Release Influence in Best LookNow you can watch full Influence in top video format with duration 110 Min and has been launched in 2015-01-23 and MPAA rating is 0.
- Original Title : Hiszpanka
- Movie title in your country : Influence
- Year of movie : 2015
- Genres of movie : Comedy, History, Crime, Fantasy,
- Status of movie : Released
- Release date of movie : 2015-01-23
- Companies of movie : Studio Filmowe Kadr,
- Countries of movie : Poland,
- Language of movie : Deutsch, Polski, English,
- Durationof movie : 110 Min
- Average vote of movie : 0
- Youtube ID of movie : g-Rl26uShiQ
- Translation of movie : EN,PL,
- Actors of movie :Crispin Glover (Dr Abuse), Jan Frycz (Ignacy Jan Padarewski), Jakub Gierszał (Krystian Ceglarski), Patrycja Ziółkowska (Wanda Rostowska), Sandra Korzeniak (Ms. Mailcka)
Movie plot of Influence :
Best Influence in Top Quality with movie summary ""Influence" is a story about the key events of the Wielkopolska Uprising - a dramatic arrival of Ignacy Jan Paderewski in Poznań, and the people who prepared the uprising, fought in it and won. "Influence" uses the characteristics of action and thriller movies. Refers to the cinema era - German expressionism, and the atmosphere of the era - the pervasive sense of the end of old world and the birth of the new one, fear of change and at the same time striving for it." in High Quality Video. Full Length of Influence in High Quality by visiting the download link.
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Director : Łukasz Barczyk, Screenplay : Łukasz Barczyk, Producer : Łukasz Barczyk, Director of Photography : Karina Kleszczewska
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Tags: uprising, crime, occult ritual,


- From The Blog
- The Royals
You may not realise it but the UK has been the setting for literally thousands of films and TV programmes over the years. Not just any old settings but scenes which go a long way to making these films and TV programmes really stand out in the memory.
The great thing is, in many cases it is possible to visit these places today and if you close your eyes for one minute you can imagine yourself in one of your favourite films.
With that in mind let’s take a look at what I consider to be the best TV and Film locations in the UK.
|Eilean Donan Castle – This imposing castle is absolutely stunning and when you see the films that have been shot there it will soon become apparent and this fabulous location is unlike any other that you may have seen before.|
|Chatsworth House – The Wolfman staring Anthony Hopkins as well as Pride and Prejudice have been filmed here and due to the stature of this magnificent building it is not difficult to see why.|
|Blackhall Beach-Seaham Beach – Two beaches which have been transformed from what they once were and the setting for at least three classic films which could well be on your all time favourites list.|
|Harry Potter Locations – There have obviously been many films shot in London but if you are a Harry Potter fan you may be surprised by some of the locations in London which were used for these films.|
|Torquay – You may think that Torquay in Devon would be the last place a film producer would consider filming but I have first hand experience of almost bumping into a Hollywood star there!|
|James Bond Locations – There are many locations around the UK which have been home to James Bond over the years and not all of them are as glamorous as you may think.|
|Trains And Train Stations – There is no wonder trains and train stations are an ideal choice for film makers as there are so many locations for them to choose from that they are certain to find exactly what it is they are looking for.|
|West Sands Beach, St. Andrews – Who can forget those opening scenes to the film, Chariots of Fire where the athletes are running along the beach. If you have ever wondered where these scenes were shot you will be interested to know that it was on this beach.|
|Pennan, Aberdeenshire – This is the small village in Scotland where Local Hero was filmed. Not exactly an all time classic but extremely popular at the time and Pennan was more or less taken over completely for filming purposes.|
|Alnwick Castle – This was the location for Hogwarts in the first two Harry Potter films and it has to be regarded as a great day out for the whole family.|


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On the psychological distress for that couple, we have put more attention Inside our Mail Order Wife documentary than we have shown at the two movies. Some moments were cut due to time limitations.
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J.D. Salinger died Wednesday at the age of 91. His only story given the cinematic treatment was “Uncle Wiggily
in Connecticut.” That short story became the 1949 movie My Foolish Heart,
for which Susan Hayward was nominated for an Academy Award. Salinger was not
pleased with the reworking of his story and subsequently refused to grant the rights of any of his other work to be made into movies.
Although the reclusive author never allowed for The Catcher
in the Rye or any of his Glass Family tales to be adapted for the silver
screen (and apparently, the J.D. Salinger Trust will follow his wishes so don’t
hold your breath), his direct and indirect influence can be traced fairly easily. Here are some films with Salinger connections:
Field of Dreams
The character of the reclusive writer Terrance Mann was actually J.D. Salinger in the source material by W.P. Kinsella.
John Hinkley Jr. seemed to find a connection between the film and The Catcher in the Rye. Reagan's would be assassin was a big fan of both. Travis could be a grown up Holden.
The Royal Tenenbaums
A family of gifted, yet troubled children are at the heart of Salinger's Glass family stories and provided inspiration for the Tenenbaum kids. For a look at the author's influence on director Wes Anderson's work as a whole, check out this
essay from the Museum of the Moving Image.
Director Paul Thomas Anderson has talked about his inspiration for the children's game show as coming from his own work as a P.A. on such a show and his knowledge of the Glass family. "Doing that
[show] really linked up with the J.D. Salinger short stories,
with the Glass Family, and their involvement with a
show like Quiz Kids."
The Last Days of Disco
Dan asks Alice what her dream book to publish would be. She answers a new collection of Salinger stories in the vein of "The Laughing Man" and Raise High the Roof Beam, Carpenters. The disoriented preppies in all director Whit Stillman's work would seem to be at home with their post-war counterparts in Salinger's fiction.
Revenge of the Nerds
Salinger's son, actor Matt Salinger, plays Danny Burke in the classic 1980s comedy.
Other Connections: The Graduate, Winter Passing, Finding
Forrester, Dead Poets' Society, Less than Zero, Conspiracy Theory, The Good Girl, Chapter 27, Donny Darko, Igby
Goes Down, Ordinary People


Contribute For The Truth: Crowd Funding
In order to continue delivering his controversial and hard hitting films, Jose Escamilla needs your contributions and your support TODAY!
Crowd Funding allows Jose to raise the necessary funds to purchase footage, music rights, hire film crews, cast, narrators, 5.1 Ch. Mixed down, and for marketing the films worldwide with the hope of sharing something truly special about our place here in the universe. All of these expenses are the foundational costs to any film regardless of its content.
If nothing more, please contribute a $1.00 or up. ALL of the funds go towards the making of these incredible films and if you have seen at least half of Jose's productions, this amazing researcher and film Director deserves our collective support!
Pick any one of the films listed under the "Crowd Funding Menu" on the right side bar of your screen and see how you can join us in the making of these thought provoking films that can be found exclusively on TBLNFilms.com.
For people who are looking to donate to TBLN Films simply wanting to support and further Jose Escamilla's UFO research, please do so by using the donation button featured below.


Jennifer is on the cover of this month’s Tatler Magazine. Due to the photo being tagged I would rather not post the cover on the site. You can click here to view it as well as a photo from the photoshoot for the cover.
Added 2 stills from Jennifer’s most recent film & 1 Behind the Scenes shot.
From all of us at Fascinating Connelly, our condolences go out to their family & friends.
The subjects of the film A Beautiful Mind have both died.
Nobel Prize-winning mathematician John Nash, 86, and his wife, Alicia Nash, 82, were both involved in a tragic fatal taxi cab crash over the weekend.
The 2001 film was inspired by a book of the same name by Sylvia Nazar and is a biographical drama of John Nash’s life. He was a Nobel Laureate in Economics. It starts when he is a young prodigy and follows his life as he begins to develop paranoid schizophrenia that has him enduring delusional episodes. He then has to watch how his condition affects his wife and friends.
While the film had its detractors who doubted its version of history, it was award-winning, taking the Academy Awards for Best Picture, best Director, Best Actress in a Supporting role (Jennifer Connelly), and Best Adapted Screenplay. Russell Crowe was nominated for Best Actor in a Leading Role for playing John Nash.
Nash and wife Alicia were riding in a taxi that lost control when it was trying to pass another car. It crashed into the guardrail and the couple was ejected from the taxi and pronounced dead at the scene.
The entertainment community that was involved with the film tweeted its condolences.
Crowe stated, “Stunned … my heart goes out to John & Alicia & family. An amazing partnership. Beautiful minds, beautiful hearts.”
Ron Howard, who directed the film, said “RIP Brilliant #NobelPrize winning John Nash & his remarkable wife Alicia. It was an honor telling part of their story #ABeautifulMind.”
Producer Brian Grazer tweeted, “Incredibly sad to lose the wonderful, intelligent miracle of John Nash and his wife. #ABeautifiulMind.” and “#JohnNash gave the world a window into humanity – how the disabled may think and feel inside #ABeautifulMind.”
He also told Variety, “Their lives ended together in the same way that they lived. Theirs was such a brilliant collaboration. Alicia was so powerful in enabling him to have his moments of triumph. His life was really hard. The beauty came from the power of their love to create those triumphs.”
Jennifer Connelly issued a statement through JustJared.com: “This is a great loss. John and Alicia Nash were an inspiration and I have deep admiration for all that they accomplished in their lives. My thoughts are with their family.”


One Moment That Confused All Avengers Fans!
The film’s development began when Marvel Studios received a loan from Merrill Lynch in April 2005. After the success of the film Iron Man in May 2008, Marvel announced that The Avengers would be released in July 2011.
With the signing of Johansson in March 2009, the film was pushed back for a 2012 release. Whedon was brought on board in April 2010 and rewrote the screenplay originally written by Zak Penn.
Production began in April 2011 in Albuquerque, New Mexico, before moving to Cleveland, Ohio, in August and New York City in September. The film was converted to 3D in post-production.


Treasure Island is a book by Robert Louis Stevenson.It was published in 1883. It is about pirates and a treasure hunt on a tropical isle. Famous characters include Jim Hawkins, Long John Silver, and Ben Gunn. The book has been adapted to movies, comic books, and other media. Movies. The story has been made into many movies.
This list also does not include movies labeled, produced or distributed by other Disney imprints or subsidiaries, and does not include any direct-to-video releases or theatrical re-releases. Disney films; Disney, Pixar, Touchstone Pictures, Miramax Films, Hollywood Pictures, Marvel Comics, Lucasfilm, 20th Century Fox, 20th Century Fox Animation, Fox Searchlight Pictures, Blue Sky Studios.
Avast! Disney's live-action, seagoing landmark. Read Common Sense Media's Treasure Island (1950) review, age rating, and parents guide.
Treasure Island is a 1950 live action adventure film produced by Walt Disney Productions, adapted from Robert Louis Stevenson's 1883 novel.Directed by Byron Haskin, it stars Bobby Driscoll as Jim Hawkins and Robert Newton as Long John Silver. Treasure Island is notable for being Disney's first completely live-action film and the first screen version of Treasure Island made in color.
Walt Disney Animation Studios: L Treasure Island: July 29, 1950 A Alice in Wonderland: July 28, 1951. Disneytoon Studios and Walt Disney Animation (Japan) Inc. A Dinosaur: May 19, 2000. Disney Wiki is a FANDOM Movies Community. View Mobile Site.
Characters from the 2002 movie Treasure Planet. FANDOM. Games Movies TV Video. Wikis. Explore Wikis. Characters in the Disney animated features canon, Treasure Planet, Science Fiction characters. Treasure Planet characters. Category page. Edit. History Talk (0) Characters from the 2002 movie Treasure Planet. Trending pages. Jim Hawkins.
Treasure Island followed in Disney Studios’ habit of taking well-known stories and making them into feature films. The original story, taken from Robert Louis Stevenson’s 1883 novel, had remained popular and even resulted in a previous feature film adaptation in 1934.
Pleasure Island is a cursed island with an amusement park seen in the 1940 film Pinocchio where it is shown to turn mischievous young boys into donkeys.
Aug 29, 2016 - This Pin was discovered by Noctus Fury. Discover (and save!) your own Pins on Pinterest.
Morph is a pink blob of space goo that has the ability to morph into anything he wants and a major character in Treasure Planet. At some point prior to the film, Silver found him and took him in as a pet. Morph is the trusted sidekick and pet of John Silver. Morph is known for being quite mischievous and has caused trouble in the past. He displays a liking to Jim Hawkins, the protagonist, and.
Treasure Island is an adventure novel by Scottish author Robert Louis Stevenson. Treasure Island may also mean:. Literature, movie, and television. Treasure Island, 1934 movie starring Jackie Cooper and Wallace Beery; Treasure Island, 1950 Disney movie starring Bobby Driscoll and Robert Newton; Animal Treasure Island (1971 Japanese animated movie) (Dobutsu Takarajima), a collaboration.
In the book is almost a typical pirate story one of adventure and mutiny. John Silver infiltrated the ship to gain access to treasure island and Flint's treasure. While in the movie John hides himself as the cook and the mutiny only begins once the ship is in few of treasure planet. The mutiny in the book only begins when the boat reaches shore.
Amazon.com: DISNEY COLLECTION Phone Ring Holder for iPhone Cute Jim Hawkins Treasure Island Animated Movie Wallpaper Grip Stand Light Protective Portable.
RKO Radio Pictures. Disney’s first fully live-action movie, Treasure Island is, arguably, the quintessential adventure film for the studio. Based on the novel by Robert Louis Stevenson, the.
Treasure Planet (film) With a nod to Robert Louis Stevenson’s Treasure Island, this animated feature follows 15-year-old Jim Hawkins’s amazing journey across a fantasy universe as cabin boy aboard a glittering solar galleon, RLS Legacy. Befriended by the ship’s cyborg cook (part man, part machine) John Silver, Jim thrives under his guidance, showing the makings of a fine spacer.Treasure Island Treasure Island is the titular location in Muppet Treasure Island, though it is never specified by name in the film. In the original Robert Louis Stevenson novel, the text indicates that the island is in the vicinity of the Spanish Main, or Atlantic Ocean, the historically dominant region of piracy.A loose adaptation of Robert Louis Stevenson's adventure novel Treasure Island, Treasure Planetfollowed young Jim Hawkins, an troublemaker who grew up hearing stories about the legendary pirate.


Acton Boxborough Cultural Council announces films for the
13th Annual 2022 Our World Film Series
Three feature foreign films and 13 Massachusetts college/university film program shorts are selected
The Acton Boxborough Cultural Council announces the selections for the 13th annual Our World Film Series. This series features award-winning and critically acclaimed foreign films from around the world. The films selected are Theeb (United Arab Emirates, 2015), directed by Naji Abu Nowar, PK (India, 2014), directed byRajkumar Hirani, and Ode to My Father (South Korea, 2014), directed by JK Youn. Due to the impact of COVID-19, we have decided not to show these films publicly this year, but we will indicate on our website where the films are available (Acton and Boxborough public libraries, Kanopy, Netflix, Prime streaming services).
Also, we are proud to present our 10th Annual Our World Short Film Program. Student filmmakers from Massachusetts college/university film programs submitted their short films for consideration. Thirteen titles from Emerson College, Gordon College, Harvard University, Lesley Art + Design, Middlesex Community College, Suffolk University, and Wellesley College were chosen. More information on these films is available on the ABCC Our World Film Series website and Facebook page.
These short films will be broadcast on Acton TV local cable access (Channel 8 on Comcast and Channel 45 on Verizon cable systems) on Friday May 20th at 7:00 PM and Friday, May 27th at 7:00 PM. Most of these films will also be available later via Acton TVs On-Demand website.
For more information on the Acton Boxborough Cultural Council and the Our World Film Series see:
https://abccourworld.wixsite.com/abccourworld (ABCC Our World Film Series website)
https://www.facebook.com/actonboxboroughculturalcouncil (ABCC Facebook page)
https://www.facebook.com/ABCCOurWorld (ABCC Our World Film Series Facebook page)
http://actontv.org/ (Acton TV website)
http://actontv.org/on-demand/public (Acton TV ON-DEMAND website)


In the movie, Stallone runs a firm that determines the security of prisons by trying to break out of them. He is hired to take on a secret CIA prison in an unknown location and things go somewhat awry. While in lockup, he meets Schwarzenegger's Emil Rottmayer in one of the actor's less-beastly roles.
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- Terminator 2: Judgment Day;
- Politik in Unterhaltungssendungen: Ein Potential zur politischen Sozialisation Jugendlicher? (German Edition).
He's bigger than most folks his age 65 when it was filmed , but this is Schwarzenegger doing action without the same level of muscle mass he had in his youth. That being said, he still kicks the appropriate amount of butt in the film, but doesn't reach his earlier levels of strength.
Collateral Damage was released shortly before Arnold Schwarzenegger entered into political office as the 38th Governor of California. It turns out a Colombian drug cartel was responsible for the bombing and after failing to get the U.
Essentially, this is the story of a regular guy who has to go to war with a group of evildoers who destroyed his family. Fortunately, Schwarzenegger is more than capable of battling the bad guys with the help of a CIA operative, but in the end, it's his brutal strength and an axe After stumbling into an assassination attempt, he ends up getting thrown into a religious conflict of apocalyptic proportions.
He was pretty buff in the flick, but not particularly "beast" in any way This was a few years after scientists successfully cloned a sheep they named Dolly, which meant that movies and television series worked around that sort of dystopian plotline for a little while.
In the flick, Schwarzenegger is a pilot with some prior military training and he doesn't take being cloned without his permission particularly well. He gets into some serious combat situations with the bad guys who keep on coming thanks to being recreated every time they are taken out. He may have worn a sport jacket through most of the movie, but he was ripped back int he 80s.
Add in a scene where he is just getting out of the shower alongside the prying eyes of Kelly Preston and Schwarzenegger's size is pretty impressive. There were even a few points in the game where his beast-mode was on display. There was a scene where a guy tried to steal his briefcase while riding by on a motorcycle and he isn't even shifted off his feet. Other instances have him clotheslining bad guys and pretty much standing around like a granite statue carved long ago in ancient Rome.
You might not think of Schwarzenegger being in beast mode in a film about him playing a kindergarten teacher, but that was just a cover. This movie features the former bodybuilder as a detective working to find the one woman who could help him put away his arch-nemesis for good. When he shows up to find the woman, he takes on the role of a kindergarten teacher and hilarity ensues around the fact that a gigantic, muscle-bound behemoth was there to teach children.
For a Schwarzenegger film, there wasn't a great deal of action going on. When action did come about, it was more suspenseful given the threats made towards the children in the film. Despite this, Schwarzenegger put his muscles to task as a shield to protect the innocent and uphold the law. Eraser was one of Schwarzenegger's movies that did relatively well at the box office, but isn't as well known as some of his other movies. The film starred the man in question as a U. He was known as an Eraser due to his ability to make high-profile witnesses disappear via faking their passing and giving them new identities.
Unfortunately, a mole within the organization mucks things up for Marshal Kruger and he gets involved in countering an arms deal with new EM rifles. The weapons could fire bullets electromagnetically at supersonic speeds and Arnold got his hands on two of them. He proceeds through a group of bad guys with the weapons looking more beastly than he had in years.
Raw Deal was another film featuring Schwarzenegger as a law enforcement officer, but this one had a twist. He played Mark Kaminsky, a former FBI agent-turned small-town sheriff who was forced to leave the agency after beating a suspect accused of sexual assault. Eventually, the man who prosecuted him out of the agency called him back to service to take care of the Mob in Chicago and the presence of an agency mole. He goes into the organization and gets in deep when the mole is revealed to be the man who sent him in on the unsanctioned assignment.
The slaughter that ensues is one of the biggest in Schwarzenegger's filmography. This was a true '80s action flick with a ripped and angry version of Arnold who goes in, takes everyone out and gets his revenge. Red Heat capitalized on the ever-present tension of the situation with a buddy cop film starring Arnold Schwarzenegger and James Belushi. Both men find themselves working on the same case involving a dangerous Soviet Georgian drug kingpin who happens to be the former partner of Schwarzenegger's character, Militia Captain Ivan Danko.
Arnold may be from Austria, but he managed to pull off a convincing Soviet police officer in this classic. Interestingly, this was the first American film allowed to film in Moscow's Red Square. Most of the film was shot in Hungary, but some of the shots took place in Russia, which was a big step for an American production. Jingle All the Way is a kid's movie that revolves around the main character trying to find the hottest toy for Christmas on Christmas Eve.
As any parent knows, that's not possible Arnold plays a convincing absent father who continuously misses his kid's big events so there was no way he would drop the ball on getting his kid a Turbo-Man action figure. He goes toe-to-toe with Sinbad and tears up the city with an extended fight with a bunch of Santas. In the end, Schwarzenegger snags a superhero suit and steps into the role of Turbo-Man! By the time the second film hit theaters, he was out of office and back in front of the camera as an action star and he remained for the sequel.
He wasn't particularly strong or anything in the first film, but he stood up for the second and kicked some butt.
Let's Talk About How Hilarious Arnold Schwarzenegger's Movies Actually Are
The fourth film will see the return of Schwarzenegger in his role, but his level of participation remains unknown at the moment. While the character was poorly made and required Arnold to utter more cheesy one-liners in this one film than he uttered his whole career, it stands up as a performance by the guy and deserves a ranking.
In most versions of Mr. Freeze, the character is a tall, skinny man with little to no muscle tone. And for good reason. The only highlight is an Arnie montage….. A great actor. Why would you make this? It makes no sense.
The 10 Best Arnold Schwarzenegger Movies, Including Terminator, Total Recall And More
The plot does establish that they are scientists, but why is this something that they have been researching? What purpose was there to their research?
Are they being paid to research the viability of male insemination? Then why are they bothering to look into it? Just for the challenge? The thrill of science? A very easy film to hate. This was a time where Arnie was at the height of his powers. This is after Terminator, Conan and Commando. But not many people have seen it. The studio chose to rely on his star power rather than a substantial plot, script, or anything with substance.
That tells you all you need to know. This is a bad movie.
- Jessies Parrot;
- Straight Razor and Other Poems?
- His Every Touch (Book 3).
- Potty Theory: What Every Woman Needs to Know What Every Man Wonders About.
- Not So Superpowered.
Definitely a product of its time. The trailer makes the movie look better than it is. This is a silly film. It wants to be silly.
And not getting it right. Poor Arnie. He has one good joke and they recycle it a few times.
The Best Arnold Schwarzenegger Movies
He plays a character called Handsome Stranger. Also starring Kirk Douglas, the central character, and main antagonist to the plot. Kirk Douglas keeps trying to confront them, but he is rarely noticed, as each plan cartoonishly fails. Possibly the reason Arnie likes doing comedies.
Related Arnold: Schwarzenegger and the Movies
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Tuesday, April 2, 2013
When Sadness Covers My World...
Last night I was watching a King of the Hill rerun where they discover Kahn's manic depressive when after a crazed manic phase of building a mega grill with Hank, they find Kahn curled up in a fetal position in his dark house as he mutters, "Sadness cover me like a blanket. Tuck me in. Let me die." I find this scene hilarious and yet it accurately captures what depression feels like with three simple lines.
I often feel down sometimes for real and specific reasons but sometimes for no solid reason at all. When this happens I try to focus on the little things that make me feel happy each day. The one thing that always makes me feel better no matter what is spending time with my pugs, Sunny and Rosy. Even though they both came prenamed (with different spellings) their names really are perfect because they make everything seem sunnier and rosier!


Today marks the one-year anniversary of the earthquake that devastated Nepal, resulting in the deaths of over 8,000 people. (more…)
A few years ago I was in Leh, India, for a few months. When I received an invitation to a screening of Lady Ganga: Nilza’s Story, I watched the trailer and was drawn in at first by the scenery and the mountainside highway along which Nilza was traveling. Cut to a clinic, which was the same one where I had volunteered.
The next scene showed Nilza’s son Smala carrying a bowl of burning incense while walking around the house chanting Buddhist mantras. This was the house where I stayed, and the same way I was awakened every morning by Smala. (more…)


F418 OLLI Players Workshop
Mondays, 9:40–11:05, Jan. 25-Feb. 15
Clifton Lord of Life
Instructor: Kathie West
This is a continuing acting and producing workshop for serious theater-minded participants by The OLLI Players, an amateur theater group affiliated with George Mason. We have already performed at various venues. In our repertoire we have lyrics, short scenes, and are currently working on a play. This will be continued from the spring session and then performed. We will premiere the play at OLLI and then perform for possible other venues. If you have a scene or a play you would like to see put on, bring it along, and we will try it. You will learn the ins and outs of presentation, memorization skills, and acting tricks. If we are asked to perform at a hospital, senior center or other venues, you must be willing to travel during the day. Be able and willing to tout OLLI and your talents!
Kathie West, an OLLI member, is a former high school theater teacher at Robert E. Lee High School and Thomas Jefferson High School for Science and Technology.


#OscarsSoWhite. #WhiteHouseSoBlack. Today was the day when somehow a movie can be nominated for Best Picture but the director of the same film can’t be nominated for Best Director. Well, we’ve seen that before. What we haven’t seen since 1998 is that none of the folks in who were major nominees were minorities.
Over at the Obama White House they know a little something about the story of a large and in charge Black man running things and being resented and shunned. Tomorrow night there will be a special screening of the movie Selma at 1600 Pennsylvania Avenue in Washington, D.C.
Obviously the folks who were nominated shouldn’t be exempt for not being in a minority group. Several of those nominated were very deserving. But for a Oscars ceremony that only a year ago featured a film like 12 Years A Slave to revert back to the 1955 version of itself is whiplash inducing. Lord knows that members of the Academy are less diverse than the rest of the U.S. population. You can bet that the whining from Team LBJ that surely damaged Selma’s chances isn’t lost on our current President whose style and civil rights legacy is often compared to the 37th president.
With that, President Obama will host the film that was snubbed the hardest on Oscar nomination day: Selma. Friday night’s screening with the President will host the cast and crew. Who needs Hollywood?
Word is that Al Sharpton has called an “emergency meeting” on today’s Oscar nominations. “I have called an emergency meeting early next week in Hollywood with the task force to discuss possible action around the Academy Awards,” Sharpton said. Note that Cheryl Boone Isaacs doesn’t think Hollywood has a diversity problem. Hey, she didn’t get selected to her position by accident.


Winnie Nwagi had been riding on the success of her last hit “Musawo” for a while but she now has another single out titled “Kibulamu” that goes in a slightly different direction.
“Kibulamu” which is Luganda for “it’s lacking” is a much slower song on which Winnie Nwagi is complaining to her lover about how he is falling short when it comes to showing her affection and generally playing his role in the relationship.
The video for this song is out now and just like the audio, it takes a different direction from her last few videos. Directed by J. Gusto, it features Winnie Nwagi playing the role of the angry and frustrated wife in a white rob confronting her husband who has arrived home late.
Unlike some of her previous videos that put emphasis on her sex appeal and dance skills, the bulk of this video puts her acting skills to the test and she does well for the most part. The two engage in a quarrel that escalates seeing her toss his clothes at him demanding that he should leave.
She proceeds to change into a tight dress and a leather jacket with the intention of going out to have a good time but her partner continues to persuade her to stay and hear him out. He eventually succeeds, managing to sit her down but during the process, he makes a blunder that is big enough to negate his previous efforts.
It’s the final twist at the end of the video and I won’t spoil it for you but it was definitely a good way to wrap up the story and credit surely goes to whoever came up with that bit. It is a very brave move to release a dance hit and follow it up with something that tends towards a ballad but Winnie does just that she seems likely to pull it off. Check out the video and share it.


Hook Publicity, opened in May 2010, began as a partnership between veteran publicists Jessica Uzzan and Mary Ann Hult.
Jessica Uzzan is a member of the Marketing and Publicity Branch of the Academy of Motion Picture Arts and Sciences. She has worked as an Independent Film Publicist since 2000, handling New York and National US publicity campaigns and events, as well as International and US festival publicity for films at the Sundance, Toronto, Cannes, Tribeca, New York, and Telluride Film Festivals. She has worked with clients including Sony Pictures Classics, Focus Features, IFC, Magnolia Pictures, The Weinstein Company, Apparition, Lionsgate, Picturehouse, Miramax, Newmarket, Roadside Attractions, IDP/Goldwyn, Palm Pictures, Hanway, Content Film, and many more.
Prior to Hook Publicity, Ms. Uzzan most recently worked at International House of Publicity, where she was the Senior Publicist from 2003 until March 2010. While there, she handled publicity campaigns for films including Best Picture Oscar Nominees AN EDUCATION and PRECIOUS; Pedro Almodovar's BROKEN EMBRACES; VOLVER; and BAD EDUCATION; Michael Haneke's THE WHITE RIBBON; Guillermo del Toro's PAN'S LABYRINTH; CORALINE; EVERY LITTLE STEP; LET THE RIGHT ONE IN; Julian Schnabel's THE DIVING BELL AND THE BUTTERFLY; Mike Leigh's HAPPY-GO-LUCKY; THE ORPHANAGE; Errol Morris' THE FOG OF WAR and S.O.P.; AWAY FROM HER; HAMLET 2; Zhang Yimou's HOUSE OF FLYING DAGGERS; HOSTEL; Michael Winterbottom's THE ROAD TO GUANATANAMO and 9 SONGS; THE BAND'S VISIT; Gus Van Sant's LAST DAYS and ELEPHANT; Robert Altman's THE COMPANY; SUPERSIZE ME; DOGVILLE; and NAPOLEON DYNAMITE.
Prior to International House of Publicity, Ms. Uzzan spent 3 years at Magic Lantern handling film publicity campaigns, first as an Account Executive, and then as Vice President of that company, until it closed in 2003. While at Magic Lantern, she handled publicity for films including Pedro Almodovar's TALK TO HER; Ang Lee's CROUCHING TIGER, HIDDEN DRAGON; PERSONAL VELOCITY; PIECES OF APRIL; Lisa Cholodenko's LAUREL CANYON; Paul Schrader's AUTO FOCUS; DOGTOWN AND Z-BOYS; OUR SONG; TADPOLE; Ed Harris' POLLOCK; and NINE QUEENS; as well as production companies InDiGent and Blue Magic Pictures. She is adept at writing press materials, has long established relationships with the New York Media, is skilled at organizing events and wrangling personalities, and has a passion for promoting small, quality projects.
Ms. Uzzan started her publicity career in 1997 as an intern in the publicity department at Buena Vista Pictures Marketing/Walt Disney Company. After graduating from Tulane University with a BA in International Relations and Spanish, she went on to work as a junior publicist at Sally Fischer PR, handling lifestyle and media clients, and then as a film publicist at Magic Lantern PR in 2000.
Working for both studios and agencies over the past 15 years, Mary Ann Hult, has created innovative film publicity campaigns for over 100 films, for filmmakers from Jean-Luc Godard and Emir Kusturica to Guillermo Del Toro and Robert Altman. From review-driven auterist titles from the Dardenne brothers, Claude Chabrol, and Mohsen Makhmalbaf, to complex and controversial films that required multi-tiered strategies and awards campaigns, such as BOWLING FOR COLUMBINE, BOYS DON'T CRY, LA VIE EN ROSE and THE APOSTLE, Ms. Hult has designed, managed and executed successful campaigns for a variety of extremely successful independent features.
Starting as head of publicity & marketing at the legendary New Yorker Films, Ms. Hult went on to Dennis Davidson & Associates and Fox Searchlight, before starting and leading publicity efforts for Lot 47 Films. Next she led the publicity department for United Artists under Bingham Ray, overseeing the campaigns for 24 HOUR PARTY PEOPLE, COFFEE AND CIGARETTES, HOTEL RWANDA and many others. Most recently, Ms. Hult was Publicity VP at Newmarket/Picturehouse, handling titles such as PAN'S LABYRINTH, A PRAIRIE HOME COMPANION, DOWNFALL and KIT KITTEREDGE: AN AMERICAN GIRL.
Ms. Hult has navigated many roles over the years for the diverse slate of films whose campaigns she has contributed to, and is as comfortable leading a department as she is being part of a collaborative team with all hands on deck. Whether the film be star driven, like PIECES OF APRIL or critic driven, like THE WOODSMAN, Ms. Hult has found the proper channels for each film to receive it's most optimum exposure. She has also often been involved in a film's journey from production or festival acquisition, all the way through to the awards campaign.
More recently, as an independent contractor, Ms. Hult oversaw the national and regional publicity campaigns for THAT EVENING SUN directed by Scott Teems and LA MISSION directed by Peter Bratt and starring Benjamin Bratt. Both films gained momentum on the film festival circuit, but really found their theatrical niche due to innovative marketing and publicity campaigns.
Ms. Hult began her career in film as an intern at Good Machine, after graduating from Bard College in 1994 with a BA in Film and Gender Studies.
Hook publicity is a boutique publicity agency specializing in Film Festivals and Releases of Independent, Foreign and Documentary Films. Hook creates innovative, custom-made campaigns for each project, striving to promote originality and generate media and audience awareness in an often-crowded market place. Hook's outreach encompasses all branches of the media including Broadcast, Print, Online and Niche Press specific to each project.
Theatrical release campaigns:
Hook publicity has developed New York and National publicity campaigns for several high profile films over the years. Due to Hook's strong relationships with the press and media, as well as their overall persistence and resourcefulness on each project, many of these films have gone on to be box office successes, critical hits and Academy Award nominees – and winners.
Recent and current films for NY and National theatrical release include:
- Aaron Schneider's GET LOW, starring Robert Duvall, Bill Murray and Sissy Spacek; winner of the Independent Spirit Award for Best First Film
- Danièle Thompson's CHANGE OF PLANS
- Frankie Latina's midnight cult hit MODUS OPERANDI
- Sean Baker's PRINCE OF BROADWAY; nominated for a Gotham Award
- Alejandro González Iñárritu's BIUTIFUL starring Javier Bardem; Nominated for the Academy Award for Best Actor (Bardem) and Best Foreign Film
- Sylvain Chomet's THE ILLUSIONIST, nominated for an Academy Award for Best Animated Film
- Quentin Dupieux's RUBBER
- Cary Joji Fukunaga's JANE EYRE starring Mia Wasikowska and Michael Fassbender
- Suzanne Bier's IN A BETTER WORLD, Winner of the Golden Globe for Best Foreign Film and winner of the Academy Award for Best Foreign Film
- Billy Corben's documentary LIMELIGHT, which was released by Magnolia Pictures on September 23, 2011
- Jeff Nichol's TAKE SHELTER, starring Michael Shannon and Jessica Chastain, which was released by Sony Pictures Classics on September 30, 2011
- Pedro Almodovar's THE SKIN I LIVE IN, starring Antonio Banderas and Elena Anaya, which was released by Sony Pictures Classics on October 14, 2011; and was nominated for a Golden Globe Award
- Julia Leigh's SLEEPING BEAUTY, presented by Jane Campion and starring Emily Browning, which was released by IFC on December 2, 2011
- Tomas Alfredson's TINKER, TAILOR, SOLDIER, SPY, which was released by Focus Features on December 9, 2011, and was nominated for Oscars for Best Actor and Best Adapted Screenplay
- Joseph Cedar's FOOTNOTE, which was nominated for the Best Foreign Language Film Oscar, and was released by Sony Pictures Classics in March 2012
- Nadine Labaki's WHERE DO WE GO NOW?, which won the Cadillac People's Choice Award at the 2011 Toronto Film Festival and was the Lebanese entry for the Best Foreign Language Film Oscar, and will be released by Sony Pictures Classics in May, 2012
- Nanni Moretti's WE HAVE A POPE, which Sundance Selects/IFC Films released on April 6, 2012
- MIGHTY FINE starring Chazz Palmintieri, Andie MacDowell, Jodelle Ferland and Rainey Qualley, which Adopt Films released in May 2012
- Lorene Scafaria's SEEKING A FRIEND FOR THE END OF THE WORLD, starring Steve Carell and Kiera Knightley, which Focus Features released on June 22, 2012
- Marjane Satrapi and Vincent Paronnaud's CHICKEN WITH PLUMS, which Sony Pictures Classics released in August 2012
- NUIT #1, which Adopt Films released in June, 2012
- THE GOOD DOCTOR, starring Orlando Bloom and Riley Keough, which Magnolia Pictures released in August 2012
- Ursula Meier's Berlin Film Festival Winner SISTER, which Adopt Films released in October 2012
- Ry Russo-Young's NOBODY WALKS, starring Olivia Thirlby, Rosemarie DeWitt and John Krasinski, which Magnolia Pictures released in October 2012
- Cafe de Flore, starring Vanessa Paradis, which Adopt Films released in November 2012
- Bradley Rust Gray's JACK AND DIANE, starring Juno Temple and Riley Keough, which Magnolia Pictures released in November 2012
- Barry Levinson's eco-horror found footage film THE BAY, which Roadside Attractions released in November 2012
- Roger Michell's HYDE PARK ON HUDSON, starring Bill Murray, Laura Linney and Olivia Williams, which Focus Features released in December 2012
- Pablo Larrain's NO, starring Gael Garcia Bernal, which won the Director's Fortnight Prize at the Cannes Film Festival and was nominated for the Best Foreign Language Film Oscar. Sony Pictures Classics released it in February, 2013
- Susanne Bier's LOVE IS ALL YOU NEED, starring Pierce Brosnan, which Sony Pictures Classics released in May 2013
- Pedro Almodovar's's latest comedy I'M SO EXCITED, which Sony Pictures Classics released in June 2013
- Music Documentary MUSCLE SHOALS, which Magnolia Pictures released in October 2013
- Davy Rothbart and Andrew Cohn's Documentary MEDORA, which was Executive Produced by Steve Buscemi and Stanley Tucci, and was released in November 2013
- Ritesh Batra's THE LUNCHBOX starring Irrfan Khan, which Sony Pictures Classics released in February 2014
- Roger Gual's TASTING MENU, starring Claudia Bassols, Jan Cornet and Stephen Rea, which Magnolia Pictures released in April 2014
- Martha Stephens and Aaron Katz's Sundance hit LAND HO, which Sony Pictures Classics released in July 2014
- Sundance Documentary Grand Jury Prize winner RICH HILL, which The Orchard released in August 2014
- Ari Folman's THE CONGRESS starring Robin Wright, which Drafthouse Films released in August 2014
- Xavier Dolan's Cannes jury prize winner MOMMY, which Roadside Attractions released in January 2015
- Damian Szifron's festival hit and Academy Award Nominee WILD TALES, produced by Pedro Almodovar's El Deseo, which Sony Pictures Classics released in February 2015
- Wim Wenders and Juliano Salgado Ribeiro's Academy Award Nominated documentary about photographer Sebastiao Salgado, THE SALT OF THE EARTH, which Sony Pictures Classics released in March 2015
- Lone Scherfig's THE RIOT CLUB, which IFC released in March 2015
- Alex R Johnson's TWO STEP, which opened in August 2015 with a 100% rating on Rotten Tomatoes
- Paddy Breathnach's VIVA, which Magnolia Pictures released in April 2016
- Hirokazu Kore-eda's OUR LITTLE SISTER, which Sony Pictures Classics released in July 2016
- Pedro Almodovar's JULIETA, which Sony Pictures Classics released in December 2016
- Barnaby Clay's Mick Rock documentary SHOT! THE PSYCHOSPIRITUAL MANTRA OF ROCK, which Magnolia Pictures released in April 2017
- Rama Burshtein's THE WEDDING PLAN, which Roadside Attractions released in May 2017
- Ela Thier's indie feature TOMORROW EVER AFTER, which was released in May 2017
- Robert H Lieberman's Cambodia Documentary ANGKOR AWAKENS, which was released in May 2017
- Stanley Tucci's FINAL PORTRAIT which Sony Pictures Classics released in March 2018
- Chloe Zhao's festival award winning and Independent Spirit Award nominated THE RIDER, which Sony Pictures Classics released in April 2018
- Luis Ortega's EL ANGEL, which The Orchard released in November 2018
- Laszlo Nemes' SUNSET, which Sony Pictures Classics will release in March 2019
- Victor Kossakovsky's AQUARELA, which Sony Pictures Classics released in August 2019
- Sameh Zoabi's TEL AVIV ON FIRE, which Cohen Media Group released in August 2019
- Pedro Almodovar's PAIN AND GLORY, which Sony Pictures Classics released in October 2019 and which was nominated for the Best International Film and the Best Actor Oscar for Antonio Banderas
- Alexis Michalik's CYRANO, MY LOVE which Roadside Attractions released in October 2019
- Michael Angelo Covino and Kyle Marvin's THE CLIMB which Sony Pictures Classics will release in March 2020
- Marjane Satrapi's RADIOACTIVE which Amazon released in July 2020
- Matteo Garrone's PINOCCHIO which Roadside Attractions released in December 2020
- Dror Moreh's THE HUMAN FACTOR which Sony Pictures Classics released in January 2021
- Pedro Almodovar's THE HUMAN VOICE which Sony Pictures Classics released in March 2021
Hook Publicity handled US publicity for the 2010, 2011, 2012, 2013, 2014, 2015 and 2016 editions of the Marrakech International Film Festival, securing increased coverage and a higher profile in the US media for the festival.
Hook also represents films at the Cannes Film Festival and all of the major North American Film Festivals including Sundance, Telluride, the Toronto International Film Festival, and the Tribeca Film Festival.
Recent and current films at film festivals include:
- Toronto 2010 International Film Festival publicity for BIUTIFUL, IN A BETTER WORLD, THE ILLUSIONIST
- Telluride 2010 publicity for THE ILLUSIONIST, INSIDE JOB, ANOTHER YEAR, CHICO AND RITA, TAMARA DREWE, OF GODS AND MEN
- Sundance 2011 publicity for Evan Glodell's BELLFLOWER and Susanne Bier's IN A BETTER WORLD
- Tribeca 2011 Film Festival publicity for LIMELIGHT
- Cannes Film Festival 2011 Publicity for THE SKIN I LIVE IN, TAKE SHELTER, MICHAEL, FOOTNOTE, Nanni Moretti's HABEMUS PAPAM, Bruno Dumont's HORS SATAN
- Toronto International Film Festival 2011 publicity for Marjane Satrapi and Vincent Paronnaud's CHICKEN WITH PLUMS, FOOTNOTE, HABEMUS PAPAM, SLEEPING BEAUTY, THE SKIN I LIVE IN, TAKE SHELTER, Nadine Labaki's WHERE DO WE GO NOW?
- Telluride 2011 publicity for A DANGEROUS METHOD, A SEPARATION, FOOTNOTE, IN DARKNESS
- Sundance 2012 publicity for Kieran Darcy-Smith's WISH YOU WERE HERE starring Joel Edgerton and Teresa Palmer, Quentin Dupieux's WRONG, and Nadine Labaki's WHERE DO WE GO NOW?
- Tribeca 2012 Film Festival publicity for CHICKEN WITH PLUMS, CERTAIN PEOPLE, and JACK AND DIANE
- Cannes Film Festival 2012 Publicity for Un Certain Regard prize winner DESPUES DE LUCIA, Michael Haneke's Palme D'or winner AMOUR, Dario Argento's DRACULA, David Cronenberg's COSMOPOLIS, and Matteo Garrone's Grand Prix Du Jury winner REALITY
- Telluride 2012 publicity for THE GATEKEEPERS, NO, AT ANY PRICE, RUST AND BONE, and AMOUR
- Toronto International Film Festival 2012 publicity for Pablo Larrain's NO and Susanne Bier's LOVE IS ALL YOU NEED
- Tribeca Film Festival 2013 publicity for Sam Fleischner's Special Jury Prize Winner STAND CLEAR OF THE CLOSING DOORS
- Cannes Film Festival 2013 publicity for Ari Folman's THE CONGRESS, Alejandro Jodorowsky's LA DANZA DE LA REALIDAD, Katrin Gebbe's TORE TANTZ, Takashi Miike's SHIELD OF STRAW, Frank Pavich's JODOROWSKY'S DUNE, Paolo Sorrentino's LA GRANDE BELLEZZA
- Toronto International Film Festival 2013 publicity for David Mackenzie's STARRED UP, Israeli Oscar entry for the Best Foreign Film Oscar BETHLEHEM, 3D Documentary BEYOND THE EDGE, Ritesh Batra's THE LUNCHBOX, Nils Tavernier's THE FINISHERS, and Lisa Langseth's HOTELL
- Telluride 2013 publicity for Ralph Fiennes THE INVISIBLE WOMAN, Asghar Farhadi's THE PAST, Ritesh Batra's THE LUNCHBOX, TIM'S VERMEER, David Mackenzie's STARRED UP
- Sundance 2014 publicity for the documentary SEPIDEH, which was simultaneously released on itunes during the festival; Mona Fastvold's THE SLEEPWALKER starring Brady Corbet, Christopher Abbott and Gitte Witt; Noaz Deshe's WHITE SHADOW, and Ritesh Batra's THE LUNCHBOX
- Cannes Film Festival 2014 publicity for Damian Szifron's WILD TALES, Mathieu Amalric's THE BLUE ROOM, Asia Argento's MISUNDERSTOOD, and Andrey Zvyagintsev's LEVIATHAN
- Telluride Film Festival 2014 publicity for Damian Szifron's WILD TALES, Bennett Miller's FOXCATCHER, Wim Wenders and Juliano Salgado Ribeiro's THE SALT OF THE EARTH, Gabe Polsky's RED ARMY, Robert Kenner's MERCHANTS OF DOUBT, Mike Leigh's MR. TURNER, and Andrey Zvyagintsev's LEVIATHAN
- Toronto International Film Festival 2014 publicity for Damian Szifron's WILD TALES, Lone Scherfig's THE RIOT CLUB, and Gerard Johnson's HYENA
- Cannes Film Festival 2015 publicity for Nanni Moretti's MIA MADRE, Matteo Garrone's TALE OF TALES, Paulo Sorrentino's YOUTH, Neeraj Ghaywan's MASAAN, and Nabil Ayouch's MUCH LOVED
- Telluride Film Festival 2015 publicity for Laszlo Nemes' Cannes and Academy award winner SON OF SAUL
- Toronto International Film Festival 2015 publicity for Hirokazu Kore-eda's OUR LITTLE SISTER, Pablo Trapero's THE CLAN, and Stephen Page's SPEAR
- Sundance Film Festival 2016 publicity for Paddy Breathnach's VIVA and Alejandro Fernandez Almendras' MUCH ADO ABOUT NOTHING
- Tribeca Film Festival 2016 publicity for NERDLAND starring Paul Rudd and Patton Oswalt, and Rachel Tunnard's Nora Ephron Prize winner ADULT LIFE SKILLS
- Cannes Film Festival 2016 publicity for Pedro Almodovar's JULIETA, Park Chan Wook's THE HANDMAIDEN, Brillante Mendoza's MA'ROSA, Alejandro Jodorowsky's POESIA SIN FIN, Boo Junfeng's APPRENTICE and Oliver Laxe's MIMOSAS
- BAMCinemafest 2016 publicity for Anna Biller's THE LOVE WITCH
- TIFF and NYFF 2016 publicity for Pedro Almodovar's JULIETA
- Tribeca Film Festival 2017 publicity for Petra Volpe's Audience Award, Best Actress Award and Nora Ephron Prize Winner THE DIVINE ORDER, and Rama Burshtein's THE WEDDING PLAN
- Cannes Film Festival 2017 publicity for Alejandro G. Iñarritu's "CARNE y ARENA", Sergio Castellitto's FORTUNATA, Anahita Ghazvinizadeh's THEY and Bruno Dumont's JEANNETTE, THE CHILDHOOD OF JOAN OF ARC
- Telluride Film Festival 2017 publicity for Chloe Zhao's THE RIDER, Sebastian Lelio's A FANTASTIC WOMAN, Andrey Zvyaginstev's LOVELESS, and FILM STARS DON'T DIE IN LIVERPOOL starring Annette Bening
- Toronto International Film Festival 2017, NYFF 2017, and Sundance Film Festival 2018 publicity for Chloe Zhao's THE RIDER
- Cannes Film Festival 2018 publicity for Luis Ortega's EL ANGEL, Vanessa Filho's ANGEL FACE, Mohammed Ben Attia's DEAR SON, Sergei Loznitsa's prize-winning DONBASS, Romain Gavras' THE WORLD IS YOURS, Maria Monge's TREAT ME LIKE FIRE, Valeria Golino's EUFORIA, and Gilles Lelouche's SINK OR SWIM
- Telluride Film Festival 2018 publicity for Ralph Fiennes THE WHITE CROW
- Toronto International Film Festival 2018 publicity for Luis Ortega's EL ANGEL, Gonzalo Tobal's THE ACCUSED, Klaus Haro's ONE LAST DEAL and Laszlo Nemes' SUNSET
- Sundance Film Festival 2019 publicity for Victor Kossakovsky's AQUARELA
- Slamdance Film Festival 2019 publicity for Brian Welsh's BEATS
- Cannes Film Festival 2019 publicity for Pedro Almodovar's PAIN AND GLORY and Elia Suleiman's IT MUST BE HEAVEN
- Telluride Film Festival 2019 publicity for Pedro Almodovar's PAIN AND GLORY and Michael Angelo Covino's THE CLIMB
- Toronto International Film Festival 2019 publicity for Pedro Almodovar's PAIN AND GLORY, Zaida Bergroth's MARIA'S PARADISE, Sebastian Borenstzein's HEROIC LOSERS and Michael Angelo Covino's THE CLIMB
- New York Film Festival 2019 publicity for Pedro Almodovar's PAIN AND GLORY
- Sundance Film Festival 2020 publicity for Michael Angelo Covino and Kyle Marvin's THE CLIMB
- Tribeca Film Festival 2020 publicity for Ria Tobaccowala's SHADOWS
- New York Film Festival 2020 publicity for Pedro Almodovar's THE HUMAN VOICE
- Sundance Film Festival 2021 publicity for Blerta Basholli's HIVE
Additional Publicity services:
Utilizing their experience in the Film Industry and relationships in the Entertainment Media, Hook Publicity can successfully create and implement PR strategies for Production and Distribution Companies, Filmmakers, Movies in Production, and Film-Related Events.
The Yard, 85 Delancey Street
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Afterward, the 15 women lined up outside, accompanied by other moviegoers who believed Gordon had been treated unfairly. The women demanded to see the theater’s manager. At Gordon’s request, he ended up issuing refunds to anyone from the theater who stayed behind to complain.
But no one ever apologized, the women said.
When asked about the incident, the person who answered the phone at the Clearview theater said there was no one there to comment and suggested calling the AMC Theatres corporate office in Kansas.
Spokesman Ryan Noonan of AMC Theatres said he asked the staff to look into the matter.
“Based on our initial investigation, operational mistakes by the theater team led to this unacceptable and unnecessary disruption, and we are working with the theater to address what occurred,” he said in a prepared statement. “We sincerely apologize to our guests in the theater for this disruption and for the frustration they experienced as a result of it.”
You know a biopic is gaining traction in the awards race when it’s hounded by claims of historical inaccuracies. Last year, films like “BlacKkKlansman,” “Bohemian Rhapsody,” and “Green Book” came under fire for presenting distorted or incomplete depictions; this year, Focus Features’ “Harriet” runs the gauntlet. However, writer-director Kasi Lemmons isn’t having it: She firmly believes that it’s impossible to operate as both a first-rate screenwriter and a first-rate historian.


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It’s been a few days but I’m back and continuing my 75th Batman Anniversary Celebration with what can only be seen as the beginning of the downward spiral in contemporary Batman lore.
Batman Forever Theatrical Poster
Director: Joel Schumacher
Screenwriter: Lee Batchler, Janet Scott-Batchler, Akiva Goldsman
Released: June 16, 1995
Method of Screening: DVD
Batman / Bruce Wayne – Val Kilmer
Two-Face / Harvey Dent – Tommy Lee Jones
The Riddler / Edward Nygma – Jim Carrey
Robin / Dick Grayson – Chris O’Donnell
Dr. Chase Meridian – Nicole Kidman
Here’s where the franchise I loved so dear began to fade and I tend to blame Warner Bros for this one for trying to make a “kid-friendly Batman” film. Joel Schumacher is a wicked director (if you haven’t seen it, please watch Falling Down), and Akiva Goldsman is a champ writer (A Beautiful Mind, I Am Legend, Cinderella Man). The thing about this film is that the script WAS awesome. It’s a wicked tale that really breaks down the theme of duality that exists in Batman’s world – that everyone has two sides – who they have to be and who they choose to be.
The story kicks off with Bats suiting up – Bat nipples and all, before a quirky remark to Alfred about dinner. We’ve already set up the lighter tone for the film – Batman is still dark, still brooding, but he’s got a bit of a sense of humor. The cave is flashier – the Batmobile sleeker.
Plot Point 1 / Inciting Incident (~4 minutes, 30 seconds in)
Now the inciting incident in this film is not where some might think it is – it’s not when Bats first faces off against Two-Face or when he first meets Riddler – it’s the first time he comes face to face with Dr. Chase Meridian outside the bank Two-Face is holding up. She challenges his duality, and SHE is Bruce/Batman’s goal for the whole film. Then we get into a big chase sequence involving a helicopter and explosions and such. At one point we learn through a newscast a little later that Dent blames Batman for the scars on his face. So Two-Face’s goal is known – kill Batman.
Plot Point 2 (~14 minutes in)
Here we meet Edward Nygma – an employee for Wayne Enterprises. He pitches (much to his boss’ chagrin) an idea to Bruce in entertainment, where you can implant ideas into people’s heads. Bruce is not a fan, and shuts the idea down. At that point, Nygma’s goal is in place – destroy Bruce Wayne due to the rejection.
Plot Point 3 (~22 minutes in)
Nygma, now in full force rage mode, finds out his device can actually suck brainwaves from people and allow him to ingest it – increasing his intelligence. He performs this on his boss Stickley, and then murders him by pushing Stickley out of a window. However, using his new knowledge, Nygma is able to fake Stickley’s suicide (also the Police’s baffling suicide investigation, which includes a note, and Gordon saying “Yep, definitely suicide”… which wasn’t in the script)
Plot Point 4 / KEY INCIDENT (~30 – 41 minutes in)
I kind of feel there’s several key incidents in this film that motivate everything else that happens in the film. Specifically:
- Bruce visits Dr. Chase Meridian after Nygma begins leaving him riddles – again, Bruce going after his goal, but she’s definitely got a thing for Batman. Bruce asks her to the circus anyway.
- At the circus, Two-Face crashes the party, and nearly bombs the place insisting Batman reveal his true identity.
- Bruce stands up and attempts to yell out that he’s Batman, but the chaos is too loud.
- Dent leaves a trail of dead Graysons in his wake, and Dick is the only survivor – now going to live with Bruce at Wayne Manor.
- This ENDS ACT 1
Plot Point 5 (~44 minutes in)
Bruce reminisces about his parents death, and the effect it has had on his life, and he begins to see a parallel between himself and young Dick Grayson.
Then there’s a big random chase sequence, literally just to show how far Two Face is willing to go to kill Batman. Really… doesn’t add anything to the story.
Plot Point 6 (~53 minutes in)
The meeting of the freaks. It is at this point that Nygma meets with Two-Face and they hatch a plan – team up and steal capital to fund Nygmatech (the IRS must not have a clue what’s going on in Gotham), and then using this new technology, find out who the Batman is and destroy him. Our antagonistic forces are building and creating more obstacles for our hero.
Plot Point 7 (~1 hour, 1 minute in)
At this point, Nygmatech is fully funded and they have their own private island (seriously IRS, take a look at where this dude gets his cash) and the stocks are selling fast. Nygma meanwhile, continues to ingest knowledge from all of the Gothamites who have purchased his product – essentially making him one of the smartest men alive.
Plot Point 8 / MIDPOINT (~ 1 hour, 2 min – 1 hour 10 min)
The midpoint spans a good chunk of the film – an entire sequence. Specifically Dick finds the cave and realizes who Batman actually is, and goes on a joyride in the Batmobile. Meanwhile, Bruce is again with Dr. Meridian (see the pattern? Inciting incident, key incident, and now midpoint have all been interactions with Chase). He informs her about his parents murder, and how that has affected him further. She gives him a dreamcatcher figurine (something too Two-Face-esque to be a coincidence). Bruce then suits up when Alfred inform him of Dick’s adventure, and brings him home. Dick says he’s intent on finding and killing Two-Face, while Bats tries to talk him out of it. Bruce encapsulates the film in a line to Dick during this conversation. “We’re all two people” – who we have to be, and who we choose to be.
Plot Point 9 (~1 hour, 15 minutes in – 1 hour, 20 minutes in)
While attending a party for Nygma, Bruce unwittingly has Nygma’s machine turned on while he’s inside, allowing Nygma to record that he’s got “Bats on the brain.” – deducing that Wayne is Batman. Conveniently though, in an attempt to draw in Batman, Two-Face breaks up the party. Sure enough, after the machine shuts down, Bruce scampers away to get his batsuit and returns to kick ass.
However after a chase into the subway, Two-Face gets the upper hand and buries Batman in sand, only to have Dick Grayson, dressed in his old trapeze artist getup, save him. Bruce ain’t happy with Dick doing this..
Plot Point 10 (~1 hour, 29 minutes in)
After Bruce decides to retire from being Batman, he shuts down the cave, and plans on telling Chase everything – who he is, his duality, etc. However before he gets the chance to he has more repressed memories come through of his parents death, and Chase kisses him – and BAM. Since she previously kissed him as Batman, she just knows. Then Riddler and Two-Face, now knowing that Wayne is Bats, storm the place with their cronies, destroy the cave, shoot Bruce, and kidnap Chase.
This ends ACT 2 – because now Bruce’s goal has evolved – not only has he been trying to get Chase on a personal level, now he needs to get Chase to save her life.
Plot Point 11 (~1 hour, 39 minutes in)
Bruce and Alfred finally crack Nygma’s riddles, and now know that Riddler & Nygma are one in the same. Batman decides to try out his new prototype suit, and Robin shows up – in his own armour getup. They’re partners now. 2 against 2 are better odds (a lot of 2’s in this movie).
Plot Point 12 (~1 hour, 46 minutes in)
As Batman and Robin storm Riddler’s huge lair (seriously, who paid for this?) the island shifts, and part of it is raised into the air – with Robin on it. Batman is left below and climbs into a hatch on the side of the silo. However Robin comes face to face with the man with two faces, and seemingly defeats him – and in Robin’s character climax, he ultimately decides to spare Two-Face, saying he’d rather see him in jail than in hell. Two-Face uses this moment to pull a gun on Robin and take him hostage.
The most practical setting for technology research.
CLIMAX (~ 1 hour 50 minutes – 1 hour 54 minutes in)
Finally coming face to face with Nygma and Dent, Batman is forced to choose between saving Robin or Chase. They’re suspended above a long fall into a rocky watery grave. Riddler, claims that Batman can’t save them both (just like Bruce can’t continue being both Bruce Wayne and Batman). But Batman manages to throw a batarang to destroy Nygma’s machine, and swoops down, managing to save both Chase and Dick as they fall. He can save both of them, because he can be both Bruce and Bats (Chase symbolizes Bruce Wayne, Dick symbolizes Batman). Then Two-Face manages to catch up with them, and Batman manages to convince Harvey to toss the coin to decide their fates, and as he does, Bats tosses a bunch of other coins up, confusing Two-Face and causing him to fall to his death.
Dent is dead, Nygma is locked up in Arkham, and now due to the destruction of his machine, can’t remember that Bruce Wayne is Batman. Bruce and Chase meet outside, and kiss.
Now like I said before – this story had so much potential, and somehow it got goofed up along the way.
The script I found is actually very close to the finished film in a lot of ways although many scenes were either cut that were considered to grown up, or moved around.
- The first scene in the script where they show how Dent escaped from Arkham was cut
- The scene where Bruce meets Nygma is actually essentially the second scene in the script, but it shows up in the film considerably later (about 20 minutes in)
- Sugar and Spice (Two-Faces henchwomen) were named Leather and Lace and their scenes were a little more risqué.
- In the film, Alfred asks Bruce why he keeps doing what he’s doing – his parents are avenged, the Wayne foundation contributes money to anti-crime programs, etc. In the script, Bruce asks these things, and specifically mentions Jack Napier by name.
- A short sequence where Bruce suffers a little amnesia after being shot by Two-Face (this was shot, but cut from the film)
- Batman doesn’t throw more coins to Two-Face to make him fall, Two-Face simply tosses the coin a little too far and loses balance trying to reach out to grab it.
- Chase seems to forget that Bruce is Batman for some reason after Bats saves her from Two-Face, but seems to know it in the final scene… and in the final scene, Bruce isn’t there, just Alfred.
It’s a shame really, because this could have been such a good movie about the struggles with duality (a theme very present in The Dark Knight… because Two-Face is a villain that represents that aspect of Bruce’s psyche).
The biggest problem with the final film though, is that Two-Face is essentially The Joker… his characterization is an over-the-top psycho with an obsession with Batman – it’s not about what he perceives as “justice” – he just seems to love chaos and anarchy.
What this film does is teach us something about screenwriting – you can write a wicked screenplay, and have it turned into a bad movie.
Script (dated June 24, 1994)


Written for a class and my first attempt at writing a theater piece in over a decade. It's crap, but it documents development... of some sort. Inspired by a one act play written by Tennessee Williams entitled Steps Must Be Gentle that depicts a dialogue between the poet Hart Crane and his mother in the afterlife.
Cast of Characters
Thomas “Tennessee” Williams, a son
Edwina Williams, a mother
Scene: The characters are ghosts. Thomas has a Southern drawl as thick as molasses and, in many ways, is the prototypical Southern gentleman. His sense of humor has a caustic edge that can be shocking to some. Edwina is one of those people. She is a woman of great pretension, very fussy with her appearance, and her sweet criticism of those around her hides a reflex to belittle others. During the play, they move slowly and, as one talks, the other will sometimes stare off into space. They stand at each end of the stage facing one another. The set is some netherworld beyond our own. There are no props, per se. As the action takes place, the stage lights change colors constantly against a black backdrop at the rear of the stage. A thin mist occasionally fills the stage.
They enter from each side of the stage when the play begins.
Thomas: (flatly) Mother.
Edwina: Where am I? I don’t know where I am. Who are you?
Thomas: It’s me, Tom.
Edwina: (sternly; primps her hair a little) Is that you, Cornelius? I’ve got nothin’ to say to you, Cornelius.
Thomas: (smirks) It’s me, Tom, your beloved son. Dad isn’t here.
Edwina gazes around the stage. A baffled look in her eyes suggests she is trying to comprehend her surroundings.
Edwina: (hesitantly) Tom… am I dead? Are we –
Thomas: (interrupting) – dead? Yes, we’re both quite dead, I am afraid.
Edwina: Is this heaven?
Thomas: (smirking) I find it inspiring that you, of all people, should assume that, being dead, you must surely be in heaven amongst the angels.
Edwina: Such an insolent, disrespectful son, even in death. I endured the… impurity of bringing you, your brother Dakin, and your sister Rose into the world, I endured the revolting behavior of your father, and this is my eternal reward.
Thomas: (unaffected; speaking calmly) How funny that you mention impurity, mother. Our hearts can be impure and we can commit foul deeds. But I have found that the lack of forgiveness has its own impurity. We are meant to forgive. Even here, in this place.
Edwina: (fingers her hair nervously) What is it that you want to forgive?
Thomas: (his face softens with emotion) Not what… but whom. You, mother.
Edwina: (genuinely surprised) Well, I don’t understand. Forgive me? What for, Tom?
Thomas: For our broken Rose… how you failed her. The terrible crime you committed against her.
Edwina: Tom, I don’t –
Thomas: (becoming emotional) The mutilation –
Edwina: (horrified) Stop it now! I will –
Thomas: - of her brain!
Edwina: (whispering, almost hissing) You don’t know what you’re talking about! You’re crazy, just like her. It was my cross to bear. Cornelius and his progeny, none of whom would appreciate the refinement I sought in life, and all of whom would come to hate me for merely aspiring to higher things.
Thomas: (amused) Such as submitting your daughter to a lobotomy because she has “scandalized” you? Is that among the higher things you aspired to? I never knew your zest for life was so… versatile.
Edwina: She was full of filth. She behaved in a filthy manner, she said filthy things, and she harbored filthy thoughts. The doctors told me and your father it would stop it all and she would be peaceful.
Thomas: Peaceful? Yes, peaceful, and completely broken, but for what? For expressing her desires! For taking pleasure from life and delighting in her body! If she became dangerous, it was because you drove her to it. And what about me? I was something you loathed and could never discuss. A homosexual.
Edwina: (stiffens) I don’t wish –
Thomas: What you wish is immaterial right now.
Edwina: (indignantly) It was always immaterial, my son. I was a minister’s daughter and I was raised to respect a certain way of life. But my husband brought me nothing but grief with his drinking, card playing and philandering and then my children brought me nothing but crushed hopes! A daughter who changed before my very eyes! You can’t imagine what it did to me. You’re too concerned with yourself to see it!
Thomas: Oh, the indignities you suffered! Your daughter spent her life in institutions, you witch! I kept her comfortable, but it was all I could do. And… I had devils of my own to contend with. (laughs darkly) Promiscuity to ward off despair. Drugs – pills to sleep, to wake up, to shut down, to work, to stagger through the rehearsals and rewrites. The liquor, the endless, brainless gallons of liquor I washed down to bury the promiscuity to ward off despair, the drugs to sleep, wake up, shut down, work, and get through the day. While I was being a brother to what you deemed to be undignified, I lost my way. My glorious life ended alone choking to death on a pill bottle cap in a New York hotel room. I should have died with Rose at my side so I could tell her how I loved her so. The indignity you couldn’t love!
The colors on the backdrop behind the actors begins to cycle through different shades of blue. The stage lights dim slightly.
Edwina: (visibly shaken): Our lives were disasters, it seems. Perhaps I shouldn’t be forgiven. This world is lit by tears and I haven’t paid for my crimes yet. My son, don’t forgive me. Not yet, not even now. (she extends her arms out towards him) I am sorry though. Sorry for the disaster of our family, and I’m grateful for the good times we had. Search for forgiveness, but it doesn’t matter if you find it for me, I’ll be sorry for all of this into eternity, Tom. And so – goodbye.


Interview with John Turturro on his new comedy, co-starring Woody Allen.
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Interview with writers Christopher Markus and Stephen McFeely!
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Interview with Morgan Freeman and Dr. Patricia Wright about the 3D IMAX film.
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Godzilla destroys, plus the first footage from Jersey Boys, The Judge and more!
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The studio previews its entire 2014 line-up with great new footage!
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I became interested in the films of Sono Sion the moment I saw the audacious opening scene of Suicide Circle more than ten years ago. Although Sono isn’t as prolific as Takashi Miike, his work is often as transgressive and stylistically exciting (IMDB lists 39 directing credits for Sono against 93 for Miike, although Sono’s first is dated six years before Miike’s). Both directors possess a wildly imaginative approach to film which allows them to shoot off in strange and unexpected directions, which for a western viewer provides refreshingly unpredictable viewing experiences. And as with Miike, Sono’s films are sometimes a bit uneven in execution. The shot-in-New York Hazard (2005) was a disappointment, while Exte: Hair Extensions (2007) was a fairly conventional Japanese long-haired-ghost story. Strange Circus (2005) is an hallucinatory, multi-layered fantasia centred on a woman who was abused as a child, while Noriko’s Dinner Table (made the same year and nominally a “sequel” to Suicide Circle) is an epic meditation on the disintegration of the Japanese family in a morally bankrupt society. The theme of the fragility of identity in a culture which is no longer coherent runs through most of Sono’s best work, including his epic masterpiece Love Exposure (2008) and the post-tsunami melodrama Himizu (2011).
It’s also present in the more recent The Land of Hope (2012), released in England on Blu-ray by Third Window Films, accompanied by a 70-minute, somewhat impressionistic documentary about the production.
On its surface seemingly calmer than much of Sono’s work, The Land of Hope resonates more deeply with a sense of stoicism warding off despair. Inspired by the Fukushima reactor disaster, the film recounts the story of two families whose lives are irrevocably changed when a nuclear plant blows and the authorities create a safety perimeter which literally runs down the street between their two houses. On one side, people are bused off as refugees, while on the other an elderly couple stay in the farm house where they’ve lived their entire lives. (This situation is rooted in reality, as the documentary shows; Sono was inspired in his research when he found a family whose garden was split in two by the exclusion boundary. They were free to stay in their house, but forbidden to cross into the other side of the garden, as if radiation contamination had been contained by the flimsy fence.)
Yasuhiko (Isao Natsuyagi) and his wife Chieko (Naoko Otani) see no reason to abandon the world they’ve known all their lives, particularly as Chieko is slipping into dementia and needs the anchor of familiar surroundings; but Yasuhiko insists that his reluctant son Yoichi (Jun Murakami) take his wife Izumi (Megumi Kagurazaka) far from the danger. Outside the disaster area, Yoichi and Izumi meet with prejudice and suspicion from people who would rather not think about radioactive contamination. When Izumi becomes pregnant, she becomes consumed with paranoia about the safety of her baby, sealing up their small apartment and buying a full-body radiation suit which she wears outside, drawing ridicule and resentment from their neighbours. And so the film quietly follows these lives shattered by an event over which they had no control and about which the authorities continually lie. Yet Sono manages to find some hope in the mere fact of survival, the possibility of carrying on despite such catastrophic change. In The Land of Hope, he goes beyond the brutal shocks which characterize much of his work to find something deeper and more moving, while continuing his acerbic critique of contemporary Japan.
Eureka’s dual-format edition of Richard Fleischer’s Violent Saturday (1955) is a quantum leap beyond Twilight Time’s disappointing DVD from 2011 (that was a standard definition, non-anamorphic transfer, apparently made years ago for a laserdisk release. The Blu-ray is really striking, with a lot of depth and detail in the 2.55:1 image. The film itself, scripted by the versatile Sydney Boehm from a novel by William L. Heath, is a fascinating hybrid – a noirish crime story dealing with three men who arrive in a small desert town to rob the bank mixed with a multi-character narrative about various citizens whose lives gradually converge at the time of the Saturday afternoon heist. Fleischer manages to balance all the elements effectively, allowing each character to acquire some depth – all are flawed, morally compromised, the explosion of violence forcing resolutions for many of them of deep-rooted problems.
While there are touches of absurdity – the action climax which takes place on a small Amish farm where the pacifist father is finally pushed to (what for him is) an unforgivable act of violence in order to save another man’s life – much of the film has the air of eavesdropping on the small sins of ordinary people. Sylvia Sidney as the heir of the town’s founder, now fallen on hard times and working as a librarian, who commits a petty theft in order to save herself from harassment by the local banker; Tommy Noonan as the bank manager who has developed a voyeuristic fixation on company nurse Virginia Leith. Richard Egan, the alcoholic partner in the local mining company, driven to despair by his love for unfaithful wife Margaret Hayes; and Victor Mature as Egan’s partner, a man whose son is ashamed because he didn’t go to war and become a hero like his classmates’ dads.
Weaving in and out of these lives, the three-man gang methodically plan their job, timing everything to the second while increasingly rubbing each other the wrong way. Stephen McNally is in charge, with J. Carroll Naish and Lee Marvin along to do the work. Marvin is terrific as a coldly vicious thug addicted to nasal spray. In fact, the entire cast is excellent. If the film lacks the tension of Asphalt Jungle and The Killing, it’s not because of any shortcomings on the underrated Fleischer’s part; his approach is leisurely, allowing the various elements to coalesce with quiet inevitability around the robbery, when violence shatters all the petty tensions which have been steadily accumulating.
Fleischer was a skillful director who always served his material rather than imposing himself on it. If we get no clear sense of his personality from his broad body of work, many individual films do stand out, beginning with Armored Car Robbery (1950), The Narrow Margin (1952), 20,000 Leagues Under the Sea (1954) on through Compulsion (1959), The Boston Strangler (1968) and 10 Rillington Place (1971). He was capable of handling big studio productions like The Vikings (1958) and (less successfully) Doctor Dolittle (1967), and despite its reputation, Mandingo (1975) is a far more incisive portrait of the perversity of the slave-owning South than Tarantino’s obnoxiously smart-ass Django Unchained. Although he kept working into his 70s, his later work is less interesting, sadly petering out at last with Dino De Laurentiis’s Million Dollar Mystery (1987). So it’s nice to see this unusual film from the mid-’50s given new life on disk. Adding to the value of Eureka’s release is the inclusion of an enthusiastic 21-minute appreciation of Fleischer by William Friedkin and a 28-minute visual essay about the film by French critic and filmmaker Nicolas Saada, plus a lengthy booklet with an essay by Adam Batty and a reproduction of the original Exhibitor’s Campaign Book.
Eureka’s Blu-ray release of Franklin J. Schaffner’s medieval romance The War Lord (1965) is also a big improvement on earlier DVD editions (in region 1 from Good Times Video and region 2 from Eureka). Schaffner is best known, of course, for Planet of the Apes (1968) and Patton and a few other big movies from the ’70s, which seemed to get progressively duller (Nicholas and Alexandra, Papillon, Islands in the Stream, The Boys From Brazil). He got his start in live television during the ’50s (including the original Twelve Angry Men  for Studio One), making the transition to theatrical features with The Stripper (1963) starring Joanne Woodward and Gore Vidal’s The Best Man (1964) starring Henry Fonda. But then the next year, following those small personal dramas, he made the surprising decision to adapt The Lovers, an unsuccessful play by Leslie Stevens (creator of The Outer Limits). I’ve been a fan of this intimate historical epic since I first saw it on TV (pan-and-scanned in black-and-white) back in the early ’70s, and now the Blu-ray finally does it justice on home video.
Although Schaffner’s budget didn’t stretch to shooting on location in Europe (he filmed in California), The War Lord nevertheless feels more authentic than most Hollywood historical epics. The biggest issue for a viewer is getting past the very American cast which initially creates an odd tonal discordance, despite the excellent, detailed production design. But once you accept Charlton Heston, Richard Boone and Guy Stockwell as medieval Frenchmen, the movie seldom falters. Heston as the knight Chrysagon is more or less able to suppress his resentment for the loss of his family heritage (the result of everything having to go to pay ransom for his father, kidnapped by northern barbarians), relegated now to serving another lord and assigned to guard a remote bit of land on the borders where the local peasants pay only lip service to Christianity, while still adhering to their ancient pagan rites. Chrysagon is aided by his faithful lieutenant Bors (Boone) and his bitter younger brother Draco (Stockwell). Lonely and depressed, Chrysagon becomes attracted to a local woman, Bronwyn (Rosemary Forsyth), and unable to get past the “spell” he feels she’s cast on him, on her wedding day he claims the right of the lord to be the first to possess the virgin bride. This triggers the seething resentment of the peasants, who ally themselves with the barbarians to lay siege to the small castle.
The movie, scripted by John Collier and Millard Kaufman, does a fine job of playing the story’s various forces against each other, and Schaffner skillfully balances the spectacle (the protracted siege of the castle is a fine piece of sustained action filmmaking) with the personal, emotional elements. Often when Hollywood took on this kind of historical subject, the results leaned far more towards the spectacle (even in such well-made movies as Anthony Mann’s El Cid and The Fall of the Roman Empire), with characters all but buried under the weight of the production. The War Lord manages to keep its human drama in focus at all times, using personal feelings and motivations to drive the larger-scale action. Although largely forgotten in the wake of Heston and Schaffner’s follow-up collaboration, Planet of the Apes (1968), The War Lord stands as one of the finest pieces of work done by both actor and director, deserving to be raised in both audience and critical estimation – a process which this new Blu-ray may help to initiate. Although not surprising given the film’s age (almost 50!), it’s a pity Eureka offers no supplements, only providing a booklet featuring a new essay by Michael Brooke, Tom Milne’s original favourable review from Monthly Film Bulletin, and excerpts from Heston’s diaries kept during the long process of development and production.
Robert Altman’s adaptation of Raymond Chandler’s final major Philip Marlowe novel (it was followed by the minor Playback and the unfinished Poodle Springs) was not well-received when it was first released in 1973. Chandler purists disliked what Altman and scriptwriter Leigh Brackett (who previously had scripted Howard Hawks’ classic The Big Sleep from an earlier Chandler novel) had done with the character. And yet, in retrospect, despite the liberties taken, The Long Goodbye can be seen as one of the peaks of Altman’s fascinating early career in features (after years of television work in the ’50s and ’60s).
In contrast to Robert Towne and Roman Polanski, whose Chinatown was released the following year, Altman had no interest in doing a period film which would risk being mere pastiche. Instead, he relocated the character of detective Philip Marlowe to contemporary southern California as if he had somehow slept through the previous twenty years. Elliot Gould has Marlowe almost sleepwalking through a world of moral compromise, betrayal, lost ideals; this disconnection infuriated people who prefer their detectives proactive and in charge of circumstances. It’s quite true that Gould’s Marlowe does very little detecting; he drifts on a tide of contingency, but nonetheless finds himself constantly at the centre of events, a witness to lives crippled by a lack of purpose combined with monumental egotism. The film is a wry portrait of America at the end of the Nixon era, a time when it was all too easy to throw up one’s hands in disgust and walk away from the corruption. Marlowe, however, is morally affronted by what he learns and (again to the horror of the purists) puts an end to the friend who used and betrayed him in a final act which still has the power to shock.
Like so many of Altman’s best films, The Long Goodbye has a terrific – and somewhat unconventional – cast. The film gave Sterling Hayden one of his finest roles as the tortured alcoholic writer Roger Wade, which drew deeply on the actor’s own history (having testified and named names to the House Un-American Activities Committee in the ’50s, Hayden was haunted by that act for the rest of his life). As Wade’s wife, Altman cast Danish former folk singer Nina van Pallandt, at the time famous for her relationship with hoax Howard Hughes biographer Clifford Irving; that same year, she appeared in Orson Welles’ brilliant, playful F For Fake. The film marked the first of four appearances for Altman by comedian Henry Gibson, a small man who rather frighteningly intimidates the much bigger Hayden as a creepy fake psychologist who’s blackmailing the writer. Director Mark Rydell appeared as vicious gangster Marty Augustine, while baseball player Jim Bouton gives a breezy, cheerful performance as Terry Lennox, the friend who betrays Marlowe. And, surprising in retrospect, none other than Arnold Schwarzenegger turns up in a funny, non-speaking cameo as one of Augustine’s henchmen.
Coming after the rather brittle stylistic experiment of Images (a film which holds up less well now), The Long Goodbye stands with McCabe & Mrs Miller as the greatest of Altman’s ’70s films; both works with a loose, improvisatory feel which nonetheless maintain a rigorous narrative control with an almost tragic view of characters lost in a world defined by economic transactions. At base, these are depictions of what capitalism does to people’s lives and personalities.
Arrow’s Blu-ray does a superb job with this underrated film, managing to capture the distinctive look created by Altman and cinematographer Vilmos Zsigmond by pushing to extremes the technique of flashing they’d previously used on McCabe. This involved exposing the undeveloped negative to varying intensities of light which affected colour depth and contrast levels; the result is a soft, almost pastel image with a high degree of picture detail – tricky to transfer faithfully to video. (There’s a fascinating article in the accompanying booklet reprinted from American Cinematographer, which goes into a lot of detail about the risks and benefits of the process, as well as a 15-minute interview with Zsigmond on the disk.)
As is now often the case with Arrow, the disk is packed with contextual supplements, including a 53-minute Q&A with Gould in which he discusses the film and his debt to Altman for more or less saving the actor’s career by giving him the part; a 24-minute piece called RIP Van Marlowe, in which actor and director talk about their approach to the character; a 56-minute documentary about Altman and his career; a 21-minute interview with critic David Thompson about the film; the aforementioned interview with Zsigmond; and two 15-minute interviews about Chandler and hard-boiled fiction in general.


So I like to think of myself as a scary and gory movie buff. I’m not one who is easily shocked, disgusted or even offended by most horror films. It’s part of the enjoyment factor for these kind of movies. Last night I finally decided to watch The Human Centipede which pretty much left me feeling shocked, disgusted and offended. A hat trick of moral depravity in a sense. There’s little enjoyment to be found in this movie outside my own morbid curiosity.
Now I have to say I’m a sucker for Internet hype at times. This film certainly being one of the internets overhyped films I couldn’t help but be drawn to this movie. Now I went into watching this full well knowing it was going to be sick and twisted, but there was no way I could have prepared myself for what this movie had to offer.
Throughout the film I kept thinking to myself “Someone actually conceived this idea… WTF?”
So of course I go onto Facebook expressing this exact sentiment only to hear from numerous friends that the first film was intended to desensitize you for the second film which is magnitudes more disgusting and foul. Which honestly to take this concept and make it more offensive for the sake of being offensive says a lot about how deeply disturbed the writer/director of this film really is. Now I’ll admit as much as the first one hit me with a trifecta of foulness, in the end I did finish the film, but I’m just not sure that I have any vested interest in seeing the sequel(s). I mean at some point when does horror end and murder porn begin?
With Human Centipede there’s a very thin line between a horror movie and a snuff film. The only thing that keeps it from reaching snuff film levels is the fact there is no fucking going on and that it’s obviously fake.
I know I’m the one who decided to watch this film, I also know I’m the one who decided to stick with it through to the end, (which speaks volumes about my own comfort factor with my dark side of my psyche) but honestly more than anything this movie left me with a true understanding as to just how dark other people can get. It makes me seriously wonder if the director has some serious mental issues. I’m not so much shocked by the film as I am by the fact that this came from the mind of someone who thinks its an even better idea to make a sequel 1000 times more disgusting and offensive without questioning himself “WTF is wrong with me? There’s something seriously wrong here”.
Needless to say its unlikely I’ll partake in watching the remaining films in this franchise, and while I don’t regret watching this one, I must admit that my own sense of morbid curiosity has been shamed and owned by it, that watching the remaining ones would beg the question if I’m just as warped as the writer/director. I’ll never think of the term “going ass to mouth” the same way again lol.
Anyway sorry for the delay in this weeks post. I’ll be sure to write a few times this week to make up for last weeks laziness. Until then I encourage any comments or questions today’s post leaves you with.