Movie Review: Fury (2014) Starring Brad Pitt, Shia LaBeouf, Logan Lerman, Michael Pena, and Jon Bernthal. Written and directed by David Ayer.
“War is cruelty and you cannot refine it.”—William Tecumseh Sherman
The World War II movie has been around as long as the war itself. Hollywood began churning out anti-Nazi flicks even before combat began in Europe in 1939, and from the moment Japanese bombs fell on Pearl Harbor Tinseltown was all in. Some of its best efforts, like Casablanca, weren’t even about war, but about how the conflict disrupted lives and displaced lovers.
We could review some of the films that came out during the war (and some of them were quite good), but one movie released 53 years after the war’s end changed everything. Steven Spielberg’s Saving Private Ryan in 1998 took combat on film to a level and an intensity never seen before, and no movie made after it can hope to pretend to anything other than farce if it doesn’t measure up.
To be sure, other films before that—particularly Oliver Stone’s Platoon (1986), Spielberg’s Schindler’s List (1993) and Michael Mann’s 1992 version of Last of the Mohicans—brought a sense of realism to the violence and trauma of war that hadn’t been present before. But the opening twenty minutes of Private Ryan, which recreated the D-Day landings of June 6, 1944, were harrowing and graphic in a way that left audiences riveted and many veterans traumatized. I saw it six times in the theater and many times since on DVD and its impact remains unchanged.
Now comes David Ayer’s Fury, released October 17. The story of a American tank crew in the last days of the War, the movie stars Brad Pitt and a nice ensemble cast, and it follows the genre in all its clichés perfectly.
The World War II buddy movie has a time-worn formula that movie makers are loathe to give up. You’ve seen it many times. The squad is made up of a motley and diverse cast of characters who all make jokes at each other’s expense but who of course love each other and are bonded by combat. There is always a wisecracking New Yorker with a Brooklyn accent; a Midwesterner, usually nicknamed “Iowa” or “Nebraska”; a Southerner, often a sharpshooter (think Sergeant York), who dryly quotes scripture almost every time he’s on screen and putting a bullet in somebody’s head. He is invariably nicknamed something like “Hillbilly” or “Tex”; a hard-boiled, brooding leader with a mysterious background who ends up usually hailing from either Pennsylvania or the Midwest and turns out to be either a mailman or a baseball coach before the war; and finally, one member who passes for a minority, either a Jew or a Hispanic.
Very early in the film one standing member of the group will get killed and will inevitably be replaced by a green-as-a-Granny-Smith-apple rookie who a) has never seen combat), b) is usually anti-violence and loathe to kill, no matter the circumstances and c) becomes the squad egghead and/or resident sissy who quotes poetry or will be seen reading a book of some kind during a lull in combat. This fellow’s manhood will be questioned, will be found wanting, will be put to the ultimate test, and he will, in the end, be the only one standing.
Also part of the formula: the squad will fight for most of the picture as part of a larger unit but near the end of the flick they’ll find themselves cut off from everyone else and forced to make a hard choice: run and try to re-join the larger group or stand and fight and face near-total annihilation while serving the larger cause. Guess which one they choose?
Saving Private Ryan, for all its combat realism, followed this formula right down to the last moment, and Fury does too. Unlike Spielberg’s film, however, Ayer’s offering is no love letter to the generation that fought the Big One. This is all about Sherman’s quote that began this blog—war is hell, and you cannot refine it. The movie opens with violence and follows it through right to the end, and you’re not always sure what the larger story arc is, other than survival. And that’s precisely the point. By April 1945, when this movie takes place, most combat veterans just wanted to make it to the end; whatever larger, overarching theme there is in this movie is juxtaposed with the soldier’s will and desperation to survive—another minute, another hour, another day, to make it to war’s end, and then back home again.
There are of course things wrong with this movie, starting with the fact that there were no 50-year-old tank commanders in World War II. None. Nada. Zilch. If you were 50 years old and in the U.S. Army, you were a general. You were nothing else. Even Tom Hanks was beyond the age, at 42, of a captain in Private Ryan. Grizzled and weary WWII combat soldiers were 28.
To Brad Pitt’s credit—and this soon-to-be-50-year-old is eternally grateful—he makes you forget he’s 50. He’s as plausible in this role as he’s ever been in anything he’s done in his long career, and in this instance his pretty-boy looks and youthfulness serve him well. Those same attributes often make you overlook the fact that he’s a fine actor, but this time he makes the most of them without making that the reason you cheer for him.
To my mind, this role is a turning point in Pitt’s career. He is as close now to what passes in Hollywood for a Gary Cooper or a Clark Gable—the man who, when he is on the screen, commands your attention without even opening his mouth. Pitt does that numerous times in this movie, sometimes quite literally taking command of a situation that threatens to explode right in front of you, and he never even moves. If George Clooney is our modern-day Cary Grant, and Tom Hanks is Jimmy Stewart, Pitt is Coop, The King, Errol Flynn, and in some ways Henry Fonda all rolled into one—a character with an earnest but quiet dignity that evokes the best moments of those stars from Hollywood’s golden era.
One thing this movie does well is muddy the waters of the narrative of the American G.I. Whatever else Stephen Ambrose would have us believe about the American soldier as liberator, there are moments in this film when one wonders how excited the German civilians were to see the Americans roll into town. War obliterates all rules, and even the most civilized people can be brutalized and desensitized by unrelenting violence. Fury demonstrates this well. Ayer’s G.I.s are not the sort of people you’d meet at an ice-cream social, and Americans or no, there’s no mistaking the reality that Western Civilization itself was a casualty of this war.
Another point that is well made in this film: American military personnel did not take any German S.S. as prisoners. Members of the S.S. were trained killers, and they were treated as such, a point made repeatedly in all the recent movies and mini-series. Watch for it here too.
Is this the best WWII tank movie ever made? Nope. Since this is a blog about history, my money is still on Humphrey Bogart’s 1943 classic, Sahara, which employed all the buddy war-movie clichés but with a United Nations cast, and with Bogart’s ultra-cool, towering performance that still stands over 70 years later. Every generation needs to interpret World War II for itself and let its stars stand in for those of yester-year, whether it was Bogart, George C. Scott as Patton, Clint Eastwood in the Vietnam-era Kelly’s Heroes, Tom Hanks, and now Brad Pitt.
In the end, what we’re left with is the sense that the war was big, messy, and traumatizing for all those who fought in it. Those who survived were damaged too, in different ways. It’s hard to come away from this film—or any other good one about war—and not be convinced that however necessary it might sometimes be, it always destroys more than it preserves.
This movie too, like its predecessors, reminds us—and we always need reminding—that, as Bruce Catton so eloquently put it, when the Great Challenge comes, the most ordinary among us will rise up and do great things. But the cost will always be high. As the World War II generation literally disappears from our sight, we’re haunted by the question of what all those young men left lying on WWII battlefields—and indeed from all wars—might have achieved if they had been allowed to return to a world without war.


The latest volume of Performing Arts Resources, Holding Up the Mirror: Authenticity and Adaptation in Shakespeare Today, was mailed to all Theatre Library Association members last month, and is now available for sale.
PAR 30 presents the addresses and panel discussions from TLA’s Third Symposium, held in April 2011 at The New York Public Library for the Performing Arts. The theme of the Symposium was the interplay between authenticity and adaptation in contemporary Shakespearean performance practice. After a keynote address by Oskar Eustis of The Public Theater, practitioners from three prominent theatre companies – Theatre for a New Audience, the American Shakespeare Center, and American Repertory Theater – examine the notion of authenticity and its usefulness in describing how they approach the staging of Shakespeare. They also discuss the degrees to which research and documentation are part of their process. In her closing remarks, Francesca Marini, former Archives Director at the Stratford Festival, reflects on the importance of documenting theatre, the involvement of the audience, and educational programs at Shakespeare theatres. An annotated bibliography contributed by Denise Buhr rounds out the volume.
Thanks to Associate Editors John Frick, Nancy Friedland, and Marti LoMonaco for their efforts in bringing the Symposium and this volume to fruition.


In order to succeed in this class…actually come to class. Speak up and ask questions! Listen to what Cate has to say and write it down. Do your readings (there will be pop quizzes). In all seriousness though, this class will make you a better writer and it is incredibly rewarding to see your writing and your grades improve over the course of the semester. The in class exercises also serve to improve nuances in writing that makes you all the more better so don’t blow them off!
It is a lot of work, I was constantly writing, but practice does make perfect.
Dear Future Victims (just kidding…),
When I sat down to watch the play last friday night I expected something much different then how I felt when I left the theater.
To begin with, having the actors perform on a round stage with almost no set behind or on stage was a very interesting choice. It pulled all of the focus onto the actors and one prop in particular, the silver bracelet. This bracelet (being a circle) was a fascinating item that made it’s way into every individual’s story told in this daisy chain plot. I loved how it began and end at a strip club and it seemed as if the ending of the play was actually before the beginning, fully completing the circle (of life perhaps).
The actors chosen were all very well cast and talented. Throughout the performance they seemed to warm up in their roles as well which created a momentum that helped to carry the plot along. The young actress who played the student had a particularly powerful moment when she was breaking up with her boyfriend and had a momentous monologue which ended in screaming and a fabulous list of demands that played out later on in the play. I also thought that the actor chosen to be the soldier/wealthy man completely transformed himself between the two roles to where he was near unrecognizable.
The brazen sexuality displayed on stage was performed well. Usually such displays can leave the audience feeling awkward or uncomfortable but it was portrayed so realistically that I didn’t feel the least bit uncomfortable. I appreciated every aspect and step on the sexuality spectrum from dark lust to pure love that was represented.
Although there were a few minor tweaks that are custom for an opening night performance, I was incredibly impressed with the overall performance. Many notions and lines in the play stuck with me but my favorite, and one which i believe was a motif in the play, was “our intentions convict us”. This particular line is one that is relevant for every character in the play.
Review of 360 (Round dance)
The UT rendition of Dr. Jekyll and Mr. Hyde was absolutely fantastic.
To begin with, the simplistic set with gray mood lighting was perfect for the play. I appreciated the creative use of the wrought iron moving set pieces because the kept my focus on the play as opposed to being distracted by the set. My particular favorite scene was one where the silhouette of a body cart with tools hanging off of it was center stage. With the red background lighting and the silhouette it just made the mood extremely creepy.
The ensemble cast of six members was brilliant because having actors play different roles added to the theme of mental confusion. Another thing that impressed me was the skill of the young men and women in the play. Each actor/actress was fully enveloped in their character (even when they performed multiple roles) and each was believable. My favorite instance of this is the character that played Dr. Jekyll because he has a hand twitch throughout the play which at first is only a subtle movement caught by the skilled eye but throughout the play it progressively worsens until it is pegged as the “source” of his pain and mental instability. Hyde’s character also performed well, he displayed a sort of sexuality through his violence that is dangerous and yet alluring.
Overall I thought the play was well written, well directed, and very well cast. My favorite directorial choices were keeping all the actors on stage the entire performance and having asides that were ‘journal entries’ and ‘letters’ performed through actor’s monologues. The body bags full of red dust that symbolized blood and guts was a clever finishing touch.
Review of Jekyll and Hyde for E.C.
The movie version of the play literally made me nauseous. So I guess it achieved it’s goal. The characters in the movie were much more insane than I had characterized them in my head based on the play. The director’s choice of extremely tight close ups, most of them off center, completely added to this effect. The whole movie seemed to exist in a separate reality and none of the characters were relatable, and some of the time you couldn’t even understand what they were saying. It served to disorient the viewer so that they focused on feeling and emotion that the director was trying to convey as opposed to details such as, “Why on earth am I watching this right now?”. The strident music also helped to serve in the disorientation…I feel a little crazier just from having watched it.
Women fall at his feet with burning desires, men are jealous and marvel at his ways, people all across the world have heard of him. Who is this mysterious, alluring man? It is Don Juan: the self-proclaimed greatest lover in all of the world. Although he may love them and leave them, his powers of deceit and chicanery are unmatchable. He refuses to listen to the reason and logic of his trusted assistant Sgnaralle as well as a haunted Commander’s statue…the only thing that may be able to stop him is the all mighty power of God and the flames of eternal damnation.
I found the ending of the play to be more of an abrupt halt and U-Turn. Nora’s character completely relinquished the facade of naivete she had maintained for years. I agree with Saari’s arguments, I feel that Nora’s annoying squirrel/lark routine at first came off as demeaning but then when we saw the true motivation she had behind it the reader realizes that Nora is in fact, quite a clever girl. She played Torvald just how she wanted him until she realized that it was all for not, he was adding nothing to her life or deeper sense of being since he didn’t really love her.
The play is meant as a criticism of the subjugation of people to inequal ranks solely based on their gender. This is shown through Torvald’s unnecassary babying of Nora and the way he treats her like a child. At the end she sums up the play’s message by stating that she has always just taken on the opinion of the most important men in her life and has never had and opinion of her own. She now wants to become human instead of just female.
"Helmer: Yes wasn’t that a bright idea I had?
Nora: Brilliant! But then wasn’t I good as well to give in to you?
Helmer: Good-because you give in to your husband’s judgment? All right, you little goose, I know you didn’t mean it like that. But I won’t disturb you…”
To Helmer love is about Nora’s submission and making him feel incredibly in control. It’s about Nora being dumb and playful and young so that he is the strong, powerful, intelligent half of the relationship. He really loves her on a deeper scale that’s for sure, but what is love? Is it a relationship between two people in which one always has to give in to the other? Is it one person sacrificing what they think/feel/believe to be
And to Nora, love is looking up to Helmer and letting him pretend to be in control. She saved his life by sacrificing and going through hardships and now she is in dire trouble of losing everything she most loves in her life. That’s hardly a fair situation simply because Helmer’s pride is in the way. Love shouldn’t let pride get in the way. It’s supposed to be the purest form of human existence. It has been around since the very beginning, but has the concept that it’s perfect been invented? People in love, like Helmer and Nora, never seem to actually be in love, more along the lines of simply wanting to be in love.
What’s love got to do with it?
When casting the perfect cast for my film version of The Tempest I would cast Garrett Hedlund as the dashing Ferdinand. While reading the play my idea of Ferdinand is that he is very attractive, in his early 20’s, a fast learner but not the most intelligent of men, very determined, and open-minded. Physically I imagined around six feet tall, muscular in a toned way, and shoulder length brunette hair. Garrett Hedlund would be the perfect Ferdinand if he died his blonde hair. He normally plays a character that is honest, if slightly naive. He would be the perfect fit for Ferdinand and would look good with a Miranda of a slight frame but any complexion.


“Summerland ” might look like something you’ve seen before: A scenic story about a schoolchild who must leave London during the war and take up shelter with a reluctant caregiver. But while it is comfortingly familiar in many ways, and a little cliche and overwrought in others, it also has a modern edge and bite to it that keeps it novel enough to sustain interest.
That modernity is credit to writer-director Jessica Swale, a British theater director and playwright, who with “Summerland” makes a noteworthy entry into the world of film. With well-drawn characters and a surprising scope, the story feels like it’s been adapted from a novel (a compliment). And along with cinematographer Laurie Rose, “Summerland” captures three eras in a small seaside town with breathtaking beauty.
Please read full article HERE


Tuesday, May 30th, 2017
HOW TO BE A CHRIST-FOLLOWER
“He must become greater; I must become less.” – John 3:30
It’s a matter of logistics. You can’t be a Christ-follower if you’re the main actor at the front of the stage and He’s standing behind you in a supporting role. You must step back and let Him take the lead role in your life.
Don’t plan something and ask Him to support you in your endeavor. Find out what He’s doing and follow Him.


I saw two trailers today of movies I have not heard of, but now I am looking forward to in 2013.
December 13, 2012
“Oblivion” and “Death of a Superhero” – Trailer
I love movies. I watch them, read them, and am currently writting one. View all posts by VictorsMovieReviews
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Streaming Harry Potter and the Deathly Hallows
Harry Potter and the Deathly Hallows – closes out a decade of Hogwarts in Hollywood. Hero Complex is counting down to the release of the final film in the magical franchise with exclusive interviews and photos. Today: The final film’s world premiere, streaming live from London.
Can’t apparate to Trafalgar Square for Thursday’s world premiere of “Harry Potter and the Deathly Hallows ?” Watch it from home on Hero Complex.
The event, complete with “Harry Potter” cast members Daniel Radcliffe, Emma Watson and Rupert Grint, as well as author J.K. Rowling and other celebrities begins at 8 a.m. PDT. Flip between three camera views in the video box below.


Calling all Principals, Visual Media/Digital Media/Fine Arts Teachers, Film Club Leaders!
Did you know the Festival screens child and teen-produced films as part of our official selection? If you or a child/teen you know has produced a film in the past year, submit today!
(There is no entry fee for kids!)
Festival awards are judged by your peers!
Children's Jury prize for Best Child-Produced Film ages 6-14.
Youth Jury prize for Best Teen-Produced ages 15-18


Uganda is in the news.
It’s Oscar time, and Forest Whitaker’s portrayal of Idi Amin, the infamous Ugandan president, has made him the favorite to win a statue. The film is called The Last King of Scotland, which was one of the many titles Amin bestowed upon himself during his rule from 1971-1979. At one point, his official title was His Excellency President for Life, Field Marshal Al Hadji Doctor Idi Amin, VC, DSO, MC, Lord of All the Beasts of the Earth and Fishes of the Sea, and Conqueror of the British Empire in Africa in General and Uganda in Particular. Perhaps that one was too long to use in a movie title. (For more on Amin, click here.)
The movie has finally been released in Uganda itself, and the reaction has been mostly positive (For good NYTimes and IHT coverage of the Kampala opening and reactions, click here and here.). Filming took place in Uganda (BBC), giving the local economy a boost and allowing for people who lived through Amin’s regime to take part in the project.
I went to see The Last King of Scotland the day after I said yes to a Peace Corps invitation to Uganda. It was, in a word, intense. Two words? Very intense. There are a few pretty graphic scenes that are hard to watch, and purposefully so. I had to keep reminding myself that all of this happened in the past, so I’m definitely not letting my parents see it. Still, the film gave me a glimpse into Uganda’s complicated political history and some views of the green Ugandan countryside. Even though Whitaker gave Amin a more nuanced character than most and the writers made it clear that Amin’s brutality was, in part, a creation of colonialism, I worry that the film will reinforce the world’s view of Uganda as the country of Amin. Even so, I’d recommended it– just not to the faint of heart…or my mother.


304 North Cardinal St.
Dorchester Center, MA 02124
Kieran Culkin has catapulted to new heights of fame after capturing the 2024 Golden Globe award for Best Actor in a TV Drama for his performance as Roman Roy in HBO’s acclaimed series Succession. His win caps off a multi-year journey returning to the spotlight after years as a child star alongside brother Macaulay Culkin.
As Culkin draws widespread praise for the latest milestone in his blossoming career, many fans are turning to the internet eager to learn everything about the actor’s background, path to Succession glory, and plans for the future.
Born on September 30th, 1982 in New York City, Kieran Culkin entered show business at a young age with his breakout role of Fuller in 1990’s beloved holiday classic Home Alone, starring next to older brother Macaulay.
While his iconic child star siblings captured the most attention, Kieran built up an early resume with supporting parts in films like Father of the Bride and The Mighty while attending Professional Children’s School in New York.
As an adult, Culkin temporarily stepped back from acting during a quiet period in the 2000s. But in 2002, his performance as the lead character Igby Slocumb in the critically acclaimed indie film Igby Goes Down announced the former child actor’s triumphant return. His hilarious, tormented portrayal earned Culkin a Golden Globe nomination for Best Actor and set the stage for his future ascent.
Over the ensuing two decades, Kieran Culkin delivered several memorable big-screen performances in movies like Margaret, Wiener-Dog, Scott Pilgrim vs. the World, and Steven Soderbergh’s 2021 crime caper No Sudden Move. He also made appearances on shows like The Jim Gaffigan Show and Wet Hot American Summer: Ten Years Later.
But Culkin’s most famous role by far is the fan-favorite character Roman Roy on Jesse Armstrong’s scathing HBO family drama Succession. As the caustic, immature son of a billionaire media magnate, Culkin brings perfect comedic timing and surprising dramatic depth to the hit series – becoming a standout in its ensemble cast.
His masterful performance earned Culkin his first Golden Globe nomination in 2018, followed by two more in 2020 and 2021. After years of helping anchor one of TV’s most addicting shows, the veteran actor finally received long-overdue recognition with a 2024 Golden Globe award for Best Actor in a Drama.
During his acceptance speech, an emotional Culkin thanked the show’s cast and crew for pushing him to expand his range as a performer. “This role constantly challenges me in new ways,” he remarked. “I’m overwhelmed and grateful to receive this honor.”
When not captivating viewers on Succession, the 41-year old actor spends most free time with wife Jazz Charton (married 2013) and their growing family. The couple have a daughter born in 2019 and a son born in 2021.
Friends call Culkin a caring family man – trying to give his children a normal life despite growing up in an unconventional Hollywood family himself. But the new Golden Globe winner still makes sure to involve his kids in his latest career achievements however possible.
During press events, Culkin proudly discusses how his daughter watched Succession’s recent season premiere along with him – joining in her dad’s excitement over his work. With the HBO series renewed for a fifth season, his children will surely get to see even more of daddy’s TV fame.
While thrilled about his breakout accolades for Succession, Kieran Culkin also hopes to balance the smash hit drama series with more film projects during hiatuses from filming.
The 2024 Golden Globe cements the former child star as leading man material, opening doors to work with revered directors and shoot for even meatier acting challenges. As studios court him for new roles, Culkin wants to continue proving the breadth of his talents across screens both big and small.
As Culkin mused to press after his Globe triumph: “I started so early in my life in this business. To receive an award like this now feels validating for never giving up even when I stepped away for a while.”
But despite major success on the horizon, the down-to-earth actor’s top priority remains spending as much time as he can with his wife and kids. Balancing career and family will likely define Culkin’s path forward from his 2024 Golden Globe spotlight.
After close to 40 years in show business, Kieran Culkin is finally entering the prime era of his acting career thanks to his Golden Globe-winning turn on Succession. With the acting world now firmly on notice, expect Culkin’s fame and accolades to continue rising dramatically in coming years.


Spoilers all over the gaff…
Jesus. Where do munki begin? A movie about an ageing London actress and her affair with a young American and a load of other stuff. But mainly, it’s about Annette Bening laughing. Laughing here, laughing there, laughing after crying. No, really, at any moment throughout the film, you have nervous sweat rolling down your back as you wait for her to laugh again. It’s not a terrifying laugh, just something so in your face that it almost jumps through the screen. Strange movie. Throughout the first half, all I wanted to do was sleep, like I had through a previous early 20th century actress on the boards movie, Miss Pettigrew Lives for a Day. An equally bizarre movie about the 1920s ragtime homeless slaves. But no, it was impossible to sleep, because every time I nodded off, Annette Bening started laughing. It wasn’t even that anything that was happening was funny, she-just-starts-fucking-laughing. After wanting to pull my eyes out and for a while wishing her son, who was acting in another movie, would die overseas in WW2 (he was the right age. It didn’t happen), for some bizarre reason I started enjoying the movie and by the end was practically jumping out of my seat wringing my hands in enthusiastic delight. Until I thought about a few small details.
Why was she always laughing?
Why was the American guy so bad, in the movie and also his acting?
Why did Jeremy Irons not read the script?
Why did Juliet Stevenson appear in a movie where all she had to do was react to Annette Bening’s fucking laughing?
Who was her friend, who turned out to be gay? I mean, who was he? Why was he in the movie? More laughter fodder?
Why, oh why was the Michael Gambon’s ghost appearing to give nods, winks and little speeches?
Why is the climax of the movie, a piece of theatre where a young actress is despicably humiliated by a feisty Julia, when the actress had done no act that could be deemed worse than those done by any of the other horrible characters?
Why, why, why, why, why, why, why, why was Annette Bening laughing so much? Why, will somebody tell me, whyyyyyyyyyyyyyyyyyyyyyy???????????????
Still, all in all, a delightful cinematic experience. Sweaty though.


Nonton Film Online The Man from U.N.C.L.E. (2015) Subtitle Indonesia
At the height of the Cold War, a mysterious criminal organization plans to use nuclear weapons and technology to upset the fragile balance of power between the United States and Soviet Union. CIA agent Napoleon Solo and KGB agent Illya Kuryakin are forced to put aside their hostilities and work together to stop the evildoers in their tracks. The duo’s only lead is the daughter of a missing German scientist, whom they must find soon to prevent a global catastrophe.
|Tagline:||Saving the world never goes out of style.|
|Pemain:||Alicia Vikander, Armie Hammer, Elizabeth Debicki, Henry Cavill|
|Direksi:||Elizabeth West, Guy Ritchie, Sharon Mansfield|
|Bahasa:||Italiano, English, Pусский, Deutsch|


Meek U.S. Army soldier Steve Rogers (Chris Evans) requires element in an experimental military plan that infuses him with super-human powers, and uses his newfound strength to battle the villainous Red Skull (Hugo Weaving) in this comic-book adventure from director Joe Johnston (The Wolfman, The Rocketeer). Tommy Lee Jones, Neal McDonough, and Stanley Tucci co-star in a film written by Christopher Markus and Stephen McFeeley (who previously collaborated on The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe).Evaluation:
My overview right here for Captain America: The 1st Avenger could be a re-check out for most of you FCSyndicate readers out there who have currently noticed the film. For me, as it stands, I am still one particular far more film quick prior to ultimately catching up to Marvel's second phase in its second cinematic universe top Thor: The Dark Planet and the April four, 2014 release of Captain America: The Winter Soldier. So this was as fairly great an chance as any prior to than to see director Joe Johnston's theatrical contribution to the existing film franchise.
Steve Rogers (Chris Evans) is a half-pint New York native from 1940's Brooklyn with dreams of serving his nation, verified only by the 5 occasions he has been rejected for the draft due to his size, amongst other issues. But 1 final evening out on the town with his best pal, Bucky, changes everything when a possibility meeting with a gifted medical doctor grants him the chance of a lifetime.
Following getting the good fortune of being selected for the U.S. military's supersoldier program, his newfound physical attributes and gifts are still not adequate in the eyes of his superiors in helping America defeat the Third Reich. In the finish, Rogers is left with no selection to place his greatest muscle forward as the hero he was destined to turn into, and the ultimate threat to an unknown evil far worse than Hitler, with technologies more sophisticated than anyone could expect.
Politics, espionage, tragedy and grave danger awaits Rogers who finds himself in control of great energy, and should use it to his greatest advantage in an epic battle between very good and superior evil that will set off a chain of events that will really adjust the globe. But can he do it alone?
I am quite familiar with the comic book franchise, even though I was never as well heavy into comic books. So when it comes to continuity and consistency among graphic novels and films, I am not the type to weigh amongst the two. So I won't get into all the comparisons that some are privy to when discussing comic book motion pictures. What I will say, is that I enjoyed Captain America: The 1st Avenger as a good and spectacular lead-in to final year's The Avengers and the other upcoming films. The story provides a nicely crammed origin story that gets the job done at its personal pace, not rushing to get our hero in costume just to satisfy our cravings.
On its face, tons of dodgy green screen background CGI mire the film to an extent, taking away particular moments of authenticity. Not to mention, I did not necessarily believe Evans' head required to be that huge on such a modest physique, even though in some scenes it does operate-other occasions it just does not, and you can visually tell how weird it appears. But that is just me.
As far as the action goes, I got my fill from it. Captain America doesn't fly, so that leaves him a lot of hurdles to overcome on the battlefield, which is thrilling when watching our hero dodging everything from bullets to flamethrowers and evaporating rifle blasts, and putting baddies away with hard-hitting hand to hand exchanges, in addition to employing his trusty jingoistic one-of-a-sort shield as each a weapon and a implies of self-defense.
Particular characters stood out, obviously, and of course I enjoyed their important roles from our actors, such as Sebastian Stan, Tommy Lee Jones, Stanley Tucci, and even Hugo Weaving, who I would adore to see return as Red Skull, even if he doesn't. And much credit to actress Hayley Atwell who produced ComicCon headlines over the summer time reprising her part for the Marvel One particular-Shot, Agent Carter, which could finish up with its personal Tv series in the exact same vein of Agents Of S.H.I.E.L.D. if it is in the cards.
Bottom line - Captain America: The First Avenger is just a small bit more grounded than some of the other Marvel motion pictures, but delivers nonetheless, reviving a beloved comic book character with a story that promises much far more ahead. So, if you haven't seen this film, then see it and look forward to Captain America: The Winter Soldier when it releases on April 4, 2014.
Captain America: The 1st Avenger is now obtainable where films are sold.
Film Of The Week: CAPTAIN AMERICA: THE FIRST AVENGER (2011)
9out of 10 based on 10 ratings. 9 user reviews.
9out of 10 based on 10 ratings. 9 user reviews.


Cannes selected Director joins the Idea Machine Team!
We are pleased to announce the addition of Ryan Geiger to the company as Creative Director, to further advance our growing portfolio of live action productions. Ryan comes with a wealth of experience within the industry, having won multiple festival awards for his previous films, as well as making Top 200 on this season of HBO's Project Greenlight. His film, Town Red, screened at the 66th Annual Cannes Film Festival and received distribution through Shorts TV and Continuum Pictures.
Ryan Geiger, a film graduate and New Jersey native, started his career working as a production assistant for television commercials and reality television. He assisted with shows for Bravo as well as Bobby Flay programs on The Food Network. In 2009, Ryan directed and produced his first feature film, Stealing God’s Money. It was accepted into The Garden State Film Festival and went on to win Best Feature Film. With the excitement of the win, Ryan went back to work. He wrote and directed the short drama No Going Back, which went on to tour the country in film festivals and won a People's Choice award for Shorts Showcase on PBS. The film aired on the MNN Network in New York City in December of 2013.
Ryan's apocalyptic thriller, Town Red, produced in 2013, won multiple awards during the film's international festival tour including “Best In Show” and “Best Short Narrative,” and screened at the prestigious Cannes Film Festival. It aired on national television in November of 2013.
Most recently, Ryan’s comedy Death By Scrabble made it to the semi-final round with Ben Affleck and Matt Damon’s HBO series Project Greenlight. The film screened at the DAM Short Film Festival in Nevada earlier this year, and is screening at the Art Of Brooklyn Film Festival later this month.
Ryan comments “It’s an honor to be asked to lead the live action department of the studio – I’ve always admired the amazing animation work being done here, and I’m excited to bring that same excellence to our film projects.”
We’re confident that Ryan will play a key role in providing and implementing high quality commercials and videos for our clients. Steve Day, owner of the studio says “Ryan’s proven track record for creating exciting entertainment has already made him a key addition to the Idea Machine family and we are very fortunate to find someone of Ryan’s caliber to fulfill this important role.”
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On today's Weird Cinema we breakdown the 2008 Darren Aronofsky film, The Wrestler. Mickey Rourke plays Randy "The Ram" Robinson, a wrestler whose best days are behind him as he attempts to fill in hundreds of fans instead of thousands, and tries to reconcile relationship with his family and friends. We breakdown how well the film portrays the wrestling business, and how it effects Randy's life outside the ring, and how this movie was a gamechanger for the public perception of pro-wrestling.
Show is recorded at Grand Forks Best Source. For studio information, visit www.gfbestsource.com #movies #moviereview #classicmovies #grandforksbestsource #thewrestler #mickeyrourke #marisatomei #ernestmiller #necrobutcher #darrenaronofski


I’ve always enjoyed well-written TV sitcoms with likable characters, and one of my favorites from the 1990s was Coach, which starred Craig T. Nelson, Shelley Fabares, and Jerry Van Dyke. It has been rerun fairly often through the years and Mrs. BigGeez and I have tuned in a number of times, but she had to remind me that the lady on the screen was also once a teen idol who not only had a number-one hit record, but even co-starred in several movies with Elvis Presley.
While growing up in California, young Michele Marie Fabares was a natural fit for a modeling and acting career. Her aunt, Nanette Fabray (who would later play her mother on Coach) was already a well-known actress, and it didn’t take long for Shelley to begin landing parts in TV shows and eventually movies too, in one case playing Rock Hudson’s 12-year-old daughter.
A couple of years later she landed a part as the daughter on Donna Reed’s new TV show, and the role built her popularity while also providing her with the opportunity to begin a musical career. (As it also did for her TV ‘brother’, Paul Peterson.) With the help of the show’s producers, Shelley’s “Johnny Angel” was produced and was a breakout hit, soon shooting to the top of the charts.
Although she would later follow with moderate hits on “Johnny Loves Me” and a few others, Shelley’s musical career didn’t really sustain itself. But her popularity with fans helped her continue her career in a way that was sort of musical — she starred opposite the King of Rock and Roll in movies like Girl Happy, Clambake and Spinout.
In subsequent years, Shelly built a solid if unspectacular acting career, and although she has had to deal with some serious health issues, is still performing whenever possible. She has also been happily married to her second husband, actor Mike Farrell (from M*A*S*H), for almost three decades.


Wedding Videography is described as a video production is used for a wedding event on film or video capture. With years of experience, his video operators trained their minds to create the perfect wedding moments to place the events on video that the emotions of those who are trapped in their moves to capture movies. The main thing with the wedding videographer. Videography in combination with the bride and groom and their families. The videos are stored memories that will last a long time.
Compared with wedding photography, wedding videography is capable of the emotion and joy at the wedding to capture. While wedding photography is the smile of the participants to explain events special day, wedding videography is capable of the bride and groom’s first kiss to capture, entertainment by the guests on the dance floor, and look of romance and love between married . The most essential part of the way the video is taken and the style of the videographer used.
Moreover, another advantage is that the videographer and his customers can choose from a variety of styles and how they want to use the video and the way the video is shot to look. The different styles are used in the story Wedding Videography, film, traditional and journalistic. Videography created with a journalistic style is identified with the shooting of a wedding video as a documentary. The events caught up in this type of video to be processed and displayed when they occur, and in the form of current or continuously. The Videography journalistic style show the events as they unfold from beginning to end. This form of editing is a clean-cut style to use. You can visit the WEVA
Wedding videography is filmed with a cinematic style is similar to making a film or films on a marriage. Unlike a journalistic style, which simply tells the story of a number of events which occurred during the day, cinematic style shooting at the wedding, feeling different, special effects and dramatic atmosphere than that found in, among other journalistic style. Videography recorded with cinematic style can also show that couples their first kiss even before the ceremony. The audio clips and video playback on both the bride and groom only record what I mean before or after the royal wedding takes place.
The main difference between a video count, which make use of the more traditional style refined property is that the video count the right angle, do not tell a story for dramatic effect, but simply recording the events of a day to remember for all years.


Even though Kirsten Dunst and her fiancé, Jesse Plemons, played husband and wife on our TV screens, IRL Dunst and Plemons tend to keep their relationship a little more private and out of the public eye.
After starring together in the second season of FX's , the couple quietly became engaged, with Dunst unceremoniously debuting her engagement ring on the red carpet earlier this year.
In 2001, Dunst made her singing debut in the film Get Over It, in which she performed two songs.
She also sang the jazz song "After You've Gone" for the end credits of the film The Cat's Meow (2001).
Dunst was offered the role of Angela in the 1999 drama film American Beauty, but turned it down because she did not want to appear in the film's suggestive sexual scenes or kiss the film's star Kevin Spacey.
She later explained: "When I read it, I was 15 and I don't think I was mature enough to understand the script's material." That same year, she co-starred in the comedy film Dick, opposite Michelle Williams. Dunst appeared in Savage Garden's music video "I Knew I Loved You", the first single from their second and final album Affirmation (1999).
I mean, I was 10." Critic Janet Maslin of The New York Times wrote that the film was the greatest adaptation of Louisa May Alcott's novel of the same name and remarked on Dunst's performance, "The perfect contrast to take-charge Jo comes from Kirsten Dunst's scene-stealing Amy, whose vanity and twinkling mischief make so much more sense coming from an 11-year-old vixen than they did from grown-up Joan Bennett in 1933. Dunst, also scarily effective as the baby bloodsucker of Interview With the Vampire, is a little vamp with a big future." From 1996 to 1997, Dunst had a recurring role in season three of the NBC medical drama ER.


Michael Lahey, the maker of what most likely is the best documentary yet-produced on the modern microradio/LPFM movement, Making Waves, has announced that the film is now available for free viewing online at Fancast (ironically, a Comcast-owned outlet).
In addition, Lahey says there’s a good chance that Netflix will pick up distribution of the documentary. Here’s how he says we can all help going about making that happen: Continue reading “Making Waves on Verge of Larger Distribution”
A unique chance to see the two newest documentaries on U.S. microradio and LPFM, both will be shown this weekend at the 2006 Anti-Corporate Film Festival in San Francisco.
Pirate Radio USA is the last film on opening night, while Making Waves will be shown on Saturday afternoon. Waves producer Michael Lahey will be on hand for a Q-and-A afterward, tag-teaming with San Francisco Liberation Radio‘s Karoline Hatch.
Both films cover microradio from very different perspectives, so if you can catch both I’d highly recommend doing so.
Michael Lahey’s excellent, award-winning documentary on microbroadcasting, Making Waves, publicly screens for the first time in the Windy City next weekend at the Chicago Underground Film Festival. Actually, it’s playing twice, on 8/19 and 8/21. Check the new trailer before you go.
Michael recently moved to Chicago and may be around at the screenings for an afterward Q&A. If you can’t make the screenings, you can still check it out on Free Speech TV, where it’s been playing at least monthly. It’ll play five times on August 24th alone.
Skidmark Bob’s Mega Media Illusion Mix (6:56, 6.4 MB) takes the doc’s theme song, blends it with Beale, Byrne, Chomsky, and McChesney, and sprinkles that mix with infotainment detritus. Takes the critiques leveled by KGB-TV and Scott Walmsley to the next level.
For those in New York on Wednesday, you’d be crazy to miss the premiere of Michael Lahey’s excellent microradio documentary Making Waves. It happens at 8pm at the Anthology Film Archives, 32 Second Avenue (at Second Street). free103point9 will be on hand to conduct a Radio 4×4 performance, which should most definitely set the mood.
Michael Lahey’s been getting around: his killer microradio documentary will get more screenings around the country next year, one of which will be in April at the Anthology Film Archives in NYC. Also, a professor from the UK recently contacted Michael about using Making Waves as part of an exercise/discussion in a new textbook on alternative media.
Earlier this month Michael also was a special guest on The Power Hour, a talk show carried on the Genesis Communications Network. Not only did Michael get two hours to plug the film and talk about the issues behind it, but they also opened the phone lines. That’s where things got interesting: Continue reading “Making Waves Update; FCC in MN”
Paul @ Mediageek has the complete rundown, with pics and the appropriate links to everywhere relevant to our adventure in Minneapolis. As conferences go, it was on the fun side: way too many people you want to get to know, way too little time. Tetsuo was certainly awe-inspiring, but so was Kyle Drake, Free Radio Twin Cities, free103point9, the audience reception to Making Waves, and the hardy contingent of midwest pirates who converged on the scene to represent. I got to drink with none of them. But still, a good time. If we manage to get hold of the recordings made of the conference sessions they will get online somehow, at the very least through Radio MCAD, the gracious host of it all.
It’s four pages of glowing text action seeded with something like 10 clips from the film. Its producer, Michael Lahey, is generous like that: he’s even opened up some crash space for the Mediageek and I on our visit to Minneapolis this weekend for the RAD conference. Seriously, though, it’s the best documentary yet on the subject and it’s good to see it’ll be screened at the conference. If you’re into microradio you get a good full hour of quality storytelling from Tucson that’ll make you (somewhat) proud. Contact Michael directly if you’d like a DVD.
Note: Images are clickable and will open a context-related clip from the documentary (Quicktime required).
Making Waves (2004) is the second feature-length documentary from Jump Cut Films, the outlet of Michael Lahey. Central to the film are profiles of three microradio stations sharing the airwaves of Tucson, Arizona. Lahey manages to weave these separate stories into an overall narrative about the modern microradio movement, using the Reverend Rick Strawcutter as a tie-in to the national scene. Continue reading “Making Waves”
Coming soon to a DVD player near you: Making Waves, a documentary about a cluster of microradio stations in one Arizona city and the people behind them. I suspect it will an interesting cross-section of American microbroadcasting in a post-LPFM world. Expect a review here in the future.
The 66-minute show premiered at the Arizona Film Festival in April and ran for a week on Tucson’s public access cable channel last month. Producer Michael Lahey says a web site about the work is forthcoming. Continue reading “New Microradio Documentary Features Tucson Stations”


- This event has passed.
Parish Film NOMADLAND on Friday 11th February 2022
February 11 @ 7:30 pm - 10:30 pm
Film to be shown in the Thurcaston Memorial hall
Friday the 11th Feb. 2022 at 7:30 PM. Doors open at 7:00 PM
Entry £5.00 Refreshments may be included Lucky ticket prize draw.
Tickets available from:-
Thurcaston:- Richard Younie, 1 All Saints Road (0116 236 3066) and Diana Green, 0116 236 2619
or The Parish Office, Anstey Lane (0116 236 7626)
We will be pleased in February, to show a film which won BAFTA’s and three Oscars for Best Picture, Best Director and Best Actress. In the drama Nomadland, Fern’s husband dies and she loses her job. After losing her house, she remains positive and sets out to travel the country in her rusty van including along snowy-laden roads.
Chloe Zhang is the first Asian to become Best Director, as she encourages, in Fern, the enduring power of the human spirit.
Film won 3 Oscars, overall total of 240 wins & 150 nominations.


In a brief, panicked moment, Rick mistakes the kindness of an apparent stranger for a threatening act and inadvertently commits murder. He flees the scene and tries to keep secret from his family the unfortunate event that has occurred. Little does he know that not only has he killed an innocent man, but the man is the son of Annie, with whom Rick had an intense relationship in his youth. As Rick and Annie struggle to come to terms with the tragedy, each recalls the life they once led and pines for a life that never was. This haunting and engaging tale is Mary Soderstrom at her masterful best.


Prompt: You’re with your GF in the cinema. After buying tickets you notice a shady looking guy staring at you, but his hood hides his face. You get popcorn, he follows you, walking like he has many wounds. He catches up with you, grabs you, and as you turn around, you look right at your own face.
“Already?” you whisper to the man with your face, who nods. “It’s only been a few Earth years.”
“It’s the way it goes,” the man says, “Earthen years are faster than our own.”
You glance around at the people standing in line at the counter, the movie posters outlined in lights, the staff in their black vests. You inhale the scents of the popcorn popping, fake butter, sugary drinks and chocolates. You wonder where your girlfriend went but can’t find her. Already in the theater, you think.
“She is,” the man says, unzips his hooded jacket, revealing the clothes you’re wearing, and lets it fall to the floor. “It’s time to leave.”
You sigh, hand the man the bag of popcorn, the over-sized soda, the box of peanut butter chocolates from your pocket. “Fine, but they say when I’ll return?”
You shake your head, and glance at the food you now hold. “No,” you say, then ask: “Anything I need to know?”
The man kneels, snatches the jacket, and puts it on. He zips it, and throws the hood over his head. “Nothing you already don’t know.”
“Great,” you say, and stride past him into the theater where you find your girlfriend sitting in the back row. The movie has already started and the light reflects in her eyes. You sit down next to her and hand her the popcorn.
“What took you so long?” she whispers.
“Sorry, ran into someone.”
“Anyone I know?” she asks, before eating a handful of popcorn.
“Nope,” you say.
Read my previous prompt, “The Fog Will Pass”
Read more of my writing prompts here.
Check out my bibliography for more of my work.


A solar-powered cinema was unveiled in Burkina Faso Friday ahead of Ouagadougou’s hosting of Africa’s top film festival, even as movie theatres on the continent continue to disappear.
The theatre, with its 300-seat capacity, will run on solar energy. Named Canal Olympia Yennenga, it is now the third-largest movie hall in the Burkina Faso capital Ouagadougou.
Located in the city’s posh Ouaga2000 neighbourhood, the theatre cost about 3 million euros ($3.2 million) to build.
It is the brainchild of French businessman Vincent Bollore, whose company owns French premium TV and cinema group Canal Plus.
“In the city of Ouagadougou, we lack movie theatres of this calibre,” said Burkina Faso President Roch Marc Christian Kabore.
“Ouagadougou is the capital of African cinema. We have every intention of keeping it that way,” Kabore said. “It is in our interest to have theatres.”
Ouagadougou will play host to the Pan-African Film and Television Festival, better known as FESPACO, which kicks off Saturday and winds up March 4 with a red carpet awards ceremony in the city’s football stadium.
More than 100,000 people are expected for the 10-day event, held every two years, a year after 33 people were killed and scores injured in an unprecedented jihadist assault in January 2016.
More than 160 movies are screening, including 20 features vying for the top award, the prized “Etalon d’Or” or Golden Stallion.
During the theatre’s unveiling, Kabore hailed the “beautiful tool” of culture.
A score of feature films from 14 African countries and the French West Indian territory of Guadeloupe are competing to take the top prize, won last year by “Fièvres” (“Fevers”), by Moroccan director Hicham Ayouch.
The hall also opens at a time when many historic cinemas have shut and when many African cities just simply lack movie theatres.
The Canal Plus group is set to open about 50 other movie theatres in francophone countries in Africa where the group operates, said Canal Olympia President Corinne Bach.
It is the third hall the group has opened after Douala in Cameroon, Niamey in Niger, and Conakry in Guinea.


Selected animation and compositing works.
To view more, visit my Vimeo page.
Brand Resource Centre (BRC) Case Study
A case study project animated for interactive agency, Jam3. Demonstrating how their Brand Resource Centre works for clients like Facebook, Instagram and Oculus.
SAP // Workforce 2020
Infographic explainer animation for SAP's Workforce 2020 campaign. Design and animated based on provided script and brand guidelines.
Shaw Festival 2017 // Promotional Trailer
Composited and animated using the poster artwork for each play. Used to promote the 2017 season of the Shaw Festival.
Nickelodeon & YTV // Mr. Meaty
On this show I worked on set in props and sets, as well as compositing and animation. Created props in each scene, and designed and build the walls of the space ship. Performed the compositing and animation on the TV screen.


The second edition of the short film Festival “II Mostra Curts del Moscatell” will take place at the end of August this year. The basic rules for participation have been published and new in this year´s event is the fact that only short films no older than one year, produced in 2016/ 2017, will be accepted. Three categories will be eligible for prizes: category “best short film related to Moscatel”, sponsored by the Teulada Town Hall, value 1000€. Category “best short film open theme”, sponsored by the Cooperativa Sant Vicent Ferrer, value 500€ and there will also be a prize for the best short film elected by the audience, sponsored by the association of “Cultural Amics Teulada” value 150€.
Further information on the following website: www.curtsdelmoscatell.es. Last chance to register: June 30, 2017.
The first edition of the “Curts del Moscatell” festival attracted 257 films from 21 countries of which 19 had been presented in the Auditorio during last year´s event. The 400 spectators got the chance to elect their personal favourite. Winner of the “open theme” was “No abortamos” from Alberto Rodríguez and the most votes from the audience went to “Los huesos del fío” from Enrique Leal. The animation “Best-Seller” from Alex Rey had been honoured by the Valencian Community.


* MOOSE - producing the animated film starring Samuel L. Jackson, Bob Odenkirk and Kathy Bates. Won 1st prize at the AT&T Film Awards in May 2018. Screening at the Santa Barbara International Film Festival in 2019!
* CHICAGO FIRE (NBC) - Breen is currently recurring as Lieutenant Alexa Hubble on NBC’s hit show, CHICAGO FIRE.
* NCIS - LOS ANGELES (CBS) - Breen as Navy Lieutenant Naomi Elder in episode 902.
* EMPIRE (FOX) - Breen co-starred on FOX’s hit show, EMPIRE, as the company shareholder (ERIKA) who catches Lucious’ attention.
- Santa Barbara International Film Festival (January 30 - February 9, 2019). Exact date/time TBA.
* ELLA GETS A PROMOTION?
- HollyShorts Film Festival in Los Angeles, winning the "Audience Choice" award
- Manhattan Shorts Film Festival, with Erin nominated for Best Actress.
- North Hollywood Film Festival
* HEY BLUE EYES
- Artemis Women's Film Festival in Los Angeles
- Naperville Film Festival
* SILICON VALLEY - Jan the Man
- THE WRAP: Erin Breen has joined Silicon Valley in a recurring capacity. Breen will co-star as Jan, a new sales person hired by the Pied Piper team, in the upcoming season of the HBO comedy...
* (long pause) - Chicago sketch comedy group
- CHICAGO TRIBUNE: Erin Breen, who brings to mind a less-spazzy version of "Dexter" actor Jennifer Carpenter, is the group's standout, playing in past episodes everything from an out of control parking officer to a morning radio DJ...
* NORMAL (independent film)
- Erin Breen lights up the screen with smiles that are nothing short of heavenly...


Saturday, November 04, 2006
London Film Festival: "Our Daily Bread"
I've been to the London Film Festival. Well, the very last day of it, and because it was the last day i had no big hesitation to see two films in a row. I always seem to catch up with these film festivals at the very end and then get really into it, when it's almost too late, it was the same with the Lesbian and Gay Film Festival a little while ago. I guess it's better than nothing. When it comes to film in London i seriously seem to miss so much but it's near impossible to keep up. I always forget how much i like the NFT as well, once i'm there, especially during one of their many festivals, I want to see almost everything they show, as it's almost always worth seeing. It's a great place to see films and hang out, and it's completely smokefree now as well.
Anyway, on Thursday I finally got to see a film by my cousin, Nikolaus Geyrhalter, who has made several feature length documentaries and is quite well known these days. I've been meaning to see one of his films for ages, but they don't get shown here on TV or in the cinemas and I never got around to find out how to order them. I don't think amazon does them but i now saw that there is an Austrian website where you can order them. I definitely want to see more and will check it out.
"Our Daily Bread" is a series of scenes filmed in food production factories, slaughter houses, plantations, huge industrial complexes where animals are reared, etc, with no further narration, all you hear is industrial noises, animals, and occasionally factory workers chatting casaually. A lot of is very shocking and disturbing, especially the slaughterhouse scenes, and especially if you're a vegetarian (i'm not anymore though seeing stuff like that is making me think about it again, for some reason the way animals are kept and treated and killed is a big touch more shocking und upsetting than the way vegetables are). it doesn't show any, um, alternative ways of food production, smaller scale / organic / freerange / ethical, whatever, and it doesn't have a clear message, and i guess, that is part of its strength too, it's very disorientating and doesn't let you off the hook, so to speak. All you see is huge industrial complexes with some isolated workers who largely seem really detached from what they're doing, well, it is their job, trippy corridors, giant spaces, and occasionally you see these workers having a break, eating, um, in some ways the fruit of their labour... there's a hypnotic quality to some of it, and a morbid fascination to see exactly how things are being done, especially in the slaughterhouse. One scene that sticks in my head is of a blond lady casually cutting off the legs of cows carcasses gliding by...or a shot of pigs being transported to the slaughterhouse. I really, really, really love pigs, ya know, and there were some cute pigs in that van, showing off for the camera almost! So a lot of curious insights, no clear direction and an elegant and overall almost ambient feel. Time Out calls it "a 'Koyaanisquaatsi' for meat and metal fetishists" and that's not too far off in my opinion, haha
I wasn't sure whether i should really stay on but managed to score a ticket for another very good film in Cinema 1. "I Don't want To Sleep Alone" by Tsai Ming-Lian is a long atmospheric sort of love story with hardly any spoken words, set in a slummy city in Malaysia, with long, vaguely horrific, trippy scenes in run down apartments, bedrooms, cafes, corridors, construction sites and an all encompassing smoke/fog during the last bits. By that point I was sort of a vegetable already, I finally got this cold thats been going around and it was the first day of it, and for some reason the films slow-moving but nevertheless captivating and engrossing mood fitted it well. I really liked it. Need to go to the cinema a bit more...there's something about seeing films in such an environment too, however uncomfortable and expensive it can be, there's something about being sucked in together and not being able to switch off that makes it more powerful.


director | writer | editor | producer
Emma Kanter is a filmmaker based in Brooklyn, NY and Los Angeles, CA. Emma has been working in film, television, and commercial production for eight years. When not on industry TV & Film sets, Emma directs, produces, and edits music videos, fashion films, and short narrative films. The thousands of hours spent on professional sets, along with an extensive background in low-budget, indie filmmaking translates to a production savvy and incredible work ethic. She excels in collaborating with artists on a unique vision that enhances their art with visuals and narrative that set them apart from the onslaught of rote digital video content.
Emma is an avid traveler and in 2016 she spent 5 weeks volunteering in a refugee camp in mainland Greece where she filmed a series of interviews with refugees telling the story of their involuntary encampment in their own words. The resulting documentary "While We Wait" is in post-production.
Currently Emma is in post production on her short film TENDERLY in LA, where she works as Script Coordinator for the ABC show, Station 19. She is a Finalist in this year’s Sundance Episodic Lab.


Urquhart Jernigan posted an update 2 months, 2 weeks ago
I was well on my way to escaping the theater when my aunt finally caught up to me. I think she was a little embarrassed and mad, because my reaction was not what she expected. As a stark raving lunatic, I was more believable than the actors and even "The Tingler" on the screen. You might say I succeeded where the movie failed. Yep, to this day, I think I stole the show and was the real star. My aunt would never recover and would eventually escape her embarrassment by joining the Air Force.
I enjoyed the soundtrack, which is a typpical 80’s soundtrack, along the lines of Bloodsport, Commando, Highlander etc, where the music seems completely over the top for movie, but what the heck, it is the 80s.
Finally, you have to search high-and-low to find a theater brave enough to buck Big Hollywood and actually show the movie. But when you do, and if you go see the movie, you’ll be surprised. I’ve seen it twice now – once with my daughter on a Thursday evening (not a prime showing), and again with my son the other day during a Sunday matinee (also not "prime time"). On both occasions, the person at the box office told me it was their number-one attraction (among a dozen offerings). Both times, the theater was packed (on Sunday, there were people sitting in the aisles). And both times, the end of the movie was greeted with serious applause. When’s the last time you had that experience at the movie theater? And again… why don’t the theater executives want you to see this movie?
Other benefits include the release of emotions such as when we laugh during a comedy our laughter releases stress, tension and/or pain. A tear jerker that makes us cry releases built-up/blocked emotions. How about movies that touch on relationships or parenting. These observations and/or lessons can bring us closer together with people, make us analyze our current situations/relationships or make us realize we’ve got work to do.
The movies are one place where you can choose what you want to see and feel. If I want to be happy I’ll go see a light hearted comedy. If I want to be thrilled I’ll go see a thriller or horror. And if I want to entertain my little niece and nephew I’ll go see the latest animated movie, etc. Then there’s the rest of the genres that fill out the movie experience: action and adventure, crime and gangster, drama, epics/historical, musicals/dance, science-fiction, war, documentary, westerns, biopics, chick-flicks, detective and mystery, disaster, fantasy, film noir, guy films, melodramas/weepers, road films, romance, sports, supernatural, etc.
Purimovies knows: popcorn goes with movies like jelly goes with peanut butter. And for some reason, kettle popcorn just tastes better. So why not bring that theater goodness into the home of your favorite movie buff giving them the gift of snacks anytime they sit down to watch a movie at home. You can find many kettle popcorn makers for under $100. Any movie buff would find it cool to have their very own popcorn maker sitting in the corner of their room for access whenever they want to spend the evening watching movies (and trust me, they do this very often).
What those who want to become Movie script writers should know is the fact that even though they are the ones who choose the topic for the screenplay you need more than a good story. A lot of talent and skill is needed to put the ideas down on paper. All movie script writers should know that this industry is a harsh one filled with fierce competition. Even though a writer may have amazing ideas for a script, it must be written following proper movie script format and standards. Since a script is going to be translated to the screen, its format is completely different from a literary writing. The Movie script must be easy to visualize, written as if the director is not able to visualize it. If not, there will be problems.
In your search for a movie project to invest in, you can simply search the internet using the key words "how to invest in a movie" and you will get a good start in your search. You will find a myriad of different articles, relating to this topic and associated topics. If you keep searching, you will find some movie projects with budgets that are within the realm of what you want to invest, and which have a story line that appeals to you. The term small budget in this article means movies costing under $300,000.


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SOUTH INDIA Siima day one: Mr & Mrs Ramachari scores. Ramanaidu honoured with Lifetime Achievement Award at annual south Indian film awards show in Dubai. By Nagarjuna Rao, Pages Editor. August 8, 2015.
With Yash, Radhika Pandit, Achyuth Kumar, Srinath. The movie is about a hot- headed guy Ramachari, who becomes a fan of Vishnuvardhan's Ramachari from. Watch the official 'Title track' song video of the movie ' Mr and Mrs Ramachari ' starring Yash and Radhika Pandit. Music composed by V. Mr And Mrs Ramachari full movie download. Jotheyagi Nadeyona (Songs Of Mr And Mrs Veerappa Moilee). Mr And Mrs 55. Mr. & Mrs. Smith (SMASH Cast.
Kannada film Mr & Mrs Ramachari swept the Siima Awards in 10 categories on the first day of the awards on Thursday, while it was a mixed bag for Telugu cinema with Racegurram and Manam running neck and neck, with the latter winning the race by a whisker. The third edition of the two-day South Indian International Movie Awards, at Dubai World Trade Centre, got off to a glittering start with a red carpet rolled out for stars and celebrities from Telugu and Kannada film industry.
(Awards for Tamil and Malayalam films were given on Friday.
The late, legendary producer Dr D. Ramanaidu was honoured with a lifetime achievement award for his contribution to Indian cinema over more than five decades. Ramanaidu’s son Venkatesh and grandsons Rana Daggubati and Nagachaitanya collected the award. There were emotional scenes after a video presentation on Ramanaidu, with Daggubati fighting back tears as Venkatesh and Nagarjuna’s son Nagachaitanya choked on their words.
Manam. thespian Akkinneni Nageswara Rao’s last film, which featured the entire Akkineni family, won Best Film, while Balakrishna walked away with the Best Actor award for his role in Legend. If there is one film that’s on the minds of the audience long after the extravagant show, it’s Mr & Mrs Ramachari. Yash, who won the best actor award, credited the entire team for its success and shared hopes that Mr & Mrs Ramachari will restore glory to Kannada cinema.
Highlights of the evening were enthralling performances by Shirya Sharan, Ada Sharma and Praneeta. Usha Uthup, in her inimitable voice, pumped up the audience with a medley of chartbusters including her signature Rambha ho. with actors Venkatesh, Balakrishna, Daggubati, Sonu Sood, Shriya, Khushboo and Suhasini dancing and singing along with the Queen of Pop. The evening shone bright as the stars and celebrities sashayed, dressed in their classiest, gorgeous best. Gowns with trains were de rigueur. Extravagant sets coupled with magnificent audio system and smoke- and fire-spewing machines made the evening a visual treat. Comedian Ali and Srimukhi conducted the proceedings along with Vivek.
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Michael Mann explains the truth about the controversial coffee shop scene in Heat.
Even movies from the ‘90s still get the spotlight today as new discoveries and details emerge, just like Michael Mann’s Heat starring Al Pacino and Robert De Niro. The movie may have been around for almost three decades, yet fans still have some lingering questions about it that the director recently shed light on.
There will always be mysteries behind every film production, and these are only usually known to the creative team and the cast members. Heat, an action crime film that was also penned by Mann, has one scene that kept its viewers speculating for years.
Michael Mann Explained The Most Controversial Scene In Heat
During his interview with Collider, director Michael Mann discussed the controversial coffee shop scene in Heat. Apparently, fans are not convinced that Al Pacino and Robert De Niro are actually in the spot. Mann stated:
“I’ve been asked a whole bunch of questions about Heat and the coffee shop scene, which, by the way, is an event that really occurred in real life. When Al [Pacino] and Bob [De Niro] were facing each other, for some reason there was some rumor that they weren’t actually there at the same time. I don’t know why everybody thought that.”
Al Pacino in Heat
Watching a clip of that iconic scene would make the viewers realize that the tiniest details in the actors’ performance would suggest different interpretations. Many fans felt the isolation between the two men, and so they believed that the scene was filmed separately. However, the director explained:
“What it was, there’s actually three cameras, and what you’re wearing on your chest is what the third camera was shooting, which is the profile two-shot, but I never used it because every time I went to that shot it removed us and made us observers of the two men instead of being empathetically, subjectively inside that dialogue.”
Mann admitted that he hates the point of view of just being an observer, and that influenced his creative decisions pertaining to the camera work.
“So, I always only use the two overs because everything we did was simultaneous. I had two cameras set up just out of reach, just out of sight of each other, shooting that scene.”
The veteran director knows that the most important thing in filmmaking is to make the audience feel that they are actually engaging with the characters and not just standing outside looking in.
Will There Be Heat 2?
Robert De Niro in Heat
Fans of Michael Mann’s Heat franchise would be thrilled to know that he will finally helm a long-overdue sequel to the epic thriller movie. He was initially hesitant to proceed, as he said in an interview via Variety:
“I took two years to write a novel. Fortunately, it became a New York Times No. 1 bestseller. The things I’m into are things that fascinate me and keep me moving forward. Don’t misunderstand. I want to make it. But if I don’t, I won’t be incomplete.”
Mann wrote the novel version of Heat 2 with author Meg Gardiner, which serves as both a prequel and sequel to the events in the first movie. There is no official release date yet, though Warner Bros has been attached for the film’s distribution.


Who Will Write Our History? Documentary Film by Roberta Grossman, Based on a Book by Samuel Kassow
A week after the sealing of the Warsaw Ghetto, a Polish historian named Emanuel Ringelblum organized a secret group of more than sixty members. The group’s mission was to document life in the ghetto and tell the story of Polish Jewry. Comprising writers, poets, rabbis, activists, sociologists, economists, and others, the group met every Saturday for three years and called their collective the Oyneg Shabes. They collected and wrote material about their lives—testimonies, essays, poems, photographs, diaries, paintings, underground newspapers, and more. These materials were buried on the eve of the uprising in the Warsaw Ghetto in metal boxes and milk cans. Two of three caches of this archive were discovered after the war, in 1946 and 1950, with more than thirty thousand pages of material, but the archive remained relatively unknown for decades. It was housed in poor conditions in the Jewish Historical Institute of Warsaw, with thousands of documents that were not translated. In fall 2014, award-winning producer/director Roberta Grossman began filming a documentary about the Oyneg Shabes Archive, Who Will Write Our History? The film is based on a 2007 book of the same title by Samuel Kassow. The executive producer for the film is Nancy Spielberg.
A Journey Into the Holocaust, Documentary Film by Paul Bachow, Subtitles
The filmmaker describes himself as “plagued with the inability to understand why a nation was so fixated on exterminating Jews and other minorities.” His work on this film represents his effort to understand the whys behind the Holocaust and other genocides. As such, the film is a unique contribution, as it focuses not so much on the historical events of the Holocaust but on providing a lens into understanding genocide. The film traces the history of anti-Semitism and its roots in Europe. Interviews with survivors of the Holocaust and programs, along with extensive archival materials, help viewers understand what life was like for European Jews before, during, and after the Second World War. The filmmaker’s hope is that the more people understand genocide and recognize the warning signs, the more likely we are to prevent such events or intervene in earlier stages in the future. Targum Shlishi’s funding helped to support the production of subtitles for the film in multiple languages, including Farsi, Spanish, German, and French.
L’Chaim! Documentary Film by Elkan Spiller
L’Chaim is a documentary film about the legacy of the Holocaust for the children of survivors. Targum Shlishi has helped support L’Chaim with modest grants for multiple years. Initially, Targum Shlishi took a chance on supporting the project early on, based on the vision and commitment of filmmaker Elkan Spiller, although there was no guarantee that the film would be completed or distributed. Spiller views the film as his life’s work, and spent years shooting footage, largely at his own expense. The film was released recently and while work is ongoing to have it screened at film festivals, schools, and universities around the world, the response has been extremely strong. The film has won five awards, has shown at multiple film festivals, has been screened in fifty-five cinemas in Germany and twenty-two in Holland, and negotiations are underway to screen the film on German television. A DVD (in five languages) is coming out and will be for sale. At the same time, the filmmaker has created curricular materials and has been presenting the film at schools in Europe. He is seeking distribution and screenings at film festivals, universities, and other venues, especially in the U.S., France, and Israel. The film is both a particular story about altruistic love that the child of survivors has for his parents and a larger commentary on ways in which the trauma of the Holocaust affects the next generation.
Defending History, Website and Organization Headed by Dovid Katz, Vilnius, Lithuania
Defending History is a robust website that publishes in-depth articles, opinion pieces, resources, booklets, maps, and more dedicated to defending the history of the Holocaust from deniers and those who attempt to distort it. Based in Vilnius, Lithuania, the English-language website is edited by Dovid Katz, with articles by many contributing authors. The articles, and the website as a whole, seek to oppose the European campaign of Holocaust revisionism; defend the integrity of victims; support Holocaust survivors and their families; advocate for the freedom to oppose governmental and other groups that want to rewrite history; defend human rights and equality; support the remaining Eastern European Jewish communities and Yiddish and Litvak culture; and defend historic Jewish cemeteries. Targum Shlishi is helping support Defending History’s efforts to monitor, document, and report on events that deal with the Holocaust, genocide, and commemoration of totalitarian regimes. Targum Shlishi is also supporting Defending History’s work monitoring international media on matters relevant to Holocaust revisionism.
Names, Not Numbers, Holocaust Oral History Student Documentary Project, New York and New Jersey
This innovative Holocaust education project, developed by Tova Fish-Rosenberg, has been in existence for several years, but this year for the first time it brought together eighth-grade students from a Jewish day school and a public school in New York. The students learned about the Holocaust in an immersive experience that culminated in the creation of their own documentary film projects. Experts such as author and Holocaust scholar Michael Berenbaum taught students about the history of the Holocaust. Students also heard first-hand accounts from survivors and liberators, and they learned interviewing and documentary film skills from media personalities and videographers. They then created their own documentaries by working collaboratively to interview the survivors and liberators. As one student noted of the project, “I feel it is now my responsibility to make sure that my survivor’s story is never forgotten.”


Great to see that Black Watch was recognised at the Olivier Awards last night as best new play. An accolade justly deserved for National Theatre Of Scotland, Greg Burke, John Tiffany and the actors and creative team. Black Watch has won many awards but there are two aspects of the Olivier awards which make this unique.
Firstly, because they are highly prestigious, awarded only to theatre in London, the theatre capital of the world. Black Watch was judged against plays in the West End, Royal National Theatre, Royal Shakepeare Company and other stars of the theatre world and found to be the best. This award establishes NTS, only 3 years old, as a major player in the elite theatrical league. And that matters for Scotland . It was a leap of faith by the Scottish Government to create NTS as a non building based company. The model came from the theatre community itself – it wasn’t a top -down policy driven venture. And the most important decision that the founding board directors made (myself included) was to appoint the leader with the vision, to take the risk. In appointing the young English woman, VickyFeatherstone, as the first Director of NTS, we went against the expectation that we would appoint a more usual suspect.
Secondly, the awards include categories for creative specialisms, recognising the importance of excellence in various specialisms which are part of the creative team. In recognising Gareth Fry for Best Sound Design and Steven Hoggett as Best Theatre Choreographer, as well as John Tiffany as Best Director, the Olivier judges are recognising the extended excellence of our team.


Inside The Havana Film Festival NY Opening Night
The 21st Havana Film Festival New York (HFFNY) kicked off on Friday, November 5th at The Village East Cinema with the New York premiere of El Olvido Que Seremos by Oscar-award-winning director Fernando Trueba. The film, based on the eponymous novel Memories of My Father, tells the story of Héctor Abad Gómez, author Hector Abad Faciolince’s father, a renowned doctor and human rights activist in the violent 1970s city of Medellin. Following the premiere, Faciolince held a Q&A moderated by Fernando Travesi, Executive Director, International Center for Transitional Justice.
HFFNY’s Carole Rosenberg, President, American Friends of the Ludwig Foundation of Cuba (AFLFC), and Diana Vargas, Artistic Director, were joined by VIPs from all around Latin America including: Susana Berenguer, Consulate General of Colombia in New York, Ronaldo Enrique Madrigal, Consul General of Costa Rica in New York, Pedro Luis Pedroso, Permanent Representative of Cuba to the United Nations, and Cora Cabada de Oliveira, Cultural Affairs Coordinator for Consulate General of Spain. Stars from the films being featured at HFFNY 2021 were also in attendance including Jely Reategui, Kika Child and Maite Bonilla.
The evening concluded with an Opening Night party, featuring Cuban piano phenom Dayramir González with singer and artist Willard Morgan. Special guests included actors Soraya Padrao and Rickard Claeson, directors Miguel Rueda, Trueba and Julian Troksberg and Faciolince.
HFFNY 2021 is running from November 5 through November 11, with 33 films being shown, many of which are US or New York premieres. Featured films include 90 Minutos / 90 Minutes, Havana, From On High, and Giselle. The HFFNY 2021 Centerpiece film is A Media Voz / In a Whisper, directed by Heidi Hassan and Patricia Pérez. Each evening of the festival featured various Q&A’s with the stars and directors of the films, including: Mambo Man star Héctor Noas, La Ciudad de las Fieras / The City of Wild Beasts director Henry Rincón, and 1991 director Sergio Ramirez.


Girl, Interrupted 1999 Angelina Jolie as Lisa. Menu. The more you confess, the more they think about settin' you free. Susanna: But what if you don't have a secret? Lisa. Directed by James Mangold. With Winona Ryder, Angelina Jolie, Clea DuVall, Brittany Murphy. Based on writer Susanna Kaysen's account of her 18-month stay at a mental hospital in the late 1960s. Based on writer Susanna Kaysen's account of her 18-month stay at a mental hospital in the late 1960s.
Angelina Jolie was 23 in Girl, Interrupted when she played the character 'Lisa Rowe'. That was over 20 years ago in 1999. Today she is 44, and has starred in 53 movies in total, 37 since Girl, Interrupted. Girl, Interrupted, is one of those films. Above all, Susanna becomes fascinatedly infatuated by the ward’s longest resident, Lisa Angelina Jolie, who is a manipulative and rebellious character, yet, an extraordinarily charismatic young woman,. and free. Deleted Scene from "Girl, Interrupted" called "Boston; The Museum" and shows Lisa Rowe Angelina Jolie and Winona Ryder Susanna Kaysen kissing in a van and later seen at a museum.
Image shared by Mariana. Find images and videos about Angelina Jolie, girl interrupted and -beautiful on We Heart It - the app to get lost in what you love. Angelina as Lisa Rowe. HD Wallpaper and background photos of Lisa for fans of Girl, Interrupted images. Angelina Jolie Girl, Interrupted. 29/06/2019 · From Maleficent to Girl, Interrupted; from dramas to psychological thrillers, action flicks, biographical films, and more, Angelina Jolie has had a diverse -- and highly successful -- career. Here’s a ranking of the best movies that the A-list actor has starred in over the last few decades.
Girl, Interrupted is a 1999 American psychological drama film based on Susanna Kaysen's 1993 memoir about her stay at a mental institution. Directed by James Mangold, it stars Winona Ryder who also served as an executive producer as Kaysen, with a supporting cast including Angelina Jolie, Clea DuVall, Brittany Murphy, Whoopi Goldberg. Angelina Jolie, winona ryder, and girl interrupted afbeelding 90210 to Girl Interrupted: The 9 Best Normcore Halloween Costume Ideas New post on westjades Find images and videos about movie, and Angelina Jolie on We Heart It - the app to get lost in what you.
Learn about each of the most memorable roles of Angelina Jolie's acting career—from tortured waif to evil queen and everything in between. When she’s not working on blockbuster movies, Jolie can be found around the world working with charities and engaging in humanitarian. 'Girl, Interrupted' 1999 Columbia Pictures. In this film. Jul 1, 2019- "A film that is so close to today’s mental health issues. For me I could relate to this film a lot."Submitted by sarahb4f5574bd7. Find GIFs with the latest and newest hashtags! Search, discover and share your favorite Girl Interrupted GIFs. The best GIFs are on GIPHY.
Angelina landed her first starring role in “Hackers”, portraying the only girl in a group who can lay claim to the status of elite hacker. Jolie married her “Hackers” co-star, Jonny Lee Miller, in May 1996, where she wore black rubber pants and a white T-shirt with Jonny’s name written on it in her own blood. Angelina Jolie, Actress: Maleficent. Angelina Jolie is an Academy Award-winning actress who rose to fame after her role in Girl, Interrupted 1999, playing the title role in the "Lara Croft" blockbuster movies, as well as Mr. & Mrs. Smith 2005, Wanted 2008, Salt 2010 and Maleficent 2014. Off-screen, Jolie. 13/05/2013 · Angelina Jolie in a still from the film Girl, Interrupted. Angelina Jolie in a still from the film Girl, Interrupted.pose for their movie, Yaana. Meet the good-looking Manvitha Kamath. Say hello to charismatic Vijay Suriya. Meet the talented and.
13/05/2013 · Angelina Jolie in a still from the film Girl, Interrupted. See more of: Angelina Jolie Angelina Jolie Angelina Jolie in a still from the film Girl, Interrupted. Angelina Jolie starred in the HBO biopic Gia before earning an Academy Award for best-supporting actress for Girl, Interrupted. Jolie has also directed the films ‘Unbroken’ and ‘By the Sea’. As of 2019, Angelina Jolie’s net worth is roughly $100 million dollars.. Angelina jolie girl interrupted 90s movies movie films film film quotes film quote movie quotes movie quote 90s films 90s movies 90s style good films good movies quotes life quotes good quotes. girl interrupted angelina jolie film 90s dark pale grunge glow indie pastel vintage. 13,724 notes. Reblog. 8. 66.1k Likes, 444 Comments - Angelina Jolie @angelinajolieofficial on Instagram: “What’s your favorite scene from Girl, Interrupted? 👀”. Beverly Hills – The last time I spoke with Angelina Jolie it was halfway through her filming of the movie Girl, Interrupted. She was in LA promoting last year’s bomb Pushing Tin; however, the buzz was already in motion for her role as the teen committed to an insane asylum, and the word was that she was going to win a lot of awards for Girl.
Girl Interrupted Movie Angelina Jolie Girl Interrupted About Time Movie Nick Drake Film Movie Great Movies Movie Quotes Movies Showing Human Emotions. More information. Angelina Jolie in "Girl, Interrupted" Best Supporting Actress Oscar 1999. LTY5. Beauty. What others are saying girl interrupted. Jolie's first role was in Pushing Tin 1999, a critical and commercial failure; however, her next film, The Bone Collector 1999, emerged as a commercial success. In the drama Girl, Interrupted 1999, Jolie played a sociopathic mental patient, a role which won her a Golden Globe Award and an Academy Award for Best Supporting Actress. For her role as sociopath Lisa Rowe in the 1999 film, Jolie won the Golden Globe, Academy Award, and Screen Actors Guild Award for Outstanding Performance by a Supporting Actress. Angelina Jolie Source. Back to previous page Back to news Print this document. Home > Movie Productions > Girl, Interrupted 1999 Last updated albums - Girl, Interrupted 1999 DVD Screencaptures - 'Making of' Featurette - "HBO First Look, The Making of Girl, Interrupted" 187 views Jul 18, 2017: DVD Screencaptures - Trailer 136 views Jul. Girl Interrupted is the adaption of Suzanna Kaysen’s best-selling memoir about her time in the Claymoore Hospitals South Bell ward. Upon first glance, a movie about life in a 1960s era mental institution does not sound like must watch viewing, but Girl Interrupted takes a far more intriguing tact than the usual across the board indictment of.
27/05/2014 · TV and Movies Angelina Jolie Looks Back On The Roles That Made Her Puke, Cry, And Fall In Love. The Oscar-winning actress reflects on Hackers, Gia, Girl, Interrupted, and more of the films that established her as a force in Hollywood before her 38th movie, Maleficent, hits theaters.
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My wife and I had a fun time yesterday watching “The Old Man and a Gun,” Robert Redford’s latest, and possibly last, film. It’s a congenial, leisurely stroll through a mostly true story about a gentleman bank robber who truly loves his work. Redford and co-star Sissy Spacek warm the screen, as does an eclectic cast of veterans that includes Danny Glover and Tom Waits, who bring dimensionality to their supporting roles (no matter how small). Be sure to keep an eye out for the affectionate nods to Redford’s career, especially the well-placed clips from previous films used in service of this tale. If this is indeed the old man’s last hurrah as an actor, he’s going out on a high note, with movie star hair and million watt smile intact.


July 24—Opening Night: Live with Todd Price & Kim Spencer
Bringing our fundraising campaign full-circle, we spoke with Todd Price and Kim Spencer. In 1984, they approached Denver Wilson and Kitty Butterfield with the idea to create Galion Community Theatre. Enjoy!
July 17—Opening Night: Live with Molly Jobe
We connected with spectacular Broadway actor Molly Jobe, who has performed in Broadway productions like Waitress and Disney's Newsies!
July 10—Opening Night: Live with Jennifer Eachus
We welcomed Jenny Eachus back to the Galion Theatre stage and enjoyed special performances by Jenny, Carly Kent, and Morgan Walsh!
July 3—Opening Night: Live "Andrew Lloyd Webber"
We welcomed to the stage several performers who sang music by Andrew Lloyd Webber!
June 26—Opening Night: Live "A Night of Sondheim"
We delighted in "A Night of Sondheim" as a variety of performers returned to the Galion stage to sing a selection of Stephen Sondheim's music!
June 19—Opening Night: Live with Nicki Paluga
We welcomed Nicki Paluga back to the stage! Nicki has been an actor and a director with Galion Community Theatre, and now she is a Los Angeles-based writer—working on shows with Netflix, ABC, TNT, and more!
Enjoy as we sit down with Nicki to discuss her experiences—with special music to be performed by Adam Jarvis.
June 12—Opening Night: Live with Ally Chakroff, Charles Groth & Martin Rawls
We returned to our beloved Galion Theatre stage! Joining us this week was Ally Chakroff, Charles Groth, and Martin Rawls—principal cast members in our summer musical, The Hunchback of Notre Dame, which was regrettably cancelled for the 2019-20 season.
We invite you to tune in and enjoy live performances from these magnificent actors as well as an opportunity for some quality conversation and Q&A!
June 5—Opening Night: Live with Greg & Keith Ramsdell
We connected with Greg & Keith Ramsdell, two brothers who participated in GCT's very first productions and now continue to serve in the world of music and theatre right here in Ohio!
May 29—Opening Night: Live with Connor Moreton
We were joined at our temporary, undisclosed location by Connor Moreton—a regular performer at GCT, Connor has been involved in a number of youth and full-length productions on our stage!
So pop some popcorn and settle in for a night of interesting conversation and some live performances from Connor himself!
May 22—Opening Night: Live with Nancy Herman
We sat down with Nancy Herman (at a socially acceptable distance) to discuss her long legacy with the Galion Community Theatre, which includes performing, directing, and serving on our volunteer board!
Join us for a night of laughs and lively conversation—you don't want to miss it!
May 15—Opening Night: Live with Jakob Plummer
We welcomed back to our stage Jakob Plummer, a past GCT actor, volunteer, and scholarship winner—now, a freelance stage manager in New York City, whose credits include Broadway and Off-Broadway productions alike!
Enjoy an entertaining conversation, Q&A session, and more—with special piano performances by Adam Jarvis.
May 8—Opening Night: Live with Kate Butterfield & Jim Hoover
GCT was joined by two wonderful guests who were instrumental in the creation of our community theatre, Kate Butterfield and Jim Hoover!
Enjoy a lively conversation about GCT's formative years, a Q&A session, and a special performance from The Sound of Music, our community theatre's very first musical production!
Everyone who donated at least $15 to our "Fill the Seats" campaign will receive special recognition on a permanent commemorative display in the theatre lobby.
As a 501(c)(3) nonprofit organization, you may be able to claim a deduction on your federal taxes if you donated to our "Fill the Seats" campaign.