbean island (this time it’s St. Martin) narrow escapes, swindling of the powers that be, tolerable violence, overcoming the odds and acquiring a crew, following with conflict resolution with old friends and ultimately sticking to the bad guy, you’ll be happy with this installment of Pirates. It pretty much holds to form with all the other films.
- Jack’s banter is more witty and sexual that ever. It seems like the writers most definitely adjusted Jack’s dialogue to reach a more modern audience. From more sexual innuendos to a marijuana reference, Jack’s character usually doesn’t engage in this much banter. Richard Roeper of the Chicago Sun-Times summed it up pretty well in his review: “Dead Men works well enough as a stand-alone, swashbuckling comedic spectacle, thanks to the terrific performances, some ingenious practical effects, impressive CGI and a steady diet of PG-13 dialogue peppered with not particularly sophisticated but (I have to admit) fairly funny sexual innuendo.”
- Don’t go expecting to see a lot of Kiera Knightley and/or Orlando Bloom- When I first heard that Will Turner (Orlando Bloom) and Elizabeth Swan (Kiera Knightley) were returning to the films, I expected them to be a big part of Jack’s adventure. Upon reading up before watching, I realized that their roles would be rather isingnifcant, and they were. Bloom shows up in the first and last scenes, but maybe has a minute and a half of dialogue. Kiera Knightley has literally none. That being said, it was good to see the Turner family reunited. It tugged on the sentimental heart strings of any Pirates fan who holds films 1-3 near and dear to their hearts.
- Bardem plays a good villain– Javier Bardem was excellent as Armando Salazar. Having seen his work in thrillers like No Country for Old Men, Sicario and Skyfall, I knew what to expect from his villainy. His mannerisms in these films are very believable and the audience definitely buys into the fact that he’s a dude to be feared. I also thought it made for an interesting dynamic in the Bardem residence given how Javier was casted for this film right after his spouse, Penelope Cruz, was cast as the main antagonist and Jack’s first legitimate love interest in the last film (Angelica in On Stranger Tides).
- I really find it hard to believe that’s the last that we’ll see of Barbossa– Spoiler- Barbossa dies. However, we’ve already seen that in the first installment of the franchise, Curse of the Black Pearl, only for him to be brought back to life by Calypso in Dead Man’s Chest. Given the fact that Hector (Geoffrey Rush) has appeared in every single film, I thoroughly believe that he will make some kind of return for the rumored Pirates 6. Barbossa has proven to be a valuable asset to the story, no matter what side of Jack’s interests he finds himself on.
- The movie does a really good job filling in holes and tying everything together before what we can presume will be the last film of the franchise- The film offers more insight into Jack’s past than ever. First, it introduces the audience to Jack’s uncle for the first time, who was largely insignificant and didn’t do much for the storyline. More importantly, the film distinguished Jack’s initial defeat of Salazar as what established his legacy. Salazar states that Jack’s heckling from the Crow’s nest of his ship reminded him of a bird chirping, so seamen began to call him ‘Jack the Sparrow.’ Next, It depicts Jack’s quick-wit and outmaneuvering of Salazar as what won the favor of his crew. It also showed that he received the compass that doesn’t point North in this battle win Salazar, and after the defeat, his crew presents him with his hat, sword, beads, and many other intricacies that make Jack Sparrow. For the first time, the audience is offered insight into the life of Barbossa as well, revealing his daughter, Carina Smith/Barbossa (Kaya Scodelario) as a main character, and establishing more of his on-land past. All this did a good job of tying up loose ends and answering Pirates fans questions about their favorite characters before what we can presume is the no-holds-barred final adventure in the sixth film.
- Why would Jack give away his compass so easily?– I touched on it earlier, but this was my main question. In a drunken, muddy stupor, Jack gives his valued compass that his been a fixture in almost every past film away for a handle of rum in St. Martin. I realize he’s drunk, but that has to be Jack’s most valuable possession. He was told in the aforementioned battle by a crew member’s last breaths to never give the compass up. This causes a chain of events that ultimately leads to Salazar and crew’s freeing from The Devils Triangle, the purgatory where Jack staved off certain death and trapped Salazar’s crew. In my opinion, Jack shouldn’t have just given away the compass, more development should’ve gone into it, perhaps a tangential story on Jack losing the compass.
- From an entertainment aspect, Disney hit the nail on the head again.- I always say about Pirates films that you can’t really watch for accuracy or believability. It’s a fantasy movie, and you’ll often find that those who watch the movie critically enjoy it much less than those who open their minds to fantasy. That’s what makes it so great, it’s such a fun story to follow and the action gets you on the edge of your seat like you’re a kid again. Storyline and feasibility aside, the movie was thoroughly entertaining. I strongly believe that the casual moviegoing audience will especially enjoy Dead Men tell no Tales.


Salt wants what Sugar has – fun, fame, friends and a whole lot of attention. She wants it so badly that she is willing to cheat, cut corners and even pretend to be Sugar.
Eventually, she is so tired and hurt by her failed attempts that she decides to end her pursuit to become Sugar. It is at that moment of self-acceptance that she finally realizes that she is special and good enough – as we all are!
From that day on, Salt is able to make true friends and find real happiness.


I spent a fantastic long weekend with friends in Austin. When we were not drinking, stuffing our faces with queso, exploring Austin, or playing un-PC games we relaxed with the cats and puppy while watching TV shows and movies.
The Hunger Games – 2nd time watching it. Glad I rewatched it after reading the books. Can’t wait for the next movies
Contagion – Where is my hand sanitizer?!? And I really have to stop touching my face so effing much (nervous/bored habit)!!
And of course we marathoned 8 episodes of The Newsroom. I need to buy the last 2 episodes online or something as we don’t have HBO and I HAVE to watch the rest of the season ASAP!
I didn’t post this specific clip to get into the politics behind it (although I think it’s dead on). I posted it because it is so freaking amazing. Jeff Daniels is fantastic in the show. Everyone is, but he really carries it. He portrays Will McAvoy so well in the typical amped-up, fast-paced Sorkin way. But then again Sam Waterston is charming, fierce, and captivating as Charlie Skinner, Emily Mortimer is stunning as Mackenzie MacHale, and most days I feel like the character Maggie (Alison Pill). In all, it’s a fantastic cast that I could not get enough of.
Have you seen The Newsroom? What do you think??


“Hollywood makes shitty movies.” -Ron Meyer, NBC Universal Studios COO
Avatar made $2,782,275,172 in international ticket sales. Its budget was about $237 million. I’d be happy to give you a minute to let that settle in.
Welcome back. Movies are BIG business.
Studios produce different tiers of movies, which they have different expectations for. The tiers are defined by the budget they allocate to the making of different films. Let’s take the last couple Oscar-winners for Best Picture. The King’s Speech‘s budget was $15 million. Care to guess what The Artist had a budget of? $15 million.
Anomaly? Fine, we’ll go back another year. In 2010 The Hurt Locker won Best Picture. Its budget? $11 million. We all knew The Hurt Locker was shot on a small budget though.The year before was Slumdog Millionaire. Its budget? $15 million. You have to go back to 2007 before the budget of the Best Picture winning film takes a jump; and No Country for Old Men only had a budget of $25 million.
The purpose of these stats is to say that the little guys make damn good movies too. Hollywood today works a lot like our government. Things that are projected to help the bottom line get the most funding. And people love to bitch about how this means Hollywood continues to pump out more garbage. Well you know what? Hollywood is a business and if you quit going to shitty movies, they’ll quit making them.
In 2007, Norbit unfortunately came out. Norbit had a budget of $60 million (that’s about the same as No Country for Old Men+Slumdog Millionaire+The Hurt Locker for those of you keeping score at home). How in the world they used up $60 million to make it is beyond me. But you know what? It brought in $95 million in box office sales and then you can tack on DVD sales and royalties and all that mess. In the end DreamWorks doubled their investment.
“Certain things leave you in your life and certain things stay with you. And that’s why we’re all interested in movies- those ones that make you feel, you still think about. Because it gave you such an emotional response, it’s actually part of your emotional make-up, in a way.” -Tim Burton
Welcome to Part 2 of my 2011 movie rankings. If you need to catch up on 11-25 here is a link. As some of you know I absolutely love ranking things, so I’m sure ranking various film related topics will become a bit of a recurring theme. Also be sure to check back on Saturday for a special edition of The Imaginarium featuring Joseph Williams as we make our Oscar picks. This is a tradition we have done for many years on Facebook and I’m excited to have a new platform to display who is truly more knowledgable than who. If you would like to submit your picks feel free to do so to email@example.com. Here is a list of all nominees and, for your submissions, just predict the first 9 on that page and then Best Documentary to make 10 total. Anyone that beats me on those 10 will be recognized in next week’s post. Submissions must be in by noon on Saturday (or before my picks are posted). May the odds be ever in your favor.
Now let’s get down to the top 10…
10. Melancholia- Easily the most hauntingly depressing film of 2011. And yet, easily the second most beautiful film of 2011. Throw in Jack Bauer, Mary Jane and the end of the world and you have, well, a mess to be honest. This is certainly not a movie to pick up at Redbox and watch with some friends at “movie night”. Instead, this is one to experience without any distractions. Preferably on a cold, rainy day.
9. Midnight in Paris- I really don’t want to be a Woody Allen guy, but I can’t help it because we embarrassingly think so much alike. As a bit of a closet romantic with an often cynical point of view, I feel like I just “get” Woody Allen. Midnight in Paris is a bit of a change of pace for Allen as it has a fun, creative script that brings back some elements of The Purple Rose of Cairo (which is also recommended viewing).
8. The Descendants- This is a film that thrives on George Clooney’s performance. I loved what Alexander Payne tried to do with this film and while I don’t think he quite reached the conclusion he meant to, The Descendants is a fun ride with a good balance of dark comedy and drama.
7. Moneyball- I love Aaron Sorkin. I love Brad Pitt. I love Phillip Seymour Hoffman. I loved Moneyball. I could go on and on with my Brick Tamland rant professing my love because there are a plethora of reasons to love Moneyball. A solid script, a great story and great acting all contributed to this being in the top 10.
6. Drive- Drive was one of the most underrated films of 2011. I am proud to announce that this movie pushed me over the edge on both Ryan Gosling and Carey Mulligan as legitimate players in Hollywood. When you surround them with numerous other outstanding actors and actresses, a smooth directorial effort, and then set it to a slick soundtrack, you get an arthouse dream team. To be fair to my readers, I feel like you should know on the front-end that this is a very dark and violent film. But it is so so good.
To read more follow the link to our site!


TARTUFFE by Moliere, translation by Richard Wilbur
Directed by Allison Heishman
Commonwealth Classic Theatre Company (CCTC), the Philadelphia area theatre company that has toured free classic plays to regional parks for over a decade, is excited to announce that their production this summer will be a sublime, witty-with-an-edge comedy by Moliere.
Moliere's play pokes fun at both individual and societal moral smugness, and reveals (revels in) the outrageousness of religious hypocrisy. Orgon, the head of a wealthy family, deceives himself into believing that Tartuffe, a seemingly devout, but actually rapacious vagrant is, in fact, a man of impeccable morality and goodness. But Tartuffe is not heaven sent, and all hell breaks loose when Tartuffe sets his sights on Orgon's fortune...and his wife. The fun heats up once the family, and the family maid, put a plan in place to prove Tartuffe to be a fraud.


‘The performance (and especially the singing) of Whitney Morse as Diana, the mother whose illness threatens to wreck her family as well as her own life, suggests much bigger things in her future: she’s rueful but free of self-pity, funny without resorting to stereotype, and all-around engaging.” – Kelly Kleiman for Dueling Critics
“Whitney Morse cycles between sweetness, sarcasm, and psychosis but is at her most chilling acting out the aftereffects of electroshock therapy and sedation” – Marissa Oberlander for The Chicago Reader
This riveting musical won three Tony Awards in 2009 and the Pulitzer Prize for its heartbreaking, humorous and unflinchingly authentic look at a modern family struggling with the effects of bipolar disorder. As they band together to learn how to support each other and live a life that is at least next to normal, each character’s journey is punctuated by a powerful music score. It features 30 original songs including “Just Another Day,” “You Don’t Know” and “Superboy and the Invisible Girl.”
Next to Normal is, in the words of The New York Times, “much more than a feel-good musical; it is a feel-everything musical.” Chris Jones of the Chicago Tribune said, “It has the effect of making one determine to refocus on what really is important in life, which always is the best reason of all to find time to go to the theater.”
In February 2014 I started working with Greatworks Touring Chidren’s Theatre playing multiple roles Fractured Fairy Tales. Since then I have been added to the casts of The Giver and Number The Stars. These three shows have kept me busy, and happy. I love being part of of this tight knit acting ensemble. We tour all around the midwest performing shows for children from 4 to 14 years old. We go to schools libraries, performing arts centers and cultural centers.
Fractured Fairy Tales
Number The Stars
“Our goal is to bring your kids stories and ideas that will stick with them for years to come, and to make their experience a good theatrical event as well as an educational event. Every show has multiple layers of humor and meaning written into them, so that everyone watching – student and teacher alike – is getting something unique and personal out of the production. The shows are performed by some of the best acting talent in the city, artists who bring the same level of commitment and theatrical quality to your school as they do in their “night jobs” in Chicago’s busy professional theatres. ” Read more about us at: www.greatworkstheatre.com
“Whitney Morse, one of Chicago’s finest young actresses, thoroughly inhabits the role of Brooke. A stunningly versatile performer, memorable for her diverse performances in productions of “The Children’s Hour” and “Accomplice,” Ms. Morse makes this young writer, who’s suffered through depression and the demands of family pressure, a real, live woman. The empathy and honesty she brings to the stage is heartfelt and a palpable.” – Colin Douglass
This winter is going to be an exciting time! I will open Spike Heels by Theresa Rebeck with Brown Paper Box Company on January 23rd it will run Thursdays through Sundays until February 8th. Check out the cast and production team HERE! Shortly after Spike Heels closes (5 days to be exact) I will open Other Desert Cities by Jon Robin Baitz at Citadel Theatre Company. Other Desert Cities will run from February 13th through March 15th. Check out Citadel’s website HERE. Stay tuned!!
Lucas Thatcher, Whitney Morse and Carey Lee Burton
“Whitney Morse, another area actress who has impressed in past productions (from Jedlicka’s “Accomplice” to Pride Films and Plays‘ “The Children’s Hour”) adds the role of German-born Eva to her varied resume. Without making Eva a caricature, Ms. Morse offers just enough hint of dialect to make her character convincing. She easily conveys everything this role demands, from supportive friend to smoldering sexpot. Once again Whitney Morse demonstrates what a surprising and versatile young actress she’s become in a short time. In my book, she is an artist to watch.” – Colin Douglas, Chicago Theatre Review Full Review “Carey Lee Burton and Whitney Morse portray their long suffering wives. They both capture the fear and loneliness of women whose husbands are gone for months at a time. Burton provides some of the most emotional moments in the play. We can relate to her as she goes from failed project to failed project, trying to find meaning in her life beyond her marriage. Whitney Morse is the worldly Eva, a German who just wants more excitement in her mundane life. Her German accent is excellent- and she has a warm presence on stage.” – Drew Wanket, Chicago Stage Standard Full Review


Producer/Director: Tomeka M. Winborne
Cast: Tivia L. Gray, Badrian Shorter, Tarah Davidson
Runtime: 10:07 Minutes
“Pass Me By” is the story of a young, successful, renowned financial guru, Nya Washington, who has an amazing career. Although she secretly desires a relationship she has tunnel vision with all of her focus being on her career. Often handsome, successful, kind men pass Nya’s path but she is often too distracted that she never even notices; until this handsome man, James, crosses her path several times.
Tomeka M. Winborne is a writer/director that passionately loves to create stories that will invoke conversations. “My mission as an African American female filmmaker is to bring stories to the screen that embodies the experiences and voices of people of color that are devoid in television and film,” says Tomeka.
In 2005, Tomeka published her first novel, “Where My Strength Comes From.” She later desired to see her novel on the big screen. Initially, she planned to go to film school but it was too expensive. So she started volunteering on other’s film projects. In 2009, she wrote, directed her first short film, “PASS ME BY.” A few years, later she wrote, directed and produced her second short, “TOO LATE.” She continues to write, produce and direct other short films.
As a filmmaker, Tomeka centers many of her stories on social issues. Her most recent short film that is currently in post-production is entitled, “WE’RE LEFT BEHIND.” With this film she hopes to inspire people to think about the children who are left behind when their parents are deported. The movie doesn’t give solutions but she hopes it will bring about empathy to this tragic situation. Shealso created a short film, “AGED OUT” that was officially selected into the “CineOdyssey Film Festival” and the “BronzeLens Film Festival.” AGED OUT brings awareness to youth aging out of the foster care system. Tomeka has also created movies about HIV and sex trafficking. Tomeka has plans of writing and directing movies with light-hearted subjects as well.
She enjoys using various mediums to tell stories. In addition to making movies and podcasts, she’s also produced television segments, commercials, wrote a couple of novels, worked as a field reporter and has been commissioned to produce documentaries. Tomeka’s podcast, “TEA TALKS WITH TOMEKA”, is about women filmmakers, their journeys, and their projects.
Tomeka is a founding member and on the leadership committee of the ALLIANCE OF WOMEN DIRECTORS – Atlanta Branch. Previously, Tomeka served as board member on the Hampton Roads Chapter of the Virginia Production Alliance board in 2015. She has volunteered as a film reviewer for SOUTHERN ARTS and THE MID-ATLANTIC FILM FESTIVAL.
In 2014, Winborne developed LAVENDER REEL MEDIA GROUP, a production and media services company producing commercials, documentaries and other film projects. Tomeka was commissioned to co-produce a documentary entitled, “IN PLAIN SIGHT: HUMAN TRAFFICKING,” for Cox Creative which aired on Cox Channel 11 and its affiliate stations. She has also served as a field reporter for Cox Communications.
In 2016, Tomeka received the African American Cinematic Series Norfolk Public Library Award.
Tomeka is thankful for the ability to combine her creative passion with her entrepreneurial spirit and believes wholeheartedly that her gifts make room for her.
Kareem Waris Olamilekan, an 11-year-old artist based in Lagos, is receiving global recognition due to his phenomenal artwork. Describing his style as hyperrealistic, Olamilekan began drawing at the tender age of six. By eight years old, he became a professional, making him the youngest professional artist in Nigeria.
To succeed at hyperrealism, extreme patience is required. While drawing, Olamilekan precisely captures even the most minuscule details in order to bring his works to life. “I try to focus on it to get the detail in the picture and in the artwork too,” he told DD News, adding that those who lack patience will not achieve hyperrealism.
Olamilekan’s typical subject matter includes drawing from everyday life in Lagos, his personal experiences, and family. However, similar to all great artists, his work has a more profound meaning than what initially meets the eye. Take “Daily Bread,” for example. “The inspiration behind it is that something going on around me, especially my family,” Olamilekan explains. “The sweat on it symbolizes hard work and struggling. And the spoon symbolizes food. Everybody in my society has little now, or my streets, they struggle, struggle, they sweat for their eats.”
The child prodigy began receiving worldwide attention after recently meeting with the French president, Emmaneul Macron, who was deeply moved by his work. At only 11 years old, this is only the beginning of Olamilekan’s accomplishments. His art teacher, Adeniyi Adewole, believes that he is one of the most gifted of his students, saying, “He can go far, farther than even beyond our expectations because I believe with what he has been doing, he’s going somewhere greater.”READ MORE........


Alfred Hitchcock directed some of the best thriller and early horror movies like The Birds, Psycho and Vertigo. These 3 movies are the most well known of Hitchcocks movies and can be found airing on classic movie channels even today.
Some may be put off by the fact that they are “old” or that they are in black and white but trust me Hitchcock movies are well worth the time watching. To try and persuade you I have uploaded a few Hitchcock movie trailers below. Hitchcock’s movie trailers for The Birds and Psycho take a different approach from other classic movie trailers and most modern movie trailers ( more movie trailers can be found here – http://www.trailer-geek.com). Hitchcock speaks to audience and introduces the premise of the movie, instead of cutting to the chase and showing some of the good bits from there respective movies.


We’d like to give a shout out to the 12th annual Omaha Film Festival held March 7-12 at Marcus Village Pointe Cinema at Village Pointe. Voted by MovieMaker magazine as one of the “50 Film Festivals Worth the Entry Fee,” the Omaha Film Festival exists to celebrate the artistic, educational, and historical importance of motion pictures.
The Festival showcases over 90 films during its annual event, selected from an average of over 500 annual entries that come in from around the world, offering a wide variety of independent cinema choices that includes regional and world premier films as well as advanced screenings of films that have already attracted wider distribution. Selected filmmakers are invited to attend the festival and are given the opportunity to discuss their films with the audience after each screening.
Midwest Sound & Lighting is again a proud sponsor of the Omaha Film Festival and encourages everyone to take advantage of this stellar, world-class entertainment event.


Directory – Elementor Version
Search for resources, and find who & what you need to succeed.
CAMERA - Director of Photography - Commercial & Other
CAMERA - Director of Photography - Feature & TV
Special Skills & Experience:
Over two decades of Film and Video experience from ESPN to feature film work. On all phases of production. Have extensive lighting background on multiple forms of content including event shows, reality, corporate, commercial, music videos, documentaries and features. Worked my way from 3rd electric though Gaffer, I've been through the trenches and I'm not hesitant to get dirty. I've been a full time Cameraman/DoP/Cinematographer since graduating AFI in 2001. I've shot every format from film to sd to Alexa. I'd consider myself camera agnostic. Have a great eye. Commercial clients include Pepsi, Ford, South Beach Diet, AARP and South West Airlines.
2016: The Real Potheads of North Hollywood
2014: Trans Am: Anthropocene (Short)
2011: Gottfried Helnwein and the Dreaming Child (doc)
2016: Meanest Man in the World
2016: Wild Things in Europe 3D (2nd Unit)
2015: "Getaway" (Australia /TV)
2013: Mr Jones (2nd Unit)
© 2020 All rights reserved


Many celebrities including Kumar Sanu, Ismail Darbar attended Dr. Krishna Chouhan Bollywood Iconic Award 2023 *
Keval Kumar Chief Editor Leo Media Digital also received Bollywood Iconic Media Award.
Dilip Sen, Ritu Pathak, Sunil Pal, ACP Sanjay Patil, BN Tiwari, lyricist Sudhakar Sharma, director of Bhuj Abhishek Dudhaiya, Amitabh Bachchan’s makeup man Deepak Sawant, Bright Outdoor Media also got the honor
Dr. Krishna Chouhan, founder of Krishna Chouhan Foundation successfully organized the 4th edition of Bollywood Iconic Awards 2023 on 18 June 2023. Many celebrities were honored here by the Krishna Chouhan Foundation. The award show took place at Mayor Hall, Andheri West, Mumbai.
Here the chief guest Singer Kumar Sanu, director of film Bhuj Abhishek Dudhaiya, composer Ismail Darbar, BN Tiwari, lyricist Sudhakar Sharma, ACP Sanjay Patil, composer Dilip Sen, singer Ritu Pathak were present. Awardees were felicitated by their hands and these celebrities were also awarded.
Renowned businessman Khalid Khan, Shraddha Rani Sharma (Bigg Boss fame), Shahid ji, Singer Priya Prohit, Actress Shalini Gaur, Dr. Anjali Damangaonkar , Kabina Mahajan, Kuldeep Sharma, Singer Aniket, Suraj Jadhav, M Prakash (Aurangabad), Anchor RJ Komal, Rapper Hiteshwar, Singer Armaan Khan, Raju Tank, Designer R Rajpal, Actor Nafe Khan, Vishal Vishu, Poonam Giri, Santosh Suresh Kadu , Saroja Sethai, Nihar Singh, Aarti Sharma, Farha Anzar Khan, Sheerin Farid, Sunil Pal, Deepak Sawant, Anchor Sanjay Aman, Mangesh ji, Rajkumar Kanojia and Dr Keval Kumar chief editor Leo Media Digital also received the award.Vivacious Shireen Farid performed.
Several celebrities including Amitabh Bachchan’s makeup man Deepak Sawant were honored. Dr. Krishna Chauhan, who got the title of show man of the award function, honored those celebrities who have established their unique identity in the film world and have done commendable work of social service and human service in this award ceremony presented by KCF. Let me tell you that Dr. Krishna Chouhan has been working as a filmmaker in the film world for the past two decades. Along with this, he is always ahead in social work. During the Kovid period, he not only distributed rations to the needy, but the most important thing was that he presented the Bhagavad Gita to people. Krishna Chouhan honored many journalists and photographers this time. This film has the music of the famous composer Dilip Sen. It is worth noting that Dr. Krishna Chouhan is not only a successful Bollywood director, but also an active social worker but is considered number one in terms of doing awards functions. One of his award functions is over and he is getting ready for his next award function. This will be the third season of this award.
Krishna Chouhan’s Bollywood Iconic Award 2023 A Great Success


You are currently browsing the tag archive for the ‘The Second Chance’ tag.
Recently I saw The Imposter, which is a Christian film featuring Kevin Max, formerly of DC Talk. It tells the story of a singer of a Christian band who is not a Christian and is addicted to drugs. He has a wife who wants nothing to do with him and a brother-in-law who hates him, who is ironically a worship leader.
The movie did have a made-for-TV type feel to it. The acting and production were about the same as a lot of the other Christian movies with a little bit of cheesy musical interlude during dramatic scenes. I think where it went wrong was the script. Kevin Max’s character is so absolutely unlikeable I couldn’t find it in myself to cheer for the guy. I also feel like this movie and Steve Taylor’s “The Second Chance” are really like the Nashville people trying to tell a certain story to have some sort of commentary about their industry. Personally, I also don’t like movies where the actors lip sync to music or the actors are musicians.
With Christian movies there is always that urge to resolve the problems by the film’s end when in reality some problems never wrap up that neatly and progress comes very slowly. While the Imposter resists that temptation for Kevin Max’s wife to take him back in the end, it doesn’t leave the audience with a good sense of closure.
I think the goal of Christian movies is pretty noble, but if the script is not rock solid it’s going to be really hard to get that message across properly. In my opinion, in some cases the Christian music on the soundtrack seems to be more important than the actual story. While I do feel like a properly placed song can really benefit a movie, I think there is a danger if the music is overshadowing the film.
In the end it all gets back to writing because a typical Christian movie is not going to emphasize sex, drugs, gore, violence or in many cases special effects. Christians are often portrayed as a stereotype in movie such as Saved! As much praise as Hollywood gets for making movies it has rarely ever portrayed Christians as real people with real problems. I think Christian movies will be better received when they portray faith in a way that mirrors reality.


Before the novel, there was drama... Ancient dramatists understood the requirements of a good tale, one in which willful human beings engaged in major conflict, the goal being to possess or achieve something of value. A designated character, by virtue of position and personality, became the antagonist, naturally defying the efforts of the protagonist, or hero, to overcome. This basic conflict scenario resurfaces again and again in a myriad of forms, not only in life, but in novels, short stories, and of course, film and television. What makes true dramatic conflict so universally effective is not only its ability to create tension, suspense, and powerful characters, but its unique method for portraying the need for value in human existence. Below we've created a drama primer with quotes ("European Theories of the Drama") from three important dramatists to illustrate the nature of the drama and it's overwhelming relevancy to novel writing discussion here at WE.


I am a typical child of the eighties. I had Cabbage Patch Kids out the yahoo. I had Pound Puppies, I watched Rainbow Brite, Transformers, and any cartoon Hanna-Barbera put on the air. I listened to Michael Jackson records on my Care Bears record player, along with the cult hit from Oscar the Grouch, “I Love Trash.” (As I am typing this, Tears for Fears in playing on iPhone.)
I was very, very saddened to hear the news that Harold Ramis passed away this week.
I spent (and continue to spend) countless hours watching movies starring Ramis, alongside Bill Murray, Dan Akroyd, and many others. These movies are pieces of my childhood and will always be a piece of me. I can literally quote almost every line from Ghostbusters. No lie. I still watch this at least once a quarter.
In addition to being a fantastic actor, he also wrote, directed, and produced so many of the movies that I love, from Caddyshack to Animal House, to Ghostbusters, to Groundhog Day, they were all certain to have me laughing hysterically. Each movie celebrated the comedic genius this man was so fortunate to have and shared with the world.
While almost everyone of those films has one of my favorite actors in the world, Bill Murray, in the starring role, it was easy to understand the working relationship and friendship these two possessed. Sadly, as is the case in many Hollywood relationships, they had a falling out after filming Groundhog Day, and didn’t reconnect until close to Ramis’s passing.
I will ensure that throughout my children’s lives, they are exposed to these “classics” and grow up not just watching the remakes of these movies that are sure to come in their later years. That is my tribute to Mr. Ramis, fostering further generations of love for his work.


- This event has passed.
Richard Jewell screening (2020-Jan-14 @ 7 p.m.)
Tuesday, January 14 @ 19:00–21:11
The Cinema will screen Richard Jewell (Clint Eastwood, U.S. 2019, 131 min.) "American security guard Richard Jewell saves thousands of lives from an exploding bomb at the 1996 Olympics, but is vilified by journalists and the press who falsely reported that he was a terrorist." [source: Cinema Theater coming soon page, 2020-Jan-8]


In English, we were assigned task 6 which required groups to visually represent, in a play, an issue or problem in society. My group investigated the issue of sexism in workplaces, particularly those that are male-dominated.
The outline of the play was that a woman was hired reluctantly, however, a series of events saw her prove her value and knowledge, eventually leading her to be promoted to a position of authority. Upon finding out that we had to perform a drama play in front of the class, I was quite nervous and reluctant to do it, however, I used my resilience to get me through. In the past, I have not been very confident with public speaking, and the idea of having to perform a play in front of the class had me feeling anxious.
My group and I had rehearsed the play many times, so were confident with our performance. It helped mentally that we knew we were prepared. Rehearsing the play also made me, and my group, use resilience as practicing the play brought its own challenges. It would have been easy to give up and leave it to the day, as performing was something I was not very confident with. By pushing myself to rehearse the play and be resilient along the way, it really helped our final performance.
As seen below, these were the props we used. When we were midway through the performance, an issue occurred, our prop kept falling and no matter how many times I picked it up, it just fell again. The class started to realize, and it was quite embarrassing, this hadn’t happened in our rehearsals. This previously would have caused me stress, however, I used resilience to get me through it. Resilience is quite an important skill that can help a person bounce back after something disappointing happens; something that is built over time. This experience has given me confidence that I have the ability to overcome challenging situations using my resilience.


So they finally made a new Mad Max movie. Great just enough time passed that we all forgot what it was about. I mean the last time this series was hot people were lining up to get a Walkman.
But in the new movie it looks like they stuck with the whole post-apocalyptic theme. I guess the director said, “Earth is still here. Why don’t we make another movie.” But the real stars of the movie are the cars. They’ve got spikes, guitar players, and enough explosives to blow up a city block. And they make the rides super pimp in a completely dangerous way. All I can think of is it’s nice to see Xzibit still get work.
In the movie there’s an evil warlord who controls all the women and water. Charlize Theron does not like this so she says, “I’ll take those women. Don’t get too attached.” Of coarse the warlord gets mad and goes after Charlize and Mad Max in a car chase that lasts half of the movie. Eventually they stop but then Mad Max is like, “This desert sucks. Let’s go back where we came from.” Nice, you just wasted a an hour of my life. When Charlize and Mad Max make it back to the warlord’s city they release the water to the people. I’m sure everyone appreciates this, but there must be someone going, “Don’t you have a Coke? Or at least some Kool Aid?”
The Straight Dope: What’s great about this movie is they keep the dialog to a minimum. It’s all about crazies and the cars. I imagine the director looked at the script and went, “What’s up with all these words. I think what we’re really going for is a movie that goes boom.”
More funny at JoeJCom
Comedy video of this article at JoeJCom-YouTube


Thank you all for your great feedback, support and encouragement, since the launch of the new teaser trailer. We are now moving to the detailed research required for the film. We are fortunate to have on board a well experienced researcher Paula Nightingale, who has a long list of documentaries under her belt, aided by Tony Hill with a degree in documentary research, but who became a ME sufferer himself, unable to pursue his career he has generously given the time and energy that he can muster to join us for the film.
Here I would like to make clear, as judging from some comments we are receiving, what we see in the teaser trailers is not necessarily the way we will go forward with the film. They are in place to give the essence of what we will come up with, but the film itself will be a much bigger story, not just a bigger version of the trailers. We hope to deliver a film that will not be overlooked by anyone, whether in the ME community or not, this is being presented to the planet.
We can track how many people are viewing the trailers, and I am delighted to announce that so far we have 39 countries on the count, keep spreading this to all you know, we are aiming this everywhere!


October 2014: Mothra and Godzilla at QUAD, Derby
There is a dictionary - a certain online dictionary - that is a little less conventional than the Collins, Chambers and Oxfords of this world. I'm reluctant to name it because some entries are unsuitable for folk of a sensitive disposition, but let's just say it's not very rural...
Anyway, this dictionary defines the phrase 'fashionably late' as:
Showing up to a party late so everyone thinks you have a life.
Now, I've always viewed punctuality as a virtue. I've never been fashionable either, so the concept really is alien to me. But even if you like projecting an image of being at the social vanguard, there are still occasions where showing up on time is the right and proper thing to do.
Like going to see a movie. Nobody appreciates people who arrive after the title card; the ones who let light spill into the darkened screen and make a racket as they shuffle to a vacant seat. The film is the star of the show; nobody looks cool by being late. And whatever the Not-rural Dictionary might say, if the movie screening in question is also a party then a lack of punctuality still isn’t appropriate.
Every month, QUAD hosts Satori Screen. It’s a film night specialising in East Asian cinema and October 2014 marked its second anniversary (and my first attendance). To turn the evening into a proper celebration, a special double bill had been programmed and somebody had baked a birthday cake for the interval. Turning up late for a party like that, I think you'd agree, would have been downright rude.
While my love of sweet treats is no secret, it wasn't the free cake that enticed me to head up the A38 for the evening. Oh no. The chance to see the original Godzilla, on the other hand... now there was an incentive! Unfortunately, the A38 was precisely the reason that I did end up being late, thanks to a Friday night traffic snarl-up.
By the time I got to Screen 2 the lights were down and the first film - 1961's Mothra - had already started. It meant I'd missed Satori Screen's founder, Peter Munford, give an introduction to the two films - and that was even more disappointing considering he had agreed to wear a Godzilla onesie while doing so! As a result, I didn't know a great deal about what I'd walked into.
I'd heard of Mothra vs Godzilla (from 1964), but didn't know the giant insect had starred in her own film. Because she lacked the sort of instant recognition that the name 'Godzilla' conjures, it was easier to laugh at the ropey special effects than be impressed by the imagination used in bringing Mothra to technicolour life. The film risked being judged on the quality of the 'devastation' wreaked upon its toy cars and model cities by the 'tornado-like' gusts generated by Mothra's wings.
Amateurish effects are part of the charm of these films, but they only grant so much grace. Thankfully, the story of an island's native population being exploited by ruthless profiteers stood up in its own right, and ensured that Mothra wasn't simply an unremarkable preamble to the main attraction: a 35mm print of Godzilla.
Having been awed by Gareth Edwards' 2014 take on the classic creature, I was eager to see the film that, sixty years earlier, had spawned so many sequels and imitations. The 1954 original is famed for its monster being a man wearing something not much better than a onesie(!), so I wondered how convincing it would look. Happily, the crackling black and white film was the perfect medium, emphasising the shadows that added menace and hid any lack of refinement.
A few scenes failed to convince, but the monster mayhem generally possessed an unexpected beauty in its purity. The design of Godzilla was inspired by a variety of dinosaurs, and the sheer weight of the suit hampered actor Haruo Nakajima so much (he was reportedly unable to wear it for more than three minutes at a time) that his movement possessed a perfect lumbering, prehistoric quality.
Six decades of developing technology ensured that 2014's Godzilla could flawlessly realise the destruction of modern cities. No level of carnage was beyond the digital artists' capabilities, but it avoided gratuitousness because it felt like a natural result of the creatures' behaviour. While the original film wasn't shy in witnessing Godzilla trample civilisation either, at times it felt like the film makers wanted to see just how far they could push things.
Where they truly succeeded, however, was the emotional impact. Cutting edge digital effects might impress, but sometimes it's the simple things that work best. The script from 1954 included a scene of schoolchildren singing a prayer the morning after Godzilla's rampage, and it haunted me in a way I didn't expect of a movie starring a man in a rubber suit.
That’s what you want from going to the movies. Different films and delicious cake made for a great evening, sharing in the cinematic passion of others and experiencing an unfamiliar genre. That's my idea of having a life – not showing up to parties late. It might have been my first visit to Satori Screen but it won’t be my last, so here's to plenty more birthdays!
If you enjoyed this blog post ...
... then you might like the tale of my journey around some of the UK's finest indie cinemas (and a few further afield). A Tour of the Indies: A Creative Quest for the UK's Best Cinema's ... and Cake has this dedicated page where you can read more.


Friday, January 7, 2011
Family Movie Night 1/8 - Change of Plans
I received an email this week from Moms 4 Family TV, which is a grassroots community of moms in favor of television programming that is appropriate and suitable for the whole family to watch together. Tomorrow night (January 8th) at 8:00 p.m. Est. FOX will be airing an adoption-themed movie called Change of Plans.
Change of Plans is the fourth film in an initiative sponsored by Walmart and P&G to bring back “Family Movie Night”. Change of Plans is the story of Sally and Jason Danville, a young couple with plenty of love, talent, and career opportunities - and no responsibilities. When Sally's childhood friend dies and entrusts her with four children, Sally and Jason begin a journey that changes the focus of their lives and expands their definition of family. Three of these four children have become siblings through international adoption, and the movie offers a challenging, heart-warming insight into the joys and struggles of building a family from a group of strangers. The movie stars Phylicia Rashad (Cosby Show), Brooke White (American Idol) and Joe Flanigan (Stargate Atlantis).
• Tune in: Saturday, January 8th at 8:00 p.m. EST on FOX
• Spread the Word: Send an email with a link to this post to your friends and family!
• Visit : www.moms4familytv.com for resources, an essay contest, and more.
Your support of this film will encourage a compassionate and positive outlook towards adoption in families across the country. It will also send the message that families want more high-quality entertainment they can enjoy.
My DVR is set...don't forget to let me know what you think about the movie!


The 20 Best Erotic Thriller Films Of All Time: Part 1
We're not only the UK finest purveyors of PVC catsuits. We're experts in erotism AND film buffs. Here are the definitive 20 Best Erotic Thriller Films Of All Time!
PART 1: the top 10!
1) Basic Instinct 2 (2006) & Basic Instinct (1992)
What kind of lunatic puts Basic Instinct 2 at the top of any list?! The truth is that non-experts just don't understand Basic Instinct 2. They think it's too campy, far-fetched and living off the fumes of the original. All of this is true. However Catherine Tramell is just a little more unhinged, arrogant and charismatic in the sequel. Her outfits are more outlandish, the body count is higher and the sex scenes are just a bit more pervy. So we say get out the popcorn and do the Basic Instinct double bill!
2) Body Heat (1981)
Dumb, horny and lazy Ned Racine doesn't stand a chance against femme fatale extraordinaire Matty Walker (Kathleen Turner). Body Heat (1981) is a richly textured, intricately plotted masterpiece. Mickey Rourke plays a criminal and explosive expert, J. A. Preston an honest cop, Ted Danson a tap dancing public prosecutor and Dick Crenna a mobbed-up entrepreneur. Much of the film is densely peopled, then we're drawn away to Ned and Matty's private erotic world - where she cunningly leads him on to doing her bidding! It's a gorgeous, sexy film - go watch it.
3) Crash (1996)
Videodrome (1983) is David Cronenberg's most enjoyable film. Crash (1996) is his perfect film. Based on the J. G. Ballard (1973) novel of the same name. It's an impenetrable, dark and dreamlike slab of cold erotism. The film follows renegade group of car crash fetishist, led by led Vaughan (Elias Koteas) as they live out the philosophy that a car crash is a "benevolent psychopathology that beckons towards us". It's deep, dark and porny! J. G. Ballard was a very sexy, twisted chap.
4) Stranger By the Lake (2013)
The first thing you notice about Stranger By The Lake (2013) is the atmosphere and isolation. There's no music. Only the wind through the trees at the picturesque southern French cruising spot (Lake of Sainte-Croix). The intimacy between the characters is inherent to the setting - they're constantly nude or in swimwear, in queer space. We're invited into their world and somehow feel pleasantly trapped there. It's a vicarious, absorbing, quiet, deadly film that invites you in by the hand. I don't want to say too much more about this one, and implore you not to read the synopsis before viewing.
5) American Psycho (2000)
Patrick Bateman holds a strange allure to those that encounter him in American Psycho (2000). They perceive him to be handsome, quirky, rich, mysterious and cultured. All of this is lost on Bateman - he has an overriding sense that he is an entity rather than a person. He has no sense of self. This is compounded by acquaintances constantly mistaking him for other people from his privileged social circle. Friends and enemies who also wear boxy Valentino suits, oversized trench coats, Oliver Peoples glasses and haircuts of varying expense. However you already know this. You've probably read the book and seen the film. Watch it again and focus on Patrick's chilling power and erotic magnetism. Imagine yourself in his bedroom, in front of his camera.
6) Damage (1992)
Damage (1992) is the great tragedy on this list. It's a rare film that exceeds the novel. Unlike Match Point (2005) and the more recent Saltburn (2023) it's also a film that accurately depicts the British upper-class. The sets are particularly noteworthy. The contrast between Anna Barton's flat and Dr. Stephen Fleming home is perfect. Their sex in the flat is violent, strange and terminal. His life at home is icy and adrift from his family. A sad, poetic film.
7) Mulholland Drive (2001)
Mulholland Drive (2001) is a work of art. I encountered it at a cinema in Hull. Walking into the screening I had no knowledge of David Lynch's work. I was unqualified for what was to come and held rapt throughout. Afterwards I had a horrible sense of déjà vu. Years later, I realised that this was partially caused by Lynch's mastery, and partially by one of the locations (director Adam Kesher's modernist home) being the same location that was used to shoot the 1996 film 2 Days in the Valley. Mulholland Drive works on many levels. It's open format invites every viewer to bring something of their own to it. Much like Lost Highway (1997) multiple viewings help one chart this films unusual chronology.
8) Eyes Wide Shut (1999)
Status and power are every present in sex, and they are key theme throughout Eyes Wide Shut (1999). Tom Cruise gives a brilliant performance as Dr. William "Bill" Harford. He's charming, hopelessly bourgeois, utterly incapable of exploring his own sexuality and estranged from his wife's erotic world. The worst in his nature is revealed by his interactions with the high status, nouveau-riche Victor Ziegler. Bill's obsequious to Ziegler is sharply contrasted with how comfortable he is lying to a waitress, manipulating a hotel clerk and negotiating with female sex workers. These skilful manipulations bring him closer to his goal of sexual exploration - however, whenever he's at the brink of discovery he has no follow through!
Kubrick believed Eyes Wide Shut to be his greatest film and it might have been, if he'd lived longer and been able to spent more time in post-production - as it stands, it's certainly a great erotic film.
9) Swimming Pool (2003)
Swimming Pool (2003) is a film that I frequently - especially when I'm desiring a holiday! Morally ambiguous mystery author Sarah Morton (Charlotte Rampling) is suffering from writer's block. Her publisher insists that she use his French holiday home as a writer's retreat. In France she is confronted by Julie his French daughter, who's liberated, party loving nature initially annoys Morton. However as time passes, she develops a fascination with Julie. She begins listening to her have sex with random men and steals her diary to use as material for her new novel. The two strike up an unlikely friendship that is bonded through a pragmatic response to a tragedy.
10) Internal Affairs (1990)
Internal Affairs (1990) is Richard Gere's best erotic film. American Gigolo (1980) while being more stylish and even having a sleek Giorgio Moroder soundtrack, does not come close. Dennis Peck (Gere) is a thoroughly corrupt LAPD cop. He's got that 90s bad boy thing going on. He's dangerous and promiscuous - he attracts bored females like a magnet. In one scene he manually stimulates a willing business woman under a restaurant table, whilst her unwitting husband, whom is sitting directly opposite them, tries to hire him to kill his parents.
Amy Wallace (Laurie Metcalf) and Raymond Avilla (Andy Garcia) are Internal Affairs Division cops who are onto Peck's wrongdoings. Avilla is a hot headed character who's marriage is disintegrating due to his obsession with Peck. Wallace is a much cooler customer and a more experienced investigator. They work well together to antagonize Peck in a high stakes game of cat and mouse.
PART 2: 11 to 20 will be revealed in March!


Come Rain, Come Shine (Saranghanda, saranghaji anneunda) เรายังรักกันใช่ไหม (2011)
ผู้กำกับ: ผู้เขียนบท: นักแสดงหลัก: หมวดหมู่: Asia Movie หนังเอเชีย ความยาวหนัง: 0 นาที Rating: 6 ปีที่ออกฉาย: 2011 เสียง: TH Quality: FullHD An architect is driving his woman, who is a publisher, to the airport and he tells that he intends to move to her house and his office in her basement to save money; however, she tells that she will leave him since she has met another man. They are surprised by a storm and they stay trapped in her apartment. They find a cat in a hole in front of the apartment and the man rescues the animal. Soon their neighbors arrive in the apartment seeking for the cat, but the animal is hidden. Meanwhile they prepare dinner together.


Sorority star Elle Woods doesn’t take “no” for an answer. So when her boyfriend dumps her for someone “serious,” Elle puts down the credit card, hits the books, and sets out to go where no Delta Nu has gone before: Harvard Law. Along the way, Elle proves that being true to yourself never goes out of style.
Book by Heather Hach Music and Lyrics by Laurence O’Keefe and Nell Benjamin Based on the film Legally Blonde starring Reece Witherspoon. Legally Blonde the Musical was nominated for 7 Tony Awards in 2007 and won the Olivier Award for Best Musical this past June in London.
Legally Blonde will be directed by Greg Tamblyn and will feature Jessica Crouch as “Elle” and Portland favorites: Joshua Stenseth (Emmett), Morgan Mallory (Warner), Erin Charles (Vivienne), Joe Theissen (Professor Callahan), Amy Jo Halliday (Paulette), Pam Mahon (Brooke Wyndham), Megan Carver (Pilar), Alina Ziak (Serena), Kylie Clarke Johnson (Margot), Spencer Conway (Kyle the UPS driver) backed by Portland’s finest musical theatre talent.
The Award winning Artistic team includes Music Director Alan D. Lytle, Choreographer Jessica Hollyfield, Lighting Designer Mark LaPierre, Set Designer Demetri Pavlatos, and Costumes by the Marriott Theatre in Lincolnshire.
(PCPA Box Office price including service charge)
$30.50, $41.50, & $51.50 Adults
$25.00, $36.00, & $46.50 Seniors
$20.00, $30.50, & $41.50 Students


Anyone who has seen the movie My Cousin Vinny (1992) knows how a snapshot can save the day. In the film, inexperienced New York lawyer Vincent LaGuardia “Vinny” Gambini travels to a small southern town with his fiancée, Mona Lisa Vito, to represent his cousin in a murder case. Mona Lisa’s incessant picture taking with a cheap pocket camera causes frustration throughout the film, but eventually produces a photograph that holds the key to the case.
Photography of everything from landscapes to historical events has preserved and illustrated history for the past 200 years. When a photograph of a forged document was presented and allowed as courtroom evidence in 18511, photography as a forensic tool was born and soon became a boon to cases of identification and scene analysis. Crime scene photography became cutting edge in the 1870s and new technologies have expanded its use ever since.
In this discussion, photographs are not evidence in and of themselves, but provide visual documentation of the scene and locations of evidence within the scene. Photographs taken at a crime scene allow investigators to recreate that scene for later analysis, or for use in the courtroom. If the crime scene photography does not thoroughly and accurately document the entire scene, it could be detrimental to the investigation and potentially damaging during a criminal trial.


If you’re an aspiring animator, it’s essential to know the right animation software. Here are the top 5 animation software every animator should know:
- Autodesk Maya: Autodesk Maya is a powerful 3D animation software used in the film, television, and gaming industries. It offers a wide range of features for creating complex animations, including character animation, particle effects, and fluid simulations.
- Adobe Animate: Adobe Animate is a 2D animation software used for creating interactive animations for the web, mobile devices, and desktops. It offers a range of features, including drawing and painting tools, motion graphics, and animation tools.
- Adobe After Effects: Adobe After Effects is a versatile and powerful software used for creating stunning visual effects, motion graphics, and animations. It’s a must-have tool for video editors, filmmakers, and designers to bring their ideas to life with unparalleled creative control and precision..
- Blender: Blender is a free and open-source 3D animation software used for creating animated films, visual effects, and video games. It offers a range of features, including modeling, texturing, and rendering.
- Autodesk 3d Studio Max: 3D Studio Max is an essential software for creating highly detailed and complex 3D models, animations, and visual effects. It’s widely used in industries such as architecture, product design, film, and video game development to bring stunning, lifelike creations to reality.
Knowing the right animation software is crucial for aspiring animators. By learning these software, you’ll be able to create high-quality animations that stand out in the industry.


Laying the Ghost
Last Updated on Wednesday, 13 June 2012 12:00
by Simon Williams.
Produced by Susan Hunt.
An amateur production by arrangement with Samuel French Ltd, 52 Fitzroy Street, London W1P 6JR
Wednesday 13th - Saturday 16th June, 2012. 7.30pm
East Kilbride Village Theatre
Margot Buchanan is a witty ex-actress in a retirement home. She is visited by a young actress who is having an affair with Leo, Margot’s ex-husband and by Leo’s current wife Judy. Leo arrives but suffers a fatal heart attack. Thus the scene is set for chaotic hilarity as Leo’s ghost appears, anxious to sort out matters between the three women, and visible only to Margot’s psychic friend Freda.
Freda Deacon, an elderly actress - EILEEN McKENNA
Mrs Kidd, the home administrator - ANNE MACFIE
Margot Buchanan, an actress - JEAN MACMILLAN
Sadie Croft, a young actress - FIONA CHAPMAN
Sir Leo Buchanan, an actor - ALFIE NEWTON
Lady Judy Buchanan, Leo's wife - JULIE BLACKBURN
Superman, an unwelcome visitor - JIM DICKSON
Orderlies - LILLIAN BROWN, JIM DICKSON


“Some of the ‘13 Reasons Why’s’ flavor comes from its realistic setting. We feel like all the places that Clay and Hannah describe could really exist. Places like the Crestmont Theater and Monet’s Cafe are based on the real thing. ‘Thirteen Reasons Why’ reality tour, anyone?’”
— Schmoop.com, a digital publishing company for college students and teachers
There was a scene in the DreamWorks/FX series, “The Americans,” when the actor opens a refrigerator. Though the scene never included a glimpse of the fridge’s contents, that didn’t matter to Diane Lederman. So she stocked the fridge with appropriate items.
After the scene, the actor hugged and thanked Lederman.
“We never saw what was in the frigerator, but having that reality there gave him something to play off of and helped him with the scene,” she said. “It helps sell that reality.”
“Selling reality” is Lederman’s calling card as production designer, a career established 28 years ago that brought her to Vallejo for eight months for “13 Reasons Why.”
Assisting in scouting locations, creating sets from empty storefronts and working with a lot of moving parts is Lederman’s job and she said “13 Reasons” was a rare, gratifying experience.
“When I first read the script, I wasn’t real familiar with the book,” Lederman said. “I knew it was something I wanted to be part of.”
“13 Reasons” dissects some intense young adult topics, from rape to suicide to bullying.
“It’s rare in my industry to work on something that has some sort of social relevance or responsibility,” Lederman said Friday by phone. “And this definitely does and tells the story that needs to be heard and gives a voice to young people who normally don’t have a voice. It was an important project for me.”
Apparently, she’s not alone.
According to social media research firm Fizzology, “13 Reasons Why” has seen more initial social volume than any other Netflix original show. Fizziology counted 3,585,110 tweets about the show during its first week after its March 31 debut.
Though a second season seems obvious, actress Selena Gomez — co-producer of “13 Reasons Why” — told the Hollywood Reporter, “We don’t know what is going to go beyond it, but we know there are so many stories that lie beneath each character. That’s why it became a series in the first place. So we’ll see.”
If a second season happens, Paramount Pictures will likely return to the Vallejo sets that remain under contract, including Monet’s Cafe on Virginia Street, the Crestmont Theatre on Georgia Street, and the gym and set design facility on Mare Island.
As much as Lederman enjoyed the “13 Reasons” experience, she’s unlikely to return as production designer. Another eight month commitment would be too much for the New Yorker.
“I’m pretty sure there will be a second season,” Lederman said. “But I’m not sure if I will partake. Being away for the better part of a year is difficult. A lot of the crew is from L.A., so it’s a one-hour flight home. For me, to go home for a weekend is nearly impossible. It was a great sacrifice to work on this project, though I’m so happy I did. I’m really proud of the work and I hold dear the relationships formed.”
Originally, the producers figured most of the filming would be in San Rafael, said Lederman. Then she took a drive through Vallejo.
“All these grand storefronts and amazing Main Street. We thought, ‘This is the perfect place for us to create our town’ and that’s what we did,” Lederman said. “Vallejo has a real soul to it. We saw that and felt that.”
On a “one-off” — a one-shot TV show or film that isn’t multiple episodes like “13 Reasons Why,” a film company may simply take over an existing business. Because “13 Reasons” was such a long shoot, Lederman said unused buildings were necessary.
“People didn’t understand why we created a coffee shop and movie theater of our own,” Lederman said. “But the needs of our shoot are particular and specific. And to shut down an operating business is difficult and costly. Turning a place into what we needed it to be allowed us freedom for scheduling.”
Again, she said the actors appreciate her work.
“If you don’t create a real environment, it’s noticed,” Lederman said, thrilled that even one of the set’s “savvy movie folks” was fooled by the mock theater, questioning how a theater “couldn’t have a bathroom.”
“If they accept the reality I’m selling and they buy it and don’t think we’ve done anything, to me that’s the greatest compliment,” Lederman said.
No matter how good her work, Lederman undoubtedly second-guesses herself when she sees the finished product on the screen.
“I look for mistakes which is an awful, terrible habit,” she said.
Fortunately, “after seeing ‘13 Reasons Why,’ I see very few mistakes,” Lederman said.
Lederman realizes not all of her creative visions of what a set or city should look like works. It’s all part of job.
“It’s organic and has a life of its own,” she said. “In my many years of doing this, I embrace that and don’t fight it. It’s such a collaborative effort. Everyone has their vision and brings their unique talent to the project.”
Then there’s the “fiscal pressure,” she said.
“There is so much money riding on everything,” Lederman said, adding that if you can’t work on deadline, “you don’t work in the film business.”
With so many moving parts, “I’m always amazed that it works out, but, somehow, the cameras always roll,” Lederman said.“In my 28 years in this business, it always seems like a miracle and with this one, every day felt like a miracle.”


It appears the first great action film of the 2012 cinema year will be dedicated to a great part of American history.
“Red Tails,” a highly anticipated action drama, is opening in theaters nationwide this weekend. It was inspired by the courageous and heroic exploits of the Tuskegee Airmen, the first all African-American aerial combat unit.
Trained on the campus of Tuskegee University in Alabama, the unit, which included pilots, mechanics and support crew, overcame a culture of racism to serve with distinction during World War II, successfully escorting many bombers in the dangerous skies of Europe. After expressing initial prejudice, some white bomber pilots came to prefer the Tuskegee Airmen as escorts, due to their success.
“Red Tails” captures the high-flying action involved in the experiences of the Tuskegee Airmen. The film features an all-star cast that includes actors Terrence Howard, Cuba Gooding Jr., Nate Parker, singer Ne-Yo and rapper Method Man.
The name of the film comes from the distinctive red tails on the P51 Mustang fighter planes used by the Tuskegee Airmen.
It is produced and largely funded by George Lucas, who is best known for presenting the Star Wars and Indiana Jones franchises. In a recent interview, Lucas reported that he spent $58 million of his own money on the film after several major studios expressed hesitancy about funding a project with an all-Black cast.
“I’ve been wanting to do ‘Red Tails’ for over 20 years, and we finally got the means to showcase the skill of the Tuskegee pilots,” Lucas said. “We have worked on techniques that will give us the first true look at the aerial dog fighting (combat) of the era. And our top-notch cast will really make this story special.”
In addition to its all-star cast and Lucas’ production, “Red Tails,” which was filmed in Italy, Prague and Croatia, also benefits from the contributions of director Anthony Hemmingway, whose credits include “The Wire,” “Battlestar Galactica” and “C.S.I. New York.” Other contributors and writers include John Ridley, best known for “Three Kings” and “Undercover Brother,” and “Boondocks” comic strip creator Aaron McGruder.
Cast members and surviving Tuskegee Airmen have both expressed excitement at the realistic and fast-paced action that “Red Tails” provides. They say it combines the thrills of a classic war film with the current, state-of-the-art filming techniques.
“Visually, you really feel you’re in these cockpits,” Gooding said in a statement. “Some of the dogfights in this movie really feel like the same thing we had in ‘Star Wars.’ I think the only difference is that all of the actors in the cockpits are Black, except for the Nazis trying to shoot them out of the sky.”
Colonel Charles McGee, one of the original Tuskegee Airmen who served as a technical consultant for “Red Tails,” agreed.
“It was very well done,” he said. “The combat scenes were just tremendous.”
Dr. Brian Smith, director of the Tuskegee Airmen National Museum, added that “Red Tails” finally provides an opportunity for the fighters to be presented in a way they truly operated: as superheroes.
“They actually did some superhuman things during the war,” Smith said. “Tie that together with the racism they had to suffer. They were out there fighting for people who didn’t even like them, much less love them. That’s what America needs to understand about these men.”


ZHENG 'NATHAN' NIE
Zheng Nathan Nie is a rising Chinese filmmaker who has dedicated his life to exploring many different aspects of filmmaking. Having lived in the U.S. for ten years, Zheng started developing a can-do spirit since his undergraduate study at Michigan State University.
Upon earning his B.A. in Media Arts at Michigan State, Zheng moved to New York City for professional experience. He started as an intern in Simba Productions, a video production company. He worked part-time for the company as both editor and videographer.
He's recently earned his MFA degree in Directing at the UCLA School of Theater, Film & Television. His thesis film has won UCLA's Directors Spotlight award in 2017. His previous films have also been screening at various film festivals around the country.
Grown up in Henan, a rural province, Zheng hopes to bring light to expose the authentic lifestyle in China through his films. Furthermore, he's interested in many different subjects like sports, history, musical theater and science. He wishes that he can explore different areas to expand his horizon and make films with vast diversity.
REST IN PEACE 入土为安
Aggrieved by the sudden death of his only son, and troubled by the subsequent disappearance of his doctor, Du Guangcai, a 32-year-old factory worker, is misled by a shifty con man, Wang Junsheng, into a scheme to hire a large group of strangers to pretend as Guangcai's family members and then occupy the hospital until the hospital pay them a million yuan.
HOUSE OF THE LONESOME HUMAN BEINGS
In a mysterious townhouse that only accommodates lonely souls, three single tenants with different painful pasts, form a curious codependency. Suddenly, one of them finds love, which causes quite a stir.
FOR THE EPIC WIN
A father and son struggle to maintain control of their own lives through all the wrong ways, discovering that the only salvation from their problems is to face them.
L.A. SHORTS AWARDS
BEST STUDENT FILM
"House of the Lonesome Human Beings"
"Rest In Peace"
L.A. SHORTS AWARDS


Many of these fictional deaths actually moved me to tears (don't judge me) because they are so sad!
If you have not experienced this yet then you haven't ever gotten in to something so much that you feel for the characters (technical terms....character empathy, look at that!).
I have chosen 22 of the characters that have been killed or have died that I will never, ever, ever get over. They are in no particular order and I believe the saddest one is a lot further in than number one!
Please be warned: there may be spoilers in here for people who have not seen some of the things, so please don't get mad at me!
1. Mufasa - The Lion King
How sad is this? *sobs uncontrollably*. Mufasa is killed by his own brother who then send Simba down there. "Wake up, dad". Gah, so sad. If you are saying that you didn't tear up at this well then you are just lying. This is the saddest moment in any Disney movie ever.
2. Dumbledore - Harry Potter and the Half Blood Prince
I have to say, I was in two minds about adding Dumbledore. He is not my favourite Harry Potter character, but his death was sad, especially in the books. By far, it is not the saddest death of all the Harry Potter characters, but it is up there. I found this considerably more moving in the books (maybe because you didn't know the back story to him), therefore this is referring to the book death, not the movie death.
3. Dobby - Harry Potter and the Deathly Hallows
I bawled like a baby when Dobby died, in both the book and the film adaptation. This has to be one of the saddest deaths in the Harry Potter series. Poor little, Dobby :( He did not mean to kill, only to maim or seriously injure. Oh so sad *sniffle*. At least Dobby is now a free elf.
4. Hedwig - Harry Potter and the Deathly Hallows
Another Harry Potter death, I know. But how sad is it that Hedwig protects Harry?! Such a loyal little owl. I did cry when Hedwig died, shockingly I found this a lot more sad in the movie version. RIP Hedwig <3
5. Rue - The Hunger Games
The saddest death in the series I think. It is so sad how Katniss sings to her and decorates her body with the flowers. Oh, little Rue. I genuinely have a strong hatred for the characters who killed her (yes, I am serious. I have a hatred for fictional people).
6. Coral - Finding Nemo
Coral dies to protect her little babies - how sad is that? This scene does make me tear up a little bit. Just how her eyes flick from the fish to the eggs and back again before she darts down to them. Gah.
7. Marley - Marley and Me
The saddest fictional death of all time. I sob uncontrollably every time I watch this film. Poor little, Marley :( Never have I been as attached to a fictional character as I was with Marley. If you say that you don't cry at this scene then you are either a liar or you have no heart.
8. Ellie - Up
This has to be the saddest death in Disney history. There are absolutely no words in the scene showing Carl and Ellie's relationship yet it still moves so many people to tears. Still a better love story than Twilight.
9. Siruis Black - Harry Potter and the Order of the Phoenix
Another one of the saddest deaths in Harry Potter. Sirius was all Harry had left of his family and the stupid people kill him. Oh stupid veil, why would you do that?! Come back, Sirius :(
10. Severus Snape - Harry Potter and the Deathly Hallows
We have reached the saddest death in Harry Potter history. Snape is my all time favourite character ever and I love him lots, still to this day. The thing that makes this scene even sadder is the montage of his memories Harry collects from his tears after. Right in the feels.
11. Noah and Allie - The Notebook
This really does hit right in the feels. So sad that he has been reading her the story of their love all throughout and she only realises it is him right at the end. Then they die together. OMG :(
12. Jenny - Forrest Gump
I hate the fact that it is an unknown virus that kills her. Poor Forrest. This scene is so sad because he just stands at her grave. Genuinely love Forrest Gump so much.
13. Agent Coulson - Avengers Assemble
Agent Coulson was my favourite character, how dare Loki kill him! Does he not have a heart?! His dying words....gah the feels.
14. Bubba - Forrest Gump
After babbling on about how he wants to go into the shrimp business after the war, Bubba dies in the arms of Forrest. SO SO SO SAD. Then Forrest starts the Bubba Gump Shrimp Company in memory of him (you can visit this in Universal Studios Orlando).
15. Satine - Moulin Rouge
Yes, you see it coming, no it doesn't make it any less emotional. Despite the whole come what may thing, this still hits me every time! Ewan McGreggor's rendition of the song at this point is so sad, too!
16. Gaston - Beauty and the Beast
Yes, I will not get over the death of a Disney villain. How can you not love Gaston? He was so funny! And for him to get chucked over the edge of a castle.....really, Disney, really?
17. Kerchak - Tarzan
Just as him and Tarzan see eye to eye, he gets killed. Another WTF moment here, Disney. Why would you do that to him?! He wasn't a bad guy, he didn't deserve to die!!
18. Raj - 90210
The saddest moment in 90210 history. Raj has cancer and him and Ivy get married to mean that they get to spend their last days together. Then Raj takes a large concoction of pills in the hospital after saying he doesn't want to suffer and put Ivy through it. This really killed me when I watched it; I didn't want him to die!
19. Mike Delfino - Desperate Housewives
Mike was killed in a rive by shooting after finally opening up to Susan. HOW HORRIBLE IS THAT?! Why would you do that, Desperate Housewives?! He was one of my favourite characters. WHYYYYYY?!
20. Karen McCluskey - Desperate Housewives
Karen McCluskey died after she had a battle with cancer. Although she was not my favourite character in Desperate Housewives, I will never ever ever ever ever get over her death. It was so beyond emotional :(
21. Maude Flanders - The Simpsons
Was this not the saddest and most unexpected Simpsons death of all time? I genuinely shouted "no!" and the TV when it happened! I genuinely never expected this! Then the series of episodes that follow it are equally as sad.
22. Piggy - The Lord of the Flies
I studied this book for my GCSE many moons ago, and developed a strong sense of protection over little Piggy! He was so bullied by everyone, and the fact that they kill him is so sad (and made me very angry at the other characters!).
Well, that is my 22 fictional deaths that I will never get over. I hope this post didn't arouse too many bad memories for you (it did for me)!
Post below in the comments if there are any fictional deaths you will never get over, I know there are loads out there!
If you liked this post, then do please click "join this site" on the top left and do all the following on the right - it would mean a lot to me!
That's all for today, folks, tune back in tomorrow to see what I have in store!


Gods of Egypt [dt. Untertitel, Deutsch, Deutsch [UT] Details . Sehr überladener Film in dem Butler den stärksten und unbesiegbaren God spielte, die anderen. Synchronbesetzung von Gods Of Egypt mit Sprachproben - deutsche Synchronstimmen, Synchronschauspieler Cast nach Rollen mit Hörproben. Gods of Egypt jetzt legal streamen und online anschauen als Video on Demand ( VOD)! HD, SD | Deutsch, OV Englisch. Flatrate. Leihen. 2,99€. Kaufen. 7,99€.
A young thief named Bek and his love Zaya are attending the coronation of Horus. During the ceremony, Osiris is killed by his extremely jealous brother Set , who seizes the throne and declares a new regime where the dead will have to pay with riches to pass into the afterlife.
Horus is stripped of his eyes, the source of his power, and almost killed. Believing that Horus is the only one who can defeat Set, she gives Bek the floor plans to his treasure vault and also manages to get a glimpse of the plans for his pyramid.
However, Urshu finds out and kills Zaya as the couple flee. Bek takes her body to the blind Horus and makes a bargain: Horus is unable to convince Ra to regrant him his power so he can defeat Set himself, as Ra is both neutral about their conflict and daily at war with the enormous shadow beast Apophis that threatens to devour the world.
He does however allow Horus to obtain a vial of the divine waters that surround his vessel, which can extinguish the desert thirst and weaken Set gravely.
Set asks Hathor to take him to the underworld, but she refuses and escapes. The group then heads to the library of Thoth , so they can recruit him to solve the riddle.
But before they can pour the divine water, Set traps them and reveals to Bek that Horus cannot bring Zaya back from the dead. Horus is able to save Hathor and Bek.
Horus admits to caring more about his revenge than the mortals. Set is dismayed and wants to destroy the afterlife so that he can be immortal. Ra tries to fight Set by blasting him with his spear, though Set survives with his combined power.
He stabs Ra, takes his spear, and casts him off the boat freeing Apophis to consume both the mortal and underworld realms. Bek returns to the mortal world, where Horus is amazed that Bek still wants to help take down Set.
Bek tells him it was Zaya who told him to, as she still has faith in Horus. Horus climbs up the outer wall of an obelisk Set is standing on and attempts to battle him, but is heavily outmatched.
As Bek slides toward the edge of the obelisk, he throws the eye toward Horus, who must choose to catch it or save Bek instead. Horus reaches for Bek and apologizes for all he has put him through.
As they plummet toward the ground, Horus regains the power to transform and he catches Bek and flies him to safety. Now, Horus has the strength for battling Set, and he out maneuvers and kills him.
He then finds Ra wounded and floating in space, and returns his spear to him, allowing Ra to once again repel Apophis and for Anubis to reopen the gates.
As Horus returns to Bek, a child holds out his other eye, while people cheer him. All Horus wants is bringing Bek and Zaya back to life. Horus is crowned king by Thoth and declares access to the afterlife will be paid with good deeds.
The film was produced under Summit Entertainment. Proyas was contracted by Summit in May , to write the screenplay with Sazama and Sharpless, and to direct the film.
The director cited the following films as influences on Gods of Egypt: Actor Nikolaj Coster-Waldau was cast in June The film was shot in Australia.
Docklands Studios Melbourne was too booked to accommodate Gods of Egypt , and producers were instead offered an airport facility for production.
In the film, the gods in humanoid form are 9 feet 2. Proyas used forced perspective and motion control photography to portray the difference in height between the actors portraying the gods and the humans.
Proyas called the logistical challenge a "reverse Hobbit", referring to The Lord of the Rings films, in which Hobbits are depicted as shorter than humans.
For the god Thoth, who can appear as many copies, actor Chadwick Boseman was filmed hundreds of times from different angles. For a scene with many copies of Thoth, other actors took a day to film the scene, where Boseman filmed the scene for three days.
White actors make up most of the principal cast of Gods of Egypt. When Lionsgate began marketing the film, the Associated Press said the distributor received backlash for ethnically inaccurate casting.
Lionsgate and director Alex Proyas both issued apologies. The AP said, "While some praised the preemptive mea culpa Some suggested that the casting of black actor Chadwick Boseman , who plays the god Thoth , played into the Magical Negro stereotype.
The previous year, the biblical epic Exodus: Gods and Kings by director Ridley Scott received similar backlash for having a white cast.
When Lionsgate followed its release of posters with a release of a theatrical trailer, Scott Mendelson at Forbes said, "The implication remains that white actors, even generic white actors with zero box office draw, are preferable in terms of domestic and overseas box office than culturally-specific minority actors who actually look like the people they are supposed to be playing.
Lincoln said of the released trailer, "Casting here stands out like a sore thumb leftover from s Hollywood. I suspect this film generates a lot of conversation before it hits theaters February 26, In response to criticisms of its casting practice, director Alex Proyas and Lionsgate issued apologies in late November for not considering diversity; Lionsgate said it would strive to do better.
Mendelson of Forbes said the apologies were "a somewhat different response" than defenses made by Ridley Scott for Exodus and Joe Wright for Pan An unusual occurrence worth noting.
Boseman, who plays the god Thoth, commenting on the whitewashing, said he expected the backlash to happen when he saw the script. In the month leading up to release, director Proyas said his film was fantasy and not intended to be history.
He cited "creative license and artistic freedom of expression" to cast the actors he found to fit the roles. He said "white-washing" was a justified concern but for his fantasy film, "To exclude any one race in service of a hypothetical theory of historical accuracy He concluded, "I attempted to show racial diversity, black, white, Asian, as far as I was allowed, as far as I could, given the limitations I was given.
It is obviously clear that for things to change, for casting in movies to become more diverse many forces must align.
Not just the creative. To those who are offended by the decisions which were made I have already apologised. I respect their opinion, but I hope the context of the decisions is a little clearer based on my statements here.
The magazine said the film had "a strong ensemble cast" and that its director has "had a noteworthy following". BoxOffice also said the premise could attract movie-goers who saw Clash of the Titans , Wrath of the Titans , and the Percy Jackson films.
Exhibitor Relations senior media analyst Jeff Bock said the film "feels late" years after the release of and Immortals , and an earlier production and release would have been more advantageous.
Faughnder said the film would need to perform strongly in territories outside the United States and Canada for a sequel to be developed.
Lionsgate released Gods of Egypt in theaters globally starting on February 25 , English, Hindi , Tamil , and Telugu. In the United States and Canada, the film was released in 3, theaters.
Outside North America, the film got a staggered release. Le Vision Pictures acquired rights from Lionsgate in November to distribute Gods of Egypt in China,  and released the film there on March 11 , Gods of Egypt was panned by critics.
Instead, it skids into dullness, thus negating the camp classic that it so often verges on becoming. But this bloated enterprise is so tiresome by the end, it seems more likely headed for a long rest somewhere in the cinematic afterlife.
Club called Gods of Egypt "overlong and very silly," and said: Jordan Hoffman of The Guardian said, "This is ridiculous. But if you are on the fence you can always offset your karmic footprint with a donation to a charity, because this movie is a tremendous amount of fun.
In response to the reviews, director Proyas posted to Facebook calling critics "diseased vultures pecking at the bones of a dying carcass", who were "trying to peck to the rhythm of the consensus.
I applaud any film-goer who values their own opinion enough to not base it on what the pack-mentality says is good or bad. From Wikipedia, the free encyclopedia.
Gods of Egypt Theatrical release poster. Basil Iwanyk Alex Proyas. Matt Sazama Burk Sharpless. United States Australia .
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Emma Booth as Nephthys , the Goddess of Protection. The script is flawed but the style and lavish design overcomes the basic redemption movie storyline.
Plus, we hear why more than one celeb wants to be snowed in with Idris Elba. See our favorite Sundance moments. Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!
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User Polls Most Anticipated Film: Edit Cast Cast overview, first billed only: First Young Maidservant Emily Wheaton Second Younger Maidservant Elodie Yung Edit Storyline Set, the merciless god of darkness, has taken over the throne of Egypt and plunged the once peaceful and prosperous empire into chaos and conflict.In response to the reviews, director Proyas posted to Facebook calling critics "diseased vultures pecking at the bones of a dying carcass", who were "trying to peck to the rhythm of the consensus. Both of these two rising stars mystery casino great performances and each of their roles seems to be a preview of what they will bring the MCU. Best Films of Bui, Hoai-Tran November 30, Matt Sazama Burk Sharpless. The magazine said the film had "a strong deutschland italien quote cast" and that its director has "had a noteworthy following". All Horus wants is bringing Bek and Zaya back to life. Retrieved February 19, First Young Maidservant Emily Wheaton Written by Online casinos with slots Pasier. Set asks Hathor live stream french open take affe kaufen deutschland legal to the underworld, but she refuses and escapes. Unsere Kunden sind mit dem Ergebnis sehr zufrieden! So kurzfristig, so ein professionelles Ergebnis, ist traumhaft. Es erfolgt ein erbitterter Kampf, den Horus samt seiner Augen verliert. Imagefilm mit Leon Boden. The Shannara Chronicles - Die komplette 1. In der Regel reichen die ersten Buchstaben eines Suchbegriffes, um dfb pokal beginn den optimalen Treffer zu bekommen. Rambo hotel y casino louis xiii - Der Auftrag [dt. Sie dringen erfolgreich in die Pyramide ein und können das Rätsel lösen; bevor das Feuer aber gelöscht werden kann, erscheint Crazy luck casino bonus codes 2019 und tötet Thoth. Die Vorsehung - Solace [dt. Achtung, jedes Magazin und jede Zeitung hat ein eigenes Bewertungssystem. Sehr schnelle Umsetzung und mit super Ergebnis. Ich kann diesen Film nur empfehlen, weil er ein Typischer Fantasyfamilienfilm ist. Dieses baut für ihn imposante Gebäude, u. Derzeit tritt ein Problem beim Filtern der Rezensionen auf. Exodus - Götter und Könige. Wenn Sie das richtige nicht finden konnten. Möglicherweise unterliegen die Inhalte jeweils zusätzlichen Bedingungen. Geben Sie in der Stichwortsuche dashes deutsch. Gehen Sie sunmaker tricks Amazon.


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Movies are shown Fridays at 8 p.m., Saturdays at 5 & 8 p.m. and Sundays at 7:30 p.m.
Sept. 14, 15, 16
Allied soldiers from Belgium, the British Empire and France are surrounded by the German Army, and evacuated during a fierce battle in World War II. Stars Fionn Whitehead, Barry Keoghan, Mark Rylance PG-13 | 1h 46min | Action, Drama, History | 21 July 2017 (USA)
Sept. 21, 22, 23
The true story of Molly Bloom, an Olympic-class skier who ran the world's most exclusive high-stakes poker game and became an FBI target. Stars: Jessica Chastain, Idris Elba, Kevin Costner R | 2 h 20min | Biography, Crime, Drama | 5 January 2018 (USA)


ENTERTAINMENT TONIGHT’s Kevin Frazier and Nischelle Turner will co-host the2023 Palm Springs International Film Awards, which will be previewed on this evening’s broadcast of the venerable newsmagazine program.The award show returns in-person on January 5, 2023 at the Palm Springs Convention Center, with Media Partner Entertainment Tonight and presented by American Express and sponsored by IHG Hotels & Resorts. ET will be on the ground and broadcasting the entire show on January 5 from Palm Springs in advance of the Film Awards and Hollywood’s biggest stars descending on the desert.
“The Palm Springs International Film Awards has partnered with Entertainment Tonight since 2004, and over those 18 years, Mary Hart has done an amazing job as host of the show. Due to her schedule, she is not able to be with us this year and she will be missed,” said Festival Chairman Harold Matzner. “We are very excited to continue our partnership with ET having both of their on-air anchors Kevin Frazier and Nischelle Turner join us as co-hosts.They will have big shoes to fill, but I know they will make this a fun and memorable evening!”
“For nearly 20 years, ET has kicked off our award season coverage with the Palm Spring International Film Festival. This star-studded event is one of our favorites, and we are thrilled that in 2023 Kevin and Nischelle will host the gala,” said ET Executive Producer Erin Johnson. Kevin Frazier is a six-time Emmy Award-winning host of the Emmy Award-winning syndicated entertainment news magazine ENTERTAINMENT TONIGHT. He continues to have a lasting impact on the entertainment industry as a multi-faceted journalist, producer, and entrepreneur. He has interviewed Hollywood’s biggest stars from Oprah Winfrey to Brad Pitt to Beyoncé. Frazier joined ET as co-host in September 2014, coinciding with the beginning of the 34th season.
Nischelle Turner is co-host of the seven-time EmmyAward-winning newsmagazine ENTERTAINMENT TONIGHT.She joined ET as a correspondent in 2014 and was named co-host in 2021.Turner is an award-winning journalist, having won six Emmy Awards withET, and a contributor for CNN where she is featured in entertainment segments on “CNN Newsroom,” “New Day” and “CNN Tonight.” She also hosts and produces CBS’ summer hit series, “Secret Celebrity Renovation,” which began its second season in August 2022 and co-hosts the popular “The Big Podcast with Shaq.”
The 2023 Palm Springs International Film Awards will honor Austin Butler (Breakthrough Performance Award, Actor), Cate Blanchett (Desert Palm Achievement Award, Actress), Viola Davis (Chairman’s Award), Danielle Deadwyler (Breakthrough Performance Award, Actress), Colin Farrell (Desert Palm Achievement Award, Actor), Bill Nighy (International Star Award, Actor), Sarah Polley (Director of the Year Award), Michelle Yeoh (International Star Award), and The Fabelmans(Vanguard Award), presented to director Steven Spielberg, producer Kristie Macosko Krieger and cast members Michelle Williams, Paul Dano, Seth Rogen, Gabriel LaBelle and Judd Hirsch.


The BFI Flare Film Festival is usually something that my husband and I love to annually attend. We're not huge film buffs, and I'm personally more of a fan of a serialised drama than a standalone two-hour epic, but it is incredibly powerful to see LGBTIQ+ stories on the big screen. These stories might not be seen, heard, and felt if it were not for film festivals like the BFI Flare.
This year (17th - 28th March), of course, we can't attend the screenings in person - and whilst I'll miss the cinematic experience, I'm glad that I'll be able to access more of the films thanks to ticket costs which reflect the necessity to watch from home. I'm gladly supporting LGBTIQ+ artists and stories from my sofa this year, whilst hoping that the festival might be back in person for 2022.
We've selected six films to watch from the much more manageable 2021 programme (in previous years the sheer abundance of content has left me feeling a little lost on how to choose), and as we watch I'll be writing up some thoughts and reflections, which I'll add to the below. Stay tuned!
It's still possible to book tickets for many of the films, and I'd really encourage you to try something new this year and give something you wouldn't normally watch a go!
So, here's our list to delightfully work our through over the course of the festival (alphabetical by Director's surname):
Director: Max Currie ****
A sensitive and provocative film that is truly needed in today's anti-trans climate. Whilst passionately exploring a difficult homecoming and all that might entail for trans people, Rūrangi also grapples with the complexities of other marginalised communities, the abundance of crippling shame for so many, and the power of claiming our own identity. Perhaps many LGBTQ+ people will likely identify with the drive to find fulfilment and purpose in helping others like us, and the impact that this can have on our mental and physical wellbeing.
Director: Eytan Fox
The meeting of generations is often bumpy, but this brief visit to Tel Aviv manages to guide us through this connecting of two very different souls. There are the needed references to a broader complicated life for Israelis and Palestinians, the expected but not clichéd disconnect between a man who has lost loved ones to AIDS and his counterpart who doesn't see why everything always has to be so depressing and "gay", and the beautiful moments when peace is fleetingly found.
Director: Eugen Jebeleanu ***
Grey Communist tenements set the tone for this well-focussed exploration of masculinity, religious animosity, and the conflicts caused by our hidden selves. Through minimal but not limited locations, we are drawn further into the rage, fear, and internalised homophobia that fuels Cristi's suffering. It's setting in Romania where, like much of the post-Communist states of the region, the rights and freedoms of LGBTQ+ people remain subjective at best, is a presence like the shadowy architecture the film slowly begins with.
Director: Marley Morrison ***
Experiencing your teenage years with constant access to all that's going on the world certainly provides the protagonist, AJ, with more than her fair share of guilt and concern for the state of things. A film that nostalgically reflects on the "British seaside holiday" and reminds us all of those fleeting holiday romances, whatever our age, with wit and sensitivity. This is not a "coming out" film, but perhaps a "coming to terms" film instead - where each of the lead characters has an opportunity to consider who they are, and why... even 9 year old Dana, bless her.
Director: Pete Murimi
**** Contrasting the sprawling buildings of Nairobi with the almost red fields of Western Kenya, we are invited to share the experiences of life as a gay couple in a state that still criminalises homosexuality. Alternating between the difficulties of making enough to live in the city, and the endless work required to manage farmland, we are witness to the depths of struggle that LGBTQ+ Kenyans face, in civil society and in their own homes. There are also glimmers of resounding joy in amongst the inevitable conflict, and beautiful, yet simple observations of Kenyan customs. This is a documentary that seeks to speak honestly to queer experience in Kenya, and the complex tapestry that is woven between families, friends, partners, society, and culture.
Director: Daniel Sánchez López
When you look in the mirror, who do you see? Mirrors feature briefly in this film, but in many ways the two leads use each to see parts of themselves long forgotten or ignored. They are alike in worldview, career, or upbringing, and so over the course of their day long date after a chance encounter on a night out, opportunities to ask compelling questions are unearthed. What drives our desire? How do we respond to it? Who am I as a sexual being? What prevents me from realising my potential? The simple concept provides space for discourse, without forcing resolution.