For years my daughter’s favorite movie was Just Visiting. This old remake of an older hit French comedy was packed with plenty for my little girl to adore. Magic, time travel, and plenty of humor. Some quotes from the film are still in rotation as favorite family sayings. Although it didn’t lack for laughs, it was missing something more vital. Strong female roles. Sure, women star in the film. Passive, pretty characters who only gain a stronger sense of themselves through men. Well, there’s also a stereotypical witch. Don’t even get me started on that. I’m not about to stomp my foot and decry one B movie because the women’s roles aren’t up to good-for-my-daughter standards. But when I take a look at movies available in theaters and on Netflix, foot stomping seems imperative. In the real world girls and women have full, interesting lives. Their conversations are complex and rarely limited to shoes, hair styles, and attracting the “right” XY chromosomes. But in the entertainment world, females are often little more than gloss. Little more than women’s roles in the past. One way to gauge a female character’s presence in any movie is the Bechdel test. This method doesn’t imply that a particular movie has merit, it simply demonstrates character treatment based on gender. To pass the Bechdel test, a movie has to meet all of the following three qualifications:
- Have at least two female characters (with names known to the audience)
- who have a conversation with each other
- about something besides a male.
Recall the last five movies you saw. How many really pass the test? I’m not sure Just Visiting passes. But according to the Bechdel test database, recent movies such as Limitless, Pirates of the Caribbean: On Stranger Tides, The Tree of Life, Water For Elephants, Your Highness, Beastly, I Am Number Four, The Lincoln Lawyer, No Strings Attached, Source Code, and Avatar don’t pass. Kids’ movies aren’t much better. Bechdel test failures include Hop, Rango, Rio, Jack and the Beanstalk, Megamind, The Secret of Kells, Fantastic Mr. Fox, Cloudy With a Chance of Meatballs, Ice Age: Dawn of the Dinosaurs, and Shrek Forever After. Another way to pay attention to gender disparity in movies is to simply count the number of female speaking characters. Top movies for kids from 1990 to 2005 averaged less than one female out of every three speaking characters. And in both animated and live action movies from 1999 to 2006, researchers noted that females were outnumbered by males in speaking roles as well as crowd scenes. Worse, girls and women were typically portrayed in stereotypical, often hypersexualized roles. It seems girl power, even in today’s family films, has a lot to do with sexy clothes.
This gender disparity is more than annoying. It’s damaging. Sexualized stereotypes are linked to a slew of problems in girls as well as women including eating disorders, poor self-esteem, and depression. Girls and young women who frequently consume mainstream media content are more likely to believe that a woman’s value is based on physical attractiveness. Even very young girls are beginning to self-objectify, to think of themselves as objects to be evaluated by appearance. And there’s a lot of media consumption going on. Half of kids under six watch at least one DVD a day. That’s some heavy reinforcement of Hollywood ideals. In our house Just Visiting has given way to new favorites. I’ll be watching them with popcorn, a snuggly blanket, and some attitude. My foot is just itching to stomp. Here are a few resources to light the way. About Face Adios Barbie All Made Up: A Girl’s Guide to Seeing Through Celebrity Hype to Celebrate Real Beauty Beauty Redefined Body Drama: Real Girls, Real Bodies, Real Issues, Real Answers Body Outlaws: Rewriting the Rules of Beauty and Body Image Body Shots: Hollywood and the Culture of Eating Disorders (Excelsior Editions) Can’t Buy My Love: How Advertising Changes the Way We Think and Feel Cinderella Ate My Daughter: Dispatches from the Front Lines of the New Girlie-Girl Culture Mothers for a Human Future New Moon Girls Packaging Girlhood Pink Stinks Resolving the Confidence Crisis Taking Back Childhood Teen Voices The Body Project: An Intimate History of American Girls 101 Ways to Help Your Daughter Love Her Body


We bring you a list of TV series that you can binge watch (without guilt). What sets them apart is the fact that they are underrated, or just less known. Rest assured, not a lot of people are watching these shows, and you get to do something no one else is doing, in your own way.
1. Freaks and Geeks
This show, set up in a high school setting, is just 18 episodes-long and is based in the 1980s. High-school bullying, peer pressure, drug abuse, are rampant and none of the students have any clue as to where they are headed in life. it is a pleasure to watch just by design of how the script has been written and executed, and to add to its charm we have some of the most favourite actors in their awkward teenage years. Cue: Jason Segeal, James Franco, Seth Rogen, among others.
2. Bojack Horseman
The idea of a talking horse sounds ludicrous at first, but once you launch into the first episode, you will realise there is something in the fabric of the show that keeps you glued. A Netflix original, and having completed its third season, Bojack Horseman is the journey of the character by the same name, who is suffering from depression, and yet for a large part of the show the D-word wasn’t even so much as whispered. There’s a genious working in the execution of this show, which makes it a cartoon for adults.
This is a very different show, in that it brings together central characters belonging to different age groups, and how their clashing perspectives merge, but not without friction. The premise is that a lawyer’s degree is revoked and he is forced to join community college, and soon joins this study group with the varied quirky people of his class. What ensues is comedy and more. The show does not get dark at any point.
4. Fresh Off The Boat
Taking a humorous look at an immigrant Taiwanese family, this show about a family with two kids will crack you up. The Huang family is endearing and the mother steals the show, with her quirks and obsessions. A light-hearted show that’d definitely take the edge off if you are stressed.


Bridge Street Theatre Production Stage Manager
Bridge Street Theatre (BST) is a not-for-profit tax-exempt corporation whose mission is to provide an intimate and affordable venue for the production of new, newly-developed, and unjustly neglected works of theatre, as well as imaginative and adventurous re-interpretations of classic texts. This space at 44 W. Bridge Street in Catskill, NY is unique in Catskill, Greene County and indeed the entire region in both its size and ambitions. It serves as home base for its own productions and provides performance, gallery and event space for community, regional, national, and international groups.
Job Title: Bridge Street Theatre Production Stage Manager
Type: Part-time, average 20 hours/week, schedule dependent on production requirements
Duration: 8 months 4/1/2020 – 11/30/2020
Salary: $18/hour paid bi-weekly
Option: Possible free housing in the apartment upstairs in the building
Application Deadline: 2/16/2020
Web Site: bridgest.org
The Production Stage Manager is responsible for coordinating all aspects of rehearsals and performances for all events at Bridge Street Theatre. They organize people and paperwork, take general, blocking and line notes during rehearsals, help organize costume fittings, prop lists, and other pertinent show data and run both rehearsals and performances. They are highly organized, leaders, detail oriented, and calm under pressure. They will also be advocates for the mission of the Bridge Street Theatre and support the staff and board in realizing that mission.
Responsibilities Include but Are Not Limited To:
- Work collaboratively with the director and designers to fulfill the vision and concept of the production.
- Attend all production meetings and rehearsals. Supervise all rehearsals.
- Maintain an accurate production prompt book with blocking, cues, and notes.
- Run or call the show.
- Facilitate communication between designers and directors.
- Assist the director and other production staff in creating a weekly schedule.
- Maintain a contact sheet, distribute necessary paperwork and announcements to cast and production team.
- Distribute rehearsal notes after each rehearsal and performance reports after each performance.
- Facility Care, including preparing the stage or rehearsal area before the start of each rehearsal and performance and returning the space to neutral after.
- Check in actors, take role, make phone calls when necessary.
- Supervise tech.
- Be on site for all performances. Respond to emergencies and problems with maturity and intelligence.
- Be the first to arrive and the last to leave all rehearsals and performances.
- Report all incidents and emergencies to staff.
Skills, Abilities and Knowledge Preferred:
- Undergraduate degree or similar experience as a Stage Manager
- Working knowledge of theatre producing practices and personnel management
- Working knowledge of theatrical set construction, lighting technology, costume construction and prop gathering and building
- Knowledge of Microsoft Office products including Word, Excel, PowerPoint
- Experience with lighting control consoles, ideally the ETC Element
- Knowledge of audio equipment and QLab software
- Ability to manage shifting and competing priorities
- Ability to exercise good judgment and discretion
- Attention to detail
- Strong organizational shills
- Ability to work independently and to maintain a positive work atmosphere
- Flexibility in work schedule, as the schedule varies week to week and includes evening and weekend hours
Email a resume and letter of interest, with subject: Bridge Street Theatre Production Stage Manager, to firstname.lastname@example.org. Applications will be accepted until 2/16/2020 Only qualified candidates will be contacted.
Bridge Street Theatre is an equal-opportunity employer.


As part of the Preston Guild celebrations 2012, we were involved in sound design for Preston Youth Theatre performance "Preston 2112".
Set 100 years into the future, where humans are neurally linked into the world wide web, it was an opportunity to explore dystopian themes and gritty electronic soundscapes.
For more information on the project, please visit:
Preston 2112 and Preston Youth Theatre
We also provided sound design and composition for the Preston Youth Theatre's production "Blue Flower" based on the short story "The Land of the Blue Flower" by Francis Hodgson Burnett.
With live instrumentation by Tom Woolsgrove


Amos P. Godby High School
Yearbook Adviser, Acting and Technical Theatre Teacher
Fine Arts Department Chair and Director of Theatrical Arts
Mrs. Lundgren's Website
GHS Cougar Yearbook
Godby Players Drama Club
Course Goals and objectives
Demonstrate use of appropriate theatre terminology.
Demonstrate awareness of the criteria used in script analysis and the elements that contribute to its aesthetic impact.
Demonstrate awareness of major theatrical periods and playwrights and historical, cultural, and societal influences on dramatic literature and musical theatre.
Identify the contributions of technical elements to the mood and setting of a drama.
Demonstrate awareness of technical theatre design.
Demonstrate awareness of the roles and responsibilities of varied members of the production team.
Demonstrate awareness of the collaborative skills and artistic discipline required to participate in rehearsals and theatre productions.
Demonstrate responsible behavior in dramatic activities as a participant or audience member.
Identify opportunities and requirements for a career in theatre arts.
Demonstrate awareness of the reciprocal relationships between theatre arts and other subject areas.
How you can stay in contact:
Follow us: Instagram - godbyplayers,
Facebook – Godby Players Drama Club,
Website – http://lundgrenr.weebly.com/
e-mail Mrs. Lundgren:
Godby players tech ninjas at work
Create your own unique website with customizable templates.


Speaking in Leveraging the Power of Technology Tools for Greater Impact at 11:15 am for the Ignited Impact track.
Ian Rand brings a diverse artistic and management background to the many roles (currently Marketing & Partnerships) he has filled over the past fifteen years at The Wolfsonian–FIU. In his first career he was a theatrical press agent, working on Cats, Les Miserables, The Phantom of the Opera and Rent, among many other Broadway productions. He spent three years in Toronto as the Director of Publicity for Livent, Inc., the world’s first publicly traded theatrical production company, where he launched the world premiere and subsequent Broadway productions of Ragtime and Fosse. Ian received an MFA in Film at Vermont College of Fine Arts, and his pre-Wolfsonian non-profit background includes many hours logged at The Public Theatre in New York and non-profit management coursework at Harvard University Extension School.


Foto: Luzie Marquardt
We clap to applaud the past, to signal our approval for completed achievements. At other times we clap to join the crowd, to conform to expectations and conventions. Applause has become the established way of concluding or responding to the completion of a performance or presentation. ‘Take a bow for tomorrow’ re-imagines the cultural ritual of the curtain call, to create a performance that is entirely composed of applause.‘Take a bow for tomorrow’ was first presented at the prize giving ceremony for 6 Tage Frei in Stuttgart.
An audience is divided into groups. Before the show is due to begin they are asked to rehearse short choreographed bowing routines. Routines and formations are increasingly complex (ridiculous), playing on situations commonly encountered in theatrical contexts (overlaps, pairs, flybys, crossovers, run-ups). Sub-groups are created within the choreography by categorising audience members, finding divisions within the entity of ‘the audience’ (male/female, trainers/no trainers, those who consider themselves in the first half of their lives/those who don’t, etc). The audience are then invited onto the stage to take their bow. The audience that watches the audience is asked to applaud future achievements, rather than past achievements.
Applaud like you have never applauded before. Applaud everything that is possible – everything an individual might do. … Give yourselves the biggest ovation imaginable – perhaps in vain.
‘Take a bow for tomorrow’ is a simple exercise that recognises the boundless realms of possibility, on a stage that once promised the same.


We grew up on movie sets. Now we act, write, direct, produce, edit, and teach. So we know a thing or two about movies. And even when we don’t, we’ll talk about them anyway. Each week we dissect one movie and whatever else strikes our fancy. Informed opinions, inside information, occasional guests, personal stories, and tons of spoilers.
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Follow Matthew on Facebook at Matthew Arkin Studio


This past Friday, I hung out with time travellers at the Zoetic Theatre. They had a DeLorian and everything.
No, seriously, I have pictures.
Now, I’m not an easy person to impress, and I’m definitely not one of those people who jumps around like a total fangirl at every movie prop or costume from a franchise I enjoy, but this one got me. First of all, look at that craftsmanship. Compare it to stills of Back to the Future. That took some serious time and effort. The thing even has a believable flux capacitor inside!
There’s nothing like driving around the corner of Upper Wentworth and Concession to see a DeLorian time machine, gull wings open, people flooding into the street to take pictures in the growing twilight under an old-fashioned movie theatre marquee… it was pure magic. The Zoetic Theatre’s classic movie nights are getting better and better, and people are flocking to the theatre to enjoy their old favourites.
I know, I know, you’ve got the movie downloaded. You have it on DVD or Blu-Ray. Why pay $10 to go see an older movie at the theatre?
There are a ton of reasons why these events are so much more fun than sitting at home, but since I’ve been there since the beginning of the series, perhaps the best way to explain would be to tell you all a bit about my experience with the Zoetic, and why it’s meant so much to my friends and I.
I first noticed the Zoetic when I was returning from one of my many walks to the park on the Jolley Cut. Since Robin and I are hopeless film fanatics, I was intrigued that something that looked like an old movie theatre was still hanging out in a strip mall in the year 2014. As I drew closer, I realized that it was an old movie theatre… one that we could walk to! A poster in the window advertised a screening of Raiders of the Lost Ark, which is a mutual favourite of ours.
I was so excited that I power walked home, and told Robin that we were going. You see, being of that generation that worships eighties movies, but was just a smidge too young to see them in the theatre (I was an infant when Raiders and Back to the Future came out) I always kind of felt like I was missing out on something. DVD and Blu-ray, as nice as they are, just couldn’t make up for that experience of seeing these movies, for the first time on a big screen, and sharing that experience with a bunch of other people.
The night came, and we walked down to the Zoetic, expecting to find your average, run-of-the-mill older movie theatre. Nope. This place is an architecture buff’s dream. Art deco mouldings. Tin ceilings. Old-fashioned ticket booths. Plus, they’ve done some really nice renos as well. The bathrooms are wonderful, done up in daring art deco style, and the ceiling in the lobby twinkles. Top it all off with a smattering of eccentric Victorian furniture, and it’s really quite the destination in and of itself.
The screenings are distinctive too. Costumes are encouraged (and get you discounted tickets) and every film is preceded by a fun and immersive film history lesson and trivia contest. Our group has won sour patch kids and concert tickets so far, but we’re aiming for a new car, of course.
The movie started. We cheered. We laughed. We… didn’t cry so much, but the sour patch kids might have gotten us halfway. Seeing Raiders on the big screen really put the film in a whole new light for me, and I started noticing details I hadn’t seen before. For instance, in the chase scene where Indy is hijacking the trucks, through the desert, why do they end up on a giant cliff all of a sudden which doesn’t appear to be anywhere later in the scene? And later in the movie, I noticed something cool, something shocking even, that I had missed every single time watching Raiders on VHS or DVD. In the scene where Indy is pointing the rocket launcher at the Ark, when Dr. Belloq does that monologue telling him he doesn’t have the guts to pull the trigger, the dude eats a fly in the middle of his monologue, and keeps going. Dude. Eats. A fly. Seriously, and they used that take! We were talking about it the whole way home.
We often get a lot of flack from relatives for noticing these details in films. People take our attention to detail as a criticism of the films we love, but for film people, it is just the opposite. We love these films so much that we want to get up close to them, dissect them, and get other people close to them too. And that is precisely what we did. The next movie night, we showed The Wrath of Khan to my friend who is obsessed with the new Star Trek.
The movie night after that, we took our twelve-year-old nephew to see Alien. At the end, when Ripley realizes that the alien is still in the escape shuttle, Robin and I peeked over at the little guy, and he was on the edge of his seat, eyes glued to the screen, so completely taken in by the story that he couldn’t see his Auntie Liz and Uncle Robbie exchange a knowing chuckle. Oh, and miracle of miracles, he actually looked up from his phone for a full minute to take in the twinkly ceiling.
That’s the magic that the Zoetic has going on right now, and I urge anyone who wants to have an amazing night out with the family, with friends, on a very special date, to come out and experience these films the way they were meant to be seen. Come and get up close and personal with classic films, and the people who love them. Maybe you’ll notice something special too.
Click above to see their upcoming film schedule!
*Photos taken by Leonard Doxtator. I don’t know the people in these photos. If there are any photos of you in this post and you would like them taken down, please comment or email me at firstname.lastname@example.org and I will gladly take them down. Or, if you like them, I can email you a copy.


Kindergarten Cop 2 Cast
To recover stolen data in a progressive school, the FBI’s toughest agent (Lundgren) must go undercover on his most difficult assignment yet:
Kindergarten cop 2 cast. Kindergarten Cop 2 (2016) cast and crew credits, including actors, actresses, directors, writers and more. The film was released direct-to-DVD in the United States on May 17. While undercover, Kimble discovers his passion for teaching and considers. Hoping to locate Crisp's estranged wife and son in order to draft them as witnesses, and having no information about them except the name of.
Find low everyday prices and buy online for delivery or in-store pick-up. Principal photography in Langley and Vancouver, British Columbia, Canada took 102 days, from July. While undercover, Kimble discovers his passion for teaching and. Kindergarten Cop 2 is a 2016 film, and that right there is the problem.
Find movie and film cast and crew information for Kindergarten Cop 2 (2016) - Don Michael Paul on AllMovie But in the double pack it was worth the money and remember it's not a tumor. Arnold Schwarzenegger stars as John Kimble, a tough police detective working undercover as a kindergarten teacher to apprehend drug dealer Cullen Crisp (Richard Tyson) before Crisp can get to his former wife and son.. In 1990, Arnold Schwarzenegger starred as tough Detective John Kimble in the hit film Kindergarten Cop, which focused on his character going undercover as a kindergarten teacher to locate the son.
Directed by Don Michael Paul, "Kindergarten Cop 2" stars Dolph Lundgren and Bill Bellamy. Low Life #2 Crew Ivan Reitman Director, Producer Alan Berger Casting Anne McCulley Set Designer Brian Grazer Producer Bruno Rubeo Production Designer Gene S. As the film begins. Shop Kindergarten Cop/Kindergarten Cop 2 [DVD] at Best Buy.
Kindergarten Cop 2 (2016) Cast and Crew A gruff FBI agent goes under cover as a kindergarten teacher. Teaching a class full of liberal kindergarteners. (Original Title - Kindergarten Cop 2) - 2015 Universal Studios. Arnold plays Detective John Kimble, a cop trying to put away drug dealer Cullen Crisp.
Dolph Lundgren and Bill Bellamy star in the hilarious next chapter of the Arnold Schwarzenegger classic, Kindergarten Cop. To recover stolen data in a progressive school, the FBI’s toughest agent (Dolph Lundgren) must go undercover on his most difficult assignment yet: Discover the latest Discussions, Reviews, Quotes, Theories, Explanations and Analysis of Kindergarten Cop 2 (2016) below Webb Producer Herschel Weingrod Screenwriter Ivan Reitman Director, Producer Jeff Dawn Makeup Joe Medjuck.
Who the jimminy bollocks is a sequel to Kindergarten Cop 26 years after the original for exactly? Cantamessa Production Sound Mixer Gloria Gresham Costume Designer Gordon A. Directed by Don Michael Paul. Assigned to recover sensitive stolen data, a gruff FBI agent goes undercover as a kindergarten teacher, but the school's liberal, politically correct environment is more than he bargained for.
The kindergarten cop 2 was not as good as the first one I think. Don Michael Paul Director. Arnold Schwarzenegger stars as John Kimble, a tough police detective working undercover as a kindergarten teacher to apprehend drug dealer Cullen Crisp (Richard Tyson) before he can get to his ex-wife and son.. But I still prefer the first kindergarten cop the actors seem to have a better chemistry for working together.
He's there to recover stolen data, but first he'll have to learn to survive in the politically. Kindergarten Cop 2 tries to do that but with Dolph Lundgren but creates an unfunny, boring and offensive film that appeals to nobody. But the second one did have some good points to it. Assigned to recover sensitive stolen data, a gruff FBI agent goes undercover as a kindergarten teacher, but the school's liberal, politically correct environment is more than he bargained for.
Kindergarten Cop 2 (2016) (movie): The FBI agent's gruff nature clashes with the liberal political correctness of the elementary school. Principal photography in Langley and Vancouver, British Columbia, Canada took place over 28 days, from July 27 to August 24, 2015.
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Alexey Marfin is a film director interested in life in cities, with a professional background in visual effects. He studied at the Architectural Association in London, where he became interested in designing worlds for film. He began his filmmaking career as a visual effects artist at the Sundance-award-winning studio Factory Fifteen, before directing his own films.
Alexey’s films have screened worldwide – at the Busan Film Festival, Vancouver Film Festival, Brooklyn Film Festival, and many more. He has been acclaimed in both Western and Asian media, including VICE, NOWNESS, Ming Pao Weekly, City Magazine, RTHK, Time Out, and others. Alexey has taught and lectured internationally – including MIT, UCLA, City University of Hong Kong, National Chiao Tung University, Tsinghua University, and the Royal College of Art. He now teaches the MS in Fiction and Entertainment at SCI-Arc with Liam Young.


I’m a frequent borrower from my local library, and a particular fan of their wide-ranging DVD collection. This week I found two documentaries that ended up — unintentionally — being a perfect pairing
The first is “Marlene” (1984, Kino Video), a documentary about the actress Marlene Dietrich. Made by the German actor Maximillian Schell, the film begins with the famously reclusive actress’s refusal — at the last minute — to allow her former co-star (Schell, from “Judgement at Nurenburg”) to actually film a series of interviews in her Paris apartment. Discouraged, but determined, Schell is able, at least, to record the conversations on tape, and then sets about coming up with a way to make a “moving picture” out of it all. Adding the device of a recreation of Dietrich’s apartment into the usual mix of archival film and photos, the dominant force of the film is Marlene’s voice. And in that voice you hear a personality limited by her austere German upbringing and her own brittle temperament.
The second documentary is: “Blind Spot: Hitler’s Secretary” (Sony Pictures Classics, 2002), A Film by Andre Heller and Othmar Schmiderer. This film is the polar opposite of “Marlene”, in that it consists entirely of face-front filmed interviews with Traudl Junge, who was one of Adolph Hitlers secretaries and who, remarkably, survived the very last days with Hitler and his officers in the bunker in Berlin (Hitler dictated his final “political testament” to her before shooting himself). There is never so much as a cut-away from Junge’s face for the entire film. Sometimes she is shown watching (and listening to) previous interview footage of herself, adding in details or comments as they come to her mind. This is remarkable. I’ve never seen a documentary like it. But then, when you have such an articulate eyewitness to the kind of events that she is describing, who in their right mind would want to distract the viewer.
If you’ve seen the fine recent German film “Downfall”, then you know this woman’s story (she provided a great deal of the detail that was used in that film which is, in some ways, her story as well). But to be able to watch the real person’s eyes, face and hands as she speaks with such openness is a remarkable opportunity.
Both of these films are windows into Germany in the years leading up to, during and after World War 2. But they are also studies in contrast of the two subjects. Dietrich left Germany and, essentially, joined the U.S. Army during the war (she is beloved by WW2 vets for putting on shows for troops far nearer the front lines then Bob Hope ever dared to tread). When asked why, she says, matter of faculty, that it was a simple choice of good over evil. Trudly Junge, on the other hand, was “apolitical”, and itching for job in Berlin that would allow her to get out of her home town. It is only many years later (after walking past a monument to the German resistance fighter Sophie Scholl, about whom another recent film was made) that Trudl has an awakening to the fact that she, too, had choices.
In many ways, these are simple biographies of two human beings who happened to be swept up in great events that throw their individual characters into greater relief. You may find yourself getting a bit tired of Dietrich by the end, but “Marlene” is quietly building its power that pays off in the end. “Hitler’s Secretary” is riveting throughout, yet still manages to pack a punch in the end. I recommend them both.


Sripathi Panditharadhyula Charan, known for his contributions to Tamil and Telugu cinema, is a multi-talented Indian artist who excels as a film playback singer, actor, producer, and director.
Hailing from a renowned musical lineage, as the son of the legendary singer S. P. Balasubrahmanyam, Charan initially made his mark as a playback singer in Tamil and Telugu films. He later ventured into acting, making his debut in the 2003 Kannada film “Hudugigagi.” However, it was his notable performance in the 2008 film “Saroja” that brought him widespread recognition.
In addition to his artistic pursuits, Charan has also made a mark as a film producer. He founded a production company called Capital Film Works and has produced several successful Tamil films, including the cult hit “Chennai 600028” in 2007 and the National Film Award-winning “Aaranya Kaandam” in 2012.
Currently, Charan is actively involved in the Tamil film industry as a director as well. Under his home banner, Capital Film Works, he is working on a new Tamil web series titled “Adhigaram,” which marks his directorial debut. “Adhigaram” is a gripping political thriller that tackles sensitive issues. While the release date is yet to be announced due to the ongoing pandemic situation, fans eagerly await its arrival.


Home Made Movie Clips
Cast Christian Mcculley, Teddy Witherspoon
From the director of Higher Students and Whatever Happens and from the guys who saw Old School comes this crazy college comedy about three high school students taking a tour at a college to wind up lost. So now their stuck on the big campus filled with college bullies, drugs, frat parties and security. A lot can happen in this teen buddy satire.
American 2013 teen comedy film
MPAA rating: R pervasive language strong crude and sexual content drug use violence crude humor and a sexual reference
Stars: Teddy Witherspoon, Elijah Wilson, Christian Mcculley
Eric Frazier, Steven Gladden, Jazzmin Johnson
American comedy films /Buddy films /American 2013 films /2000s comedy films /Slapstick comedy films /American teen comedy films /American black comedy films /Films about drugs /College films /Films set within one day /S home movies /Smile eye productions /Films about fraternities and sororities
Reviews: 1. Welcome to College is a mixer of The Hangover with Old School.
2. This is a wacky comedy that’s trying to be a copy of Old School.
3. It’s funny and a bit over the top but still a funny movie.
4. This college comedy was very stupid and lame and it had very bad/boring dialogue. I would call this a very weak R-rated comedy.
5. I don’t think it’s trying to be like Animal House but I do think its trying to be a copy of Old School.
6. Christian Mcculley was the most unfunnest character in the whole movie he was silly in Whatever Happens but they tried to make him like a party animal in this movie AND HE SUCKS AT IT!!
7. I hated this movie it had no real script and I hated how they tried to make Christian Mcculley a lame copy version of Will Ferrell in Old School.
8. Dumb Movie
9. It’s satire was good and I couldn’t tell if it was trying to be a black comedy to a college comedy.
10. This movie was funny to me and it had good characters in it. Its what you would call a good college movie
11. The new summer R-rated comedy that’s full of funny stupidity crude comedy and satire.
12. I felt that Welcome to College was trying to be a dark comedy but fails with it’s over the top dark content trying to mix it with crudeness.
13. The dialogue in this movie sucks
14. This was a very unfunny comedy i wouldn’t even call this a comedy
15. Some funny parts but not enough to save this script
16. Bad movie a boring unfunny teen comedy that lacks too much black humor and crude jokes.
17. It should be called welcome to hell cuz this movie sucks
18. Whatever Happens was a better teen comedy then this piece of shit.
welcome to college, teen comedies, satires, college comedies, buddy films, R-rated, screwball comedies, dark humor, black comedies, cult comedies


You’re having a nightmare, and have to choose between three doors. Pick one, and tell us about what you find on the other side.
Alexis struggled to pick one foot up as she set the other down. It felt as if someone were holding her ankles, making it nearly impossible for her to move. She knew she needed to run, but her body just would not cooperate. There was nothing in front of her but swirly mists, black and grey, with no light to show her where to turn.
There was no sound. She knew she was screaming, but her voice was swallowed up into the void and there was no one to hear, no one to help. The Terror was chasing her, laughing a terrible laugh as it watched her struggle to go nowhere. How was it she could hear that awful laugh, yet her own screams were silent?
What was this terrible place? Oh, if only she could fly! Up and away, free to soar above the horror that held her. There was no escape, and no one to help.
As the mists swirled and dipped in front of her, as she strained to see any way out, she finally did see three closed doors. What were they? How was she to know which one to choose? She watched as the doors loomed ever closer. None of them seemed a safe choice, yet she knew she had to do something! She stretched out her arm, groping and reaching to touch one of the doors.
“I don’t care which one I go through,” she thought. “Nothing could be worse than where I am now, with the Terror behind me and I can barely pick my feet up to run! Oh, please, just let me go through one of these doors! it doesn’t matter which one! Nothing could be worse than this. . .Oh, NO!! NOOOOOOOOOOO!”


Tony declaring that Stark Towers be renamed Winterfell and whenever he is called away for boring conferences or whatever he refuses because “There must always be a Stark in Winterfell.”
8 Facts about the Catching Fire movie and its cast
8 Facts about The Hunger Games movie and it’s cast
I squeeze my eyes shut and try to reach for him across the hundreds and hundreds of miles, to send my thoughts into his mind, to let him know he is not alone. But he is. And I can’t help him.
“I’m going to. Going to win for both of us now,” I promise. I hear a cannon and look up. It must be for the boy from District 1.
“Don’t go.” Rue tightens her grip on my hand.
“Course not. Staying right here,” I say. I move in closer to her, pulling her head onto my lap. I gently brush the dark, thick hair back behind her ear.
“Sing,” she says, but I barely catch the word.


Dominique, Lolita, grows up and goes wild!
Dominique Swain is an American film actress. She is best known for her role as the title character in the 1997 film adaptation of the novel Lolita.
She is a spokesperson for the People for the Ethical Treatment of Animals (PETA). At the age of 21, she became the youngest model to pose nude for PETA.
In 2002, she was one of Stuff magazine's "102 Sexiest Women in the World."
Birth name: Dominique Ariane Swain
Birth date: August 12, 1980
Birth location: Malibu, California, USA
Height: 5' 9" (175 cm)
6 pics | 940 x 1300 (Super HQ) | 1.1 MB


Today I want to post about this amazing movie that every artist should watch. The Third Man is one of the greatest film noir ever made with amazing atmospheric cinematography. Not to mention that it was one of the movies that inspired the team behind Thief: The Dark Project.
I have collected here a lot of screenshots from the Blue-Ray edition:
- The Third Man Gallery
- Filmmakers Steven Soderbergh and Tony Gilroy discuss The Third Man
- Wrong Geometries in The Third Man
- The Third Man locations
- The Third Man Cinematography
And if you happen to be in Vienna, visit the Der Dritte Mann Museum


Mon, 19th March 2012
Sandy is left shaken when Ashley takes his house keys away, Adam struggles to cope under the mounting pressure, and Megan gives Declan an ultimatum if she is to stay.
Tues, 20th March 2012
Afraid that rumours are starting to spread, Ashley sacks Rachel. Meanwhile, Megan defies Declan and approaches the Sharmas for investment, and Moira is determined to take control and focus on her family.
Wed, 21st March 2012
Ed’s shock proposition leaves Aaron gobsmacked, Adam is furious when Holly thanks Cain for saving her life, and Sam starts to worry that Zak is drinking too much.
Thu, 22nd March 2012
Adam loses control and torches the garage – with Cain inside. Elsewhere, Sam panics when Zak goes missing with Samson, and Aaron tells Chas about Ed’s offer of a move to France.
Cain’s life hangs in the balance in the burning garage, Megan is concerned when she finds a disorientated Zak with Samson, and Jimmy puts his cunning plan to break Nicola into action.
Fri, 23rd March 2012
Adam struggles to hold it together, and concerned about Zak, Sam confides in Lisa. Elsewhere, Ali is fed up with Dan – and Ruby suggests it is time for a divorce.
Watch the latest episodes, go to http://www.itv.com/itvplayer/


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Frank Abagnale Jr.
If you don't know where you are going, any road will get you there.


Fandom: Deadpool (Comics), Captain America (Movies), Marvel Cinematic Universe, X-Men - All Media Types, Agents of S.H.I.E.L.D. (TV), She-Hulk
Warnings: Graphic Depictions Of Violence
Relationships: James "Bucky" Barnes & Wade Wilson, James "Bucky" Barnes & Food, James "Bucky" Barnes/Autonomy, James "Bucky" Barnes & Natasha Romanov, James "Bucky" Barnes & Sleep
Characters: James "Bucky" Barnes, Wade Wilson, Natasha Romanov, Melinda May, Kamala Khan, Hulk (Marvel), Wanda Maximoff, Pietro Maximoff, Charles Xavier, Phil Coulson, Jennifer Walters, Clint Barton, Other Marvel Characters, Tony Stark
Additional Tags: Winter Soldier Bucky Barnes, Bucky Barnes Recovering, Bucky Barnes-centric, Food, In Soviet Russia, bucky up all night to get YOU, Angst, Humor, Women Being Awesome, Road Trip of Food and Also Justice, Additional Warnings In Author's Note, Post-Captain America: The Winter Soldier, Nothing Good Happens At Taco Bell, Minor Clint Barton/Phil Coulson, If You Squint - Freeform, Gen Work, Mind Control Aftermath & Recovery
Series: Part 3 of Loosely Connected Post-Winter Soldier Fics
In which the Winter Soldier makes some new friends, demolishes a lot of Hydra bases, discovers food courts, and finds his way home.


Our season continues with a fresh new take on our screenings at The Boedecker Cinema at the Dairy Arts Center. This year, we're featuring lots of documentaries which illuminate dance and the lives of dancers across the globe, in and among our regular screenings of spectacular and experimental dance shorts. Plus, thanks to generous support from the Lafayette Cultural Arts Commission, we've got an exciting event at our newest venue, The Collective Community Arts Center, with contributing artists present to chat with you about their work.
Announcing: SSF Brazil 2019
Submissions open Oct 15, 2018
Submissions close Dec 15, 2018
Accepted artists notified by Mar 15, 2019
Screening and events May 23-25, 2019
Click here to see the article about on SSF's 15th season by CU's Arts & Sciences Magazine.
15th Anniversary Season
Sans Souci is celebrating 15 years! We kicked off the year with a touring edition of the festival at the Firehouse Arts Center in Longmont, Co, with short films and live performance featuring Life/Art Dance Ensemble, and local filmmakers Tara Rynders and Rachel Oliver Young. Then, we ventured with screening partners new and old to bring SSF films to college campuses as part of two regional ACDA conferences, as well as a screening at the University of Roehampton (U.K.).
We'll keep producing events with our U.S. screening partners, and create unique events with our International Touring Program. To find out more about upcoming additions to this eventful anniversary season, just scroll up! To help us spread the dance-for-camera love, click "Donate Now through BCAA" button on the left.
Film, Video, Camera, Cinema?
We thought about calling ourselves a Dance Film Festival, a Video Dance Festival, a Dance Video Festival, a ScreenDance Festival, or a Dance for Camera Festival but we settled on Festival of Dance Cinema because that seems to cover the bases best.


Following three years working at the largest film and TV studio in Spain in marketing and sales, Ricky moved to Los Angeles in 2007. There, as the Vice President of Future Films USA, he was involved in the financing and production of over 25 films, TV shows and web series.
Ricky currently serves as the VP of Business Development for ARIE Capital in the US, applying his years of experience of entertainment financing to the world of venture capital, while serving as a bridge between the Silicon Valley and ARIE Capital’s offices in London, Beijing and Tel Aviv.
Ricky is attending / has attended:
The 2019 New England Venture Summit
Venture Summit | West 2020


Studio Ghibli (スタジオジブリ) is probably the most famous and beloved Japanese animation studio in the world. Studio Ghibli has produced over its 30+ years some of the best movies, animated or not. Those movies are not only well animated, and were ahead of their time, they were also profound, with deep meaning, and caricaturing societal issues.
Hayao Miyazaki (宮崎駿), one of the founders of Ghibli has gone down in history as one of the most defining directors in cinematography in the 20th and 21st centuries, and is likely the most famous Japanese person internationally of our era, maybe ever.
Studio Ghibli is an animation studio founded in 1985 by animator and director Hayao Miyazaki, director Isao Takahata, and producer Toshio Suzuki. Miyazaki and Takahata had previously worked for Toei Animation, where many of Japan’s animation godfathers got their start. While at Toei, Isao Takahata was given his first project as a lead director, The Great Adventure of Horus, Price of the Sun (1968). The key animator for this film for Hayao Miyazaki, it was his first major project as well.
Although that movie is now considered a classic, and a defining film in the long history of Japanese animation, it was a flop when it came out. As a result, Takahata was demoted from his position of lead director, and he and Hayao Miyzaki left Toei Animation two years after. From then, they collaborated on various projects for different studios, the anime adaptation of Monkey Punch’s Lupin III, and Future Boy Conan.
The catalyst behind the creation of Studio Ghibli, however is Nausicaä of the Valley of the Wind (1985), which in my opinion is to date, Hayao Miyazaki’s best film. Nausicaä is an epic, science fantasy based on a seven-volume manga written and illustrated by Hayao Miyazaki. Although it is not a Studio Ghibli movie, Nausicaä’s success is what lead to the creation of the famed animation studio, and is often considered a Ghibli movie because of that. The success behind the movie Nausicaä is due to the manga, whose first two volumes were serialized in Animage where Toshio Suzuki worked as an editor. Following the success of the movie, Hayao Miyazaki and Toshio Suzuki who was part of the production team founded Studio Ghibli, and invited Isao Takahata to join the founding team of the studio.
Studio Ghibli movies are mostly directed by Hayao Miyazaki, while Isao Takahata has directed a few himself, and a low portion of their portfolio have been made by other directors, including two by Goro Miyazaki, Hayao’s son.
While each director has their own style, and each director changes their style over time, and from movie to movie, some aspects are proper to all Studio Ghibli movies. Studio Ghibli movies tend to try to portray the different facets of human nature and are often a commentary on society, it’s problems, as well as man’s overexploitation of nature and of his fellow men. Miyazaki especially likes to have strong female protagonists, though the other directors also do a great job, and have done for decades, when the rest of anime, and cinema followed the trope of the weak, helpless female character.
HAYAO MIYAZAKI: CO-FOUNDER OF STUDIO GHIBLI
Hayao Miyazaki was born in Tokyo on January 5th, 1941. His father was the director of Miyazaki Airplane, which built parts for Zero fighter planes, and he grew up with a love for flying, which can be seen across the entirety of his work. Miyazaki went studied economics at Gakushuin University in Tokyo, then went on to take a position as an entry level animator at Toei Animation in 1963, which at the time, was Japan’s and Asia’s largest producer of animation. At Toei he met Isao Takahata, and Ota Akemi. Takahata, as mentioned above, ended up becoming his lifelong collaborator, while Ota became his wife.
After working on various projects at Toei, including: Wolf Boy Ken (1965) and Takahata’s Horus: Prince of the Sun (1968) among others. After leaving Toei in 1971, he co-directed Lupin III Part I along with Isao Takahata, and worked with him on other short films and TV series. His first feature film as a director wasn’t until 1979, when he directed Lupin the Third: The Castle of Cagliostro, which is a personal favorite of mine, and is a major influence of many current animators, most famously Pixar’s John Lasseter (Toy Story).
His second feature film, however, Nausicaä of the Valley of the Wind (1984), adapted from the manga he had previously serialized in the Animage magazine, and was the result of a collaboration between Miyazaki himself, Isao Takahata, and Animage’s Toshio Suzuki. The colossal success of Nausicaä prompted the three to found their own studio in 1985, which became Studio Ghibli. The name Ghibli was chosen by Hayao Miyazaki, borrowed from the name of a hot desert wind in the Libyan region, and the name of an Italian WW2 bomber aircraft.
The following year, in 1986, Studio Ghibli’s first anime movie was released: Laputa: Castle in the Sky. The movie grossed $8.1 million at the Japanese box office, and an additional $1.7 million in Hong Kong, the next year. It won Animage’s Anime Grand Prix in 1986, and marked the beginning on a long-lasting collaboration between Studio Ghibli and legendary composer Joe Hisaishi, who has gone on to work on other popular Ghibli movies, whose scores are known to all Japanese.
The year which however secured Studio Ghibli’s financial success, and a place in the hearts of people all over the world is 1988. Two key anime movies came out that year. One directed by Isao Takahata, and one directed by Hayao Miyazaki. Isao Takahata’s Grave of the Fireflies came out with huge critical success, depicting a somber side of WWII and its effects on the everyday lives of common people in Japan, who lived their lives between the routine bombings. Miyazaki’s film My Neighbor Totoro, was became a worldwide phenomenon, and is still along with Pikachu and Mario, one of Japan’s most consistently valuable properties over the decades. Totoro secured financial success because of the sale potential in merchandise of the Totoro character, which is found everywhere to this day in Japan, from stuffed toys, to keychains, and everything in between.
Over 30 years, 19 feature film, and one Academy award later, Studio Ghibli is to Japan what Disney is to the west. Children grow up watching Ghibli movies, know all the songs, have character derived merchandise, and Hayao Miyazaki stands at the top of the animation world hierarchy.
Hayao Miyazaki went into retirement after directing The Wind Rises (2013), at the age of 72. Although he is not a very public figure, he is known to sometimes gives interviews, and has shown to be against the current state of animation in Japan. Famously saying that one must spend time watching real people to properly portray them in anime, but that
THE CURRENT STATE OF STUDIO GHIBLI
While Hayao Miyazaki alone does not makeup Studio Ghibli, he was a very central figure, and their main director. After his retirement following the release of The Wind Rises, Suzuki announced that Ghibli would be taking a short break to restructure and consider Studio Ghibli’s direction in the future. That had led to speculations Studio Ghibli would not produce a feature film. In addition, producer Yoshiaki Nishimura and director Hirosama Yonebayashi (The Secret World of Arriety, When Marnie Was There) left Ghibli in 2016 to found Studio Ponoc. Finally, Isao Takahata’s passing in 2018 means another central figure will be missing.
To date, since Hayao Miyazaki’s last feature film, Studio Ghibli has released only two films, The Tale of the Princess Kaguya (2013, Isao Takahata), and When Marnie Was There (2014, Hirosama Yonebayashi). And none since, except for a co-production of The Red Turtle (2016, Dudok de Wit).
In February 2017, Suzuki announced that Miyazaki would come out of retirement to direct a new feature film with Studio Ghibli, titled How Do You Live? With the release date to be announced, but is expected to be in the early 2020s.
GHIBLI MUSEUM, MITAKA
The Ghibli Museum is in the city of Mitaka in West Tokyo, about 30 minutes away from Shinjuku Station on the Chuo Line. The museum showcases the works of the studio. The museum was designed by Hayao Miyazaki himself, and is aimed at children. It contains an exhibition dedicated to the life of Miyazaki, gives access to his journals, drawings. There are exclusive films which can be previewed, as well as the many characters, and the equipment used to make them come to life.
The museum is a bit underwhelming to be honest, for an adult, but would probably be a lot of fun for the kids. In addition, it’s not too pricey and easy to access, so if you don’t mind the risk of not enjoying it too much, it’s not too bad a loss.
10:00 – 18:00. Closed on Tuesdays, Except: 2019: March 26，April 30, August 13, October 22, December 24 2020: February 11.
Mitaka Station (Chuo Line, Chuo Sobu Line, Narita Express), then walk 15 minutes, or take the shuttle bus to the museum from South Exit, Bus Station #9.
Over Age 19: ¥1,000 ($9), age 13-18: ¥700 ($6.30), age 7-12: ¥400 ($3.60),Age 4-6: ¥100 ($0.90) Free for visitors under 4.
STUDIO GHIBLI THEME PARK
In May last year (2018), it was announced that a Studio Ghibli theme park is scheduled to open in 2022. The park is supposed to be a Disneyland-like park, only with the theme of Ghibli works, with rides based on popular movies like My Neighbor Totoro. The main gate is designed to look like the Howl’s Moving Castle buildings, and it is said to cater to nature lovers, with green spaces and trails being a prominent feature of the park.
The Studio Ghibli Theme Park will be built in Nagakute city in Aichi prefecture, on the grounds of the 2005 Aichi Earth Expo Memorial Park.
STUDIO GHIBLI FILMS YOU MUST WATCH
Over the years, Studio Ghibli has produced many films, feature and short, all of different genres, by different directors, and with varying quality. I am personally against ranked movie lists, as I don’t think rankings are proper purveyors of a movie’s quality against another.
Instead, I will give you my opinion on what Studio Ghibli movies I thought were best, and because not everyone can sit and watch every single movie from the studio, I’ll tell you the top few you should consider for a start, to at least give you an idea and then you can go ahead and watch their remaining works.
THE POPULAR STUDIO GHIBLI MOVIES
These are the Studio Ghibli movies you’ve likely heard about, that every list will mention, and that are popular with fans and casuals alike.
MY NEIGHBOR TOTORO (1988)
In 1950s Japan, Satsuki and Mei move to the countryside with their father to be closer to their hospitalized mother. One day, Mei comes across a long eared creature which she follows to the forest. There she meets Totoro, a forest spirit. From that day on, they spend their time surrounded by magical creatures in the woods.
My Neighbor Totoro gives off the impression of being a simple, childish movie. It’s more than that. It portrays childhood through its joyful moments, its scary moments, the obliviousness and naivete of it all. It’s an extremely moving film about the lengths at which family bonds can bring someone to overcome those aspects of their childhood.
– Satsuki and Mei are said to already be dead because at the end of the movie they are seen outside without a shadow.
– The Cat Bus is said to connect to living world and the afterlife. In the movie it seemed like all trees avoided the Cat Bus but in fact, the Cat Bus may have been a spirit.
PRINCESS MONONOKE (1997)
After killing a demon boar to protect his village, prince Ashitaka is cursed by the dying beast, giving him powers, while slowly draining his life. In order to find a cure for the curse, Ashitaka is instructed to travel westward, where he arrives at Tatara, the Iron Town. He soon finds out the town is in the middle of a conflict between Lady Eboshi, the town’s leader, who is in favor of using as much of the forest resources, and San, a human raised by forest spirits, and the forest spirits themselves. Ashitaka takes on the task of bringing harmony between the two parties.
Princess Mononoke is probably the Ghibli film I have watched the most often. It’s a beautifully animated and cinematographed fantasy, and a powerful call for a more thoughtful use of natural resources at the personal level, as well as at a community level.
– The bandages may have symbolized leprosy, which is very discriminated against. Tarata Factory was a way for Eboshi to integrate the sufferers into society.
– Before Princess Mononoke, around the late 1990s, Studio Ghibli earned a lot in profit so they decided to make the movie, instead of paying a lot of taxes.
– Hayao Miyazaki imagined that Kodama (コダマ) is a young Totoro.
– When Princess Mononoke was almost finished, Hayao Miyazaki came to Toshio Suzuki and said “I want to change the movie title to Ashitaka Sekki (アシタカ聶記, The Legend of Ashitaka)” However, Suzuki Toshio felt that Princess Mononoke was better and decided not to change the name without telling Hayao Miyazaki.
SPIRITED AWAY (2001)
10-year old Chihiro, who is a spoiled and poorly-behaved child. On the way to their new house, she and her parents discover an abandoned amusement park and decide to have a look, to the discontent of Chihiro. Chihiro quickly realizes as she ventures through the park that there is an unnatural aspect to it, as she notices ghosts, and her parents are turned into pigs. She has gone into the spirit world and is now trapped and has to live and work in the spiritual world.
Spirited Away is a truly magical film, and a masterpiece of modern cinema, and a worthy Academy award winner. Spirited Away is what made most people aware of Hayao Miyazaki and Ghibli in the west. Spirited Away is a surrealist, weird, fast, funny, and extremely satisfying film.
-Because Miyazaki said in an interview “Talking about the social issue that most symbolizes the present, I think it’s the sex industry”, Chihiro is believed to represent sex workers.
– When Chihiro wrote her name on the contract with Yubaba, she made a mistake on the first character. It’s because she has already started forgetting her name.
*real name 「荻」野千尋
– No Face personified greed.
– Spirited Away has been modeled from Shiman Onsen Skizenkan and Kyufun in Taiwan.
LAPUTA: CASTLE IN THE SKY (1986)
In a cyber punk-is world, legends speak of a floating island in the sky called Laputa, said to contain unimaginable treasures. Sheeta is an orphan girls who is being hunted because of her necklace, which supposedly can lead the way to Laputa. One day, as she’s being chased, Sheeta is saved by Sazu, a miner apprentice who dreams of finding Laputa. Together they go on a journey to find the island.
This is the first official Studio Ghibli movie. While that shows, as it’s not as detailed and well done as the following ones, Laputa is a great action-adventure film, often referred to a Japanese anime version of Star Wars.
– The word ‘Balus’ came from ‘bans’ in Turkish which means ‘peace’.
– Laputa has two endings. The one which is the fan-favorite was on air on TV just once and there was a picture of Pazu who came across Sheeta and hug her.
– The idea of Laputa came from Gulliver’s Travels which Hayao Miyazaki has said he loved. He had been wondering how the world looks like behind the crowd.
– Until the end, Hayao Miyazaki couldn’t pick the title between: Tenku no Shiro Laputa (The Castle of the Broad Sky Laputa) or Fushigi na Shiro Laputa (The Wandering Castle Laputa).
HOWL’S MOVING CASTLE (2004)
One day, Sophie, a normal girl, who leads a normal life and works in a hat shop, is cursed by a witch after an unfortunate encounter. As a result of the curse, she is transformed into an old woman. In order to put an end to her curse, she sets one an adventure to find Howl’s castle, a moving mobile castle said to belong to the evil wizard.
How’s moving castle is a fantasy that experiments with the feel of a dream. Things that may seem logical are not, and what you expect is not what you get. While it’s not his best film plot-wise, it’s a welcome attempt for Hayao Miyazaki to exhibit how imaginative he can be.
– The original story came from the book Howl’s Moving Castle written by Diana Wynne Jones.
– Sophie’s hair became white due to the illness of the author herself.
– There is a fighting scene that doesn’t exist in the book. Hayao Miyazaki added this scene to portray the fight for love.
– Witch of the Waste looked for the heart. It was simply because she fell in love with Howl.
– On the last frame of the movie, Hayao Miyazaki noted “However, the war won’t end soon”
– The reason why Howl’s castle was moving was that he tried to run away from girls who loved him.
– Calcifer was the prince of the stars.
– In the original story. Howl and Sophie were both dead and went to heaven together.
THE LESS POPULAR STUDIO GHIBLI MOVIES
These are less popular titles, but in some cases, superior to the ones above. Studio Ghibli has produced many movies, multiple of those before Studio Ghibli were popular overseas, meaning some have not had the notoriety they deserve.
GRAVE OF THE FIREFLIES (1988)
In 1945, as Japan suffers constant bombardment from the Americans, destroying the entire country, Seita and Setsuko lose their home and their parents. Orphaned and with nowhere to live, they are forced to travel around the country for survival, where they are surrounded by death, starvation, disease, and human cruelty.
This is Isao Takahata’s first movie as a director for Ghibli, and is always mentioned among any list of best written anime movies, and saddest anime movies. This movie is a tearjerker. While many films portray way from the fighter’s perspective, this one show you how hellish war affects the lives of everyday people. It shows a human perspective, and moments of laughter, and joy, which makes the not so joyful moments hit even harder.
– The original story came from the book called Grave of The Fireflies. Like the book, the movie was also based on the true story of the author Akiyuki Nosaka.
– Setsuko’s voice actor was Ayano Shirai who was only 5-year-old when Grave of The Fireflies was made. However, she has been missing for years.
PORCO ROSSO (1992)
Years before the start of the story, veteran WWI fighterpilot Marco Paggot was cursed, giving him the face of a pig. He now lives under the name Porco Rosso and lives a solitary life as a freelance bounty hunter protecting civilians from sea plane pirates. The pirates hire an American ace, Curtis, who is jealous of Porco because Gina, the woman he loves shows more attention to him. Curtis tracks down Porco and shoots him down. Porco, surviving the attack continues his trip by train to his mechanic to have his plane fixed and fight Curtis anew.
It’s often said that the character Porco Rosso is Miyazaki himself. Considering his love of flying, and the parallels behind the name Ghibli being an Italian WWII plane, and Porco Rosso himself being Italian, those links can be understood. This movie is unlike his other movies, and here Miyazaki seems to pay an homage to Hollywood’s wartime adventure films, and has more obvious adult themes than his other movies.
– Hayao Miyazaki loves to have airplanes crash. However, for Porco Rosso, one of the sponsors was an airplane’s company so he couldn’t let the airplane falls and was frustrated about it.
– In Japanese, the title is 紅の豚 which means Red Pig.
– Because Hayao Miyazaki always wants to make movies for kids, he was very upset with himself making Porco Rosso because this movie was reflected by his own hobby.
– Everyone wonders if Porco could be a human human again and no one knows the answer. But Hayao Miyazaki’s said he couldn’t.
POM POKO (1994)
Faced with the growing threat to their habitat that poses the growth of Tokyo, a group of tanuki decide to fight for their homes. Unknown to humans, tanuki are intelligent creatures with the ability to speak, make music, and walk on two legs through transformation. To fight for their homes, two rival clans of tanuki join forces against mankind in the Pom Poko war, in an attempt to make mankind see nature for its beauty.
Pom Poko is another film by Isao Takahata. It’s a commentary on society, the environment, with fun, odd, and sometimes sad tones, mixed with adventurous animation.
– Pom Poko was based on the Edo ear when people believed that raccoons could use magic.
– It’s said the story of Pom Poko symbolizes the Second World War between the USA and Japan.
THE TALE OF PRINCESS KAGUYA (2013)
One day an old bamboo cutter and his wife find a tiny girl inside a glowing bamboo stalk, next to a sizable amount of gold. Using the fortune he found, as she grew older, the bamboo cutter buys a villa in the capita and pays for tutors to transform the girl, named Kaguya, into a refined lady. As rumors of her beauty spread around the country, wealthy suitors show up one after another, competing for her hand. Kaguya, however, wishes that they could all return to their old lives in the countryside, and that she could be with Sutemaru, the one she truly loves.
This movie, by Takahata was his last before he passed away. It was nominated for Best Animated Feature at the 87th Academy awards, and in my opinion, deserved to win. It’s a gorgeously made film with a calligraphic style and a watercolor palette. This is a slow-paced, melodramatic film, unlike anything Ghibli has ever made before. This is not a children’s film. It’s not action packed and requires patience, but is in its own good both a visual masterpiece, and thoughtful movie on the meanings of love, life, and death.
– The Tale of Princess Kaguya was made for Seiichirou Ujiie who was president of Nippon Television Network Corporation. Although he was a stern person and people were afraid of him, he dreamed of asking Isao Takahata to make a movie for him. Once it was decided Takahata would make the movie, he spent years checking with Miwazaki, because he was too afraid to ask Takahata himself, if the movie was almost finished. In the end, the movie did not come out until after his death.
– The percentage of scenes which had to be recreated for The Tale of Princess Kaguya was 96%. (For Studio Ghibli, it’s between 10 to 20%)
– The Tale of Princess Kaguya is known for its beautiful visuals. The total number of drawings was 500,000. Three times more than The Wind Rises.
– Some of the music for The Tale of Princess Kaguya was made by virtual vocaloid Hatsune Miku.
– It took five years to make The Tale of Kaguya.
KIKI’S DELIVERY SERVICE (1989)
As per tradition, Kiki, having just turned 13, must leave her home and undergo a year of witch training. She departs with her cat Jiji and flies on her mother’s broomstick to start a new life in a towns he found near the ocean. She quickly find out life is not as easy, and people are not as friendly as she thought. After struggling with her decision to choose this town, and with no place to stay, she meets Osono, who offers her a place to stay after Kiki returned her pacifier. From then on, he real life, with new friends truly begins, so does her quest to find her true self.
Kiki’s Delivery Service is a wholesome coming of age story. It barely has any plot, but is given life by its portrayals of femininity, overcoming insecurities, becoming independent through a masterful showcase of “show, don’t tell”.
– The original story came from the book called Kiki’s Delivery Service which was written by Eiko Kaguno.
– Kiki’s Delivery Service was the first Studio Ghibli movie which made a profit. If it weren’t for it, Studio Ghibli might have closed at that time.
– In the movie, Jiji suddenly stopped talking because Kiki lost her magical power.
– Studio Ghibli needed to have Yamato Transport Co., Led. as one of the sponsors because the word for delivery, “Takkyubin (Japanese title: Majo no Takkyubin)” is trademarked by the company.
MIYAZAKI AND TAKAHATA FILMS BEFORE STUDIO GHIBLI YOU SHOULD ALSO WATCH
While these are not technically Studio Ghibli movies, they are instrumental in the creation of the studio for both Hayao Miyazaki and Isao Takahata. Additionally, Nausicaä is arguably Hayao Miyazaki’s most powerful film.
NAUSICAÄ OF THE VALLEY OF THE WIND (1984)
A thousand years after the apocalyptic event caused by the Giant Warrior, humans live in fear of the Toxic Jungle. The forest is made of poisonous plants and filled with giant insects, and with toxic air. Nausicaa is the princess of a small country known as the Valley of the Wind, which has managed to avoid the spread of the Toxic Jungle. One day, however, one of the Giant Warrior crashes into her country. The following day, soldiers from the powerful nation of Tolmekia invade the Valley of the Wind in an attempt to revive the warrior. Nausicaa vies to find a way to protect her people, as well as the Toxic Jungle, as she believes humans and insects can live alongside one another.
Nausicaä is the beginning of it all. It’s the movie that launched Ghibli, as well as the career of an unknown animator at the time: Hideaki Anno, who then went on to give us the often-considered best anime series of all time Neon Genesis Evangelion. Nausicaä is visually rich, with a rich narrative and strong environmental message. It’s way ahead of its time in terms of detail, and use of animation for such rich plot and messaging, and it brought us one of the best female protagonists to have graced the screen.
– The original story came from the manga of Nausicaä of The Vallery of The Wind.
– Nausicaä isn’t set on the earth but on Mars.
– It wasn’t mentioned in the movie, but Nausicäa was a synthetic human. After the war, earth was totally polluted and wouldn’t be cleaned for many years to come. Humans decided to hibernate and created synthetic humans to wake them up.
LUPIN THE THIRD: THE CASTLE OF CAGLIOSTRO (1979)
After robbing a casino, Lupin III and Jigen find out the entire take is made up of counterfeit bills. To find the origin of these bills and put a stop to the counterfeiting, they go off to the tiny duchy of Cagliostro. There, they get caught up in a car chase between a bride and a black car. The bride hands them a ring before being taken captive, increasing Lupin’s interest in the odd affairs going on in Cagliostro.
This is Hayao Miyazaki’s first ever feature film as a director. It’s what kickstarts his career. Unlike most of his well-known films, this is based on set characters with already detailed personalities from the manga by Monkey Punch, who recently passed. It gives off more of a feel of an action-adventure live action film, a la Indiana Jones, than an anime. It’s fun and action packed.
– Because Hayao Miyazaki made the TV series of the second season of Lupin the third, the character in the movie The Castle of Cagliostro looks like his version of the series. This is why the jacket of Lupin is green, not red like later.
– Hayao Miyazaki only had four months to make The movie Lupin The Third: The Castle of Cagliostro. At that time, he said: “It was the first time that I knew my physical fitness limit.”
– Because Hayao Miyazaki wanted to make Lupin as a kind thief man, he decided the age of Lupin to late thirties. This is why Lupin was called “ojisan” (old man) instead of “onisan” (big brother).
– In the movie, there are some old characters from Hayao Miyazaki’s previous movies. For example, Future Boy Conan.
STUDIO GHIBLI MOVIES: MORE THAN THE JAPANESE DISNEY
Ghibli is very often reffered to as the “Japanese Disney” which always angered me. While Disney, especially in more recent years has come good, mostly though it’s subsideries, it had never achieve the level of sophistication that Studio Ghibli films have exhibited from the very first one.
Studio Ghibli films are at their best multifaceted, layered commentaries on society. They are driven by strong, complex characters, who are often strong female leads, and whose behaviors and thoughts we can relate with. They portray the best of humanity, along with the worst of it, all the while, not shrugging off the quality of the animation, character design and cinematography, like so many movies trying to make a point do.
With Miyazaki’s retirement, Isao Takahata’s Passing, and Yonebayashi’s departure, Ghibli will no doubt not be exactly the same, but as long as the integrity of the studio’s philosophy remains, I’m sure we can expect more amazing films in the future.


|image courtesy of Wikimedia Commons|
Mary or Maria? Nanny or almost Nun? Julie Andrews
captivated audiences as both Mary Poppins
and Maria Von Trapp, helping The Sound of Music
become the 3rd highest grossing film of all-time based on price-adjusted box office receipts. Today, write a little Flashy Fiction based on Mary, Maria, or one of the other characters Julie Andrews played...or re-write part of one of the stories to reflect how you think it should have gone down.
Post a Comment


Infernal Affairs II goes back in time acting as a prequel to show us the powerful history of the first film's lead characters and how it was that they came to be involved in this hard boiled tale of crime and deception.
This chapter of the saga begins with the assassination of Kwun, a major triad player and head of the Ngai family. Following his death, chaos ensues amongst competitors and family alike until Kwun’s son Hau (Francis Ng) steps in to fill the void. Hau, coming from a background in accounting, seems like an unlikely replacement, but he quickly proves his worth by manipulating, and ultimately controlling, every crime lord in the area.
In the midst of all this we are introduced to the lead characters from the first film, Ming (Edison Chen filling this role as a youthful alternative to Andy Lau) and Yan (Shawn Yue making his appearance as a not so grizzled Tony Leung). The two begin as they were established in the first film; Ming as a fledgling criminal looking to get his foot in the door, and Yan, a police academy hopeful. From here we follow the two through the early years, learning just what it takes to survive in the world of the double agent.
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Here is another instance of the same material being adapted multiple times — both in live-action and in animation, and with the animated version turning out far better in every respect. The original story is Hundred Stories by Natsuhiko Kyogoku, he who gave us the intriguing Summer of the Ubume — a supernatural detective story where the Fox Mulder in question doesn’t believe in the supernatural, and where the strangest thing of all is the human mind.
I enjoyed Ubume, and also enjoyed Hundred Stories in its anime incarnation, marketed in English by Geneon as Requiem from the Darkness. When I found out a live-action adaptation of Stories had been released, I made an effort to find it, but I’m now convinced my efforts would have been better put towards getting Requiem re-released now that Geneon’s U.S. arm went poof. I suspect it’ll show up as a FUNimation reissue somewhere along the line — but if this version doesn’t turn up here you won’t be missing much. Read more
Was it coincidence or serendipity that the day before I watched Black Dynamite I was having a long, thoughtful discussion with my wife about the differences between satire, parody, farce and spoof? Because here’s a movie that might be all of those things at once, with a generous dollop of loving homage spooned on top. And if categories and labels drive you nuts, I’ll just say the last time I laughed this hard at any movie was when the dog got it in A Fish Called Wanda.
Here is a movie that so perfectly reproduces the look, feel, attitude, tone, style and camp factor of the original blaxploitation productions that at least one friend of mine was fooled into thinking he was watching a reissue. It’s the first spoof of its kind that could easily be placed side-by-side with the originals to do them justice — if only because at their best the originals knew they were preposterous (cf. Cleopatra Jones — seriously, Shelley Winters as a Big Bad named “Mommy”!?) and had fun with it. By the end of Dynamite you know for sure you’ve been watching a spoof, but the put-on’s done out of affection, not sneering.Read more
Maya Kitajima would love nothing more than to be someone else. At the opening of Glass Mask, though, her options for escape are quite limited. She works in the same Chinese restaurant where her mother slaves away, lives with her in a single-room apartment, and with her lousy grades and unfocused work habits she’s most likely headed for a life of minimum-wage drudgery — just like Mom. Small wonder Mom’s an embittered woman with no expectations for her daughter other than mediocrity at best and abject failure at worst.
The only thing Maya can do is dream. When she does, she dreams vicariously — through the characters she watches longingly on her favorite TV dramas and on the big screen. Like someone afflicted with Stendhal Syndrome, the mere sight of acting sends her into a rapture. This is the way out. Small wonder she delivers a ridiculous number of meals over the course of an evening for the chance to snag a spare ticket to a stage play. (When said ticket blows out into the bay, she throws herself into freezing water to rescue it.) She doesn’t just want to watch such a performance, either: she wants to do it, to step out in front of an audience and become someone else again and again.Read more
There’s little more disappointing then a movie where there’s not much, you know, movie. Doubles is about two hundred percent concept and almost no percent actual story, an experiment that most assuredly failed but one where we’re forced to read the lab notes anyway. It was admittedly filmed on a tiny budget and with constrained resources, but a great movie can come from those things without turning into a snake that gobbles its own tail.
The movie is about two disgruntled men who only know each other by their Internet aliases, Gun and Key. Gun’s one of those young techno-wizards with tons of esoteric technical knowledge but lousy people skills. He’s bitter from being ousted at his position at a dot-com outfit, and wants revenge on his former boss. Key is a locksmith, a gloomy man in his forties with money trouble and nothing to lose by helping out someone who needs his magic touch to crack open the company’s safe. They’ve got it all worked out: they can break into the building, loot the office, walk out of there with sixty million yen, and retire to Tahiti or something, all without anyone getting hurt — least of all themselves. Read more
There are many things wrong with Onimasa, and it pains me to no end to say that one of the very worst is Tatsuya Nakadai. Here is one of the finest actors that Japan ever produced, under the direction of the very capable Hideo Gosha, and there is barely a scene in this tiresome film where Nakadai comes off as anything but a scenery-chewing, cotton-in-the-jowls ham. It takes a special kind of miscalculation to reduce the most piercing pair of eyes in all of Japanese cinema to something that looks like a photo from an ophthalmology textbook.
I linger on Nakadai because he serves as an emblem of so much of what is wrong with this film: poor choices. He’s miscast, brutally so, as the pre-WWII Kyoto underworld boss Onimasa. Nakadai is best at playing haunted and tormented souls — the tempest-tossed lord in Ran, the homicidal anti-hero of Sword of Doom. He’s also skilled at giving us men who are beaten on the outside but still spirited on the inside, like Genta from Kill! or Komatsu from When A Woman Ascends the Stairs. But he’s hopelessly ill-suited to the role of a powerful gangster boss; his strutting and sneering and rolling of his Rs seem better suited to a TV comedy sketch than a two-and-a-half-hour crime family saga. Watching his performance in this movie is like seeing a bystander end up wedged between two colliding cars. He just plain doesn’t belong here, and no amount of trying to shoehorn him into the role works.Read more
The fan in me wants to rave and drool. The critic in me will be more modest but still enthusiastic. Gankutsuou: The Count of Monte Cristo uses the Alexandre Dumas classic as raw material for a story that spans lifetimes and solar systems, and the end result is an explosion of creativity that’s almost intimidating. The story’s been reinvented, not just retold, and everyone — from the writers to the design directors to the voice actors — has brought something new to the material. This show’s a bar-raiser.
What’s best is that as flashy as Gankutsuou looks — and most of the critiques I’ve read of the show so far revolve mostly around its visuals — it’s not just a graphics showcase. I ended up watching the entire series not once but twice, once for the plot and again for the nuances and characterization. It holds up well enough on repeat viewings to convince me it’ll be a perennial, one of those titles that is always in print somewhere. Shows like this are the whole reason I started watching anime in the first place: to see something new. Read more
What we have here is not a sequel to the original Ong Bak, and most everyone with some clue about either film knows this. It’s Tony Jaa’s attempt at creating the sort of spiritually-fueled martial-arts epic that Bruce Lee was exploring immediately before his death. Check out the bonus features on Warner Brothers’ Enter the Dragon DVD for some hints of what Game of Death was to have been if Lee had lived to finish it.
I can’t yet say if Jaa did in fact pull off something that ambitious, because 2 isn’t really finished either. It’s a part of a larger whole that will only snap into place when the third film in the cycle comes out later this year. I can say that as far as action on film goes, the bar raised by the original Ong Bak has been blown off its supports and left protruding from the ceiling. I have my quibbles with the story construction, sure, but they take a major backseat to the stuff Jaa does in this film with sweat, muscle, sinew, blood, fists, elbows, knees, knives, swords, arrows, and … elephants. Read more


A brief note on Ingmar Bergman’s film, “Winter Light” (1962, in Swedish).
I have come across several claims online and in a video commentary on DVD that Ingmar Bergman considered the film titled “Winter Light” in English to be his best film. Quite a claim for one of the foremost directors of film. "I think I have made just one picture that I really like, and that is `Winter Light.' Everything is exactly as I wanted to have it, in every second of this picture." Ingmar Bergman. (Note again: the film has the double entendre title in Swedish, “The Communicants,” which gets more at the inner meaning than the external, visual title in English, “Winter Light,” although both are suitable.) In the film, there is no communion with God, or with nature, and minimal communion between human beings. That is why the Swedish title is paradoxically fitting: “Communicants.”
I’ve been re-watching scenes from the film last night and again this morning, and I did some reading online. The movie is often ranked among the best ever made. Watching it, I do not feel a need to watch other Bergman films right now, not even three that I saw years ago, and which burned into my memory: “The Seventh Seal,” “Autumn Sonata” (perhaps actress Ingrid Bergman’s last film), and “Fanny and Alexander.” Others of his movies did not speak to me as much.
One could dismiss these films as “neurotic,” or “atheistic,” or “existentialist,” but I think that they capture much of the spirit of 20th century western world. There’s no pretense in “Winter Light,” no place to hide behind “faith” or “love.” It is starkly painful. Björnstrand’s performance, aided outwardly by his suffering at the time from bronchitis, is superb. He is an utter spiritual and emotional wasteland. I noticed that some reviewer complained that he could not relate to the character played by Björnstrand at all; I suspect the writer was a little superficial, and did not want to see the void within himself, or other, or in our “modern world” generally. Yes, it is painful, but realistic. No doubt the film portrays Ingmar Bergman himself, and it is his portrait of his father, too—a Lutheran pastor. Bergman’s existential void is common in the generation after Nietzsche (Bergman was born in 1918, died in 2007—so born just 17 years after Nietzsche’s death). But this spiritual void was alive and active in Europe already by the 15th century. It is “modernity” displayed for the viewer in utterly stark, black-and-white, no-thrill images, photographed (as I wrote recently) by the unsurpassed Sven Nyqvist ("new twig"). My father would have been awed by the photography if he had seen the film. It is not “spectacular scenery” at all, but piercingly stark black and white that leave the viewer no place to hide from what is displayed. This is typified or heightened in a 6-minute vignette in which nothing but the leading lady’s face is shown as she recites the letter she wrote to her pastor-lover. There is nothing to see but her face as she reveals his utter self-absorption and lovelessness. I think that many Americans would not want to see such a mirror on screen. It is a mirror of our own inner void.
The last scene / final visual shot of the film could not have been more perfect. In a virtually empty church, one sees nothing but the pastor who opens the Lutheran service with the Swedish for: “Holy, holy, holy is the LORD God. Heaven and earth are full of his glory.” No moving shots, the pastor is viewed from a low angle, pinned against an image of the crucified. His tone is flat and dead, like his soul. Then immediately the film ends.
I think that the movie is more than most viewers want to bear. A lady I spoke to after our home Mass last evening said that she finds Bergman too “heavy,” and wants lighter films. Forgive my comment, but I would say, “And that is typically American, the desire to hide from stark reality.” Not many here stomach Nietzsche or Kafka. Far more appealing to Americans would be “The Sound of Music” (which I also enjoyed). We do not like seeing the wasteland that we as a people in history have become.
As I write I hear nothing but the ticking of my grand-father clock near me. And that is all one hears in a scene from “Winter Light:” The loud ticking of an old clock, and Pastor Eriksson’s starkly empty expression.
—21 June 2020
Click on the above Poetry and Tanka tabs to read a variety of styles of poetry.


Valentine's Day Activities for the Single
- Watch BBC production of Bleak House
- Clean the bathroom
- Go to International Cinema with my roommates boyfriend (my roommate is currently in California so he was alone on Valentine’s Day)
- Butterfinger blizzards
- Read feminist theory - I was supposed to read some feminist theory for class and I wanted to read it on Valentine’s Day to make it more ironic, but my laziness got the better of me.
- Worst Movie Kiss: 2007 adaptation of Persuasion – I’m not exaggerating when I say that it’s the most uncomfortable kiss of my life. It takes about 20 seconds - again no exaggeration - and during those twenty seconds she works a cm at a time towards his lips with her mouth open and lips quivering like a fish on land. It’s disturbing.
- Most cliché gifts: Stuffed animal, heart shaped box of chocolates and a dozen red roses.
- Favorite Valentine’s Day Food: Heart shaped sugar cookies
- Favorite Valentine’s Day Film: He Loves Me, He Loves Me Not
This is a French film that I saw at International Cinema and it deals with love...but a psychotic love. It basically deconstructs the techniques of filming to unnerve the audience’s perception of reality and get laughs out of terrible events. If you have not seen it I highly recommend it.


Richard’s Year of Movies — Inglourious Basterds
January 11, 2010 Leave a comment
There’s a moment near the end of Quentin Tarantino’s Inglourious Basterds where a movie is seen projected on the billowing smoke of a fire that’s engulfing a movie theater. What’s great about this moment is that, a few seconds before it happened, I was thinking, “Wow, it’d be really cool if we saw the film projected on the smoke.” And then Tarantino happily obliges.
And I think that’s one of the things that makes Tarantino stand out as far as directors go — he’s always willing to throw something in because he thinks it’s cool, even if it’s out of place or slows things down or doesn’t make a whole lot of sense. He’s so in love with film as a visual medium that he’ll lose himself in it. So you get the dotted-line square in Pulp Fiction or pretty much the entirety of Kill Bill.
I do still think Tarantino has a tendency towards bloat — his best film is still his leanest, Reservoir Dogs — but at least his excesses are in the spirit of entertainment rather than pomposity. And if it’s anything, Inglourious Basterds is entertaining, and in a surprising way. For a war move, there’s very little war. We don’t even see all that much of the titular Basterds. The action comes in the conversations, the verbal give and take between opponents. They’re battles of wits, not weapons, and since Tarantino can sling dialog with the best of them, the results are lethal.
And yeah, Christoph Waltz shouldn’t be making any plans for March 7th, as I think he’ll be busy that evening.
The ending of the film is even a little Gillaim-esque, playing on the idea that imagination — this time in the form of cinema — has the potential to change history. Even history as we already know it (and if you’ve seen the film, you’ll know what I’m talking about). And it’s also a film totally aware of our cinematic subconsciousness. Tarantino riffs on images from films such as The Searchers and The Wizard of Oz, and plays on our knowledge of past WWII films to let us fill in blanks so he doesn’t have to spend time doing so. You can tell this guy spent a lot of time working in a video store.
The only bad thing about my viewing experience was the disc itself. The damn thing kept pausing and skipping back to the menu screen, and seeing as this happened in the middle of a pretty tense stand-off, a lot of the momentum of the film was lost in hurling obscenities at the Blu-ray player and the disc. I may try to watch it again and see if the uninterrupted experience reveals anything new.


Activity – create a monster movie poster featuring your favorite animal or plant
Have you ever seen a poster for a movie that you liked, either at a movie theater or online?
Imagine if your favorite animal or plant made a movie about what it is afraid of in the world. What would the poster for that movie look like?
To humans, giraffes seem like mostly peaceful animals. It is funny to think that anyone would think of a giraffe as the monster in a monster movie. But what if it were a leaf making the movie?
Would there be anything scarier to a leaf than a giraffe? Your perspective on what makes a good movie monster might really change depending on what tries to eat you!
What to do
pick an animal or a plant to be the main character (or characters) in your movie (the 3 running leaves in our example poster)
pick a monster for your movie (the giraffe in our example poster)
choose a scary or spooky title for your movie (“Tongue of Terror” in our example poster)
create a poster featuring your main character(s) and the monster of their nightmares
share your monster movie poster with friends and family


The story of one of the most popular series in the history of television, Breaking Bad, is renewed with the release of El Camino, a film that takes up the narrative universe of the series. The film will premiere on October 11, 2019.
The Way will focus on the life of Jesse Pinkman, after the end of the series. This film is expected to be a great success, due to the high esteem that is taken for the original Breaking Bad story.
It is not the first time that Breaking Bad’s history is returned, there is the case of the Better Call Saul prequel, which with its 5 seasons, also broke records.
Vince Gilligan’s original story has content for a long time. The Camino comes hand in hand with Netflix, and just in case you missed it, here we leave you a teaser trailer, with the release date.


- (A.)[ عادﻮﻝا ]elveda.
Osmanli Türkçesİ sözlüğü . 2015.
Look at other dictionaries:
elveda — ünl., Ar. elvidāˁ 1) Bir daha kavuşulmayacağı düşünülen bir şeyden ayrılırken kullanılan bir söz Elveda ey güzel günler! 2) Bir daha karşılaşılmayacak biçimde ayrılırken Allaha ısmarladık, Allaha emanet olun anlamlarında kullanılan bir söz … Çağatay Osmanlı Sözlük
ELVEDA — Allah a emânet olun. Allah a ısmarladık (yerine söylenen bir ta birdir … Yeni Lügat Türkçe Sözlük
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