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2016-36/0817/en_head.json.gz/19090

The Looney Tunes Show puts the "merry" in Merrie Melodies Tuesday with a jovial new holiday special. The episode includes a musical number featuring a veritable Merrie Melodies hall of fame - and a little bit of offbeat humor: Where else will you find an appearance by a Christmas wraith (rather than wreath)?Bugs Bunny and Daffy Duck - stars of the Cartoon Network comedy - get in the holiday spirit, singing "Christmas Rules" along with Lola Bunny, Porky Pig, Pepe Le Pew, Yosemite Sam, Chip and Dale, Foghorn Leghorn, the Tasmanian Devil and more.The Looney Tunes Show airs Tuesdays at 7:30/6:30c on Cartoon Network. Check out this clip from "A Christmas Carol.Subscribe to TV Guide Magazine now! View original The Looney Tunes Show Gets in the Holiday Spirit at TVGuide.comOther Links From TVGuide.com The Looney Tunes Show

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Fraggle Rock - HIT! Puts Separate 4th Season DVDs on Hold; Focuses on Complete Series CollectionReleasing the 20-disc set this November to celebrate the show's 25th Anniversary, we're told 8/13/2008 We've been passing along word here since January that HIT! Entertainment was planning a DVD release of Fraggle Rock - The Complete 4th Season for the later half of this year. That would be finishing off the DVD releases with the final season of the show, including the 1987 episodes that fans generally call "season five." However, HIT! views it as one big "fourth season," despite there being a nine-month gap between the "13th" and "14th" episodes of that 26-episode group. We even passed along an April report from our friends at "The Muppet Newsflash" website that a specific release date had been provided for a 4th Season DVD release: October 28th. And, as late as the San Diego Comic Con on the last weekend of July, reports from people who were there say that the Fraggle Rock panel there (on July 27th, featuring "Red Fraggle" and her performer, Karen Prell) said that the 4th Season set was still mentioned as being among HIT!'s plans. However, earlier this month (August), fans who sent inquiries directly to HIT! Entertainment began getting told something different by the customer service staff. At the Comic Con, it was announced by HIT! and by their current distributor, Lionsgate Entertainment, that November 4th will see a release of Fraggle Rock - The Complete Series Collection. This is going to be a 20-DVD set, with all 96 episodes included in "custom premium, collectible packaging" (no pictures of which have surfaced yet), covering all 4 seasons of the show. This item has a list price of $139.98 SRP, and can be pre-ordered from DVDEmpire as of this writing (subject to change) for $99.38, after discount. The indication at the time of the announcement was that this would arrive in stores as a complement to the separate release of Season 4 on DVD. Now the studio tells us differently, confirming what some fans have heard from the customer support staff at HIT! Entertainment. According to one spokesperson at HIT!, and another for Lionsgate, the plan is to only release Fraggle Rock - The Complete Series Collection this November, with no current listing on the schedule for the 4th Season as a separate DVD set. HIT tells us that they are focusing on the Complete Series release in order "to celebrate the (25th) anniversary of the show." We should point out, though, that nothing was said to indicate that a separate Season 4 release was never ever going to happen; just that it is not on the schedule at this time. Our thanks to reader William Mitchell for writing in to us with info about this situation. We know that this isn't good news for quite a few of you. We did pass along our feedback to the people at HIT! and Lionsgate that there are fans who are upset over this decision: people who purchased the individual season sets for the first three seasons, and who simply can't afford, in the current economic climate, to re-buy those seasons as part of a $100-ish "complete series" package, just the get the final 26 episodes. While we didn't get an immediate response from our studio contacts to that feedback, we were told that it would be passed along. If something comes of that we will let you know, so stay tuned! Link to this page:http://www.tvshowsondvd.com/news/Fraggle-Rock-Season-4-Off-The-Schedule/10316 All news for this show:http://www.tvshowsondvd.com/shownews/Fraggle-Rock/1759 More info on this show:Fraggle Rock

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Stay Tuned: Serial killers join forces on 'The Following' What if a serial killer was so charismatic that he could activate and control an army of other serial killers? This is the question posed by Fox’s new series “The Following,” and it wants you to find the answer both interesting and horrifying.Joe Carroll (James Purefoy) is the charismatic serial killer who murdered 14 female students on the college campus where he taught literature. He is caught in 2003 by FBI agent Ryan Hardy (Kevin Bacon), but not before leaving Hardy with physical and psychological scars. When we meet Carroll, it is the present, he has escaped death row and Hardy is recalled as a consultant on the case.But this isn’t a show about the weekly hunt for an escaped serial killer. Carroll quickly ends up back on death row and the FBI discovers that he has spent his years in jail building a network like-minded killers who will do anything he commands. He is their high priest and he has a plan — a very elaborate plan that suggests he is an amazing mastermind. This is where you either suspend your disbelief or lose interest in the premise because there are a few things you have to let go.Carroll spends years online during his permitted jail time library visits to build a vast social network of psychotics. I can maybe accept that he’s really good at social networking, but why is he allowed computer access in the first place? His followers appear anywhere and everywhere committing gruesome murders on his command. This is part of the show’s horror. No one is safe and every scene could suddenly turn into a blood bath. It’s a good strategy for keeping the audience on edge and it works but only for a short time. After a while, I was anticipating the plot device and just trying to guess who the next crazy killer will be. The core group of followers, including his son’s seemingly sweet nanny and two straight guys who pretended to be gay for years so that they could gain the trust of the one female student who survived Carroll’s rampage, are in charge of carrying out their mentor’s plan. They look like models but are actually deranged killers and fairly creepy. There’s also an obsession with the works of Edgar Allen Poe and the idea that Carroll’s plan is actually a “story” where Hardy is the central character and the junior killers all have a “chapter.”In the third episode, the lead FBI agent on the case, who specializes in alternative religions, says that she doesn’t “get” this cult. It’s a good point. Other than a convoluted Poe subplot about killing being a path to living and Carroll’s extraordinary powers to charm anyone he meets, which are only demonstrated in flashbacks to his teaching days, it’s not clear what drives his devotees. If the series doesn’t spend more time answering this question, viewers might start wondering the same thing.Page 2 of 2 - If you can get past all the above, you can enjoy the show for its psychological darkness which it does best in a storyline involving Carroll’s young son. While his mind games with Hardy form the backbone of the series, they are far less horrifying than the plans he has for his child. “The Following” is on Mondays at 9 p.m. EDT on Fox.Melissa Crawley is the author of “Mr. Sorkin Goes to Washington: Shaping the President on Television’s ‘The West Wing.’” She has a PhD in media studies and is a member of the Television Critics Association. To comment on Stay Tuned, email her at staytuned@outlook.com or follow her on Twitter at @MelissaCrawley.

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CSI: Miami Home CSI: Miami About Inspired by the top-rated series "CSI: Crime Scene Investigation," CSI: MIAMI is a fast-paced drama that follows a South Florida team of forensic investigators who use both cutting-edge scientific methods and old-fashioned police work to solve crimes. Horatio Caine, a former homicide detective, heads a group of investigators who work crimes amid the steamy tropical surroundings and cultural crossroads of Miami. His team includes Calleigh Duquesne, a bilingual Southern beauty with a specialty in ballistics; Eric Delko, an underwater recovery expert who knows all the twists and turns of the Florida waterways and Ryan Wolfe, who after joining the department two years ago, still hasn't found his place within the team. Rounding out the team is Alexx Woods, the no-nonsense know-it-all coroner and Natalia Boa Vista, the enigmatic 'grant girl' and DNA specialist assigned to solving cold cases. Helping Horatio with cases is Det. Frank Tripp, a tough, yet thorough police officer. Together, these investigators collect and analyze the evidence to solve the crimes and to avenge those who cannot speak for themselves, the victims.

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Home Dancing on Ice Torvill & Dean: ‘It’s the best Dancing on Ice yet’ Frances-Taylor 9:22am - Tue, March 5 Dancing on Ice Ahead of Sunday’s final on ITV, Jayne Torvill and Christopher Dean tell TV Times Magazine why this year’s Dancing on Ice has been the best yet…How do you feel now that this series is coming to an end?Jayne: “This series of Dancing on Ice has been the best yet!”Chris: “It never stops, we’re always trying to improve things and be creative. This time, it’s a shorter main show at an hour and a half. So, for example, now when we come back from a commercial, the next skater is already in situ rather than having to skate on and bow first. This has made the show feel more rapid.”How do you feel about the inclusion of the ‘Save Me Skate’ and the big opening routines?Chris: “It’s been good for the show because it’s not a repeat performance.”Jayne: “Yes, and we don’t know what they’re going to do as it’s the only routine that we don’t choreograph or choose the music for.”Your schedule for the show must be incredibly hectic!Chris: “It’s not an eight-hour day. You do the work until it’s done because otherwise come Sunday night there will be no show. The pressure is always on.”What are your plans for the final?Chris: “We’ll be doing a Bolero routine with help from British choreographer Kim Gavin, who was Creative Director of the closing ceremony of the Olympics last year.”Now Beth Tweddle, Matt Lapinskas and Luke Campbell are headed into the final, what do you think of their chances?Jayne: “Beth’s great to work with because she’s from that background where you listen, take instruction and act upon it. Matt’s like a wasp in a bottle because he’s all over the place. But I like his enthusiasm and it’s nice he enjoys it so much.”Chris: “Luke’s like the kid that comes late and is a bit tired, but he gets the work done.”As usual, two of them will get to perform a version of your infamous gold-winning routine to Ravel’s Bolero from the 1984 Winter Olympics…Jayne: “It’s always endearing to see it and we’ve had some really good ones in the past.”Are you already preparing for Dancing on Ice 2014?Chris: “We’ve already had some Corrie folk who are interested in doing it next year!”Next year will mark 30 years since the 1984 Winter Olympics…Jayne: “We didn’t do a tour this year, but we’re planning a big tour to celebrate.”Chris: “I don’t know, maybe it’ll be the last time we perform Bolero, put it to bed…”Jayne: “Well, 30 years is a long time!”

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Doll Face follows a machine's struggle to construct its own identity. The machine with a doll face mimics images presented on a television screen and ultimately self-destructs from its inability to adopt a satisfactory visage. Created in its entirety by Andy Huang, Doll Face presents a visual account of desires misplaced and identities fractured by our technological extension into the future.Andrew (Andy) Huang is currently a senior Fine Arts major and Animation minor at the University of Southern California in Los Angeles. Andy's past animated work has been showcased at the Smithsonian National Gallery of Art in Washington D.C., and his latest independent short film "Doll Face" has been selected as part of the Official Selection at the Annecy International Animated Film Festival in France, as well as the Electronic Theater at SIGGRAPH 2006 in Boston. Since the completion of "Doll Face" in December 2005, Andy, now 22 years old, continues animation work for Root Films, a production company in Los Angeles. You can see Andy Huang's other work at: http://www.rootfilm.com andy huang, modern technology,

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Home Movies Interviews and features Olympia Dukakis Oscar winner is thrilled to talk about her fierce new character by Norman Wilner March 7, 2013 × Expand Olympia Dukakis and Brenda Fricker play an aging couple in Cloudburst. CLOUDBURST written and directed by Thom Fitzgerald from his stage play, with Olympia Dukakis, Brenda Fricker, Kristin Booth and Ryan Doucette. eMotion Pictures release. 93 minutes. Opens Friday (March 8). For venues and times, see listings. Some actors feel apprehensive about showing a film to an audience. Olympia Dukakis feels proud. Sitting in a sunny corner of the TIFF Bell Lightbox Blue Room just hours before Thom Fitzgerald's Cloudburst plays the 2012 Inside Out Film Festival, Dukakis is effusive and engaging, delighted with the movie and the chance to talk about her character. Her third film with Fitzgerald (after The Event and 3 Needles), Cloudburst casts Dukakis as Stella, an irascible Maine woman who takes her ailing partner, Dotty (Brenda Fricker), on a road trip to Nova Scotia to get married. "It's a love story, isn't it?" she says, happy that she got to play a romantic lead. And she's right; though Stella can be short-tempered and openly aggressive to people who stand in her way, she generally adopts that position to protect Dotty - and herself. "My character is in such rebellion," she explains, "and really, what a price she's paid for that. That's the thing that got me about this. Gays and lesbians, African-Americans, people who've been assigned to the outside or put at the bottom of the ladder - or whatever language you want to use - and who have [still] insisted that their lives matter, they pay a price for that." In Stella's case, that price is her peace of mind. "That character is just never at rest," Dukakis says. "She's always at war. She's been fighting all the time. She has to, and she knows it. She'll go to her grave fighting." Though Stella is a politically minded character, Cloudburst is by no means a gay-marriage polemic. Dukakis says both she and Fitzgerald wanted to tell a story about people, not sock puppets. "He's very careful about that," she says, though she points out that as far as the civil rights issue goes, "it's all in there. These women, at the age when they got together, their behaviour [would have been] much more combative because of what they were confronting. Today, of course, there's a dialogue; I mean, you read some terrible stuff in the newspaper, but America has changed." She's also happy to be working on something that values the idea of acting, having recently come through the meat grinder of a guest spot on Law & Order: Special Victims Unit. "It was the most unpleasant experience," she says, stifling a chuckle. "There's no rehearsal, everybody just gets up and does whatever. We shot it in a studio that was filthy - nobody had washed this place; they had junk piled up. And then nobody cared about the script. It was formula time: nothing to do with people." normw@nowtoronto.com | twitter.com/wilnervision movie interview Email Address*: Critics' picks: movies NOW's must-see films, in theatres now Tweets by @nowtoronto

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Developing films the open source way | Opensource.com Developing films the open source way Posted 17 Sep 2010 by Darryl L. Pierce (Red Hat) In a world where movies are produced on budgets of hundreds of millions of dollars, at a time when studios expect a huge return on their investment, in an industry where the opening weekend can make or break a film--one man refuses to live by society's (or the movie industry's) rules. One man is willing to put it all on the line and do something different. Something daring. Something... free. That man is Mike Schneider. That film is Night Of The Living Dead: Reanimated. As a horror and zombie film buff, I'm familiar with George Romero's classic 1968 film, Night Of The Living Dead. And also aware of the mistake made by Romero and his colleagues when they released the film without a copyright notice, accidentally making their hard work into a public domain property. In 2008, Mike Schneider took that work and, in collaboration with other artists and animators, derived a new work based on Romero's film. They replaced the entire visual experience with a series of still drawings, cartoon animations, stop-motion animations, and other visual interpretations of the original work. And in a manner very similar to open source development, Mike collaborated with his team--vetting their submissions, putting them together, and producing a new work. I had the chance to email Mike about this project, and also to interview two of his associates, Rob Hauschild and Peter Gutierrez, on A Little Dead Podcast, where I review genre films, games, books, and more. We talked about the motivations, the goals, and the path to get from the concept phase to a successful project. But a project is not very successful without an audience. And in the case of a movie, that audience has to be willing to either purchase a ticket to see the film, or else buy or rent the DVD or Bluray disc, or stream it from a pay service like Netflix. A willingness to pay the price to watch the film is the barrier that the producers have to overcome. But what if that price were free? Another group with whom I've had the chance to talk is Fewdio, a production group made up of film industry professionals with a shared interest in horror and short films. They produce short horror films and release them on YouTube and on their own website. On my podcast, I had the pleasure of interviewing one member of Fewdio, writer and director Paul Hungerford. He spoke about how their goal was to make films available to their audience freely, while still being able to sustain a business by providing a production DVD that the audience would buy. With Night Of The Living Dead: Reanimated you can legally download the film, burn a copy of it and share it with your friends--all without having to pay a single cent. Similarly, with Fewdio you can go online and watch all of their works for free. So how does either team plan to make money, or at least cover the costs of producing the works in the first place? By producing a quality film, combined with enough extras to make the customer want to pay for a copy. The idea is simple: let the audience see the work and, if they like it enough, allow them to buy a production DVD or Bluray that contains not only the film(s) but also extras, things that the viewer would like or which enhance the film. Such things as commentary tracks, foreign language audio, behind-the-scenes films, and more. And while a fairly radical idea, this is not necessarily a new one. Back in 2006, the band Harvey Danger released the first CD of their CD set Little By Little... as a free download on both P2P networks and as a direct download from their website. Their business plan was simple: if you like the first CD, then purchase the set to get the rest. The key idea to take away here is freedom: freedom of the consumer to see what they're paying for before they spend their money. This empowers the viewer, letting them control where they spend their money. Rather than spending their money up front before watching a film, they can see the work for free. As a result, more people are likely to watch the film, or listen to the music. And this leads to a benefit for the producers: greater market penetration for their work. With legal and financial barriers lowered or removed, a greater number of potential customers will be aware of the work at a lower cost to the producers. As audiences share the works with their friends, word-of-mouth marketing can easily and quickly make more people aware of the work and increase the potential base of paying customers. Another derived benefit from this sort of arrangement is that the quality of the work should tend to go up as a result. By opening up their work for free review by their audience, producers will have to invest more into the quality of their product--and not their marketing--to get their audience's money. Everybody benefits when the quality goes up, and the market itself grows. You can listen to the interview with Paul Hungerford and the one with Peter Gutierrez and Rob Hauschild on the podcast website. The podcast is freely available; Each episode is released under Creative Commons share and share alike (By-NC-SA) licensing. Listeners can freely download, copy, and share it as well. And my hope is to spread the word about projects like Night Of The Living Dead: Reanimated and Fewdio to as many people as possible. Starting with you. How to add freely licensed animated GIFs to Facebook and Twitter using Riffsy Selling open source the smart way Open music: Bolero enters public domain, music encoding standards news Tags open sourcecopyrightpublic domaincreative commonsnetflixmoviesopen films Edward Jones on 29 Sep 2010 Permalink This is a great idea and another film I have come across that uses this method of legal free download is Samuli Torssonen's film Star Wreck, which is a feature length parody of Star Trek and Babylon 5 with suprisingly good special effects! As was mentioned in this article, I also first downloaded the film, liked it so bought the DVD (with extras) from Amazon. barefootmeg on 30 Sep 2010 Permalink I just came across an article that mentions a similar idea, only it puts it in the context of a classroom, among other things, in addition to movies. http://www.telegraph.co.uk/finance/businessclub/7996379/Daniel-Pinks-Thi... A NoName on 04 Oct 2010 Permalink There are several real good animation films out there made with the open source software of blender.org. A real must-see is the last demonstration of the power of the software in the hands of skilled artists: http://www.sintel.org/wp-content/content/download.html geeth on 20 Aug 2011 Permalink I too feel that this strategy can actually work in the current time where all want to have some great things like that. But at the end I just prefer to download movies from secure movie hubs. After seeing the movie "War Games", I was obsessed with computers and what they could do. But after playing games for a few weeks, I grew bored and wanted to know HOW computer games were made. And that started off a life-long obsession with programming. Numerous languages, multiple platforms, and several operating systems later, I'm still not satisfied. I've held just about every role in development teams, lead and been a part of several that had grande releases, and more than a few » More about me What's hot

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URBAN-15 Carnaval de San Anto CDSA Videos Senior Classes Josiah Media Festival Enter Your Film Festival Guidelines 2015 JMF Schedule Mega Corazon Watch the Live Stream 2016 Mega Corazon Laser Show The Invincible Czars Debut New Score for NOSFERATU Posted on January 13, 2016 by urbanfifteen SATURDAY, FEBRUARY 20TH AT 9PM @ THE URBAN-15 STUDIO Inspired by numerous requests from fans over the years and popular Halloween tour last October, Austin’s Invincible Czars bring their new score for the 1922 German silent film Nosferatu (F.W. Murnau) this winter to the mountain states and the Southwest. The band has recorded a CD EP featuring selections from their score which includes Bartok’s Roumanian Folk Dances. Nosferatu is one of the most revered films in the history of cinema. As the world’s first vampire movie, it is regarded as the first important horror film–but it was almost erased from the history books when the estate of Bram Stoker sued the filmmakers for copyright infringement and most of the prints of the movie were destroyed. Nosferatu tells the story of Hutter and Ellen, a couple from the village of Wisborg. After traveling to Transylvania to sell a piece of property in Wisborg to Count Orlok, Hutter stays in Orlok’s castle only to learn that the Count is a vampire. Orlok purchases a house next to Hutter’s, locks Hutter in the castle and travels to Wisborg. On the way, he manages to possess Hutter’s employer and Ellen and strike the village with an outbreak of the plague. Hutter rushes home to stop him before it’s too late. This project marks the 7th effort for a band that’s increasingly becoming known for its well-crafted original silent film scores. The Center for Contemporary Art in Santa Fe, known for hosting acclaimed silent film accompanists from around the nation, called the Czars’ soundtrack for the 1929 Lillian Gish silent classic The Wind “as good as any we’ve seen.” In March 2015, the band were artists-in-residence at Texas A&M University, where they gave three lecture-recitals on music for film and silent film that culminated in a live performance of their score for The Wind. They’ve also performed silent film scores at the Kimball Museum, Sam Houston State University, Bob Bullock Texas State History Museum, University of Houston, and several outdoor music and film events. The Invincible Czars’ Nosferatu score incorporates violin, glockenspiel, organ, flute, bass clarinet, vocals, music box, loops, electric guitar, bass, singing bowl, tambourine and other hand percussion–all of which is a sight to behold when performed live by only four players! The band always incorporates music from the classical realm into their scores, and this time they’ve chosen Bela Bartok’s Roumanian Folk Dances in a nod to the fictional Count Orlock’s home turf. The highlight of their arrangements is a haunting version of Roumanian Dance IV featuring an otherworldly vocal performance by the band’s wind mistress Leila Henley. VIEW THE TRAILER HERE! This performance is part of URBAN-15’s Sonic Provocations series, which provides a setting for sound artists to showcase original material, taking it out of the laboratory and into the ears of the public. Tickets are $10 at the door or presale at http://urban-15.ticketleap.com/sonic-provocations/ For more information about the event, contact Marisol Cortez, Events Coordinator at URBAN-15, at 210-736-1500 or events@urban15.org. MORE ABOUT THE INVINCIBLE CZARS The Invincible Czars draw as much influence from film and classical composers like Bernard Hermann, Danny Elfman, and Ennio Morricone as they do from rock bands like Mr. Bungle, Ween, Sonic Youth and The Dead Kennedys. They’ve created several albums worth of original music, scored seven silent films and re-made works by Tchaikovsky (The Nutcracker Suite, 1812 Overture), Mussorgsky (A Night on Bald Mountain, Pictures at an Exhibition), Satie and Debussy. They even czar-ified Iron Maiden’s album The Number of the Beast. The band began in 2002 and has come to operate more like an arts ensemble than a rock group with its rotating cast of instrumentalists, seasonal material/series and even printed sheet music. They are Austin’s Emperors of Eclecticism. Category: Recent Activity ← Sonic Provocations: A New Series in Experimental Sound Performance Follow “URBAN-15”

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Not my American Idol Bill Duane Well, it's that time of the year again, for the good people at Fox broadcasting to start parading out their circus freak show known as "American Idol." I have never been a fan of this show, never really watched any season all the way through. I usually just watch the first couple episodes, to see the funny ridiculous auditions, and then once the real show starts, with the generic soulless wannabe pop stars, I'm done. But after Tuesday night's premiere, I think I realized that I'm officially done completely with this show. This is American Idol's 7th season on the air, and if you ask me, that's about 4 seasons too many. Sure, it was cute at first, but I think after the initial novelty wore off, and any actual talents were discovered in the first 3 combings of the country, the show has run it's course. As I mentioned before, I usually just watch the audition episodes, for the goofy ones, but this year I realized just how absurd this show has gotten. It seems as though at any given audition site, the mix is about 5% actual talented people with a real shot, 25% average singers who are good at karaoke and that's about it, and 70% lunatics looking for their 15 minutes of fame. And the problem is, that last group grows each year, because the producers pander to these people more and more. They are now actively seeking out the weirdest freaks to exploit on national television. The show has turned into a Jerry Springer show for the new millennium. Some of these people, like I said, are just goofballs being silly and just trying to get on TV. I can live with the inevitable eye rolls from watching a dude in a princess leia costume try to sing. But another part of the bad auditions are people who may be a little slow mentally, and are viciously exploited for laughs. This is disgusting, and what really turned me off Tuesday night. There was a really nice young man from Philly, who seemed to be a little slow upstairs. In his interviews, he talked about how all his coworkers tell him he's a great singer and that he should audition for the show. He seemed like a very sincere, trusting person, and so he auditioned for the judges. His singing, quite frankly, was ridiculously bad. There was no way anyone would have even considered this guy for a legitimate singing contest. But there he was, in front of Simon, Paula, and Randy. Now, if you're not familiar with how the audition process actually works for this show, contestants must first audition for the producers, and only certain people make the cut to actually audition for the main judges. This means that this person was picked purely for the ridiculousness of his singing, and so that they could make a mockery of him on national TV. The man obviously believed in the hype, and thought he was a good singer, which made it even sadder when Paula and Randy had to cover their faces because they were laughing so hard at the poor guy. It honestly made me feel ill. Luckily, the guy took it in stride, and was as nice as could be, even saying that he'd be back next year to try again. I sincerely hope he doesn't come back, because it's just plain mean the way they made a fool out of him. One person who made a fool out of them self with no help whatsoever was a young lady named Alexis Cohen. And, how lucky for us, she's from Allentown. Yes, if you missed it, you can check it out HERE. The Lehigh Valley has a new ambassador to the world, and she did a fine job of representing us. Fine, that is, until she went off on a ridiculous cursing tirade after she didn't get picked, throwing out expletives and middle fingers like they were tootsie rolls at a Halloween parade. What a fine representative for our area. At just 23 years old, she had the mouth of a sailor and the voice of a middle aged 2 pack a day chain smoker. She wasn't really a bad singer, especially for the kind of music she liked, she had a voice well suited to it. And she took the news in the audition room very professionally and courteously. But then when she got out, and realized her 15 minutes were up, she began flipping out, I suppose in a desperate attempt to make sure she made it onto the TV show. And boy did she succeed. So much so that the Idol producers followed her home to film her neighborhood, as she told her back story about living in Allentown, the place Bon Jovi once wrote a song about. For the record, Alexis, it was Billy Joel. She dressed in typical run of the mill non-conformist fashion, going as far as admitting that she just does it to get looks from strangers. And the producers were sure to keep the camera rolling on her all the way out of the Wachovia Center, so as not to miss any exploitable moments to make this girl look more ridiculous. She rambled on in mostly incoherent statements about going into "actressing" and how she is always victorious. Well, if your mission was to let TV producers make a mockery of you in exchange for 15 minutes of fame, then victory is yours. This is what passes as entertainment these days. Maybe I'm getting old, but for now on, I'll be steering clear of this train wreck, and hoping that if enough other people out there feel the same way, maybe it'll just disappear. PENNLIVE ON SOCIAL MEDIA

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Home / BC Gaming’s Five Weeks of Horror: A Nightmare on Elm Street NES Review BC Gaming’s Five Weeks of Horror: A Nightmare on Elm Street NES Review Posted by: Jason Westhaver October 6, 2008 in Uncategorized Please Share...000000One, two, Freddy’s coming for you. Three, four, better lock the door. You know the rhythm, you know why you should be afraid and you know why Robert Englund’s tombstone will read, “See you in your dreams”. For most of the ’80s and part of the ’90s, Freddy Krueger ruled our nightmares. He made us fear sleep, he made us love coffee and he became the most beloved child murder in the history of film. With this kind of deep psychological damage inflicted on our society it’s easy to see why LJN would want to adapt A Nightmare on Elm Street into a videogame, but unfortunately, as is usually case with LJN, the game fails to live up to it’s pedigree. The game begins with you taking control of up to four Elm Street children on a quest to collect and burn Freddy’s bones. For some completely unknown reaso,n these bones have been scattered throughout various buildings on Elm Street and are guarded by a wide assortment of bats, rats and snakes. It makes almost no sense within the context of the films, aside for referencing the original, but as a game play design, I guess it works OK. As play progresses you’ll eventually start to tire and if you don’t get some coffee in you, you’ll fall asleep and enter the dream world. Visually it isn’t anything special, just the same map in a different colour palette, but what’s really interesting is the special powers you gain. Presumably LJN took the Dream Warriors concept and ran with it because if you collect the right tokens, you’ll be able to morph into three unique alter-personae. The first is an athlete who somersaults and chucks javelins. Hardly useful and soon forgotten, the only real benefit of the character is that you get her first. The Shadow Warrior and Necromancer, on the other hand, are far more useful, with the former granting you the ability to throw ninja stars and jump kick and the latter making longer jumps and throwing long range fireballs. The warriors’ powers are so useful that you’ll never want to wake up and perhaps that is my real problem with A Nightmare on Elm Street. LJN just didn’t understand what made dreams become nightmares. Sure, the enemies are slightly tougher and if you stay asleep for a long time you’ll be forced to fight Freddy, but the powers of the Dream Warriors easily out weight the added difficulty. In fact, play is actually far more difficult when you’re awake because you’ll face the same enemies, in the same locations, but you’re restricted to only punching and poor jumping. Levels are solidly designed, but as you play on, you’ll start to feel like you’re repeating the same platforming sections over and over again. Progression is further complicated by the awkward restrictions the game places on entering buildings. In the beginning, only one house is open and it’s usually clearly marked with an open door. When you defeat Freddy for the first time you’ll be given a key that unlocks one of the other houses, however you will not be told which house has been unlocked. This process repeats itself until Freddy is finally dead. It may not seem like such a big deal, but given the length of Elm Street and the number of monsters inhabiting it, you can be faced with a serious problem. Boss battles are, for the most part, fairly easy, and even the final battle where you much defeat all the previous bosses and then take down Freddy himself doesn’t offer much of a challenge. It’s a rather serious balance issue considering how difficult the level leading up to the battle can be, but it doesn’t really detract from the experience. If I’m going to give LJN credit for doing one thing right; including support for four players via the NES Four Score or Satellite. I still have fond memories of playing A Nightmare on Elm Sttrr with three other friends, and if you can manage to round up three of your own, I’m sure you’ll have a lot of fun. Just further proof that no matter how bland or unusual a game can be, it’s always fun with more people. Mediocre design, great license, great fun with friends. It’s certainly not the game I would’ve wanted, but it’s far from a bad way to kill and afternoon. Worth a quick look if nothing more. Like this:Like Loading... Retro 2008-10-06 Jason Westhaver Tagged with: Retro About Jason Westhaver Previous: Music Review: Natalie Cole – Still Unforgettable Next: Movie Review: Smart People Blogcritics Does (Flash) Fiction: Soliciting Writers and Stories Theater Review (NYC): Motherlode Theatre Company’s ‘The Good Earth’ Theater Review (Off-Broadway NYC): ‘Touch’ by Toni Press-Coffman No Homework Is Just the Beginning of the Changes Needed to Fix Education in America

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July 10, 2009 - The Beaver / Jodie Foster will direct, Mel Gibson will star Scooped on Sunday, July 19, 2009 Jodie Foster will star in and direct The Beaver, a black comedy based on Kyle Killen's screenplay that made last year's Black List of the top unproduced screenplays. Mel Gibson will play the film's central role, a depressed man who begins to only communicate through a hand-puppet that looks like a beaver. In addition to directing Foster will play the wife of Gibson's character. Filming is scheduled to get underway in September on the $19 million dollar production. [Full story] There are currently no comments

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ABOUT PHOTOGRAPHY FREDDIE STORM About the Filmmaker Freddie Storm is an award-winning film producer and director. She has over five years of experience in the film and television industry and has worked on several Hollywood series including Supernatural, Falling Skies and Bates Motel. 'Circus of Dreams' produced and cinematographed by Freddie Storm won the best Music Video Award and Best Cinematography Award at Los Angeles Women's Film Festival in 2014.She is credited for her work on many feature films such as Badge of Honor and World of Warcraft. Her independent productions include several music videos, commercials, short films and corporate projects. Her productions have premiered at internationally renowned theatres, including The Actor’s Company Theater, Los Angeles. In 2015, Freddie started using Youtube as a medium for her short films. With the believe that internet must be used as one of the most powerful medium of distribution for new generation films, she created her first Youtube Channel for a India's biggest slam poetry organisation called 'Delhi Poetry Slam'. Her first Youtube film was viewed by more than 1.7 million people, the title of the film was Open Letter to Honey Singh and soon after Freddie achieved many similar successes with her other youtube films such as Dear Girl From Pakistan, The Peace Prize and From a Father to a Daughter . Freddie is currently working on a reality show on spoken word that will be aired on TV later in 2016. Her feature length script based on the idea of reality and dreams is close to completion and will go in production in early 2017. This project is close to her heart and will also be her directorial debut in feature length format.

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Muppeteer Bill Barretta Tells Nerdist About MUPPETS MOST WANTED, Pepe’s Origin Story Posted by Clarke Wolfe on March 21, 2014 Muppeteer and producer Bill Barretta is the man behind Dr. Teeth, Swedish Chef, Rowlf and my favorite of the new Muppets, Pepe the King Prawn. Nerdist spoke with Barretta at the premiere of Muppets Most Wanted, in theaters today, about bringing the Muppets back to the big screen and Pepe’s origin story. Since the Muppets have had a resurgence in theaters as of late, what has the experience been like for Barretta? “It’s always fun,” he said, “it’s a great ride. We always get to work with great people. This movie was a great crew in England, I just had a blast. It’s always hard, it’s a lot of logistical things that happen that we have to do but it’s always a fun experience. It’s just fun.” And how was it for Barretta working with screenwriter Nick Stoller and director James Bobin on the last two movies? “Nick, you know, he’s a nice guy… Nick’s great. He’s a great director too. James, he’s sweet. He and I work very closely together because I do the coordinating and I also produced this time, the movie. He and I spent a lot of time together and we had fun. We have the same sense of humor, which was good.” Of the new members of the Muppets, Pepe the King Prawn is my favorite. Where does the idea for a character like that come from? “[H]e’s based on my wife’s aunt who’s from Madrid, Spain, and when I met her for the first time, it was this woman who just spoke in statements. She would say things like (as Pepe), ‘You have beautiful hair, okay.'” Barretta continued, “Well, we were workshopping for a new show at the time called Muppets Tonight back in ’96 and we were just playing around, and I just started messing around with this little puppet and it wasn’t Pepe yet, it was just a wire frame mouth and we were just playing around and it caught on and we collaborated with other people to figure out what he might be and I said, ‘You know, my wife’s aunt, she’s a little shellfish – selfish!’ And somebody said, ‘Oh! Maybe it should be like a crab or a shrimp or something like that.'” Muppets Most Wanted opens everywhere today. bill barretta, muppeteer, Muppets Most Wanted, muppets tonight, pepe the king prawn, The Muppets Related Posts

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Spielberg’s Lincoln Isn’t Pro-Obama by Matt Vespa Print this article As most people, I went and saw Lincoln.: I’m no fan of biopics, but this one was rather good. In fact, it was excellent.: Daniel Day-Lewis will probably win another Academy Award for Best Actor, and it was not a pro-Obama film.: Many conservatives feared that the movie would be allegorical about the 44th president.: Steven Spielberg, Tony Kushner, and Doris Kearns Goodwin are liberal, but the film focused on how the 16th president delicately maneuvered to have slavery abolished in this country.: There is nothing liberal, or conservative, about this point in history.: I hope both sides would agree that slavery is unjust. When Lincoln is told that the 13th Amendment was two votes shy of the 2/3 majority needed, he reminded the congressman, and some members of his cabinet, that those votes must be ascertained.: When questioned how to do that Lincoln said, “I am the President of the United States, clothed with immense power, and I expect you to procure those votes.”: Some of my conservative friends say that it’s a pro-Obama scene. I disagree. Lincoln was a war president — and war presidents wield extraordinary power.: This isn’t controversial. It’s fact.: Furthermore, this film was in production for over ten years.: Spielberg bought the rights to Goodwin’s book in 2001, which is long before Barack Obama was on the national stage. What should be noted is that the film shows how Lincoln was uncompromising on his position about slavery and its abolition.: He employed political operatives who used unscrupulous methods to secure votes for the amendment’s passage in the House.: Furthermore, it showed the political genius of Lincoln.: He carefully maneuvered through the dynamics of the 13th Amendment and the planning of the Hampton Roads Conference — which was a failed attempt to end the war in February of 1865.: The Confederate delegation insisted on their independence, and no deal was made. However, Lincoln knew that if such news would break, the amendment would be finished.: Why pass such a poisonous amendment that everyone knew would be a deal breaker with the Confederacy?: Nevertheless, Lincoln’s considerable political acumen prevented disaster, and slavery was outlawed. As I mentioned before, the film shows how compromise isn’t always the best option.: Furthermore, in politics, you’re going to have to get down into the gutter to get things done.: Barack Obama is always talking about compromise, or gives off the veneer that he’s willing to do so, but fails miserably at achieving his goals. He’s a loser.: Whereas, Lincoln saved the country, won the Civil War, and abolished slavery.: If liberal Hollywood wanted to make this film as a comparison to Obama, then they should have picked someone else. Second, Obama would’ve hated the tactics Lincoln used to pass the amendment.: Third, Goodwin’s book was called Team of Rivals.: Lincoln had one of his political rivals in his cabinet, Edwin Stanton, to serve as Secretary of War, which was, and remains to be, a very powerful position since its reincarnation as Defense Secretary. Do you think Obama would appoint a Republican to an equally powerful position under similar circumstances?: Lastly, Lincoln, as I’ve said before, accomplished his legislative goal.: The keyword is accomplished. In the end, Lincoln is our greatest president.: Not only because he abolished slavery — but he also began the process that developed into the national identity we hold today.: After 1865, Americans began viewing themselves as Americans.: Prior to 1865, an intense regionalism was ingrained into our socioeconomic fabric where states were viewed as separate countries.: As such, without the evolution of such a uniting force, Americans wouldn’t have come together as strongly as we did during the Spanish-American War, World War II, or on 9/11.: Barack Obama is never, and will never, set forth a new identity like the one Lincoln managed to construct after winning the Civil War.: He simply can’t since he’s not American.: He is a citizen by birth, but concerning understanding the social dynamics and traditions of America — he’s as hopeless as Jefferson Davis. Originally posted on The Young Cons. Matt Vespa Matt Vespa is a conservative blogger based in Virginia. Besides contributing to Right Wing News, Vespa writes for RedState, PJ Media, Independent Journal Review, and his personal blog Noodle Pundit. He's also the 2013 recipient of American for Prosperity Foundation's Andrew Breitbart Award For Excellence In Online Activism and Investigative Reporting More articles by Matt Vespa Tags assigned to this article: Barack ObamaConservativesMedia Related Articles

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RÉSUMÉ & HEADSHOT Headshot TREY was in the short-lived NBC sitcom, NEXT CALLER opposite Dane Cook, Jeffrey Tambor, Collette Wolfe, and Joy Osmanski. Trey played Kent, the bored receptionist whose catchphrase was, "I hate it." Four episodes were filmed but the show was pulled from the Midseason lineup while in production on the fifth episode. Trey was with the project from the pilot until the cancellation. Stephen Falk was the creator and Showrunner. Trey also has recurring roles on Netflix's ORANGE IS THE NEW BLACK and Hulu's DEADBEAT. Other television credits include FX's YOU'RE THE WORST, The CW's THE CARRIE DIARIES, TVLand's YOUNGER, TNT's PUBLIC MORALS, and the NBC version of UNBREAKABLE KIMMY SCHMIDT. Residing in New York City, Trey is a proud member of both professional actor unions Actor's Equity Association and Screen Actors Guild ‐ American Federation of Television and Radio Artists. He holds a Bachelor of Arts in Acting from Coastal Carolina University where he received 6 Irene Ryan Acting Nominations in 4 years from the Kennedy Center's prestigious KCACTF. Trey spent a year interning at Maine State Music Theatre and Florida Repertory Theatre. He spoke a little about his experience in this 2009 article for the national publication: Southern Theatre. On the other side of the table, Trey has worked as an ASM on the national tour of Billy Elliot, Assistant to Cameron Mackintosh's directing team for the 25th Anniversary tour of Les Miserables, and in Company Management for the national tours of Beauty & the Beast and The Drowsy Chaperone. Trey was also the "poster boy" for the national tour of Spring Awakening. Trey is a proud graduate of the South Carolina Governor’s School for the Arts and Humanitites residential High School.

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Horror Headlines: Monday September 26th, 2011What could top last weeks new that Raj from "What's Happening" had joined the cast of Rob Zombie's "Lords of Salem"? How about Jeffrey Daniel Phillips joining the cast? Who's that you might ask? Why just one of the most famous cavemen in history. Ya know, minus the real cavemen. Let's call him the most famous insurance selling caveman of all time. Well next to the other two. There's three of them in those commercials isn't there? Let's just call him a guy. He's a nice guy. God I hate you. Oh boy oh boy! More set pics from "The Dark Knight Rises" and this time we've got Anne Hathaway as Catwoman. Boy she looks comfortable in that suit. If people made a big deal over Michelle Pfeiffer doing flips in her Catwoman outfit back in 1992 I can't wait to see what sort of fuss they make about Hathaway stomping around the set like the Frankenstein monster recovering from hip surgery. Is it hot in here or is it just her? I've seen a ton of movies that Michael Fassbender has been in but for the life of me I have no idea who the guy is. That aside though if I had one choice for who could play Alex Murphy in the upcoming "Robocop" remake he would be it. Don't ask me why he just would be. And the good news for me is that director Jose Padhilla wants him for the role too. Which I kind of think is weird since I don't know who he is. It's like if Rob Zombie wanted one of the Geico cavemen for one of his movie or something. And last but not least Charlie Sheen has accepted a role in "Scary Movie 5". I don't know what else to say about that. I'm crying on the inside though. anne hathawayrobocoprob zombiethe dark knight riseslords of salemscary movie 5Charlie SheenJeffrey Daniel PhillipscavemenMichael FassbenderJose Padhilla

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Based on the Oscar-winning film of the same name, Little Miss Sunshine depicts what happens when you follow your dreams. The off-Broadway musical adaptation features an all-star cast including Stephanie J. Block, Will Swenson, Rory O'Malley and introducing Hanna Rose Nordberg as Olive Hoover. Audiences can expect lots of laughs and lots of heart. Discount Offers on Little Miss Sunshine Tickets Sorry, this show has closed. About Little Miss Sunshine - Off Broadway Show Info On life’s twisty road, sometimes you need to pull over and change direction. When the coveted title of “Little Miss Sunshine” is unexpectedly within her reach, young Olive Hoover convinces her family to make the 800 mile trek to the pre-teen pageant of her dreams. Along the way, a series of mishaps threatens to derail the group’s quest for the crown, until they realize a young girl’s far-fetched goal may actually hold the key to the family’s happiness. From the Tony Award-winning team of James Lapine and William Finn comes Little Miss Sunshine, a new musical comedy about one modern family’s unexpected route to brighter days. Great for Dad Great for Grad Great for Her Little Miss Sunshine Photo Gallery Second Stage Theatre 305 West 43rd Street New York, NY 212-246-4422

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Unknown pair land Star Wars roles Pip Andersen and Crystal Clarke have won roles in Star Wars: Episode VII Two young, unknown actors - one of them British - have landed roles in the new Star Wars film following an open casting attended by thousands of hopefuls. British actor Pip Andersen, 23, is an expert in the gravity-defying sport of parkour and recently showcased his skill at jumping across rooftops in a Sony Spider-Man commercial. Crystal Clarke is a US actress who is studying in Glasgow and will be seen in her first feature, The Moon And The Sun, which stars Pierce Brosnan, next year. It is not yet known what roles the pair will play in JJ Abrams' Star Wars Episode VII. Around 37,000 hopefuls attended open castings in 11 cities across the US and UK, while more than 30,000 submitted applications online. Lucasfilm president and president Kathleen Kennedy said: "The Star Wars universe has always been about discovering and nurturing young talent and in casting Episode VII we wanted to remain absolutely faithful to this tradition. "We are delighted that so many travelled to see us at the open casting calls and that we have been able to make Crystal and Pip a part of the film." Movie bosses said that they were looking to fill lead roles during the open casting. Film-makers said that they wanted a "handsome, smart and athletic" man to play "Thomas", a 19-to-23-year-old who has grown up "without a father's influence" and "doesn't have the strongest sense of himself". "Despite this, he is smart, capable and shows courage when it is needed. He can appreciate the absurdities in life and understands you can't take life too seriously", they announced. The 17- or 18-year-old female character was described as a street-smart teenager with no family and who, played by someone who is "beautiful, smart and athletic", is forced to "make her way alone in a tough, dangerous town". According to his website, Andersen has been doing freerunning and parkour for seven years and is based in Taunton, Somerset. He is married, according to his Facebook page. Last month it was announced that Oscar-winning 12 Years A Slave star Lupita Nyong'o and British actress Gwendoline Christie, best known for Game Of Thrones, have joined the cast of the film. Mark Hamill (Luke Skywalker), Carrie Fisher (Princess Leia) Anthony Daniels (C-3PO), Peter Mayhew (Chewbacca) and Kenny Baker (R2-D2) are all reprising their roles in the movie.

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The Oscar-winning writer of "The Usual Suspects" returns with a crime film that refuses to give us a traditional hero to root for. After years of what seemed like one public-relations disaster after another, Tom Cruise returned to box office glory with 2011’s first-rate "Mission: Impossible – Ghost Protocol". If "Ghost Protocol" was Cruise’s comeback, then his new movie, "Jack Reacher", is a comeback for director Christopher McQuarrie. At 28, McQuarrie won an Oscar for writing "The Usual Suspects", which is kind of like my generation’s "The Big Sleep", an astonishingly complex, endlessly debatable film noir that has one of the coolest twist endings ever. McQuarrie followed up "The Usual Suspects" with "The Way of the Gun", a remarkable directorial debut starring Benicio Del Toro and Ryan Phillippe as two entirely unredeemable kidnappers. "The Way of the Gun" showed great promise, and so I was surprised that the writer-director was MIA for the next several years. His resurgence came in 2008, when he wrote and produced the terrifically exciting plot-to-kill-Hitler thriller "Valkyrie". On that film, he found an unlikely ally in Cruise. The two have teamed up together again for "Jack Reacher", which, like "The Way of the Gun", shows McQuarrie playing with genre conventions in a crime film that refuses to give us a traditional hero to root for.One of the most wholly original crime pictures of the 2000s, "The Way of the Gun" begins with a brawl outside a bar where Parker (Phillippe) and Longbaugh (Del Toro) beat up women, and it ends with them getting into a gunfight with senior citizens. Everything that happens in between is just as unexpected and uncompromising, as McQuarrie consistently makes eccentric choices. The scene where Parker and Longbaugh kidnap the very pregnant Robin (Juliette Lewis) is followed by a shoot-out where we never see the gunplay, only the resulting corpses. As a first-time director, McQuarrie set up a huge challenge for himself: to make Parker and Longbaugh likable without softening the edges of these hardened criminals. He succeeded beyond any reasonable expectation. We root for them despite the fact that their shared past consists of robbing, maiming and murdering people.Adapted from the Lee Child novel "One Shot", "Jack Reacher" opens with a sniper picking off innocent people seemingly at random, a scene that's probably even more disturbing in the wake of the school shootings in New Town, CT. It's unfortunate that, in the media blitz that followed the shootings, the film became associated with Hollywood's obsession with guns. (Its premiere was cancelled out of respect for the victims of the Sandy Hook massacre). It's hard to think of a recent movie that went to such extraordinary lengths not to glorify gun violence, most notably in a very moving sequence that gives names, faces and personal stories to the people gunned down by the sniper. The private detective hired to discover the sniper's true identity is, like Keaton (Gabriel Byrne) in "The Usual Suspects" and Parker and Longbaugh in "The Way of the Gun", another of McQuarrie's unlikely heroes. When the bad guys think they've got Jack Reacher cornered and are threatening to kill an innocent woman, Jack barks back, "You think I'm a hero? I am not a hero." But, of course, Jack is a hero; he's just not the type we're used to seeing in a major Hollywood movie. We're not used to seeing this type of villain either; in an oddball casting choice, he's played by German film legend Werner Herzog. McQuarrie puts his idiosyncratic stamp on the material right up the movie's expertly staged, rainswept finale.The Oscar-winning writer's screenplays for "Jack the Giant Slayer" and "The Wolverine" are being produced and the films will be released later this year. He and Cruise are reportedly in talks to team up again for "Mission: Impossible 5". It's official: Christopher McQuarrie is back!

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Steve Carell And Paul Rudd Can Finally Be Schmucks Jay Roach won't be back to direct the third movie in the Meet the Parents series, but that frees him up to tackle Dinner for Schmucks, a project that was at the center of a custody battle between DreamWorks and Paramount when the studios split last fall. Paramount will be producing it, with a small stake in it for DreamWorks, and with Steve Carell and Paul Rudd clearing their schedules to star, things are finally ready to get started. Variety lays out the whole troubled history of the project, which is fascinating in a how-your-sausage-gets-made kind of way. But all you, the moviegoer, need to know is that Dinner for Schmucks is a remake of a 1998 French comedy about the world's worst dinner guest. They're not saying who will be playing the guest-- the role had originally gone to Sacha Baron Cohen-- but I'm betting on Carell. Rudd makes far too good of a straight man, especially when Carell is given a chance to cut loose and be weird. Vassup! It's Brüno On DVD And Blu-Ray Semi-Pro Coming Fully To Stores In June Ready Player One Movie: What We Know So Far Avengers 3: Everything We Know About Infinity War Spider-Man: Homecoming - What We Know So Far New DVD Releases: When To Buy The Latest Movies In September 2016 Shazam: What We Know So Far

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Home > DVDs > Drama > Drama The Bridges of Madison County Clint Eastwood, Meryl Streep & others. Clint Eastwood, director. cutout DVD Widescreen Meryl Streep received her 10th Oscar nomination for her portrayal of Francesca Johnson in this 1995 film version, directed by Clint Eastwood, of the phenomenally successful book by Robert James Waller. Eastwood plays National Geographic photographer Robert Kincaid, on assignment to shoot the historical covered bridges of rural Iowa. While asking directions at a farmhouse, he meets Johnson, whose passionate nature has long been denied. With her husband and children away at a county fair, the pair's friendship blossoms into a tender four-day affair.

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New red band trailer for Let's Be Cops 17 Jun 2014 - 07:01 facebook Fancy another R-rated comedy? Here's the trailer for the upcoming Let's Be Cops. Let there be chortles... With 22 Jump Street gobbling up lots of money now at both the US and UK box offices, there's no shortage of appetite for R-rated comedies it seems. It does help if they're good ones, of course. Last week, we got the trailer for the next high profile attempt to make us giggle, the Melissa McCarthy-headlined Tammy. You can see that here. But in August, there's another on the way in the shape of Let's Be Cops. This one stars Damon Wayans Jr, Jake Johnson and Nina Dobrev. The setup? They dress up as cops for Halloween, so convincingly in fact that those around them think they're, well, cops. Here's the new red band trailer for the movie, which turns up in the UK a month after the US release. Don't watch it if you don't like naughty words and stuff... Follow our Twitter feed for faster news and bad jokes right here. And be our Facebook chum here. Read More About Movies Sponsored Links

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Elaine Hegwood Bowen Tearing up the streets of London, The Sweeney is a stylish and exhilarating action thriller proving sometimes you have to act like a criminal to catch a criminal. The Sweeney is directed by Nick Love and based on the popular 1970s U.K. television show of the same name. This movie from the beginning to the end tells the story of the Sweeney Flying Squad, London’s elite crime-fighting force –a branch of the Metropolitan Police specializing in tackling armed robbery and violent crime. The big man holding up The Sweeney is Detective Jack Regan, played by Ray Winstone and his loyal partner, played by Ben Drew. Often the group members are as bad as the criminals who they are chasing, and they must act the part by using unscrupulous tactics—basically meting out beatings and pistol whippings—all in the name of catching the criminal. It gets a little out of hand, however, when Regan really crosses the line by sleeping with his boss’ wife, played by Hayley Atwell. He really rubs it in when the boss, played by Damien Lewis, finds out about it. He lets his rough, tough, gruffy personality get in the way of his mission, and I’m sure he isn’t getting paid to sleep with the woman, who is also part of his team. Things get really messy when the team goes on detail to catch jewelry store bandits and the wife is killed by the criminals. At this point, Regan’s bosses have had enough and they order him off duty, even though they had ordered his off the hunt for the thieves in the first place—an order that he ignored. And as is his fashion, he ignores the order to just hang tight and let others pick up this case. He’s off on a renegade mission to find the jewelry-stealing murderers and maybe in the end get his job back. Or at least he thinks he can atone for his indiscretions with his married female partner and ultimately her death. I liked The Sweeney, because it is set in London and is such a fast-paced thrill ride that keeps your attention throughout. The action takes you from Trafalgar Square to a trailer part on the outskirts of the city. And Winstone is a character that I enjoy whenever I run across him in a film (he’s also played in The Departed and Hugo). In The Sweeney, I don’t know if he’s more appealing with a clean shaven face or one all battered up from his run-ins with the criminals and other law enforcement officers. He has a certain style and demeanor that makes you either love him or hate him. In any case, The Sweeney will leave you on the edge of your seat, wondering just when the next beating, pistol whipping or brain blowing action will take place. The film is out on DVD and Blu-ray April 2. For more information, visit www.us.eonefilms.com About the Author: Elaine Hegwood Bowen Elaine Hegwood Bowen, M.S.J., is an editor, writer and film critic in Chicago. She is the author of "Old School Adventures from Englewood--South Side of Chicago" and the proud parent of "the smart rapper"--chemist-turned-rapper, turned humanitarian...Psalm One! Share Filed in: Video and DVD The Sweeney

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Newsroom's Olivia Munn Hopes New Girl Character Doesn't Come Between Nick and Jess Olivia Munn is going from The Newsroom to New Girl.The former Attack of the Show! host will pop up on the Fox comedy Tuesday as a new love interest for Nick (Jake Johnson). But fans of Jess (Zooey Deschanel) and Nick shouldn't worry: Even Munn wants to see New Girl's best dynamic duo end up together. Still, she has a job to do, which includes bringing out a side of Nick we haven't seen before. To find out what that entails, TVGuide.com turned to Munn to get the scoop:Olivia Munn to play love interest for Nick on New GirlWhat kind of person is Angie? Olivia Munn: Angie is a new love interest for Nick. She is someone who really gets Nick to get outside of his comfort zone and really throws inhibitions to the side and just do things that he never thought that he would do. She gets along with the whole group. She's the kind of girl that has no problem finding fun in any place with anything, no matter if there are rules or regulations. It's just about having fun and living life.How does Angie initially meet Nick? Munn: She becomes a regular at the bar. Nick watches Angie and her boyfriend fighting and the boyfriend storms out, leaving Angie crying at the table. With Jess's advice to come talk to Angie, and he had been watching her for quite some time, he made a decision it was finally his moment to get in there and take full advantage of the moment of her being by herself. What I love about how they approach it is that he comes to Angie and he basically says, "You deserve better." He says it so honestly that I think she's really taken back by how honest this guy is being with her and how refreshing it is. I think that's what wakes her up and ignites that first spark.Nick hasn't been able to hang onto a girlfriend, so what attracts her to him? Munn: There's no games. He's not trying to be somebody he's not. He's just Nick and I think she really likes that he is just so completely himself. Even though he can be uncomfortable and awkward at times, I think she really likes that he embraces that.How is Angie different from Newsroom's Sloan? Munn: Angie is the kind of girl who is looking for fun in any scenario. No matter what, she's looking to do something that's a little dangerous and exciting, and push the limits of what you're allowed to do. Sloan is interested in working and doing the best job that she can do and isn't really looking for extracurricular activities that might put her in jail. [Laughs]New Girl: Luck's Dennis Farina cast as Nick's Father Was it fun getting back into comedy and reuniting with your Perfect Couples co-star David Walton? Munn: It's so fun to do a comedy. In both The Newsroom and New Girl, what we're trying to do is entertain the audience, but on a comedy, you're really trying to get as many laughs as you can. So that was really fun to get back and try to do things to make people laugh. I have a really bad habit of when I start laughing, I can't stop. So, on New Girl, Max [Greenfield] and Jake were making me laugh so much. I'm in tears most of the time with Jake. He's the funniest man. There's this one time we're doing a scene at this table and everyone is so funny and I start laughing so hard that at one point, David Walton, who's now laughing with me, keeps going, "Olivia, you have to stop! This is just like Perfect Couples! She won't stop laughing!" And I just can't stop.On The Newsroom, I did end up having a laughing fit the other day. My bad habit of laughing that I picked back up on New Girl - because I was shooting them at the same time, spilled back over to The Newsroom. I was doing a scene with Sam Waterston and I just start cracking up. The day before I was telling Sam about how I have this horrible habit of not being able to stop laughing. He goes, "I have to see that!" We have so much dialogue [so] you don't want me to start messing up. Of course, the very next day, something happens that kicks it in for me. I just start laughing to the point where I heard a producer go, "Is she going to be OK?"Are New Girl's Nick and Jess the new Ross and Rachel? Even though you have Newsroom to film, is there a possibility that Angie might stick around for a bit on New Girl? Munn: I haven't shot my last episode with them yet, so I'm not quite sure where my character leaves off. But I love working with everyone over there. And the people on The Newsroom were so great and worked it out to share me and let me go off and do that, so I'd love it if I was able to do that. I love working more than one job at once. It keeps me out of trouble. I would love to keep doing it.But also, I'm a big fan of the show. So, if I'm on the show, that means that Jess and Nick are still not together and as a fan of the show, I really want them together. It was weird because I'm there as the love interest for Nick; however, I'd be watching in the middle of a scene going, "Oh, they're just so great together!" I feel like I'm a mole for the fans. I've been cast, but really, I'm here to help push them together. I'm watching, going, "No, let's just put them together. This is where it should end. I'll leave and they'll stay together." I just think they're so sweet together and I just love that couple together. As a fan, I think it's best for me to step out of the way and go back and watching as an audience member, so I can finally watch them get together! [Laughs]Do you want to see Nick and Jess get together?New Girl airs Tuesdays at 9/8c on Fox.View original Newsroom's Olivia Munn Hopes New Girl Character Doesn't Come Between Nick and Jess at TVGuide.comRelated Articles on TVGuide.com New Girl: Luck's Dennis Farina cast as Nick's Father Are New Girl's Nick and Jess the new Ross and Rachel? Olivia Munn to play love interest for Nick on New GirlOther Links From TVGuide.com Sam WaterstonZooey DeschanelDavid WaltonMax GreenfieldOlivia MunnAttack of the ShowPerfect CouplesNew GirlJake M. JohnsonThe Newsroom

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The Feeding Tube 6 Things We Just Learned About MTV’s House of Food Not to be confused with IHOP. Photo: MTV We’re slowly beginning to learn more about House of Food, MTV’s forthcoming reality show that “sends a group of aspiring young chefs to a house in Los Angeles” and makes them go to culinary school. For now it seems like the educational component may be modeled on a Road Rules–style curriculum more than anything found at Johnson & Wales, but time will tell. The Television Critics Association press tour made a pit stop to MTV docudramaville today, and between the Wrap’s panel recap and the network’s landing page for the show, we at least have the first few clues about what may be lurking inside House of Food. 1. The show is rooted in the idea that teenagers are no strangers to food culture, which is apparently identical to the culture of fame. “This demographic grew up with celebrity chefs,” executive producer Mike Duffy said today, during the panel. “The fact that people get famous for cooking is part of the appeal.” 2. So House of Food is like Top Chef meets Real World So get ready to find out what happens when people stop being polite and start getting roulade. 3. As such, the show puts eight strangers in a house and makes them cook. They are, at least, getting some adult supervision from three L.A.-based chefs: The self-taught Brooke Williamson of Hudson House and the Tripel, who herself appeared on Top Chef; Casey Lane of the Tasting Kitchen; and Brendan Collins of Waterloo & City and Larry’s. 4. Like all reality-TV outcomes, there’s only one winner. The young chef who wins gets — you may have guessed by now — the “apprenticeship of a lifetime” at an as-yet-unnamed restaurant in Los Angeles. That means that if House of Food takes off, you can expect a new category of celebrity-chefs-in-training to emerge, culinary superstars who fall somewhere on the spectrum between the pint-sized rookies of MasterChef Junior and Top Chef’s ubiquitous spokespersonalities. 5. This is all a prelude to more food programming on MTV. “They socialize it,” executive producer Jenny Daly said, explaining why the content will work. “It’s some kind of a passion for them that they, too, can aspire to be, and it’s a profession that has become a creative outlet,” Snackdown, a competition show brought to you by Rob Dyrdek and Baohaus chef Eddie Huang, is also on its way. Expect Chrissy Teigen to make an appearance. 6. Don’t worry, you’ll probably like it even if you’ve never picked up a spatula. “The proficiencies these contestants learn are accessible to those watching,” says Duffy. MTV’s House of Food premieres March 31 at 10 p.m. MTV Is Banking on Youth Foodie Culture for ‘House of Food’ [The Wrap] MTV’s House of Food [Official] Earlier: Eddie Huang Headed to MTV’s New Food-TV Lineup Tags:The Feeding Tubehouse of foodmtvthe feeding tube

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Greenwood thrilled to board 'Flight' with Washington Acclaimed actor survived real-life plane crash years ago UPDATED 12:59 PM PDT Oct 30, 2012 Bruce Greenwood and Denzel Washington in "Flight." Actor Bruce Greenwood, who soared in the pivotal role of Captain Christopher Pike in 2009's "Star Trek," is grounded in "Flight" -- but that doesn't mean he can't have a commanding presence in the film. Ryan Lochte 'in talks' to join '... Opening in theaters Friday, "Flight" stars Denzel Washington as Whip Whitaker, a seasoned pilot who spectacularly lands a jetliner after it suffers mechanical failure en route from Atlanta to Orlando. Greenwood stars as Charlie Anderson, a pilot's union representative and former Navy pilot and colleague of Whip's who on behalf of the union brings in a powerful attorney Hugh Lang (Don Cheadle) to try to clear Whip of criminal negligence. The sobering reality is, Whip has a serious substance abuse problem and was drinking and using drugs before the flight, and Charlie knows no matter how miraculous the landing was, six of the "102 souls" on board did not make it -- meaning that Whip will ultimately be the one that has to take responsibility. In a recent interview, Greenwood told me that he absolutely had to be a part director Robert Zemeckis' new dramatic thriller after reading John Gatins' screenplay, even if it required him to put in a lot of flying back and forth to do it. "I read the script and I thought, 'How the hell can I get myself into this?' So we sent up a couple flares and I got a chance to show Bob what I thought the character was all about and fortunately, he felt it was going to work," Greenwood recalled. "But I was also working on a television show called 'The River' at the time, so I was commuting from Oahu to Atlanta. It was nice to be working on both coasts at the same time." Still, Greenwood insists, the sacrifice was worth the extra flight time. "The script is so strong. It asks way more questions than it answers," Greenwood said. "It has these tremendous ethical dilemmas for every character, and there are a handful of characters that you're invited as an audience member to enlist with earlier on in the movie, only to be asking yourself later, 'Do I dare to continue to like this character?' and 'What would I have done in the same circumstances?'" For Charlie, the dilemma could be life-altering. Charlie knows everything for the airline is at stake because of Whip's recklessness -- no matter how incredible the maneuver was to save as many lives as he did -- and he's forced to lie because of it. "If Charlie allows his friend to tell his truth, it means the airline goes down and 1,500 pilots, 3,000 flight attendants and thousands of mechanics and other employees are out of work," Greenwood said. "There are 10,000 people depending on Charlie helping his friend lie. What do you do? Do you sacrifice 10,000 people and their livelihoods to do the right thing by a friend, or do what's right?" Because of Whip's heroic actions in the film, Greenwood thinks the dilemma won't be an easy one for audiences to contemplate, either. "You find yourself in the position every now and then where you say to yourself, 'I know what the right thing is to do' if I think about it for an instant, but if I think about it for five minutes it's not so clear what the right thing to do is," Greenwood observed. Of course, it was clearly no dilemma for Greenwood when it came to signing on the dotted line to play Charlie. On top of the fact that he was working with Zemeckis -- who's demonstrated over and over again that he's clearly as much a master at drawing out raw, human emotion as he is creating stunning visuals -- he had an stellar cast to work with, to boot. "Emotionally, the journey of the movie is compelling," Greenwood said. "Then you pair Zemeckis with Denzel, Cheadle, (and co-stars) John Goodman and Kelly Reilly, and you know it's going to be tumultuous and active." Greenwood, who shares almost all of his scenes with Washington, said he was electrified being on the set with the veteran Oscar-winner. "It's so much fun playing with a guy that has a bunch of pitches," Greenwood enthused. "He's totally present and totally involved. All you have to do is listen with him because he's a great listener. Whatever the vibe is, he picks up on it. It feels alive right away." Of course, the launching pad for the actors in "Flight" is the film's riveting crash scene, which takes off minutes after the film begins. "If you're not a big fan of flying -- or even if you are -- you're going to spend the first 15 minutes of the film cringing," Greenwood said. And while Greenwood isn't a part of the scene, he doesn't need to be involved in the footage to know what it's like to be party to a catastrophe. "Many years ago, and I hadn't told this story until a week ago, I was in a plane crash," Greenwood, 56, recalled. "It was a small plane that crashed and sank, but we all swam away and survived. It was quite dramatic and the crash itself was dramatic. It took me a little while to get comfy with flying again, but I now look out the window of a plane -- because I fly all the time -- and I see the wings flexing and I tell myself, 'No, they're meant to be bending like that. If they weren't bending in half, they'd be breaking.'" That's not to say Greenwood doesn't have his moments. "The only time I get a little weirded out is when I go to the back to use the restroom or something and I see the fuselage flex," Greenwood added. "That doesn't do my stomach any good." Look for Greenwood to be all calm, cool and collected again when he takes flight with the crew of the Starship Enterprise and director J.J. Abrams again with "Star Trek: Into the Darkness," which has been pegged for a May 17 release. "The new movie, I gather, is already cut together and by all accounts is working pretty well," Greenwood said. "I don't know when I'll get a chance to see it, but I'm really looking forward to it." 'Flight'

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A Conversation With Actor / Playwright Jesse Eisenbeseries: Theater Talkair date: 4/26/13 10:00 AMWriter/performer Jesse Eisenberg joins us to talk about his Off-Broadway play The Revisionist in which he co-stars with Vanessa Redgrave. In a freewheeling conversation, the extraordinarily forthright Eisenberg, discusses how he went from being a kid doing children's theater in Queens, to becoming a celebrated and accomplished dramatist and (Academy Award-nominated) actor, now appearing in his own work opposite one of the world's greatest actresses. At the end of the show, we remember actor Richard Griffiths who died in late March. Griffiths joined us twice on our program, once when he appeared on Broadway in his Tony Award-winning performance in The History Boys, and again two years later with Daniel Radcliffe when they co-starred in Equus. He was a great man and a brilliant entertainer, and we will miss him. Email Reminder

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Sudoku Published : July 2 2014 Interview: 'Earth to Echo' director Dave Green on directing like a 13-year-oldMatt PriggeDave Green, director of the found footage boys adventure "Earth to Echo," talks about his youth making movies with bulky video cameras. Dave Green (center) is seen with a giant, not very portable camera on the found footage sci-fi adventure "Earth to Echo."Credit: Patrick Wymore Director Dave Green was once like the kids in his film, “Earth to Echo,” a found footage entry about three friends who come to the aid of a beset-upon alien, which they shoot with a variety of cameras. “I constantly had a video camera,” Green recalls. “I’d make films with my friends, or stop-motion shorts using my stuffed animals.” Of course, this was back in the day. “There was no way to edit. You had to edit in camera. Now if I talk to the kids who are actually in that movie and I say, ‘I had to connect two VCRs and edit that way,’ they’d be like, ‘What are you talking about, grandpa?’” Actually, “Earth to Echo” isn’t “found footage” at all. That would imply the footage was lost. In the world of the film, the three lead characters shot and, after the fact, edited it. To be more specific, it was edited by adults trying to act like kids with exponentially snazzier technology than they had themselves when they were growing up. “What made the movie exciting to me for me was that we were telling the story from a really distinct point of view, and that point of view happens to be from a 13-year-old,” Green says. “He’s able to pause the movie, fast forward through the movie, skip through time and say, ‘You know what, I’m embarrassed by this part. Let’s not show it.’ That idea cracked the egg on what the storytelling potential could be.” Of course, pretending to be a 13-year-old moviemaker can be difficult, though at least there’s plenty of examples. “It only takes one look at Vine to see what’s going on online — and to feel like, ‘Oh my god, I’m so old. My ideas are so old.’ Because there’s so much freshness.” Of his cast, Teo Halm — who plays the more serious one, Alex — is “probably the filmmaker of the group,” Green says, though Brian “Astro” Bradley has dabbled as well. Halm’s videos so far mostly star his cat. “I saw one where he was looking out a window with his cat, and then he leans in to bite his cat in the head. That was the whole clip,” Green recalls. Dave Green (left) directs his young actors on set of the boy's adventure "Earth to Echo."Credit: Patrick Wymore At least some of the footage is actually shot by the kid actors themselves, who also had to deal with pretending to interact with special effects that wouldn’t be seen till later. “I wanted to create an environment for the kids where they had the freedom to tell me, ‘This blocking doesn’t work out,’ or ‘I can’t stand there,’ or ‘I don’t think I would look at the camera at this time.’ Even Astro, who holds the camera, would say to me every once in awhile, ‘I think I would shot it THIS way,” Green says. “It was really important to make them feel like they weren’t on a real ‘movie set.’” One of the main ideas behind making “Earth to Echo” was that it be, for Green and his regular writing partner, Henry Gayden, nostalgic. “We were children who had grown up on these adventure movies that had kids as the main characters. We hadn’t seen a movie like that in a long time,” Green says. Indeed, along with “E.T.,” a clear inspiration was “The Goonies,” which also features a suburban neighborhood being uprooted. But here, the big move — which will split up the three friends around the country — can’t be reversed. This adds a melancholy that runs under the film’s adventure. “I put myself back in the shoes of being a middle school kid, who was transitioning into high school. You have certain friends that go away, and then when you’re going to college you have other friends you drift away from. We wanted to create this period of time for the kids that felt very dramatically charged,” Green says. “It colors every scene. You know it’s these kids’ last adventure together.” See our review of "Earth to Echo" here. Follow Matt Prigge on Twitter @mattprigge Review: 'Earth to Echo' is more '80s kids movie than found footage festThe found footage movie "Earth to Echo" is actually more a throwback to '80s boys adventure movies like "The Goonies," although it's too modest. PG-13 movies have more violence than R moviesDisney launches online, mobile movies50 movies you'll be talking about this summer

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The Millennial Star HomeComments PolicyContact UsSubmit a Guest Post Secular Movies with Spiritual Value Posted on February 26, 2011 by jettboy Inspired by discussions of Randy Astle’s presentation on how film criticism can help improve Mormon film making, and reading the interesting Notes of a Mormon Filmmaker blog, I decided to write about movies that have touched me spiritually. These are not particularly religious films and some were never meant to be more than secular entertainment. Yet, they still touch the mind and soul in a way that transcends the medium, material, and creators. Watching the movies is an experience beyond a viewing. They remain with me and sometimes have been transformational. They are art and greater than art. Lawrence of Arabia. I struggled to decide if this one should be included because it is the most secular of the movies with spiritual value to me. There are others with stronger spiritual themes, but it is my overall favorite movie and that can’t be ignored. Other movies I have seen twice as many times, are more exciting, quote and mention in casual conversation, and would be expected to be a favorite if asked. Still, none of them are pure artistic genius in my mind with a character as rich and textured as any Hamlet production. When I think of near celluloid perfection, I think of this one. That impression has to count for something. Miracle on 34th Street. Christmas is always a special time of year when gifts are exchanged and thoughts turn to a little baby in a swaddling clothes that will grow up to become the Savior. Despite the movie’s hero as Santa Clause, its theme is about more than children’s faith in the mythical character. It asks the eternal question of how faith can be maintained when life becomes harsh and we all grow up. The ending might be wrapped and tied in a bow like a forgettable present, but the message lingers. We must remain as innocent and caring as little children even as we mature in experience if we are to hold onto the best of human nature. The Seventh Seal. Dark and brooding as the black and white film it was shot, the film seeks to examine the light in a shadowy world. Some moments are comical in a desperate bid to break from the madness of a reality where death is all too soon waiting. Overall it is a search for the meaning of life that mostly leaves the viewer to decide what the film concludes. Groundhog Day. This movie is a deceivingly simple and light hearted comedy. Behind the antics of the actor and his character is the story of transformation and repentance. There is even the examination of death and suicide behind the farce and slapstick. A hidden classic. Field of Dreams. Every time this comes on television I have to stop and watch at least the first part. It has more Mormon themes in it than many of the secular films I could have included. There is a study of revelation in action, a prophetic character grappling with his message, and the thin line that separates the dead from the living or the past from the present. Ignoring the few disagreeable political statements within the story, the rest is a wonderful spiritual treat that transcends the whole production. The Green Mile. Brutal and crude mixes with the sublime and touching. That is the point of the movie and book it was based. It looks at the strange ways of miracles that can happen when least expected. Hidden behind the darkest of life and humanity can be the inexplicable hope of a miracle worker condemned by circumstances and others. For a brief moment those who pay attention to the miracles can be forever changed for the better. 2001 – A Space Odyssey. and 2010: The Year We Make Contact. Both films must be watched together. We are not alone in the Universe and our destiny is not always our own to decided. Star Trek – The Motion Picture. Similar in theme as 2001 and 2010, it inverts the question of who controls our destiny and for what purpose to what destiny does human choices create? We can bring our destruction or exaltation depending on how we decide life issues. Star Wars Trilogy. Forget the overdone prequels, these three are the original great movies. It includes topics of love, war, forgiveness, growth, Priesthood, uses of power, family ties, sin, repentance, and more. Yet, it is fun and exciting as any summer blockbuster. These are among my favorite movies that I have watched and continue to return to over the years. Others might list It’s a Wonderful Life or Chariots of Fire, both fan favorites having spiritual messages. I am sure there are more that can be listed than what is here. Next time I will discuss movies based on religion, including Mormonism, that are my favorites. Note: Geoff B. has a series of posts on this topic specific to Mormonism. For those interested it includes: Share this:TweetPocketEmailMorePrintLike this:Like Loading... This entry was posted in General by jettboy. Bookmark the permalink. 21 thoughts on “Secular Movies with Spiritual Value” IntheDoghouse on February 26, 2011 at 10:54 am said: I would add The Chronicles of Narnia series… Stacey on February 26, 2011 at 11:54 am said: The Princess Bride-Wesley triumphs against Fezzig, who is stronger, Vincini, who is more intelligent, and Inigo, who is more skilled, because he has love on his side. Labyrinth – Teaches the value of studying your scriptures, the lack of value in material possessions, the importance of standing up to evil, the power of friendship, and the overarching value of family. Jettboy on February 26, 2011 at 1:13 pm said: If I was to add the Narnia series, then I would also add The Lord of the Rings. They certainly are favorites of mine, but strangely I don’t personally feel a spiritual connection when watching. Saying that doesn’t imply others don’t, but I can’t really articulate why the appeal isn’t religious or spiritual when I know that was the writer’s intentions. As I said above, some movies that are intended to be spiritual don’t touch me like they do other people. Stacey, good choices. I enjoy both movies and would love someone to examine why “The Princess Bride” is a Mormon favorite. I have known Mormons to treat it like others do a cross between the ritualistic “Rocky Horror Picture Show” and quotable “Monty Python and the Holy Grail” in reaction to repeated viewings. Latter-day Guy on February 26, 2011 at 1:34 pm said: The Christological symbolism in Children of Men struck me very strongly when I saw it for the first time; a second viewing yielded the same result. Wit, starring Emma Thompson, is a brilliant meditation on life and death and what they mean. Also, for reasons I cannot articulate, watching Bright Star is always a religious experience for me. (Perhaps because it is preoccupied with Beauty, which is usually connected with Truth at some level. But that’s just a guess.) Geoff B on February 26, 2011 at 1:35 pm said: Jettboy, I have written several posts called “non-Mormon Mormon mivies.”. I included Groundhog Day and “the Family Man” (nicholas cage) on that list. Mark D. on February 26, 2011 at 8:45 pm said: Chariots of Fire always comes first to my mind in this category. I am not sure I have ever seen a more straightforward defense of religious principle. It is a beautifully made film as well. Contact (1997) is the most recent film I know worthy of comparable recognition. Two other films I would like to mention are Cast Away (2000) and Hero (1992), although their connection to religious principle is not quite as transparent. Jeffrey Thayne on February 26, 2011 at 8:48 pm said: One I would add to the list: Contact. I wrote a whole series on the spiritual value of this movie. If you have any doubts (or if you don’t mind a spoiler), watch this clip: http://www.youtube.com/watch?v=CSzyO86Npj0&feature=player_embedded Also, this article might add some interesting context to the discussion: http://www.saramayhew.com/blog/index.php/2011/02/secular-storytelling/ I don’t agree with his conclusions, but I think that the distinctions he makes are real ones. Geoff B on February 27, 2011 at 7:44 am said: Jeff T, I also wrote about Contact a few years back. Take a look at the link above in the body of the post. Here is the link on my take on the movie Contact: http://www.millennialstar.org/non-mormon-mormon-movies-cont-contact/ jjohnsen on February 27, 2011 at 10:21 am said: Eternal Sunshine of the Spotless Mind is proof R-rated movies can make help you feel the spirit. Princess Bride. Field of Dreams. There’s a ten minute section of Children of Men that always makes me break down, I have a hard time nailing down if it’s actually spiritual though. Ben Pratt on February 27, 2011 at 10:46 pm said: Many recent superhero movies (not necessarily including sequels), as only John C. Wright can explain. The Santa Clause has some nice lines about faith. “Seeing isn’t believing; believing is seeing.” It’s too fresh to say it’ll become a classic, but I find Inception just overflowing with humanity, goodness, beauty, and truth. Mark D. on February 28, 2011 at 1:22 am said: I would also add Les Miserables, The Hudsucker Proxy/em>, and The Iron Giant. jjohnson, is it the part where they’re leaving the building after the baby was born, where everyone goes silent? jjohnsen on February 28, 2011 at 5:15 pm said: Bingo. Starting a couple of minutes before they leave when everyone goes silent in the building and the long walk out. My my laughs every time we watch it because I start sobbing and just become a mess even though we’ve seen it four or five times. Joyce Anderson on February 28, 2011 at 8:28 pm said: My list includes: Ben-Hur and Radio to name two. mapman on March 1, 2011 at 8:08 am said: I’ve always found watching Ben-Hur and It’s a Wonderful Life to be very spiritual experiences for me. Jacob S on March 1, 2011 at 3:11 pm said: A general authority actually suggested to my mission president that we watch Chariots of Fire for a zone conference, so that’s just what we did and I was duly touched. So I second Mark D on that one. Carlos U. on March 2, 2011 at 6:16 pm said: Best line overheard on BYU campus: -Did you like “Groundhog Day?” -No. It reminded me too much of my mission. Tim on March 3, 2011 at 7:22 am said: My mission president discussed Braveheart at a mission conference, so that’s got to count for something… And Children of Men is awesome for reasons totally unrelated to the gospel–it features music from King Crimson, one of the most influential rock bands ever (and certainly the most influential rock band that has absolutely no chance at making it into the Rock and Roll Hall of Fame). Geoff B. on March 3, 2011 at 8:02 am said: Carlos U, that is a good line. Tim, I liked both of those movies. Let’s hope your mission president saw the Cleanflicks version of “Braveheart.” 🙂 Rich Alger on March 26, 2011 at 10:41 pm said: Pay it forward. Phenomenon

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Dementia Takes The Stage In 'The Other Place' Heard on Talk of the Nation Science The Winning Answer To A Burning Question Science Alan Alda's Challenge to Scientists: What is Time? Science Actress Mayim Bialik On TV, Science, And The Combo In the Broadway play The Other Place actress Laurie Metcalf ("Jackie" on the TV show "Roseanne") plays a scientist suffering from the dementia she studies. Playwright Sharr White discusses the play and the challenge of presenting complicated science on a theater stage. FLORA LICHTMAN, HOST: This is SCIENCE FRIDAY. I am Flora Lichtman filling in for Ira today. Imagine this. You're a brilliant scientist, a biophysicist studying the causes of dementia. And one day, mid-Power Point, you can't recall what you're supposed to say when the next slide comes up. Eventually you learn that the disease you're studying is now the disease you have. That's the plot of the Broadway play called "The Other Place." It stars Laurie Metcalf as the scientist - and you may remember her as Jackie on the TV show "Roseanne." And joining me now is the man who wrote the play, Sharr White. Thanks for coming into our studio today. SHARR WHITE: Thanks for having me, Flora. LICHTMAN: This is an intense play. WHITE: Yes. Absolutely. LICHTMAN: Would you agree? Tell us a little bit more about it. WHITE: Well, I mean, it's really - I do always say that it's a play about the smartest woman on Earth who discovers that actually nothing she knows is true. And it's told really, really, especially from the beginning, really from the first person. She is really the ultimate narrator - sorry, the ultimate unreliable narrator. So as things start to go wrong with her, because it's told so - it's told so closely from her perspective, as she starts to break down, we sort of really experience it along with her. LICHTMAN: Right. And she is very credible. And I wondered if part of that is because she's a scientist. WHITE: Well, absolutely. And there is a bit of trickery in there. I mean, the real key in making the play work is establishing that she is indeed the smartest person on Earth. So it opens with - it essentially opens with her giving this - yeah, this medical lecture to other doctors. And you establish really - I think it does establish really quickly that no one can really top her in terms of her intelligence. LICHTMAN: Right. I mean, you write, actually - I came across an article you wrote, and you say a particular feature of the very smart people in my life is that they think their sheer intelligence can protect them from all manner of harm. And it seems like this is echoed in this play. WHITE: Yeah. Absolutely. I mean I think in a lot of ways there's something very Greek about the play. I think it definitely has undertones of Oedipus. You know, here is this reigning king whose life is really taken quite suddenly. LICHTMAN: By the dementia. WHITE: Yeah. Yeah, that's right. Yeah. LICHTMAN: How did the research go for this play? WHITE: The research was really intense for me. I mean, I really - I do a lot of research for plays. I love the research. And because - because - I mean, the research around dementia is very fascinating and especially around protein (unintelligible) disorders such as Alzheimer's and early onset Alzheimer's. My father is a scientist. He actually works with protein structures. So it was a really great thing for me to be able to delve more into the processes that he works with. So you know, so I really just - I think you can go as deeply as you want to into any research but especially with scientific - researching any sort of scientific issue, you can delve very deeply into it. LICHTMAN: How did you decide when enough was enough? I mean, it seems like you could've made this - you could have even added more had you wanted to. WHITE: Well, yeah. And there was a tremendous amount when we first began the process. And really a lot of the rehearsal process and putting the script together was about peeling the non-necessary science out. There was a night when I was at home on the couch and I was doing all this research - and I said, you know, and part of the storyline is that she has developed a very plausible drug that can interrupt, you know, the processes of Alzheimer's. And I was sitting there on my couching - and I had to say to myself, you know what? Actually, you don't have to figure out how to cure Alzheimer's. You just have to figure out... WHITE: You know? How to work this into the story. You know? LICHTMAN: Well, that's good. WHITE: Yeah. Yeah. LICHTMAN: It could've taken a long time to write. WHITE: Yeah. Some playwright, you know, trying to, trying to, you know, solve the Alzheimer's problem. So, yeah. LICHTMAN: But it can pull you in, right? You know, these mysteries of science. WHITE: Oh, yeah. Absolutely. Absolutely. And, I mean, I sort of, especially from a layman's standpoint, you read these sentences that really should make sense but they kind of don't make sense, so you start looking up all the words that you don't really understand and looking up all of the processes that you don't understand. You get really excited because you start understanding them. And then the trap is for somebody working, you know, in theater building a story is that, you know, at the end of the day you have to make that something - you have to make it something dynamic and relatable to the audience. So, I mean, yeah. At the end of the day, really, I wound up throwing almost all of it out. LICHTMAN: Well, what about the drug? Did you invent that? WHITE: Well, I don't know. I think I did. LICHTMAN: What's it called? WHITE: It's called Serna(ph) Seven. Actually, that's my mythical - that's the name of the molecule she invented, but the drug itself is called Identimel(ph). So I did sort of hypothetically say, OK, what if there is a small interfering RNA strand that can actually, you know - and I did do research on this. There are these small interfering RNA strands that can cleave mutant genes. So I thought, well, that's got to be a part of it, you know, and it's got to - well, it's got to be made of, I don't know, you know, beta amino acids to, you know, better incorporate with the body's immune system and all this stuff. So I made up this sort of theory behind this drug, and of course, you know, I threw all that out too. LICHTMAN: What about research into the symptoms of dementia? I think Laurie Metcalf just does a phenomenal job sort of playing between this very credible, put-together high-powered scientist and someone who is clearly having lapses and showing these signs of a brain disease or neurological disease. Did you research dementia symptoms? Are those written in? Did she take them and run with them? How did that work? WHITE: You know, there was a lot of collaboration in that. I mean, she just does an absolutely brilliant job of getting so specific with all of the behaviors in there. And especially in the first sort of process when the play was first produced at MCC, she was watching a lot of videos and really picking up on a lot of symptoms from people. And I certainly wrote a lot of that in there. I mean, I think the stage at which this is beginning to express for this character is a very early stage in which I think there's a lot of commonality between dementias often, when they begin to express. And so a lot of it was from some experience that I've had with - actually with mental illness, through conversations with some friends of mine who - one friend of mine's mother did pass of Alzheimer's. And in the early stages of her disease she really did, he said, behave as if she had paranoid schizophrenia. So there was - so when I started really placing the story in the beginning of the expression there was - I really gave myself permission to - I think there was a lot of permission to be able to have her make up reality and have these really massive mood swings. And I think there are a lot of commonalities to the disease. LICHTMAN: There's a lot of denial in this play, too. WHITE: Absolutely. LICHTMAN: And then not only on the part of the characters, even, but also the audience were sort of in denial about the symptoms, I think. Did you - is that something that you encountered when you were talking to friends or people who've had personal experiences, that... WHITE: Yeah, absolutely, and with a lot of the reading that I've done, too. I mean, I think there's this - what's really interesting in the expression of most dementias is that a lot of times, people don't know how long they've been living with dementia. And especially the people around them don't know how long they've been living with dementia. It could be years. Then, you know, the earliest expressions are just - are very, you know, small forgetfulness, and then a lot of covering. I mean, I worked with a lot of covering. Laurie's character Juliana has a habit of just keeping people off-balance, of keeping people on the defensive. And that was something that I put together as really, you know, she probably had been slipping for a long time. And that's the way that she maintains her aura of impenetrability, is by keeping everybody on the defensive. LICHTMAN: Right. Keeping them guessing. WHITE: Keeping them guessing - say, is there something wrong with me. You know, something's wrong with me. I am somehow inferior. And if Juliana can keep everybody feeling that way, then she'll never be - than her, you know, her mind will never be questioned. LICHTMAN: How did you decide to include science at all in this? I mean, she didn't have to be a scientist, necessarily. WHITE: No, no. She didn't. She didn't. I just - no, she didn't. I mean, I think it was really because - I think it was really because I really wanted to again sort of - well, I mean, I - before I decided to go into theater, I thought maybe I would be a biologist. And there's - my father's a scientist and my brother-in-law and my sisters both went to school for the sciences. And so I think it sort of runs in my family. And I - I don't know. It was an interesting choice. I wanted to explore the science in it. I wanted to explore the biology in it. And I think the structure that I was looking for in the play, in a way, you know, was - I sort of - I wanted a structure that had a metaphor to it. And I think proteins, when they fold, when they misfold, which can fire off what begins to - the breakdown of the disease, I sort of felt that there was a metaphor in the protein misfolding in a way that the structure of the play is a very, you know, sort of densely folded structure. So I like that idea, too. LICHTMAN: Any plans to take it on the road? WHITE: Not yet. LICHTMAN: How long is it running here in New York, and where can people see it? WHITE: It's at Manhattan Theatre Club at the Samuel J. Friedman Theatre on 47th Street. And it's just been extended until March 3rd - through March 3rd. LICHTMAN: And in the 30 seconds we have left, tell us what you're working on now. WHITE: It's a play that has nothing to do with science called "The Snow Geese." And I'm work-shopping that with MCC Theater, who first produced the other plays. LICHTMAN: You think science will be in any of your future works? WHITE: I don't know. I'd have to be a scientist in order to tell you. LICHTMAN: Thank you, Sharr White, for coming in today. WHITE: Thank you. LICHTMAN: Sharr White's a playwright. His play "The Other Place" is running, as you just heard, now through March 3rd at Manhattan Theatre Club's Samuel J. Friedman Theatre. Stay with us. After the break, we have the Galileo of graphics, the da Vinci of data. You may know him as Edward Tufte. If you have questions for Dr. Tufte: 1-800-989-8255, 1-800-989-TALK. Stay with us. LICHTMAN: This is SCIENCE FRIDAY, from NPR. 'OSLO' Tells The Surprising Story Behind A Historic Handshake At The Portrait Gallery, Students Tell The Stories That Pictures Can't Remembering Zelda Fichandler, Matriarch Of American Regional Theater Second Acts: Heather Headley Is Back On Broadway — After A '15-Year Intermission'

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AFI Fest: Review of Animation "Persepolis" (November 10, 2007) �Libert�, �galit�, Fraternit�? Marjane Satrapi and Vincent Paronnaud's animated masterpiece is a movie in French with English subtitles meant for grown-ups. It's mostly shot in black and white which fits the dark subject matter. Catherine Deneuve, Chiara Mastroianni and Danielle Darrieux icons of French cinema provide the voices. It's a riveting, intense and emotionally charged feature. One also gets a high dose of witty dark humor. However, Persepolis can also be viewed as a highly political movie, which calls for "regime change" in Iran. It's a mix of fiction and reality and to make her point Ms. Satrapi cheats. In other words, the ends justify the means. She needs to make clarifications on what is fiction in the script. Also, one only sees the morality police (the basij) and the revolutionary guards. The ruling clerics are invisible in this movie. This is not a realistic portrayal of Post-Revolutionary Iran. The movie focuses on Iran's Cultural Revolution (1980-1987). During this period, the government attempted to purge Western and non-Islamic influences (similar to the purges in China during the era of Mao Tse-tung). However, it didn't succeed. Iran today, is a vibrant society despite all the restrictions from the Ministry of Culture and Islamic Guidance. There is a civil society in place and people are politically aware. The younger generation of Iranians are content with their lives. They insist that any change should be made from inside Iran and oppose Western interference in the internal affairs of the country. Satrapi's real name is Ebrahimi and she uses her maiden name as a Pen name. Ebrahimi is a common and religious name. Satrap was the title of provincial governor in ancient Persia. Persepolis is the Greek word for ancient capital of Persia. Hence, the names go well together. She has said that the government executed her uncle on spying charges. Yet, Marjane's parents still live in Iran and she has disclosed very little about them. She is among thousands who claim to be a descendant of the Qajar family. Therefore, the "Princess" title is an exaggeration. Finally, the Tudeh party was very popular among intellectuals in Iran in the 1950s and 1960s. Therefore, it wasn't something out of the ordinary to be a "Tudehi". Marjane has an upper class background and attended private schools like many others in Iran. However, she isn't an aristocrat but a troubled young rebel living in exile. She�s in for the ride of her life with the success of this feature. But does she really deserve it? Most Iranian policy experts and scholars believe that another revolution for Iran is political suicide may cause the fragmentation of Iran. Therefore, we cannot embrace this movie as our own since it serves foreign interest. It was made with French money and the aid of French animators and producers. The movie won Prix du Jury (the Grand Jury Prize in Cannes) and is the French entry for the upcoming Academy Awards for best foreign film. Iran is one of the most misunderstood countries in the world, and this movie creates more ambiguity. The film touches on human rights violations and abuses in Iran. It's so grim and hopeless. Ironically, Iranian cinema has shined on the international stage during the same period. Kiarostami, Mehrjui, Bani-Etemad, Makhmalbof and Naderi have created humanistic masterpieces using secular rather than religious themes in their movies. This film ignores the positive aspects of Iran's revolution. Progress has been made in science, arts, and sports. Iran has one of the highest literacy rates in the region and women make up 65 percent of all university students. Satrapi wrote Persepolis I and II targeting non-Iranians. The animated feature also aims at changing the perceptions of Western audiences. Furthermore, Marjane is a French citizen who has completely assimilated to the French way of life. That is why French celebrities such as Catherine Deneuve are backing her in this cause. But, it would be unrealistic for us to use the French System as an analog for the future of Iran. Some have dismissed Marjane as foul-mouthed spoiled brat. But, I believe she is very clever and has an agenda. Like most exiles, she cannot visit Iran. Therefore, she dreams of a free and democratic Iran. This is her attempt to do something about what she strongly believes. But, it's not an honest attempt and too good to be true. We encourage those unfamiliar with Iran to watch the documentaries such as Iran : une r�volution cin�matographique, Persepolis Recreated, Rageh Inside Iran or read nonfiction books such as "Hidden Iran" in order to get a balanced perspective. Commercial movies like Alexander and 300 don't portray a true image of our glorious past. But, never mind that these movies distort reality. Everyone knows that filmmakers write history nowadays. One can infer that this animated feature is calling for a bloody revolution to change the system in Iran. However, some day the Iranian government will change but with a hand shake and not bloodshed. Chiara Mastrtoianni - Marjane as a teenager and adult Catherine Deneuve - Tadji (Marjane's mother) Danielle Darrieux - Marjane's grandmother Simon Abkarian - Ebi (Marjane's father) Gabrielle Lopes Benites - Marjane (child) Francois Jerosme - Uncle Anouche Directed by Vincent Paronnaud & Marjane Satrapi Screenplay by Vincent Paronnaud & Marjane Satrapi Based on the graphic novels by Marjane Satrapi Produced by Marc-Antoine Robert, Xavier Rigault, Kathleen Kennedy (Executive Producer) Marc Jousset (Executive Producer) Budget: $8.1 million. Running Time: 95 MIN. Rating: Rated PG-13 Distributor: Sony Picture Classics Marjane Satrapi Lecture & Booksigning - Claremont McKenna College (November 2, 2006) Persepolis I & II Book Reviews Marjane Satrapi: Princess of darkness - The Independent (October 5, 2006) Persepolis (Old Persian P�rsa, modern Takht-e Jamshid)

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Lori Loughlin is best known as Aunt Becky, but she's taking on a more maternal character in Lifetime's A Mother's Rage. The TV-movie (premiering Saturday at 8/7c) follows Rebecca Mayer (Loughlin) and her daughter on a college road trip, which ... Lori Loughlin is best known as Aunt Becky, but she's taking on a more maternal character in Lifetime's A Mother's Rage. The TV-movie (premiering Saturday at 8/7c) follows Rebecca Mayer (Loughlin) and her daughter on a college road trip, which takes a turn for the worse when Mayer's overprotective instincts kick in. Mayer is desperate to keep her daughter safe from a perceived threat, but will she go too far? Loughlin gave us the full report on her dark role - think guns, detectives, missing bodies and car chases - the 90210 series finale, and, of course, her oh-so-infamous television hubby, John Stamos. TV Guide Magazine: This role is very dark, compared to your past projects. What attracted you to the movie?Loughlin: I liked that when I read the script, I didn't see all the twists and turns coming. That's something I want to watch. It's suspenseful. TV Guide Magazine: You've played mother figures before in 90210 and Summerland, but Rebecca Mayer takes overprotective parent to an extreme. Were you nervous to take on such a twisted character?Loughlin: I felt lucky because I got to step outside my comfort zone and play a character that I don't normally get to play. I think when something scares you, you should probably do it. Whatever takes you out of your comfort zone is fun, challenging and reminds you that you're alive. TV Guide Magazine: How do you think your fans will react to your character?Loughlin: They won't expect that kind of character from me so I think it's a good surprise and really adds to the suspense. I'm hoping that they get where she's coming from, and have sympathy and empathy to say, "Wow. Poor woman. What a terrible loss. It doesn't justify what she's done, but we don't completely hate her for it." TV Guide Magazine: As a mother yourself, can you relate to her at all?Loughlin: As a mom, I can certainly empathize with my character. From that point of view, I was able to play her from a place of having complete justification for all of my actions. I never looked at my character like, "Oh you're the bad guy or you're the evil one." I looked at her as someone who suffered a great loss and out of that loss, she spun so out of control, but it was all because of her love for her child and in her delusions, wanting to protect her child. TV Guide Magazine: This movie seems very different than the typical Lifetime movie. Why is that?Loughlin: It was made independently so we didn't turn in your typical Lifetime film, although, when we were making it, we had this thought that we would probably sell it to Lifetime. I thought it was great because we could step outside the confines of Lifetime's safety zone and what they usually do. We made it for a limited amount of money so it was fun to work together in that capacity where everyone was pitching in. TV Guide Magazine: Your costar, Shaun Sipos was starring on The CW's Melrose Place while you were on 90210 for the same network. Had you met each other before?Loughlin: I had never met Shaun before, but I loved working with him. We had some really intense days at the end of filming for the last couple of scenes. He was able to evoke a lot of different emotions from me from fear to anger. It was fascinating, and I think we played really well together. TV Guide Magazine: Speaking of 90210, will you return for the big series finale?Loughlin: No, I don't think I'm going to return for the final episode, but they are going to do a clip show and I've gotten some word of being a part of that. I'm waiting to find out, but they're going to do interviews and show clips. TV Guide Magazine: And we have to ask about Full House. Do you ever get sick of being asked about Aunt Becky almost two decades later?Loughlin: It's a double-edged sword. I don't mind talking about Full House, and I'm very grateful for all the opportunity that it has afforded me. But the whole, "What's it like to kiss John Stamos? Why didn't you guys end up together?" Oh gosh, how do I keep answering that question over and over again? TV Guide Magazine: Well since you brought it up - how is it kissing John Stamos?Loughlin: Of course it's great to kiss John Stamos! I get that question all the time, but I'm married now. It's just funny. I love John dearly. I love him to pieces. He's one of my favorite people. TV Guide Magazine: You've been pretty frank about not wanted to participate in a Full House reunion, but would you ever want to work with John Stamos again?Loughlin: Oh yeah! I would love, love, love to work with John! I think he's so talented, and we have really, really great chemistry together. In fact, when he had his show Jake in Progress, I went on and did an episode, but it never got to air. I think it was one of the best episodes so I am so disappointed. But I had such a great time working with him, and would absolutely welcome the opportunity to do that again. Keep crossing your fingers for an Aunt Becky and Uncle Jesse reunion. Until then, check out this exclusive clip from A Mother's Rage: Subscribe to TV Guide Magazine now! View original Lori Loughlin Goes to the Dark Side in Lifetime's A Mother's Rage at TVGuide.com Full HouseJohn StamosLori LoughlinShaun Sipos

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10 Things to Know for Thursday Soldier who killed 5 Dallas officers showed PTSD symptoms Sandusky appeal focuses on Victim 2's conflicting statements You are hereHome » On Review: 'The Hunger Games: Catching Fire' On Review: 'The Hunger Games: Catching Fire' Editor's Note: This monthly installment of movie reviews by Spirit and Jefferson County Neighbors' reporters Matt Triponey and Dan Long rates the the second film based on the popular "Hunger Games" books by Suzanne Collins. Plot Recap: Having survived the trials of the arena in the first film, Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) now find themselves the unintentional figureheads of a budding resistance against their oppressive government. Now, here’s a rarity: a sequel that’s better than the original and a literary adaptation that’s better than the book, all in one. To be fair, the extent to which I think it is superior is marginal in both cases. But it’s better nonetheless. The book has two main problems, in my estimation: firstly, the pacing, which starts out slow and then rushes the entire third act; and secondly, it’s mostly set-up for the third novel. The film adaptation corrects, at least partially, both of those problems. The script here is almost a how-to on book-to-movie adaptations. It manages to capture the basic story, themes and tone without having to precisely convey every last detail (*cough* The Hobbit *cough*). Catching Fire is two and a half hours long, but it feels significantly shorter. It is extremely efficient, using as little time as possible to set up its characters, connect the audience with them and outline the necessary information going forward. In large part, the movie’s still set up for the third act, and that’s inevitable. Nevertheless, Catching Fire is determined to function as its own entity to an extent that the book doesn’t quite. The media satire is much more on point in this installment. The theme was certainly present in the book, but the movie better builds the prospect of rebellion into the emotional structure of the story. There’s more of it — or at least, its recurrences aren’t as far apart due to the story having been cut down to size — and the movie finds ways to insert it in less overt, quieter, more visual ways, in addition to the larger, more explosive moments. And it gets frighteningly easy to apply it to the real world. Say, for example, politics. Catching Fire is also a significant technical improvement over its predecessor. The first film seemed to have been shot exclusively in close-ups and shaky-cam. Both are limited in this new adaptation. The pacing puts it a cut above the original as well; the first film moved in lurches and leaps and sudden stops. If Catching Fire is only marginally better than both its predecessor and its source material, it’s because that pacing, for all the good it does, is a double-edged sword. The film is not exhausting, but I do feel it loses something in translation, particularly with its characters. Here’s an oddity — the book is the version of this story that is limited exclusively to its protagonist’s perspective, and yet, it’s the movie that leaves every single other character feeling like a bit player in The Tale of Katniss Everdeen. For its long run-time, Catching Fire is nevertheless a movie that’s over before it begins and one that isn’t quite as memorable as you’d expect, given the emotional intensity inherent to it. And of course, I retain my central problem with this series as a whole. The Hunger Games and Catching Fire, as books, were not courageous enough to see their themes the entire way through. Neither are the movies, which are even more sanitized in order to get the PG-13 rating. If you’re writing something and your two thoughts are, “We need to find a way to make this an incisive anti-war movie/media satire,” and, “We need to make sure people aren’t too uncomfortable during this scene,” you’re doing it wrong. But on the whole, it’s effective. However muted it is, I like that ideas like this are sneaking into popular films. And Catching Fire is an efficient and sure-footed popular film. Rating out of 5: 3.5 — Matt Triponey The Hunger Games: Catching Fire, odds are, you’ll like it. The highly anticipated Hunger Games sequel, in many ways, improves upon the impressive opening chapter of the series. The second installment in the popular franchise does an excellent job of upping the ante from the dramatic first chapter. Catching Fire wastes little time building tension and keeps you locked in for its 146-minute run time. Even at a lengthy 146 minutes, the film never feels drawn out and maintains a pace as steady as one of Katniss Everdeen's arrows. A film like Catching Fire hinges on its leading actress, and Jennifer Lawrence more than delivers with her follow-up performance as Everdeen. If you weren’t quite sold on Lawrence’s acting chops yet, Catching Fire will make a believer out of you. Lawrence's second outing as Everdeen is one of her best, if not the best performance out of the young actress that has already captured an academy award (Best Actress - Silver Linings Playbook). Whether Lawrence is firing her bow, interacting with the male leads or having an emotional breakdown, she steals every scene with a pathos that few actresses can rival at her age (23). The film does a stellar job showing how Katniss is an ordinary person forced into an extraordinary situation.The audience feels an emotional weight as Katniss suffers from PTS from the first games and displays that she struggles with handling the limelight of being a heroine. Once again, Lawrence and Josh Hutcherson (Peeta Mellark) have real chemistry on screen, and some of their early scenes are entertaining because they show the fabricated and exaggerated nature of celebrity relationships. Catching Fire brilliantly dives into many societal issues. The Hunger Games sequel hits the mark when it shows the disconnection and tension between the upper and lower classes. Through use of make-up and stunning set pieces, Catching Fire makes the upper class look both outlandish and distinct once again. Catching Fire is a success, mostly, because of the strong performances of all involved. However, the action scenes and special effects are no slouch, though, either. Once the 75th Hunger Games finally begin, the tension reaches critical level almost immediately and as soon as the audience feels the characters are safe, they are quickly reminded that Katniss and company are anything but. One minor issue I had with the first installment that was prevalent in the second as well, is that Katniss is in this predicament to save her sister and mother, but she spends so little time with them in both films. It's a little more forgivable in the sequel that she spends limited time with them, but it makes it increasingly more difficult to feel a connection with the family members that have seen minimal screen time through two films. The supporting characters, however, were well represented in the sequel and even more time was taken to dive into each one of them. Haymitch Abernathy (Woody Harrelson), Gale Hawthorne (Liam Hemsworth), President Snow (Donald Sutherland), Cinna (Lenny Kravitz) and Effie Trinket (Elizabeth Banks) all took on bigger and more important roles in the sequel. Whether it's Effie tearing up when Katniss and Peeta head off to the games or Haymitch using his wits to keep Katniss and Gale from getting killed, the supporting characters provided pivotal roles in the film's plot. The new characters were a welcome addition as well, with Plutarch Heavensbee (Philip Seymour Hoffman), Johanna Mason (Jena Malone) and Finnick Odair (Sam Claflin) all helping the story move along. All in all, Catching Fire does exactly what a middle chapter (technically 2 of 4) should do. It provides a compelling story, upped the ante from the original and left the audience wanting more. Rating out of 5: 4.5 — Dan Long

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Quartermaine's Terms Tickets Set in the 1960s in an English language school for foreigners, this tragicomic play is a humourous but ultimately moving account of several years in the lives of seven teachers. At the heart of the group is St. John Quartermaine (Rowan Atkinson) - kind, pleasant and agreeable, but utterly hopeless as a teacher. An almost permanent feature in the staff room, he's always available to listen to the problems of his self-obsessed colleagues. But when a new Principal is appointed, Quartermaine's future looks precarious... This quintessentially English drama is written by Simon Gray with his characteristic incisive wit. Sorry there are no shows for Quartermaine's Terms right now. What people are saying about Quartermaine's Terms

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Lifestyle SouthFlorida.com Movie review: 'Harry Potter and the Deathly Hallows — Part 2' 'Harry Potter and the Deathly Hallows - Part 2' Warner Bros. Hermione Graner (Emma Watson), Ron Weasley (Rupert Grint) and Harry Potter (Daniel Radcliffe) battle their way through "Harry Potter and the Deathly Hallows - Part 2." Hermione Graner (Emma Watson), Ron Weasley (Rupert Grint) and Harry Potter (Daniel Radcliffe) battle their way through "Harry Potter and the Deathly Hallows - Part 2." (Warner Bros.) Kenneth Turan, Los Angeles Times Film Critic After seven previous films over a 10-year span, $2 billion in domestic box office and still more treasure overseas, Warner Bros. has unwrapped the Harry Potter advertising line it hoped it would never have to use: "It all ends." In a classic storybook finish, however, "Harry Potter and the Deathly Hallows — Part 2" turns out to be more than the last of its kind. Almost magically, it ends up being one of the best of the series as well. The Harry Potter films, like the boy wizard himself, have had their creative ups and downs, so it's especially satisfying that this final film, ungainly title and all, has been worth the wait. Though no expense has been spared in its production, it succeeds because it brings us back to the combination of magic, adventure and emotion that created the books' popularity in the first place. It also succeeds because the franchise has stuck to its conservative creative guns and seen them pay off. With occasional exceptions like Alfonso Cuarón's "Prisoner of Azkaban" adventure, the Potter films have rarely been daring, valuing superb craftsmanship and care over cutting-edge audacity. Now that we've come to the much-anticipated finale, that expert husbanding of a once-in-a-lifetime franchise has had a cumulative effect that is not to be denied. Not only did the series' three leads — Daniel Radcliffe, Rupert Grint and Emma Watson — turn out to be expertly cast, the production has been able to retain their services through all eight films. And they've been supported by such a deep bench of top-flight British acting talent (Ciarán Hinds is the latest to be added, playing Dumbledore's brother) that when Bill Nighy joined the cast for "Deathly Hallows — Part 1," he said he'd feared he'd be the only English actor of a certain age who wasn't in a Harry Potter film. All that talent couldn't have come cheap, and the other consistent factor in the Potter universe is the production's refusal to skimp or pinch pennies. That willingness to do whatever it took to bring Stuart Craig's exceptional production designs to life no matter how painstaking the task is central to the new film's success as well. To give just two examples, more than 200,000 golden coins and thousands of other pieces were created to convincingly fill a vault at Gringotts bank, and so much furniture and objects were bought to make Hogwarts' enormous Room of Requirement look more crowded than Charles Foster Kane's storehouse that the set dressing department was busy for months buying up bric-a-brac. Nothing's too good for our Harry. "Deathly Hallows — Part 2" also benefits from sticking with experienced and capable people at the top. Screenwriter Steve Kloves has scripted seven of the eight Potter films, and David Yates has directed four of them. All this practice has allowed the creative team, including returning cinematographer Eduardo Serra, to relax into its best self without having to learn the territory all over again. Splitting the final Potter volume into two films was also to the advantage of Part 2, as was the fact that this film deals only with roughly the final third of the book. This enables it to avoid the tiresome teen angst that hampered Part 1 and devote almost all its time to action and confrontation, starting with the film's initial image of the dread Voldemort (Ralph Fiennes) pointing the all-powerful Elder Wand to the sky and creating ... the Warner Bros. logo. Once this bit of business is out of the way, the plot kicks in with a vengeance, as Harry, looking a bit like a commanding boy Trotsky in his round glasses, worries about Voldemort's possession of that wand (one of the three Deathly Hallows of the title) and plots to discover the whereabouts of the Horcruxes that contain hidden pieces of Voldemort's soul. Destroy them all and the man will ultimately be destroyed. One of the pleasures of "Hallows — Part 2" is to see how the film's production team has expanded on relatively brief passages in the book and turned them into satisfying visual splendors. One of the best comes almost at once, with Potter and friends penetrating deep below the earth on a twisting and turning journey to see what's inside the Gringotts' vault belonging to Bellatrix Lestrange (Helena Bonham Carter). Just as good is a wild and crazy magical blaze that engulfs that Room of Requirement when a Fiendfyre spell gets out of hand. Both of these sequences profit from the fact that "Deathly Hallows — Part 2" is the only Potter film to be available entirely in 3-D. While that extra dimension is a distraction that needs getting used to in the film's dialogue sequences, it is effective when the action is hot and heavy. This production is also especially good at expertly building tension around situations (like the long-awaited Potter-Voldemort showdown) that anyone who knows the books knows the outcome of. Another satisfaction, and the key to creating emotion, is the kind of strong acting that the end of a story often calls forth. Though many do well (including an especially effective John Hurt as wand maker Ollivander), it is Alan Rickman as the elusive Severus Snape who, as always, makes the most lasting impression. Yet when Dumbledore (Michael Gambon) speaks from beyond the grave near the film's end and says "words are our most inexhaustible source of magic," it is Potter creator J.K. Rowling who comes immediately to mind. First and foremost, it is her we have to be grateful to for all these pleasures, and finally, satisfyingly, we most definitely are.kenneth.turan@latimes.com 'Harry Potter and the Deathly Hallows — Part 2'MPAA rating: PG-13 for some sequences of intense action violence and frightening imagesRunning time: 2 hours, 5 minutesPlaying: In general release Harry Potter (fictional character) Eduardo Serra 'Harry Potter and the Deathly Hallows -- Part 2' New York premiere 'Harry Potter and the Deathly Hallows - Part 2' premiere Movie review: 'Harry Potter and the Deathly Hallows — Part 2'

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Marlow Stern12.28.15 5:10 AM ETNow that J.J. Abrams’ Star Wars original trilogy remix The Force Awakens has been unleashed, transforming a new generation of cinemagoers into Nick Winters at The Powder Room, fanboys have begun to dissect its myriad inspirations. We know, for instance, that like George Lucas’s initial journey to a galaxy far, far away, with its stormtroopers, Werhmacht-esque Imperial officers, and Triumph of the Will ending, the evil First Order of Abrams’s film was heavily influenced by the Nazis. So it’s a bit ironic then that Adam Driver, the actor who plays Awakens’ volumized villain Kylo Ren, is a former U.S. Marine. Nevertheless, the link between Star Wars and America’s Armed Forces extends much further than that. While the Star Wars movies have invaded every corner of popular culture, they also had an indelible impact on the U.S. military. This October, we learned that Lockheed Martin had flown 60 test flights outfitting jets with a tactical laser turret able to fire Tactical High-Energy Lasers (THELs) 360 degrees, taking out targets from all directions. It’s called the Aero-adaptive Aero-optic Beam Control (ABC) turret, and if it sounds at all familiar, it’s because it brings to mind the AG-2G quad laser cannon on the Millennium Falcon—you know, the one Finn operated. The U.S. Air Force Research Laboratory is predicting that a working laser weapon will be on a U.S. warplane by 2020. Scientists are also exploring whether these ABC turrets may also be able to create a 360-degree laser shield, in the form of a bubble, around a U.S. plane. The precursor to the Tactical-High Energy Laser was the Mid-Infrared Advanced Chemical Laser (MIRACL), which was a deuterium fluoride laser first tested by the U.S. Air Force in 1985. Initial tests were promising, with the laser taking out a Titan missile, but later efforts proved problematic. MIRACL was funded by the Strategic Defense Initiative Organization (SDIC), an agency set up by the U.S. Department of Defense to manage the Strategic Defense Initiative (SDI). Established on Jan. 6, 1984, one year after Return of the Jedi hit theaters, SDI was the brainchild of then-U.S. President Ronald Reagan. It allocated billions of dollars toward the research and development of a missile defense system meant to protect America from a potential attack by Soviet intercontinental ballistic nuclear weapons. Reagan’s Democratic foes weren’t sold on the idea, and blasted it in the press. A Washington Post article on SDI by Lou Cannon published on March 24, 1983, quoted Ted Kennedy accusing the Reagan administration of “misleading Red-scare tactics and reckless Star Wars schemes.” Then the New York Post ran with it, carrying a big ol’ banner headline that read, “STAR WARS PLAN TO ZAP RED NUKES.” And thus, SDI was nicknamed “Star Wars.” Reagan’s Star Wars program was so ubiquitous that it even inspired a 1987 Sega arcade game called, yes, SDI. And interestingly enough, George Lucas and his Lucasfilm sued the Committee for a Strong Peaceful America, an anti-SDI group that repeatedly branded the program “Star Wars” in attack ads, for trademark infringement. “Plaintiff fears that associating STAR WARS with this political controversy will injure the valuable goodwill it has achieved by developing a mark associated with imaginary battles among fantastic creatures in distant worlds,” read the suit. “Inevitably, the political debate identifies STAR WARS in some minds with devastation and death from uncontrollable nuclear escalation. Plaintiff urges this could detract from the public’s present association of STAR WARS with humor and fantasy.” (Lucas lost.) If that weren’t enough, on Jan. 18, 1991, for the first time in history, an SDI missile destroyed a ballistic missile during combat. An Iraqi Scud missile was headed for a U.S. air base in Saudi Arabia during the Gulf War, when the U.S. deployed a Patriot air defense missile, which successfully nullified the threat. “Seconds later, a 17-foot Patriot missile sped 17,000 feet into the sky, caught the Scud as it arced its way earthward and, in a shower of sparks, detonated on impact,” wrote the Los Angeles Times at the time, adding, “The age of ‘Star Wars’ had arrived.” One of the major reasons that the Gulf War—often nicknamed the 100-Hour War, since a cease-fire was declared a mere 100 hours into the U.S. ground campaign—was arguably the swiftest military victory in our nation’s history was because of a group of five ace tacticians dubbed the “Jedi Knights.” The nickname “Jedi Knight” is given to graduates of the School of Advanced Military Studies at the Army’s Command and General Staff College in Fort Leavenworth, Kansas—an arduous one-year extension program for a select few top-of-the-class students emphasizing critical thinking and “maneuver warfare” over attrition warfare. U.S. General Norman Schwarzkopf formed a team of five “Jedi Knights” to help him break down the Iraqi forces. “The U.S. strategy for the Persian Gulf ground war, which brought victory in 100 hours with amazingly few allied casualties, was largely the work of a small, little-known group of Army officers who call themselves the Jedi Knights,” read the Herald-Journal on March 17, 1991.Several historians and military experts have since credited the Jedi Knights’ “maneuver warfare” approach as a leading factor of the Gulf War victory. “All the major elements were there,” read the Herald-Journal, “the feinted assault up the middle, the simultaneous sweep of armored forces way to the Iraqi army’s westward flank, the multiple thrusts that surrounded the Iraqis from all sides, hurling them into confusion and disarray, which made the final envelopment and destruction of the strongest Iraqi tank divisions remarkably easy.” As far as New Age thinking goes, the most bizarre link between Star Wars and the military came courtesy of U.S. Army Lt. Col. Jim Channon, a Vietnam vet who, after spending time with a group of hippies in California, wrote a 125-page operations manual for a First Earth Battalion consisting of “Jedi warriors.” As chronicled in the best-selling book The Men Who Stare at Goats, Lt. Col. Channon’s army of supersoldiers could, among other out-there abilities: predict the future, become invisible, pass through walls, and kill people just by staring at them. Not quite what George Lucas had intended. READ THIS LIST1How ‘Star Wars’ Shaped the U.S. MilitaryMarlow SternAboutAdvertiseContactJobsHelpPrivacyCommunity PolicyTerms & ConditionsCopyright & Trademark© 2016 The Daily Beast Company LLC

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Why Pegg Took On The Role Of Scotty By T'BonzOctober 1, 2008 - 8:36 PMPreference, not proving himself, was important to Simon Pegg when deciding whether to sign on to play Scotty in Star Trek XI. As reported by The BBC News, "I'm not trying to prove anything to anybody," said Pegg, when asked if he took on the role of Scotty to show his "serious side." "I do what I do because it makes me happy and if I read a script and I like it, or I get the chance to be in something as monumentally historic as 'Star Trek,' then I'm going to do it. "I don't do it because I think 'what will people think of me?,'" Pegg added. "I wish it didn't involve any of that. It would be nice if you got to make your film and give it to your mum on DVD." If one must work for months on a film, enjoying it is important. "...the choices I make are about if I think I'm going to enjoy it," said Pegg. "My favourite thing about this job is shooting and being on set and the three or four months it takes to make the film, the second part I could do without!" Pegg, a fan of the late James Doohan, is taking his role seriously as reported by cbcnews.ca. "I'm a huge fan of James Doohan, and it's a characterization that cemented him eternal life in the pantheon of science fiction," said Pegg. "I thought, 'Wow, this is a responsibility.' I absolutely made sure I wasn't doing anything that could be construed as an impression of James Doohan or pastiche of him. To read more, head to the articles located here and here.Discuss this news item at Trek BBS! Add TrekToday RSS feed to your news reader or My Yahoo!Also a CSI: Crime Scene Investigation fan? Then visit CSIFiles.com!Find more episode info in the Episode Guide.

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You are here: Home / Archives for Emily BrowningVideo: Emily Browning Says Kristen Stewart Is “Perfect” as Bella Swan October 14, 2011 25 Comments Twilight fans that have been around since before there were Twilight Saga films know that Emily Browning was one of Stephenie Meyer’s top picks to play Bella Swan. When the casting was announced, there were many fans who were upset that Browning wasn’t playing Bella. At the time Browning said that she was “just exhausted” and “definitely didn’t want to sign on to a trilogy” at the time. The actress now talks to Digital Spy about having “no regrets” about turning down the opportunity. Keeping in line with the current Hollywood trend of modernizing classic fairy tales, Browning’s next film is Jane Campion’s Sleeping Beauty. Leave us a comment and tell us how different you think the saga would have been had Emily been cast instead of Kristen. Filed Under: News Tagged With: Emily Browning, Kristen StewartEmily Browning Clarifies Her Position on the Twilight Series March 21, 2011 7 Comments Prior to 2007 if you looked for images surrounding the Twilight Saga, you were faced with fan-made banners of Emily Browning and Henry Cavill depicted as Bella and Edward (like the one seen left). They were two actors mentioned by Stephenie Meyer in a fantasy ideal casting on her website. Roughly two years ago, Emily Browning was quoted (and apparently misquoted) that she turned down the role after having auditioned for it. She just clarified her statement for Indie Wire as part of the PR junket for her new movie Sucker Punch. “I chose not to audition,” Browning said about “Twilight” which was offered to her during this should-I or shouldn’t-I period of career introspection. “The author at one point stated that I would be her ideal Bella, but I chose not to audition because I was at a point in my career where I wasn’t sure I wanted to work, I definitely didn’t want to sign onto a trilogy so I didn’t audition, but there were a lot of things people said: ‘you turned it down’ no that’s not the case, ‘you were offered it and you turned it down,’ no, no, no, that’s not what happened at all. And there were battles but it was really just as simple as I don’t want to work right now so…” See the whole story on IndieWire Filed Under: News Tagged With: Emily BrowningMTV: Emily Browning and Twilight Spoof April 30, 2009 45 Comments MTV has an interview with Emily Browning, who was once suggested as a possibility for the role of Bella. Like Henry Cavil, Emily talks about the part that never was. “It’s really strange,” the actress laughed when we caught up with her Tuesday. “It’s bizarre…What actually happened is that I was asked to audition — not take the part, but to just audition — shortly after ‘The Uninvited’ had finished filming,” the actress said. “And I’m not the type of person who can just work back-to-back. So I was just exhausted, and I was like, ‘I’m sorry, but I just can’t sign on to a trilogy right now.” MTV also has up a great Twilight parody featuring cheeseburgers. It’s the brainchild of LA’s UCB Theater. Filed Under: News Tagged With: Emily Browning, MTV, parody Search

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Jennifer Lopez, Ed Helms, and Isla Fisher Will Soon Be Expecting By Claude Brodesser-Akner Opposite Cameron Diaz. LOS ANGELES, CA - MAY 25: Singer/actress Jennifer Lopez arrives at Fox's "American Idol" season 10 finale results show held at Nokia Theatre LA Live on May 25, 2011 in Los Angeles, California. (Photo by Frazer Harrison/Getty Images) Frazer Harrison/2011 Getty Images I can see the head! And it's … J.Lo? The big-screen adaptation of What to Expect When You're Expecting is entering its final trimester, and Vulture hears exclusively that the studio is more than a little pregnant with a deal to put Jennifer Lopez in the comedy opposite Cameron Diaz. Nominally based on the eponymous global best-seller by Heidi Murkoff and Sharon Mazel (which has sold 15 million copies), the project sold in a bidding war to Lionsgate Films based on a pitch by Heather Hach (Freaky Friday, Legally Blonde: The Musical) in January 2010. Shooting is scheduled to start in just four weeks. We're also told by knowledgeable sources that Lionsgate has set Isla Fisher for a part that had been offered to Bridesmaids co-writer and star Kristen Wiig, who passed owing to her rigorous Saturday Night Live commitment this fall. The studio is also said to be in negotiations with The Office and Hangover II star Ed Helms to play one of the expectant fathers, and similarly, we're told that Lionsgate has been eager to recruit another TV star in Matthew Morrison, but his incredibly tight schedule for Glee and his current tour in support of his solo album means it's not likely he'll be able to make his schedule work. As you might expect, What to Expect follows six couples of varying ages and backgrounds in the run-up to delivery of their babies, in a manner very similar to New Line Cinema's ensemble confections like He's Just Not That Into You and Valentine's Day. (Or, as one wag put it to Vulture, "We've been calling it He Was That Into You, So Much So That He Knocked You Up.") Tags:castinged helmsexclusiveisla fisherjennifer lopezmoviesthe industrywhat to expect when you're expectingMore Roger Ebert Now Says He Was ‘Probably Too Quick to Tweet’ About Ryan Dunn’s Death Jon Hamm Signs Eight-Figure, Three-Year Mad Men Contract

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What to Watch: ‘Arrested Development’ is back! Click inside to see what you should be watching on the Internet and on TV. Comment Wayne Independent - Honesdale, PA The cult TV hit “Arrested Development” returns with new episodes this Sunday morning. Netflix is releasing all 15 episodes of Season 4 at 3 a.m. EDT on Sunday, and you can only see them on the subscription service. If you want to watch the seasons that made the show such a hit, Netflix has those as well, as do other streaming services, and IFC will air all 53 episodes starting at 6 a.m. EDT on Saturday. Hot video: ‘Star Wars’ X-Wing Star Fighter made of Legos Lego built a replica of an X-Wing Star Fighter made completely of Legos. See it below.

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Happy to play my age in 'Policegiri': Prachi DesaiBy Indo Asian News Service | IANS India Private Limited – Fri 15 Feb, 2013 3:30 PM IST Mumbai, Feb 15 (IANS) On screen, Bollywood actress Prachi Desai has often played characters much older than her 24 years. But she is glad that she plays her age in Sanjay Dutt-starrer "Policegiri". "Sanjay plays a cop in the film and I play a software engineer, and I am happy that I got to play my age," Prachi told IANS. Talking about her character in the film, Desai said it is a very colourful one. "She is a livewire and brings in energy all the time. Even when everything is pretty serious, the character is someone who comes in and changes the scene," she said. Her experience of working with Sanjay Dutt was "amazing". "He is such a great actor and it was amazing to work with him. When I work with such experienced actors, I keep watching and admiring the way they work," said the actress, who began her career in showbiz with TV show "Kasamh Se" and made her Bollywood debut with "Rock On!!". "Policegiri" is the Hindi remake of Tamil film "Saamy".

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Dwyane Wade Has Sold A Sitcom Based On His Life To FOX Posted November 20th, 2013 @ 9:46am by Eric Freeman Miami Heat All-Star Dwyane Wade is no stranger to the glamorous lifestyle of a big star. He's a regular at fashion and awards shows, dates a famous actress in Gabrielle Union, and generally seems to enjoy presenting himself as a celebrity, not just a generationally important basketball player. Wade has also ventured into other areas of media, particularly with his 2012 book "A Father First: How My Life Became Bigger Than Basketball," a memoir about his life as a single father to his two sons. Now, Wade has sold a sitcom to FOX based on the book.From Brian Windhorst for ESPN.com: Miami Heat guard Dwyane Wade has sold a sitcom to Fox based on his life as an NBA star and single father to two boys. The show, which is currently in development, will be called "Three the Hard Way." It will feature a character named Daryl Wade, who is an NBA superstar responsible for raising his two sons as a single parent. The show is described as Wade and "his entourage of eccentric friends, find themselves parenting by committee, when he gets full custody of his two young sons. It's a recipe made for disaster, but no matter how misinformed, misguided, or unfit Team Wade may be, they have a trump card that can't lose. It's called love." [...] "I will be involved, very involved ... to the point where it has enough of what I would like to see from my story. Obviously it's a comedy, but there will be some things you want to let loose." [...] "I think they'll be able to pull the comedy out of the dark moments," Wade said. "That was one thing I kept saying before I sold my story. I want to be able to bring some light into the dark times. I always take off from "The Cosby Show" kind of thing. They always told a lesson at the end of the day. There's always a story, and comedy in it as well." Here's hoping that supporting characters to Daryl Wade include teammates LeBaron James and Chuck Bosh, Miami Burn head coach Edward Spoelstra, and girlfriend Gloria Union. Based on the description, it sounds as if "Three the Hard Way" might be a multi-camera family comedy rather than the hipper, single-cam style that dominates what we consider top-level TV comedy in this era. Regardless, it appears to be a much different concept than "Survivor's Remorse," the series LeBron James has in development at Starz. That series, which appears to have more than a little in common with NBA favorite "Entourage," will presumably use the leeway of premium cable to its advantage and opt for somewhat more adult material. Wade's show, one the other hand, is pretty clearly for the whole family. As with any story about TV series, it's important to remember that both projects still have a very long way to go before we see them on our screens. They must get pilot orders, have those pilots filmed, impress executives enough to get series orders, etc. For all we know, both Wade and James will fail to get their shows to series. And then they'll just have to settle for cameos in the "Entourage" movie.

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Diddy Claims To Have Joined ‘Downton Abbey’ Cast, PBS Says Otherwise Filed Under: diddy, downton abbey, Sean Combs (Joe Murphy/Getty Images) Fans of the wildly popular British ITV drama Downton Abbey have been eagerly awaiting any and all information regarding the show’s upcoming fourth season, seen in America on the PBS network. It was just announced this week that the new season will kick off on January 5 and run through February 23, with show stars like Shirley MacLaine, Maggie Smith and Elizabeth McGovern returning to reprise their roles on the beloved series. The show also plans on adding six new characters to show, including reports from earlier this year that fans could look forward to a black character joining the show in the role of a jazz singer, possibly as a love interest for Lady Mary, played by actress Michelle Dockery. According to a Tweet from music mega-star Sean Combs (AKA “Diddy”) yesterday (May 15), he is the actor who’s been chosen to fill that role. MY BIG NEWS: So happy to announce that Im a series regular on DOWNTON ABBEY-my favorite show+i'll be debuting a sneak peek tonight 12am PST!— Diddy (@iamdiddy) May 15, 2013

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Atilla the Hun Horror Headlines: Monday, April 2nd, 2011Kenny Doughty has been added to the cast of Bong Joon-Ho's "Snow Piercer" and while I've never seen a movie he's been in he kind of looks like he's terminally ill so I'm going to hold back on the comments. The movie tells the tale of a group of people trapped on a train after the world has frozen over. I've talked about this a lot this morning. I still have no idea how trains work when the world is frozen. Everything I know about Atilla the Hun I learned from "Bill and Ted's Excellent Adventure" and even that I don't remember too well. I think I remember him messing up a sporting goods store or something. But Warner Bros. is going to fix that for me with a new film that will tell the full story of Mr. Hun. I wonder if they'll get to the part where he's taken to the future to help two kids get an A on their history final. I hope so. Stick with me here, because I'm going to try to explain the new movie "Bloodloss". It's a found footage flick about a filmmaker who's investigation into his sister's disappearance leads him into the underworld culture of real life "vampires". Alright now that I write it down I guess it's not that confusing. it's also not that interesting. I'm sorry I ever brought it up. David Slade, the guy who brought you "30 Days Of Night" has been tapped by the people behind the new "Hannibal" series to direct the show's pilot. the NBC show will follow the "Red Dragon" story line and tell the story of a budding romance between Will Graham and Hannibal Lecter. I think. I don't know, I've never read the book but I do love a good romance. david slade30 days of nightWarner Bros.HannibalAtilla the Hun

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Evergreen State Amusement Corp. Architects: Henry W. Bittman Blue Mouse Theatre Town Theater Coliseum Theater Tilikum Theater News About This Theater Happy 50th, "West Side Story" Happy 50th, "Spartacus" Opened in 1928, the Music Box Theatre was torn down in 1987. William Gabel The Music Box Theatre seated 846 people. droben The Music Box was one of Seattle’s premier theaters. Equipped for 70mm, it had a massive screen that wonderfully overwhelmed the theater. I saw “Days of Thunder” in 70mm here in 1978 and it was stunning! Ron Carlson There is part of the Music Box installed in the lobby of the City Centre building in downtown Seattle. It is a large ornamental carved stone arch that once graced the front of the building above the marquee. There were 3 of these arches and they contained windows. Don’t know what happened to the other 2, probably purchased during demolition. CSWalczak Some pictures of the Music Box can be seen here: The Music Box Theatre was designed by architect Henry Bittman. Previously an engineer, in which capacity he worked with architect Henderson Ryan on the innovative 1914 design for the Liberty Theatre, Bittman went on to gain an architect’s licence in 1923 and, in addition to the Music Box, designed at least two other theatres in Seattle, the surviving Embassy Theatre of 1926, and the Art Deco Roosevelt Theatre, aka Pike Street Theatre and Town Theatre, which opened in 1933 and has been demolished. Bittman was a master of terra-cotta decoration, and used it on numerous Seattle buildings including and the one he designed for the Fraternal Order of Eagles. The Eagles' building was renovated in the 1990s as a home for the ACT theater company. This was an appropriate use for the building, as the club had been founded by six Seattle theater owners, including John Cort, who went on the become a leading impresario in New York. billwhite Days of Thunder came out in 1990, three years after the Music Box was demolished. You couldn’t have seen it there in 1978. droben must have been thinking of “Days of Heaven,” which opened at the Music Box in mid-October, 1978. This was one of the few theaters showing the 70mm version of the movie. Grand opening ad from August 2nd, 1928 is in the photo section. paulnelson Yes the Music Box indeed had a massive wide screen. The original proscenium must have been changed to fit it out. I saw Days Of Heaven also at the Cinerama in a Cinerama style film process or a special lense that was also dramatic. What a great visual treat that film is when viewed that way. Must have been great at The Music Box. Redwards1 It looked like the wide screen was installed in front of the proscenium along with curtain tracks for that screen. The screen appeared large because of the small auditorium size, but it was certainly wider than the actual proscenium.

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Paula Farmer Also in Film 31st Annual San Francisco Jewish Film Festival Beverly Berning Seducing Charlie Barker The Life of emile Zola Gillian Anderson as the sister in Ursula Meier’s film Sister (L’enfant d’en haut) Director: Ursula MeierWriters: Ursula Meier, Antoine JaccoudStarring: Kacey Mottet Klein, Lea Seydoux, Gillian AndersonLanguage: French with English subtitlesRun Time: 97 min French-Swiss director Ursula Meier drew notice and acclaim from an international audience in 2008 with her feature film directorial debut of “Home” starring Isabel Huppert. Her latest film is “Sister.” This is a small story about a young boy, Simon, who steals from locals and tourist of a nearby ski resort. His motive is not just for himself, but to help with living expenses for his unreliable older sister who would rather spend her time with worthless guy friends than looking for dependable work or noticing her brother’s whereabouts. Taking advantage of high ski tourist season, by day Simon treks to the hills to gather loot from unsuspecting skiers. He swoops in on expensive equipment, gathers it up and then schleps it home to sell off to neighbors, friends and strangers. This behavior seems believable and somewhat understandable because of the young lead actor, Kacey Mottet Klein. He doesn’t seem like a thug in the making, but rather a likable kid in unfortunate life circumstances who’s just trying to get by and help pay the rent and put food on the table. While “Sister” is not at the same level as “Home,” it is impressive and should solidify Meier as a writer-director of noteworthy talents and one to watch. It is also visually engaging, thanks to experienced cinematographer Agnes Goddard who is known for her collaboration with Claire Denis (“Friday Night” is an outstanding example of her photographic work with Denis). “Sister” won the Silver Bear Award at the 62nd Berlin International Film Festival and has been selected as the Swiss entry for the Best Foreign Language Oscar at the 85th Academy Awards. Paula Farmer CA, Paula has worked as a journalist/producer for outlets such as CBS Radio, ABC Radio, and a film and theater reviewer for the Detroit Metro Times. She currently lives in the San Francisco Bay Area working as a freelance journalist, website writer and documentary filmmaker. related posts Strong Shoulders (Des epaules Solides) Sister Wendy’s American Collection

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Topic: ♥ TAR13 ♥ *WINNERS* Nick Spangler & Starr Spangler!! Topic: ♥ TAR13 ♥ *WINNERS* Nick Spangler & Starr Spangler!! (Read 48237 times) ♥ TAR13 ♥ *WINNERS* Nick Spangler & Starr Spangler!! Names: Nick and Starr SpanglerAges: 22, 21Occupations: Actor, NFL cheerleaderHometown: New York City, Fort Worth, TXRelationship: Siblings This brother/sister team will stop at nothing to win the Race. Both are extremely driven and competitive, especially with one another. They admit to being over-zealous when a prize is involved � even if it�s only bragging rights. They�re excited to use this to their advantage on the Race. Nick and Starr could practically be twins, and consider each other best friends, even though they rarely see each other due to distance. They hope to strengthen their relationship on this adventure, but do worry that since they haven�t spent much time together in several years that they could get on one another�s nerves. After all, in high-school they were bitter enemies. Nick claims that the biggest difference between them is that Starr can be a bit reckless � she leaps into a situation without thinking about the repercussions - while Nick thinks everything through before acting. Starr claims that she is simply more spontaneous and figures everything will work out in the end. Nick and Starr have both accomplished their life-long dreams. Nick performs on the New York stage in an Off-Broadway musical called The Fantasticks, while Starr was a cheerleader for the Dallas Cowboys for the past three seasons. They�re anxious to bring a new approach to the game and are motivated to strengthen their relationship. They believe that their charisma, wit and relentless spirit will make for a dangerous combination. « Last Edit: December 07, 2008, 08:32:12 PM by puddin » Re: ♥ TAR13 ♥ *WINNERS* Nick Spangler & Starr Spangler!! great Logged siblings rock! I hated my brother in high school too! (but not any more!) http://www.nickspangler.com/home.htmwebsite! roles! photos! resume! I could like them. I have seen Nick in Fantasticks - and he is just that!http://www.playbill.com/news/article/120532.htmlANDSomeone put up a facebook page for this team - and Starr joined it! Figures as they are the age of the facebook crowd. May be something to watch as their friends may post some cool info.http://www.facebook.com/pages/Official-Amazing-Race-13-Nick-and-Starr/27581397119?ref=s&refurl=http%3A%2F%2Fwww.facebook.com%2Fs.php%3Fref%3Dsearch%26init%3Dq%26q%3Dnick%2Band%2Bstarr I think I'll be rooting for them! Thanks Lucky!Nick Spangler, who goes on a journey into the wide, cruel world nightly as Matt in Off-Broadway's The Fantasticks, will circle the globe this fall as a competitor on the CBS reality series "The Amazing Race."Along with his cheerleader sister, Starr, Spangler will battle other teams in a race against the clock, navigating roads, airports and waterways and completing tasks cooked up by the producers. Past teams have done everything from lug a side of beef through the streets to milking a camel � and drinking the warm milk.The 13th season of the Emmy Award-winning series (premiering Sept. 28 at 8 PM ET) begins at the Los Angeles Memorial Coliseum and follows teams across 30,000 miles in 23 days to Brazil, Bolivia, India, Russia and Kazakhstan.At stake is a $1 million prize.At the Snapple Theater Center in the Manhattan theatre district, clean-cut Spangler goes from innocence to experience nightly as Matt, who sings "Soon It's Gonna Rain," "They Were You" and "I Can See It" � that famous song about roads that take you away."He's a hottie � a hottie, a hottie," said Pat Addiss, one of the producers of The Fantasticks. "The girls just love him. He's such a professional. He's adorable�all the little girls come and get autographs�"Addiss said she'll be watching "The Amazing Race" every week to see how the Spanglers fare. All parties involved in the series are sworn to secrecy about the result of the pre-taped and edited race. Nick and his sister Starr Spangler photo by � CBS Born and raised in northern California with three siblings, Spangler's theatre career started at the age of five when he appeared as a Munchkin in a local production of The Wizard of Oz. He continued to pursue musical theatre and attended college at New York University where he performed the leads in Bat Boy: the Musical and The Last Five Years. His other theatre credits include Jimmy in Thoroughly Modern Millie (Gateway Playhouse), Jean Michael in La Cage aux Folles (Arvada Center) and Matt in The Fantasticks (Casa Manana). Prior to assuming the role of Matt in The Fantasticks Off-Broadway, Nick appeared in the production for nine months as The Mute. His Off-Broadway performance as Matt was recognized with The Theater Hall of Fame's 2008 Elaine and Jerry Orbach Musical Theater Fellowship.Starr Spangler, his sister, is a cheerleader for the Dallas Cowboys.The Fantasticks plays The Snapple Theater Center, 210 West 50th Street at Broadway. For tickets call (212) 921-7862 or visit Ticketmaster.com. Oh my gosh--is this our new theme song?? gorgeous voice! yayi like them Logged I love them too! and wow she is drop dead gorgeous! elopes I just read that one of the reporters who spoke to this team said they seemed fake. I think they just want to be famous... Logged I seem to have a different opinion at the moment elopes but we will see I hope they do well Link to a new interview with Nickhttp://backstage.blogs.com/blogstage/2008/08/nick-spangler-o.html Thanks Lucky! It's a good one!:Nick Spangler on 'The Amazing Race' and 'The Fantasticks' As promised last week, today Blog Stage spoke with actor Nick Spangler, star of the Off-Broadway revival of the long-running The Fantasticks and now a contestant on the upcoming season of The Amazing Race. Spangler will compete with his sister and teammate Starr Spangler, a former Dallas Cowboys cheerleader, in the 13th season of the reality competition series.In this exclusive Blog Stage interview, Spangler discusses The Amazing Race, The Fantasticks, and how being eliminated from a reality show isn't quite like bombing an audition.Blog Stage: How did you get involved with reality TV, and The Amazing Race, in the first place?Nick Spangler: To be honest, the major push came from my sister. The Amazing Race is kind of a special case though, because I remember watching the first season years ago. I think I was in high school at the time, and saw the very first episode of the very first season, and it became a big family event. My whole family would sit down and watch. And we would always joke, "Wouldn't it be so cool if mom and dad this? Or maybe Nick and Starr when we're older!"Why did you apply for this season?You have to be 21. So this was the first time that we were both eligible. I was about to open a show in Denver this past year, and I woke up to a phone call from my sister. She said, "Applications are due for The Amazing Race on Monday. I bought a plane ticket, and I'll be in Denver on Friday so we can flm a video together. Let's do it." And I was like, "Wait, what? I'm opening a show Tuesday night! How can you expect me to do that!"And she just said, "Well, I already bought my plane ticket."Do you think that being professional performers gave you an edge in the casting process?I don't know if that helped us or hindered us. Everybody gets pissed off when they hear another actor [is on reality TV]. Starr's not an actress, but she's definitely a professional performer. I think that's where a lot of the draw came from for us. (laughs)I think my minor success on professional stage helped. I wouldn't call myself a wanna-be actor. I am a working actor in New York City. So it's a little bit different than an aspiring actor, and I was comfortable applying, knowing that I had achieved some level of success before I got my 15 minutes of fame from reality television.How did your friends and fellow actors react to the news that you would be on reality TV?If I was on Big Brother, or one of the sit-around-and-do-nothing shows, I think people would have some negative things to say. But with The Amazing Race, the most common response I get is, "Oh my God, I'm so jealous! I've always wanted to do that!" Or, "It'll be so fun to know somebody on the show!"I haven't gotten any raised eyebrows. I don't think everybody is associating being on reality television with the fact that I'm an actor. Trying to boost my career was never at the forefront of my mind. I didn't wanna go on and say, "Hey America! I'm an actor! Give me a job!"Do you think your exposure on The Amazing Race will boost your audience for The Fantasticks?It would certainly be nice. We could always use more people in the theatre. (laughs)We had an American Idol finalist in the cast last summer, and he generated a small amount of buzz, but we weren't suddenly packed. The Amazing Race isn't a performance-based reality show like Dancing with the Stars or American Idol, so I don't know if the crowd that watches The Amazing Race is gonna travel to New York to see Nick Spangler in The Fantasticks.How does racing around the world with your sister relate to your experience preparing for roles as an actor?You really can't prepare to be on The Amazing Race, as much as people try, because you never know what's coming. There's so many twists and turns and surprises, and I think the way to be the most successful on the race is just to have a completely open mind and spirit.In The Fantasticks, we've had so many cast members in and out of the show, and it's not uncommon for us to be performing with almost an entirely new cast from week to week. Your timing is kind of out the window, and a lot of things that you're used to suddenly aren't there. So I like to think that being a receptive actor who's not locked in a rigid performance, and having a mindset of being open to what other people are doing, helped me on the race.Is working as a team with your sister similar to working as a team with your fellow cast members? Absolutely. You couldn't run The Amazing Race by yourself. You rely on your teammates at times, and you carry your teammates at times, just like in The Fantasticks. I've got my favorite jokes that I tell in the show, but there's almost no joke that isn't set up by another actor. Unless you're doing your own standup comedy act or your own one-man show, you can't expect to have the same reactions that you get with the help of your cast members.Which is scarier: the risk of getting eliminated on a reality show, or going to auditions and getting rejected?I've had so many auditions that that's kind of dissipated somewhat. The fear of being eliminated on The Amazing Race, though, is at the forefront of your mind the whole time you're on it. You're standing on that starting line, before you've even started, and all everybody is thinking is, "Please don't let me be eliminated first. Please don't let me be eliminated first." That's everybody's biggest fear: Don't be the goofball that gets kicked off on that first episode.In the acting world, I've gone through my share of big rejections, where I thought I did a bang-up job and they look at me like Simon Cowell. There are definite parallels, but they're difficult to compare.So making it to the next episode is like getting a callback?It gets worse and worse as you get closer to the end, because it becomes more real and you're going for the win. But that's the great thing about The Amazing Race. It never stops. It's like having a callback every damn day of your life. Cool link to broadway.tv video interview of Nick backstage dishing on the Amazing Race! Gives a little more insight into him as a person. (Yup, i am a fan, and spend way too much time googling Nick and Starr Amazing Race 13!!!!) So now they are living together apparently, in NYC, since race time. NOTE - IF YOU TRIED THIS LINK AND IT DID NOT WORK PREVIOUSLY, IT MOVED, SO HERE IS JUST THE VIDEO LINK. IT WAS ADDED 8/29. Sorry for the inconvenience.http://link.brightcove.com/services/link/bcpid1753162120/bclid1755456913/bctid1755448496 « Last Edit: August 29, 2008, 06:56:34 PM by Lucky13 » thanks for posting that Lucky realityfan80 Anybody able to get to NYC should go see Nick in The Fantasticks. He is AMAZING (no pun intended) and he always signs autographs after the show for the people waiting!! You can meet him now before he becomes a TV star!!! Plus the Fantasticks is a really good show too. Here is a link to a very recent concert appearance with Erica Piccininni from Jersey Boys at Union Square Park. He sings so beautifully!http://www.youtube.com/watch?v=FQZgM0moHFg TONS of photos up of Nick and Starr at their web site for the race - www.nickandstarr.comFun shots show what I hope are their real personalities. Time will tell! It is easy to leave them comments and you do not have to log in/sign up. No ads! Show them some LOVE!They have a facebook page as well - Official Amazing Race 13-Nick and Starr « Last Edit: September 03, 2008, 04:32:02 AM by Lucky13 » Thanks for sharing Lucky eta: i see the [banned image hosting site] video was removed but here are my other videoshttp://www.veoh.com/videos/v158079845g2NWBYphttp://www.veoh.com/videos/v15802303hXXy83Hrhttp://www.veoh.com/videos/v15797803X3tM4BsJhttp://www.youtube.com/user/weecama « Last Edit: September 03, 2008, 11:58:11 AM by puddin » You know I was in NYC a couple days ago, and I went to see the theater he proforms at, its very small! I got my picture taken by the sign, but that would have been cool if he was there. Well, North, if you had actually gone to SEE the show, or even went at the time it was over and waited at the stage door, you could have actually met Nick and gotten an autograph and picture with him! He does not live at work, you know! Oh, yeah, he is about to depart on the race with his sister - wink wink! lol I know, but I had another show to get to that night. A guy I know is in South Pacific, so he took us backstage of his play that night.

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Beyond Truth: Contemporary Nonfiction Cinema In our latest exploration of new nonfiction film we present an eclectic collection of documentaries which explore issues such as globalization, Hurricane Katrina and industrial food production. March 2 (Friday) 7 pm The Lottery of the Sea Directed by Allan Sekula US 2006, video, color, 180 min. For the past thirty years, California native Allan Sekula has established a prolific career as a photographer with his unique focus on political and economic systems. Following the accomplishment of Tsukiji (2001) and Gala (2005), his self-described “city symphonies of a sort,” The Lottery of the Sea takes its title from an essay by economist/philosopher Adam Smith, who compared nautical life to gambling. Shot over a period of five years and spanning locations such as the Netherlands, Spain, Greece, and Japan, the video offers a remarkable contemplation on globalization in maritime nations infused with elements of Greek myths, old Hollywood and, of course, the lore of the sea. Print courtesy of Allan Sekula. March 9 (Friday) 7 pm Comadante Directed by Oliver Stone US/Spain 2003, video, color, 99 min. Spanish and English with English subtitles One of the United States’ most outspoken and controversial directors interviews one of the world’s most outspoken and controversial heads of state. Cuban leader Fidel Castro talks openly with director Oliver Stone about his relationship to Che Guevara, Kennedy and Nixon, as well his private life. Friendly, yet tenacious in pursuing various lines of questioning, Stone conducts an illuminating tête-à-tête with Castro, elucidating how Cuba has existed at the border of the world’s greatest superpower as its most persistent antagonist for more than four decades. Largely unseen in the US, Comadante provides a fascinating insight into the mind of the man who has defied and angered the majority of the American populace for the last fifty years Print courtesy of Pragda. This screening is co-presented with the David Rockefeller Center for Latin American Studies. March 9 (Friday) 9 pm For Life Against the War Again US 2006, video, color, 75 min. Forty years ago, a group of artists envisioned "Week of the Angry Arts," a festival organized in protest of the escalation of the Vietnam War. Filmmakers such as Robert Frank, Shirley Clarke, Carolee Schneemann, and Jonas Mekas contributed to this collective outcry against violence, each creating a short film in the name of peace. In a similar spirit, contemporary filmmakers were recently asked to shoot up to three minutes of video in opposition to the War in Iraq. Organized by the Filmmakers Cooperative and curated by filmmaker Lynn Sachs, participants include Ken Jacobs, Barbara Hammer, MM Serra, Jeff Silva, Alfred Guzzetti, Lynne Sachs, and Bill Morrison. Print courtesy of Anthology Film Archives. March 11 (Sunday) 7 pm and 9 pm Directed by Nikolaus Geyrhalter Austria 2005, 35mm, color, 92 min. With an intent yet poetic gaze Austrian documentarian Nikolaus Geyrhalter examines the methods by which vegetables, grains and meats are processed in preparation for human consumption. Despite his decision to include unsettling images of animal slaughter, Geyrhalter favors pictorial composition and sound design over exposé in a work which finds a unique, rhythmic beauty in the automated processing of food products. In a series of tableaux, Our Daily Bread keeps a cool distance from subject matter that will directly impact anyone who chooses to watch. Print courtesy of First Run/Icarus. April 7 (Saturday) 5 pm (Acts I & II) 8 pm (Acts III & IV) When the Levees Broke: A Requiem in Four Acts Directed by Spike Lee US 2006, video, color, 240 min. In the wake of Hurricane Katrina Spike Lee traveled to the Gulf Coast region to craft what he describes as a “film document” of the tragic events. Composed in four acts, When the Levees Broke is sweeping in its scope, chronicling inept pre-storm preparations, failed responses by FEMA and other government agencies, the devastating impact on the city’s residents, and the possibility of a hopeful future for New Orleans. Despite the palpable anger of Lee’s tone he remains largely off-camera, allowing the city’s mostly African-American residents to give voice to their dire circumstances. Harvard Film Archive is a division of Fine Arts Library of the Harvard College Library. President and Fellows of Harvard College..

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Full Lineup Announced For ‘Ebertfest’ March 20, 2014 By Jeff Bossert The full list of films for the 16th annual ‘Ebertfest’ includes the late Philip Seymour Hoffman’s single Oscar-winning performance. The 2005 drama ‘Capote’, in which Hoffman portrays author Truman Capote, has been added to the schedule, along with “Short Term 12”, a drama depicting the struggles of a young woman working as a counselor for at-risk teens. Actress Brie Larson, who will attend the festival in Champaign next month, earned high praise for her performance. Twelve total films will be shown during Ebertfest, April 23-27 at the Virginia Theater. Other lesser known movies slated include “Wadjda” a drama about a Saudi girl who wants to buy a green bike despite her mother’s fears of repercussions. Director Haifaa Al-Mansour will attend the festival. “A Simple Life” a drama out of Hong Kong about a female servant who has cared for four generations of the same family, will also be screened, with Director Ann Lui as a guest. The film made Roger Ebert’s top 10 list for 2012. The Alloy Orchestra, frequent guests of the film festival, will return to Ebertfest on Friday, April 25, accompanying the 1924 silent film “He Who Gets Slapped” with Lon Chaney. It’s the story of a scientist whose happiness is destroyed by a friend who steals not only his wife, but also the results of his life’s research. Previously announced guests include director Oliver Stone, accompanying the 1989 drama “Born on the Fourth of July” with Tom Cruise, about Vietnam veteran Ron Kovic, showing on Saturday, April 26. Writer/director Spike Lee will attend the Friday night, April 25 screening of his comedy/drama “Do The Right Thing” about race relations over one day in a Brooklyn neighborhood. Actor/comedian Patton Oswalt will accompany the April 24 screening of the dark comedy "Young Adult", in which he appeared with Charlize Theron. The opening night (April 23) feature is a tribute to the festival's namesake, the documentary 'Life Itself," profiling the late Urbana native and film critic Roger Ebert. Director Steve James will attend. Ebert died last April at age 70, weeks before the 2013 Eberfest. Story source: WILL Links: Ebertfest website ebertfest Filmmaker Spike Lee To Attend Ebertfest Filmmaker Stone, Comedian Oswalt Slated For Ebertfest Ebert To Be Honored In U of I Ceremonies In Chicago Ebert Biopic Confirmed For 16th ‘Ebertfest’, Interview With Director James Fundraiser For Ebert Sculpture Underway Haskell Wexler on Roger Ebert, ‘Days of Heaven’ Chaz Ebert: Festival Will ‘Celebrate Roger’ Remembering Roger Ebert Interview with Roger Ebert

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Badmovies.org Forum | Movies | Good Movies | A Needlessly In-Depth Dissection of Mrs. Doubtfire Topic: A Needlessly In-Depth Dissection of Mrs. Doubtfire (Read 793 times) Kooshmeister The King of Koosh! Must have caffeine... A Needlessly In-Depth Dissection of Mrs. Doubtfire Written and sold as a comedy, I think there is more to Mrs. Doubtfire than initially meets the eye. Forgive me for taking a silly crossdressing Robin Williams comedy too seriously, but here I go! Firstly let's examine why the marriage failed, and, more specifically, whose fault it is. It's mostly Daniel's obviously, but here's where it gets a little tricky. Is Daniel's behavior a result of the fact Miranda is the breadwinner and not him? I.e., is he irresponsible because he has a well-paying but disposable job and thinks he can do whatever he pleases and damn the consequences because Miranda will always pick up the tab? Or is their situation a result of Daniel's behavior, i.e., Miranda needed to become the breadwinner because her husband is so irresponsible and outspoken he can't hold down a job for very long? It may be a bit of both. But however you put it, neither scenario exactly paints Daniel in a very good light. I don't think he realizes how good he has it. He has a job doing what he enjoys but can and does quit it on a whim when it clashes with his personal morality, and he can do so without any immediate financial consequences because his wife is the one bringing home the bacon. He comes across as a guy who is extremely intelligent, good-hearted and creative, but who has never really known a day's hardship in his life. His intelligence likely let him breeze through school and he also likely had a ton of friends due to people enjoying his impersonations and jokes, talents which likely made it relatively easy to get a job voice acting. Miranda, meanwhile, doesn't have that luxury. Her job is harder, likely required a lot more schoolwork, studying, and long, hard hours at the office. And while it's a little petty to say so, her job is also arguably of more merit to society than being in the entertainment industry. So it must have been hurting her for a long time to see Daniel have everything come so easy while she had to struggle for it, and, worse, to then have him be incapable of holding onto it and be prone to throwing it away whenever it suits him, putting all the heavy lifting onto her. Daniel's lack of responsibility doesn't end with his marriage, though. As much as I can agree with him about smoking in cartoons, it's pretty obvious he thinks very highly of himself and his own personal morals, and the fact he quits in the middle of post-production while making fun of (if not outright insulting) his co-workers, shows he has no sense of responsibility as an employee of the cartoon studio. I'm not saying he shouldn't be allowed to voice his opinion about smoking, but there's a time and a place for it, and the middle of a recording session is not it. Another interesting possibility for why Daniel is the way he is, is that he wants to be more responsible, and is simply lashing out in some kind of weird midlife crisis type thing that likely began a few months or a couple of years before the movie takes place, and him quitting his job and then wrecking his marriage by not only giving his son a birthday party, but also a noisy and destructive one, is the culmination of it. However you look at it, Daniel is clearly a damaged person who has difficulty functioning in the real world. Now then. Having thoroughly dissed Daniel, let's examine how I think this movie is actually about his redemption and transformation into a more well-adjusted adult. Or at least the first steps towards it. Specifically, the fact I don't believe the movie condones anything Daniel does. If it did, it wouldn't make Miranda so sympathetic. Or Stu. Then there's how Daniel reacts to the divorce. By creating a double life and becoming immersed in a fictional character. And for what? To spend more time with his kids? While I don't doubt Daniel genuinely loves his children, the level of precise planning he put into the scheme to sabotage Miranda's efforts to find a nanny so that she'd all but have to choose Mrs. Doubtfire (i.e. him) seems more like simply his vengeance against her. Then here's how he treats Stu. Passive-aggressively insulting him, flipping him off behind his back, breaking the hood ornament off of his car, and, ultimately, almost killing the guy. Instead of simply going with the flow and accepting what has come to be, Daniel, in his typical immature way, attempts to use his acting abilities to worm his way back into his former home life, and not only does it actively jeopordize his relationship with his children, it also ends up almost killing someone. And yet, ironically, in so doing, he is being more proactive than ever before, actively pursuing what he wants instead of waiting for it to come to him as usual, but he's doing it for the wrong reasons which is why it all falls apart. Sure, starts becoming more responsible and strict and a better father to the kids than ever with Mrs. Doubtfire's emphasis on rules and good behavior, but I still think the initial decision to even invent Mrs. Doubtfire and look after the kids after Miranda explicitly forbid it was just him wanting to stick it to his ex. I can't believe he expected the charade to last; there was no way he could've kept it up forever, further reinforcing my belief that the Mrs. Doubtfire plan began as simply him wanting to have his own way no matter what Miranda said, but became something he wanted to hold onto once he realized how emotionally rewarding it was to instill his kids with good values. But even then, it's highly irresponsible of him to continue to try and maintain the scheme past a certain point when he has to know there's only one way it can end. And to further emphasize the point regarding how the movie feels about Daniel and his decision to become Mrs. Doubtfire, there is Mr. Lundy. At first glance the subplot involving him has nothing to do with the main story. And this is true. To a point. The Mr. Lundy subplot at once has nothing to do with the Mrs. Doubtfire story, and everything to do with it. I said above that in choosing to become Mrs. Doubtfire and not wait for opportunity to come knocking at his door like he used to do, Daniel was becoming a more proactive man, but ironically for entirely the wrong reasons at first. Equally ironically, is that, completely unrelated to this, a great opportunity does fall right into his lap. He didn't need to become Mrs. Doubtfire. Him meeting Mr. Lundy, and Lundy liking his ideas for the kid's show, all would've happened anyway. The only difference is Daniel would've pitched Lundy a different character idea for the show. So the one time Daniel should've simply waited, he didn't, and he's just lucky it still worked out the way it did and that Lundy still gave him the show. And I think the moment where this realization comes over Daniel, the moment Mrs. Doubtfire, as an actual person whose existence he's trying to maintain against all logic and reason, isn't when he's found out at the restaurant, but immediately before it. When Stu is having an allergic reaction to the pepper Daniel put into his food, knowing he was allergic to it. Here is when Daniel realizes that his selfish and needlessly vengeful actions are about to cost someone their life, and he risks exposure to save Stu. He succeeds... and is exposed. And his reaction seems to be one of, better to be unmasked now doing a good deed, fixing a problem he created, than later under different and less heroic circumstances more comparable to when his son walked in on him in the bathroom. And I think this why Miranda gives him more visitation rights at the end. Daniel realizes what a heel he's been, redeems himself by saving Stu's life, and makes an impassioned speech at the end. The judge, who doesn't know Daniel, made the right ruling, I think; he ered on the side of caution and I can't fault him for thinking Daniel was just acting. But Miranda, who knew her husband probably better than anyone, could tell when he was acting and when he wasn't (at least when she knows for certain it's him!), knew he'd changed. The ruling would've been appropriate for the old Daniel but not the new one. And the best part is, even though he realized what a jerk he'd been, it's debatable whether Daniel even deserved the second chance his ex gives him. Miranda owed him nothing. But she came to him in good faith anyway and gets the court order rescinded. Because she knows that if Daniel's change for the better isn't encouraged and nurtured now, he will likely just relapse into his old, irresponsible self in a few years. So Miranda, always having been the better person through and through, goes out of her way to ensure her ex can become better, as well, even though she didn't have to. And also, at his new job, Daniel has found a way to impart moral lessons to kids without disrupting production. He has a better working relationship with those around him. He is good friends with Mr. Lundy, and I even like to think it was he who went out of his way to encourage Lundy to keep the old show's host around as a supporting actor in the new show instead of just firing the poor guy. Daniel has learned to treat people with more respect and think of more than simply himself and his own opinions. Hence, this is why I think Mrs. Doubtfire can be looked at as the story of Daniel's self-destruction and finally his eventual redemption, or at least, him being given the chance at it, thanks both to his own realization at what he almost cost himself, and Miranda's kindness towards him. In short, Mrs. Doubtfire is a movie that tells us it's never too late to change for the better.Or I'm just overthinking. Re: A Needlessly In-Depth Dissection of Mrs. Doubtfire Overthinking or not, I enjoyed your dissection of the film, Kooshmeister, and I am looking forward to your next dissection, as you dissect quite well. But, did you enjoy the film or not? Mofo Rising My cat can eat a whole watermelon! This is great. I agree with you on all of your points.I kind of think that is almost a blueprint on what a writer wants to explore when he writes a script versus what is the actual result. You wrote a very high-minded exploration of a simple movie, and I am very sure that you got right to the heart of what the author was trying to explore. That passion may even have been the reason the movie was made.But, because money, the result was Mrs. Doubtfire, which I think is boring pablum.The idea is there, but the reductive power of Hollywood demolishes it. It's not that passion isn't there, it is, but it's always about money. Because it is a business.I am emphatically not a cynic. I believe that if you want to create "art" you have to deal with reality because, well, it's reality.So all of these issues you discuss, they're all still there, but now they're buried in a simple, almost mindless film.I should say that I don't like Robin Williams. He's the posterboy for fake feel-good malarkey. I can't stand movies like that.I do, however, like needlessly in-depth discussion of movies. Every dead body that is not exterminated becomes one of them. It gets up and kills. The people it kills, get up and kill. Quote from: BoyScoutKevin on September 19, 2013, 05:53:56 PMBut, did you enjoy the film or not?I did. And do. It's definitely one of my favorite movies from when I was a kid. Logged

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Mike White Tops The List To Direct Pride And Prejudice And Zombies Ever since David O. Russell bailed on the job of directing Pride and Prejudice and Zombies, the field has been wide open with wild possibilities for who could take over next. The last round of speculation included the likes of Matt Reeves, Jonathan Demme and Cloudy With a Chance of Meatballs team Phil Lord and Chris Miller (a great choice if you ask me). Now a frontrunner has emerged, and it's probably the last person from that group you would expect. According to The LA Times writer-director Mike White has moved to the top of the list, despite only having one feature directing credit, the underseen indie comedy The Year of the Dog, to his name. As the Times points out, though, White has a comic sensibility that could help him navigate the very odd tone of P&P&Z, which combines the plot of Jane Austen's classic novel with some flesh-eating hordes that mess up Elizabeth Bennet's plans for marriage. Still, the game is not at all settled, and there's no telling who might swoop in at the last minute to take the job. As a fan of White's ever since he was the random dude sleeping on Kim Kelly's couch on that one episode of Freaks and Geeks, I'll totally root for him-- especially since it's possible he'll do something interesting with a movie that, frankly, seems kind of impossible to make. More power to him if he thinks he can make it work. New DVD Releases: May 2016 In Home Entertainment Pride And Prejudice And Zombies 2? Here's What We Know Weekend Box Office: Kung Fu Panda Tops Coens, Zombies and Nicholas Sparks The Blunt Reason Pride And Prejudice And Zombies Scaled Back On The Blood And Gore

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Forum:Free Space Topic:Night at Museum: Battle of the Smithsonian [QUOTE]Originally posted by spaced out: [B]That's actually a shame. I think everyone would have laughed at a scene like that today - even Buzz and Neil.[/B][/QUOTE] T O P I C R E V I E WcollocationWashington Post: The Smithsonian's Movie Role So, exactly how much did it cost 20th Century Fox to use "Night at the Museum 2: Escape From the Smithsonian" in a movie title? The studio ponied up $550,000, according to figures released by the institution.It's the first time the Smithsonian name has appeared in a title produced for theatrical distribution-- not just any movie, of course, but the sequel to "Night at the Museum," which made $250 million when it came out two years ago. The studio approached the Smithsonian about setting the film in D.C., and officials spent six months reading scripts until approving the final version last month. Stars Ben Stiller and Amy Adams will be shooting at the National Air and Space Museum this week."The reason we did this project is because of what happened in New York -- attendance increased so much and people got really turned on by museums, especially kids," said Air and Space spokeswoman Claire Brown. The original film was set at N.Y.C.'s American Museum of Natural History. Smithsonian officials expect another monster hit that will bring a slew of visitors (and bucks) to Washington.The studio is also paying $200,000 in location fees to film in and outside the museum for four days, plus an additional $50,000 per day if they fall behind. More checks may come when the movie is released next year: $250,000 if box office sales hit $150 million, another $125,000 at $200 million and $250 million. (Careful of those Hollywood accountants!) Plus 7.5 percent of net receipts from movie-related merchandise with the institution's name.And yes -- Air and Space is considering a new brochure distinguishing fact from movie-fiction. Seems many of the youngest visitors in New York were surprised to discover that exhibits don't really come to life at night.Robert PearlmanMTV Movie Blog: 'Night at the Museum 2' Director Reveals Who He Wanted To Bring Alive For Sequel, But Didn’t There's the Apollo 11 Lunar Module. There's... wait a minute, just where are Neil Armstrong and Buzz Aldrin?Turns out, Levy wanted to include the pair but, in the end thought that even in a movie where everything comes to life, there are some things that just shouldn’t."We actually had a whole Buzz Aldrin, Neil Armstrong thing, where we were going to have them get into a wrestling match at the door of the capsule, like who goes first," Levy said of a planned cameo from the lunar trotting pair. "But we thought it would be historically blasphemous!"spaced outThat's actually a shame. I think everyone would have laughed at a scene like that today - even Buzz and Neil.DC GiantsLooks like Clint Howard (uncredited at this point) is reprising his role as Sy Liebergot in Night at the Museum: Battle of the Smithsonian.Robert PearlmanHere's the movie poster... Robert Pearlman"Night At the Museum: Battle of the Smithsonian" ranked #1 at the box office over Memorial Day weekend, taking in $70 million.The movie includes many cameos by National Air and Space Museum artifacts (some, like SpaceShipOne, fly by the screen very quickly) and according to curators, captures some of the flagship building's finer details.The most prevalent space artifact to come to life is Able, the preserved rhesus monkey that, with squirrel monkey Baker, became the first animals to survive a trip to space and back (50 years ago today).To promote the movie, McDonald's is offering a kid's Happy Meal with toy versions of major characters from the film, including Able:Gordon ReadeMcDonald's is offering a space related kid's Happy Meal?I am so there!Seriously, I saw the movie yesterday and Clint Howard did indeed appear as Sy Liebergot which gave me a good laugh.Sadly the movie was top heavy with way too much special effects. Just because you can make the statue of Abe Lincoln stand up a walk out of the memorial doesn't mean that you should make it happen.It worked best when it was just people (the human element) like the security guard who was afraid Ben Stiller was going to touch the display. They could have made a very funny movie about the Air and Space Museum if only they hadn’t tried so hard. Too much CGI just becomes oppressive after a point. Contact Us | The Source for Space History & Artifacts Copyright 2016 collectSPACE.com All rights reserved. Ultimate Bulletin Board Version 5.47a

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Irene Dunne Romance Classics: Love Affair; Penny Serenade Irene Dunne, Cary Grant, Charles Boyer, Maria Ouspenskaya, Lee Bowman & others. George Stevens & Leo McCarey, directors. Triton Multimedia Tell a friend Description Actress and singer Irene Dunne, dubbed the First Lady of Hollywood, starred in some of the most memorable films of the 1930s and 40s. Love Affair (1939), which featured Dunne and Charles Boyer as star-crossed lovers, received six Academy Award nominations, including Best Picture, Best Song ("Wishing"), and the fourth of five career Best Actress nominations for Dunne. Two years later she teamed up with Cary Grant in Penny Serenade, a somewhat darker story of adversity and unrealized dreams, which earned Grant his first Oscar nomination.

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St. Viator pulls out the stops for 'Beauty and the Beast' The cast of "Beauty and the Beast" in dress rehearsal. Courtesy of St. Viator High School Katie Cascino, Ryan Lavelle, Natalie Olson (background), Maddy Kelly and Sean Esterquest star in "Disney's Beauty and the Beast." Submitted by St. Viator High School It's a tale old as time, but St. Viator brings it to life: "Disney's Beauty and the Beast" will be the high school's 47th annual musical, with performances beginning Friday, Feb. 1. Two casts of nearly 100 students each contribute to the production, but it's not enough. "This show is grander than most," director Kate Costello said. "It took not only staff and students to produce this Disney extravaganza, but an army of parent volunteers and friends." Costello chose an adaptation of the 1991 film, she says, because of the deep talent pool she knew she had to draw from. The theme was appealing, too. "It's timeless and universal," Costello adds. "From the prologue on, we are reminded not to judge by appearances, 'for beauty is found within.' " "Beauty and the Beast" incorporates a live orchestra, a full-scale set, vibrant costumes, and more than you'll remember from the movie. The extravagant number "Be Our Guest," for instance -- the film version lasts 3� minutes. St. Viator's version runs nearly nine minutes, covering 40 pages of the score, and featuring the entire cast, who come out of the cupboards as enchanted objects to animate the song. Senior Ryan Lavelle of Hoffman Estates and junior Ryan Wolfe of Arlington Heights share the role of Lumiere, who opens the song. "We want it to be a showstopper," Wolfe says. "If we nail it, than everyone should walk away from it with a smile on their face." Seniors Sara Fecko and Maddy Kelly, both of Arlington Heights, share the role of Belle. They are veterans of St. Viator's musicals, and accomplished vocalists, too; they've made the Illinois Music Educators Association District 7 choral festival the last two years. "This is literally a dream come true for me," Fecko said. "I've wanted to be Belle ever since I was a little girl, and wore her costume for Halloween for three straight years." Still, playing Belle drew on more of her acting talent than she originally thought, Fecko said. "She changes so much during the course of the show," Fecko said. "She goes from wanting more adventure to being locked up in a castle and then falling in love. There's just a lot more characterization that goes into playing her." The two seniors playing the Beast, Danny Rooney of Inverness and Ryan Sevilla of Mount Prospect, are active in St. Viator's choral programs. At a recent rehearsal, both drew cheers after they sang the climactic song at the end of the first act, "If I Can't Have Her." "We've been working on it," said Rooney, who also qualified for the IMEA district choral festival this year. "It's really the first time you see the emotional side of the Beast." Sevilla agrees, adding that he has enjoyed developing the many layers to the Beast that slowly peel away during the show. "I'm enjoying playing a bit of a darker role," said Sevilla, who leads his own rock band out of school. "It gives you more leeway to be angry, passionate and emotional." Balancing the seriousness of the Beast is the boorish and egotistic Gaston, played by junior Park Simonaitis of Inverness and senior David Vitale of Elk Grove Village. "I'm still trying to balance the guy that everybody hates and still have fun with it," Simonaitis said of his first star turn. Gaston's sidekick, LaFou, brings a pair of redheads to the role, in junior Matt Yoder of Buffalo Grove and sophomore Mike Scully of Arlington Heights. "He's a good contrast to Gaston," Scully said. "He's his goofy sidekick, so you get all the laughs and just get to be the comedian of the show." Yoder, a defensive lineman on St. Viator's football team, agrees. "It's a lot of slapstick humor," Yoder says. "You have to be able to take a hit."

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Entourage movie gets the greenlight 30 Jan 2013 - 07:14 facebook Entourage is heading to the big screen, picking up soon after the TV show left off... The mooted big screen take on Entourage has just been given the go ahead, with Warner Bros giving the greenlight to the project. We don't know too much about the film itself thus far, although Doug Ellin, the creator of Entourage, is on board to write and direct it. Furthermore, the movie is set to pick up some six months after the events of the show's finale, which was broadcast back in 2011. The main cast are all expected to return, and there's likely to be no shortage of decent cameos as well. It's unclear as of yet when the film will move into production though. But we'll certainly be keeping you posted... Follow our Twitter feed for faster news and bad jokes right here. And be our Facebook chum here. Read More About Movies Entourage Doug Ellin Sponsored Links

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Night of the Demons 2, Zombie Lake, and Oasis of the Zombies Stalking Blu-ray this February Posted on December 6, 2012 by Foywonder FacebookTwitterPinterestStumbleuponPocketTumblrGoogleSubscribe /stock/homevideo.jpg Fans of early 1990’s direct-to-video sequels and early 1980’s European Nazi zombie flicks have reason to celebrate this February as Night of the Demons 2, Jean Rollin’s Zombie Lake, and Jesus Franco’s Oasis of the Zombies make their debut on Blu-ray. First up on February 19th, Olive Films is set to give the Blu-ray treatment to Night of the Demons 2, director Brian Trenchard-Smith’s well-regarded 1994 direct-to-video sequel starring Christi Harris, Amerlia Kinkade, Robert Jayne, Zoe Trilling, and a pre-Mrs. Ben Stiller Christine Taylor. In this diabolical sequel to the popular shocker, the students from St. Rita’s Academy throw a party at a haunted house, only to have it disrupted by Angela, the hostess from Hell, and her ghoulish pals. The kids try to find refuge at a teen dance, but things get even scarier there! Bobby Jacoby and Amelia Kinkade star in this special effects-filled terrorthon… No disc specs as of yet. At a suggested retail price of $24.99, I rather hope it comes loaded with extras. On the same day Olive Films will also be re-releasing Fred Dekker’s The Monster Squad on Blu-ray. Not exactly sure why other than the Lionsgate Blu-ray release from a few years back being out-of-print. No clue as of now how the contents of the Olive release will differ from Lionsgate version besides the new cover art. Oh, and for those that truly wish to be horrified, February 19th also brings Olive Film’s Blu-ray re-release of the universally maligned Highlander 2: The Quickening. This will be the “Renegade Version”, one of the many alternate versions of the notorious Highlander sequel put out by producers and filmmakers determined to convince fans of the franchise that the sequel isn’t so terrible after all. Speaking of Eurotrash, Redemption is getting in on the cult horror Blu-ray market by releasing a pair of Nazi zombie flicks from the early 1980’s on February 26th. Jean Rollin’s 1981 aquatic Nazi zombie flick Zombie Lake takes place in a small village, somewhere in France, where German soldiers murdered and their bodies thrown into a lake by Resistance fighters during World War II come back from the dead. Jesus Franco co-scripted Zombie Lake and then followed it up a year later with Oasis of the Zombies, about an expedition searching for treasure supposedly buried by the German army in the African desert during World War II pitted against an army of Nazi zombies guarding the fortune. No word yet of any disc specifics other than both films are being touted as “remastered editions”. Start saving your pennies in the comments section below! Uncategorized Night of the Demons 2, Oasis of the Zombies, Olive Films, Redemption, Zombie Lake *US Residents Only Foywonder Hollywood Monsters Hits The App Store With A Fright Godzilla vs. Biollante (Blu-ray / DVD) nazo Oasis of the Zombies is one of the worst movies I have ever seen. That’s getting a Blu-Ray release? Uncle Creepy Really excited for Night of the Demons 2. Love that flick. Terminal I like the new cover art for Monster Squad, but I still would prefer the original art work.

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The Bible (UK - DVD R2 | BD RB) Fox has announced the release of this TV miniseries for both DVD and Blu-ray Title: The Bible (IMDb) Starring: Diogo Morgado SRP: £24.99 (DVD) £29.99 (BD) Twentieth Century Fox Home Entertainment has announced the Blu-ray and DVD release of The Bible for the 26th of December (following its début on Channel 5 on November 30th), priced at around £29.99 and £24.99 respectively. Details of bonus material can be found below, along with the artwork. The Bible: Genesis – With Mark Burnett and Roma Downey as our guides, we discover how the team approached the daunting task of filming the stories of the Bible The Cast of The Bible – Highlighting the international cast, we join Mark and Roma on their search for the perfect actors to bring the characters from the Bible to life The Bible: Creation – An emotional three-part journey through the making of THE BIBLE Creation I: The Vision, The Look – Discover the vision of producers Roma Downey and Mark Burnett in this behind-the-scenes look at how THE BIBLE was created including the incredible team, beautiful location, high-quality production and superb costume design Creation II: Production Stories – An exclusive behind-the-scenes look at the challenges faced by the production - including the supernatural experiences with snakes on set – plus Diogo’s approach to portraying who he has called the most complex figure in human history Creation III: Crucified & Resurrected – A deeper look into the emotional filming of the crucifixion, resurrection and the last days in Morocco Scoring The Bible – A rare look into the recording session for the soundtrack of THE BIBLE with genius composer Hans Zimmer and award-winning soloist Lisa Gerrard Believing in Miracles – The cast and crew relive the magical moments that happened while filming in the deserts of Morocco The Bible: Visual Effects – A montage of the striking visual effects that make THE BIBLE the most high-quality Biblical epic of all time Purchase From... News by Chris Gould Roommate, The Street Fighter: The Legend of Chun-Li Ghost House Underground: Last House in the Woods

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Kingdom of Heaven: Special Edition (2 Discs) (UK - DVD R2) It should have been the big-budget, over the top film to open the summer season, perhaps even Ridley Scott’s next masterpiec... It should have been the big-budget, over the top film to open the summer season, perhaps even Ridley Scott’s next masterpiece, but sadly, and not unlike the empires the film depicts, Kingdom of Heaven falls faster than a row of carefully aligned dominos. If you, like myself, were expecting this film to be the next Gladiator (for lack of a better analogy), then you will probably be sorely disappointed with what Scott has conjured here. In fact, it is almost impossible to see what went so wrong with this film, considering that just three years earlier Scott nearly scooped an Oscar for best director on that other sword and sandal epic of his. I genuinely though that he would pull off another classic, I really did – foolish of me to be so confident perhaps, but this is Ridley Scott we’re talking about, a man whose career achievements almost reads as long as the Bible itself. So what did go wrong then? Let’s take a look.FilmIt is the dark ages, the time of the Crusades no less; a world steeped in ancient mythology, with empires rising and falling, and a world where the next hero could be the blacksmith right next door. As it would happen, this is exactly the case. Orlando Bloom plays Balian, a simple blacksmith who has lost almost everything, including his family and his faith. Though the religious wars that rage ever on in his world seem almost an age away, Balian gets drawn into them though unforeseen circumstances. He later falls in love, learns the ways of this dark time, and eventually takes up the sword to defend a city against insurmountable odds. From blacksmith to revolutionary leader, sound familiar? I remember a certain Maximus defying an empire when he was merely a slave in a film not completely different from this one. True, many themes and ties from Gladiator make a timely reprise here, though this film is awash with a muddy vision and an almost dreary political narrative, unlike its Roman counterpart. While Gladiator might have been flooded with politics, it certainly wasn’t as flamboyant and under-baked as this. I don’t really have a problem with how Balian comes to be the man we see toward the end of the film – that is actually quite well set up with the introduction of his father, Godfrey of Ibelin, a powerful knight who has been fighting in the East. It is more to do with the execution of this historical tale, more than anything else. I had more or less the same problems with Oliver Stone’s atrocious Alexander too. Everything is almost fragile and haphazard, and in a way that suggests much of the reality and true-to-life stuff has been axed away – no doubt in favour of the predictable Hollywood mush we are instead treated to. If this is meant to be raw and real, while still abiding by certain rules and terms, then what Scott needed to do was pay more attention to some of the other historical epics out there. His very own Gladiator being a prime example, though I feel Lawrence of Arabia and Ben Hur would have been a better study.Kingdom of Heaven has a very “been there, done that” feel to it. Ever since Peter Jackson showed us thousands of Orcs and charging Helm’s Deep in his epic Lord of the Rings trilogy, it seems Hollywood has gone crazy to produce films with lots of digital armies in them. And Kingdom of Heaven, not unlike Troy, Alexander, The Alamo and a handful of others like it, fails to come even close to the epic majesty Peter Jackson created. When will the producers realize audiences want substance and emotional integrity to those battles? What we want is a good story, and characters we care for when they are trying to look heroic in the midst of a trillion warriors, not a film that almost solely depends on its wow-factor battles to win us over. This and many other things unfortunately prevent Kingdom of Heaven from being great. With so much attention on weary characters and pretty digital technology, sadly not even the ordinarily amazing Ridley Scott can hold the project together. Orlando Bloom might have given it his all as the lead, and some of the other acting may be noteworthy, but the film is lacking all the main ingredients – all the important ones anyway. On the positive side however, Kingdom of Heaven is beautifully shot, and for what it’s worth the action segments are relatively well staged and occasionally arouse the senses – just not nearly enough. And, while Scott may have turned in one of his most unaccomplished performances, his camera still has a professional and almost sophisticated subtlety. He might have lost some steam on this film, but he is still Ridley Scott after all. William Monahan’s script is also quite commendable on some levels, but on others it is stifled with uncertainly and feels a little clunky. Composer Harry Gregson-Williams delivers a truly exceptional and rousing score here, and one that is fully able to capture the essence of the time in ways the film itself fails to do. I’d very much like to see this score nominated for an Oscar. This film could have really been something, and the sad part of it is that it has the look and the presentation, just not the integrity and all the other important features needed to become more than just an average affair. Ultimately, that is what Kingdom of Heaven is, an average and totally uninventive ancient war epic. And, it is with a heavy heart that I have to tell you the only place this film is going, is to the wasteland of Hell’s deepest depths.VideoPresented in the usual 2.35:1 frame Ridley Scott uses in most, if not all of his features, images here look pretty good, though not spectacular. I found the transfer to be quite dark, even during scenes set in broad daylight. Noise on the transfer was also pretty noticeable, but things such as edge enhancement and artefacts were kept to a minimum. On the whole, everything is quite sharp and well defined, but as mentioned above, this is a dark looking image, and this is one of its more obvious flaws in my opinion. Sometimes it is difficult to make out the characters in certain scenes, but fortunately this only occurs a few of times. Other than that, this is one fine looking transfer, with plenty of colour definition and an almost gritty, ancient look to it that’s fantastic. AudioWith a robust Dolby Digital and DTS 5.1 soundtrack to choose from, you can expect to be in for a pretty intense experience once those action scenes heat up. Both the Dolby and DTS options are great, with each offering superbly rich dialogue, LFE and direction audio throughout the entire range. When the action comes crashing onto the screen, you’re really going to feel it though the sub, and I mean feel it! Bass is heavy on this film, perhaps even a little too heavy at times. And once those arrows launch upward into the sky, you will hear them soaring through each speaker as if they were really there. As usual with DTS, the sound tended to be a little richer and a tad crisper than the Dolby soundtrack, though to be honest either will be an excellent choice. ExtrasOn the first disc we have an in-movie text feature that will display “Information on the real people and true events depicted in the film” or so the guide informs us. I doubt the authenticity of that statement in full, but from what I can gather at least part of the history appears to be genuine. The last feature on disc one is a Fox inside look at the forthcoming Tristan & Isolade. It runs for about two minutes. On the second disc, the first feature is entitled ‘Interactive Production Grid’. This opens up a new screen with two selections: ‘How it Works’ and ‘Enter the Grid’. If you enter the first, you are given a brief description of how the feature works, which is quite simple really: you control how the behind-the-screen experience unfolds. You can watch each section from the Directing, Crew or Cast point-of-view, from the Pre, Prod or Post part of the filmmaking process. The grid itself is very easy to navigate and you can easily select new sections with a few quick button presses. If you’d rather just watch all the features in the Interactive Production Grid, simply use the handy ‘Play All’ function. Back to the main menu and into the documentaries section, we are presented with two options: ‘History vs. Hollywood’ and ‘A&E Movie Real’. The former is a forty-five minute documentary covering all aspects of the historical findings and such. The latter is similar, only this one interviews much of the cast and crew of the film instead, and shows how they tried to make it as historically accurate as possible. Finally, there is a series of short internet featurettes and the full theatrical trailer. OverallKingdom of Heaven is one of those films that will forever have a bittersweet aroma. It could truly have been one of the great sword and sandal epics, but its stumbles are anything but few and far between. It is a muddy film, unsure of itself and its abilities. Dealing with the subject matter, it almost seems to have been a little too occupied trying not to offend Christians or Muslims, than focusing on historical accuracy and telling a good, dramatic tale. Shame really, I was hopeful in Ridley Scott to do something marvellous again, but sadly he missed the mark with this one. The DVD is pretty solid though, offering a good, if not great transfer; heavy, robust audio, and plenty of special features. You won’t get bored with the DVD, but you probably will with the film. Gladiator: Extended Special Edition (UK - DVD R2) Alexander: Director's Cut (HK - DVD) Troy (UK - DVD R2) Spartacus: Criterion Collection (US - DVD R1) Review by Benjamin Willcock Dolby Digital 5.1 English, DTS 5.1 English Pilgrim's Guide Text Commentary, Inside Look: Tristan & Isolde, Interactive Production Grid, History vs Hollywood Documentary, A & E MovieReal Documentary, Internet Featurettes, Trailer Orlando Bloom, Jeremy Irons, Liam Neeson, David Thewlis, Philip Glenister, Kevin McKidd, Nikolaj Coster-Waldau, Marton Csokas, Alexander Siddig, Michael Sheen, Eva Green, Brendan Gleeson, Edward Norton, Iain Glen, Ghassan Massoud Drama and War

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For: Reviews » DVD Video Reviews » The First Amendment Project The First Amendment Project Docurama // Unrated // June 14, 2005 Review by Preston Jones | posted July 24, 2005 | E-mail the Author "I'd much rather have someone express themselves through a poem, a piece of art or a movie than a car bomb." - Mario Van Peebles, "The First Amendment Project" What's left of our rights? This is the question posed by "The First Amendment Project," a joint effort between the Sundance Channel and Court TV - by commissioning a series of half-hour documentaries on various aspects of the First Amendment, the two channels attempted to shed some light on a section of American life that is too often explained away in glib soundbites and never fully explored. As the Patriot Act is renewed in bits and pieces and journalists face jail time for doing their jobs, the First Amendment remains as embattled as ever. In viewing these three short documentaries, one is reminded yet again of the fine line between democracy and dictatorship - it doesn't take much for a country to cross the line and forget itself and its values. While our country's laws continue to take the occasionally bruising judicial and legislative punch, they remain intact and functional - but for how much longer? In a nice twist, each of the filmmakers here are interviewed before their film screens, which gives viewers a chance to hear why and what made each of these directors tackle these subjects - in lieu of a commentary track with each film, it's the next best thing and adds a nice touch. The first (and arguably the best) of the three half-hour documentaries is The War Room veterans Chris Hegedus and Nick Doob's Fox vs. Franken, a bitingly funny dissection of the infamous Fox News Channel/Al Franken face-off stemming from his best-selling satire "Lies and the Lying Liars Who Tell Them: A Fair and Balanced Look at the Right." Relive the uncomfortable confrontation between bulldog Bill O'Reilly and Franken at the Los Angeles Book Expo; follow the legal process into the bizarre and bewildering court appearance featuring strained presentations from the FNC lawyers - by keeping things light, Doob and Hegedus underscore the willingness of a major cable news network to attempt thoroughly destroying someone with whom they disagree. By far the most entertaining and engaging of the three documentaries, Fox vs. Franken is an enlightening look at the ins and outs of copyright infringement. Director Mario Van Peebles (Baadasssss!) helms the second installment, Poetic License, which delves into the dicey prospects of state-sponsored art and what happens when said artists create works that don't meet with widespread approval. Centered on the infamous former New Jersey poet laureate Amiri Baraka poem "Somebody Blew Up America" and its fallout, Peebles uses the stirring and controversial poem as a jazzy counterpoint to his exploration of Baraka and his art, as well as exploring the repercussions from Baraka's refusal to pull punches or apologize for his point of view. A passionate, confrontational piece, Van Peebles' work is faintly experimental but very much keeps with the tone of Baraka's poem and the topics being discussed. The third and final short documentary, Some Assembly Required, is directed by John Walter (How to Draw a Bunny) and centers on the epic protests surrounding the 2004 Republican National Convention in New York City. Fascinating but ultimately a little too didactic, the film explores the infamous protests through four different individuals who are all involved in the marches. Walter largely lets the four individuals tell their stories and utilizes a lot of hand-held camcorder footage; while it gives the film a raw immediacy and places the viewer right there amid the roiling crowds, it also becomes difficult to tell what's where and who you're supposed to be following. Also, the minutiae of planning peaceful dissent slows the film down and I felt Walter was a little too hung up on sticking to the four subjects, failing to give more context to the protests. Nevertheless, it's a solidly crafted film that makes its point and adds to the overall series. The Video: All three documentaries are presented as originally broadcast on the Sundance Channel in 2004 - 1.33:1 fullscreen. Looking as clear, if not slightly clearer, than broadcast, all three documentaries (which use news footage in addition to filmed interviews) have a crisp, clean appearance and no discernible visual defects. The Audio: Dolby 2.0 stereo, as originally broadcast, is the only audio option available here. A mix of fresh interview footage along with news and footage from other sources makes for slight variations in volume but for the most part, everyone is clearly heard with no distortion or dropout. The Extras: Bonus material is included for each film: Fox vs. Franken features some extra comic strips not used in the final product as well as director's biographies; Poetic License boasts the most supplemental material, with nearly five minutes of interview outtake footage from Van Peebles as well as over 17 minutes of Baraka outtakes, including a complete performance of "Somebody Blew Up America;" Some Assembly Required has a three-minute deleted scene titled "Profile of a Protester." Also onboard are trailers for other Docurama titles as well as a Docurama catalog. "The First Amendment Project" is a unique experiment - allowing filmmakers to explore the delicate balance of the First Amendment by ripping stories from today's headlines and seeing if America's civil liberties remain intact. Unpopular, irreverent or politically incorrect expression doesn't always please everyone but thanks to our Founding Fathers, we as Americans have the option to say most anything we want, whereever we want - may that hard-won privilege continue without ceasing. Recommended.

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Charlize Theron Sings With Seth MacFarlane During Date Night With Sean Penn—Get the Details! Sara Kitnick http://instagram.com/dylerdurden# Charlize Theron brought along Sean Penn to watch her pal Seth MacFarlane perform in Los Angeles over the weekend.The Family Guy creator sang for a packed house with Ron Jones' Influence Jazz Orchestra at Vibrato.MacFarlane is a well-known screenwriter, producer, director and actor, but few know that he can carry a tune—specifically old hits by Frank Sinatra, Dean Martin and Nat King Cole.A source tells E! News that Theron and her boyfriend were "very close the entire evening" as they enjoyed MacFarlane's set.But guests got an unexpected surprise when the blond beauty took the stage to sing alongside her A Million Ways to Die in the West co-star.A candid shot of the two performing their duet onstage was posted on Instagram by Dyler Durden, which shows Theron leaning over in front of the stage. PHOTOS: Celeb Couples in Love! Theron recently opened up in Vogue about how her longtime friendship with Penn turned into something romantic."Sean and I have known each other for eighteen years. We were just really good friends and it's been slow going because you are aware that you could screw that up and lose it," she explained."We had to think about it. But at the end of the day, it was somewhat effortless. It just kind of naturally happened, and before I knew it, I was in something that was making my life better—the people who really love me can see the effect it has had on me." PHOTOS: Charlize Theron's best red carpet looks

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The Royal Tenenbaums Movie Review A couple years ago, Wes Anderson made a movie called Rushmore, a quirky comedy that some loved and some hated. I personally hated it, but I was willing to give his type of humor a second chance with The Royal Tenenbaums. The movie is about a guy named Royal Tenenbaum (Gene Hackman) who tries to get reacquainted with his messed up family, consisting of his wife (Angelica Huston), his two sons (Ben Stiller and Luke Wilson), and his adopted daughter (Gwenyth Paltrow). Of course, he doesn't have much tact, and no one in the family really gets along, so it is quite a task to get everyone together. First off, The Royal Tenenbaums has a cast that is only outdone by Ocean's Eleven. In addition to the people listed above, Owen Wilson, Danny Glover, and Bill Murray also have roles. It's a comedy's dream come true. The movie is presented in a very strange but effective way, separating the movie into chapters. The first couple of minutes, where Alec Baldwin as the unseen narrator tells us about the lives of the Tenenbaums and introduces the cast, is in a league of its own. The movie itself is in a league of its own as well, using the same subtle humor that Anderson used in Rushmore. Either the script is better or I was just more prepared for the style of humor, but The Royal Tenenbaums is entertaining from beginning to end, using very laid back humor. Anderson's directing style also adds to the film's entertainment value, as he repeatedly throws in what appear to be useless scenes that turn out to be anything but. The acting is great. Hackman might get himself an Oscar nomination, should the people who decide things look in the direction of this pointless comedy. Paltrow is also very effective as Margot, who is definitely a new kind of character for her to portray. The rest - Stiller, Wilson, and Wilson - and tackle their parts perfectly, Stiller once again showing that he can manage other forms of comedy from what he's used to. The movie does have a few slow parts, mainly in the beginning and end. The last fifteen minutes seem to drag on excessively, but I guess it is worth it, after you see what is printed on Hackman's tombstone. The relationship subplot between Luke Wilson and Paltrow might bother some viewers. The Royal Tenenbaums is not a great film, but it is a really good film, and with great directing, a great script, and excellent acting, it's one that shouldn't be missed.

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Shorts - Movie Synopsis & Plot "Shorts" is set in the suburb of Black Falls, where all the houses look the same and everyone works for BLACK BOX Unlimited Worldwide Industries Incorporated, whose Mr. Black's BLACK BOX is the ultimate communication and do-it-all gadget that's sweeping the nation. Other than keeping his parents employed, however, Mr. Black's BLACK BOX has done nothing for 11-year-old Toe Thompson, who just wants to make a few friends...until a mysterious rainbow-colored rock falls from the sky, hits him in the head and changes everything. The Rainbow Rock does Mr. Black's BLACK BOX one better: it grants wishes to anyone who holds it. Before long, wishes-gone-wrong have left the neighborhood swarming with tiny spaceships, crocodile armies, giant boogers...and outrageous magical mayhem around every corner. But it's not until the grown-ups get their hands on the Rock that the trouble really starts. Now Toe and his newfound friends must join forces to save their town from itself, discovering along the way that what you wish for is not always what you want.

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Kimberly C's blog | Harris County Public Library Military Cards Book Hunters! Your Personal Reading Consultants Home → Blogs Kimberly C's blog Live Action Hungry Hungry Hippos Submitted by Kimberly C on Thu, 06/04/2015 - 6:38pm Don’t miss the first teen program of the summer! The hippos are hungry and need to be fed. Are you up for the challenge in a crazy, live action game of Hungry Hungry Hippos? For teens and tweens ages 10-18. Meet in the first floor Meeting Room on Tuesday, June 9 from 3:00-4:30 pm. For more information, call the library at 832-559-4200. Submitted by Kimberly C on Thu, 06/04/2015 - 4:41pm Earlier this week, I finished watching the first season of Graceland, a current television show about a group of undercover federal agents living and working out of a government-seized beach house in California. The show is addictive, suspenseful and smart, with secrets and lies in every storyline. By the end of the season, my opinions about each character had changed so many times that I wasn’t quite sure who to trust. The world of undercover cops and federal agents has long been a source of inspiration for filmmakers. Audiences are fascinated by the idea of cultivating an undercover identity and infiltrating the criminal underworld. There is danger at every turn, secrets to guard and to uncover, and even the smallest misstep can lead to the very real possibility of exposure. Movies about undercover work not only give us a sneak peek into the criminal world, but into the psychology of what it might be like to live a lie. In nearly every undercover movie, there is a point where viewers worry the character might have crossed over the line and is in danger of becoming the very person they are trying to catch. It is this delicate balance between good and evil that invites filmmakers and audiences to explore the world of undercover cops time and again. Of course, not every movie about undercover cops is dark and suspenseful. Some of them, like Miss Congeniality and 21 Jump Street, take a funnier, more light-hearted approach to undercover work. These movies may not delve as deeply into the psychology of undercover, but they certainly have their place. If you’re in the mood for an undercover movie this weekend, browse the HCPL catalog and request one today! Dwayne “The Rock” Johnson Submitted by Kimberly C on Sat, 05/30/2015 - 1:57pm In my years enthusiastically discussing movies with everyone I meet, I have noticed that even when people have wildly different tastes in films, they always (and this is a blatant generalization) agree on one thing: The Rock. Everyone loves The Rock. He is effortlessly cool and charismatic, imposing in stature, but an overall nice guy with a strong work ethic and a healthy appreciation for his fans. Despite his immense popularity as an actor, Dwayne Johnson (better known as The Rock) didn’t start out in movies. In college, he played football for the University of Miami and had dreams of eventually going pro. But after a series of injuries left him benched, he turned to professional wrestling, following in the footsteps of his father and grandfather. The first third-generation professional wrestler for the WWF, Johnson quickly made a name for himself in the ring. Movies Submitted by Kimberly C on Thu, 05/21/2015 - 7:41pm Each Memorial Day we honor the brave men and women who have fallen while serving in the United States Armed Forces. In observance of the holiday, the library will remain open regular hours Friday and Saturday, but will be closed this coming Monday, May 25. The library will reopen for business Tuesday, May 26 at 8:00 am. However you might be celebrating, we wish you a safe Memorial Day, and extend gratitude to those who have given their lives in service to their country. Kick off Your Sunday Shoes Submitted by Kimberly C on Thu, 05/14/2015 - 7:01pm A high school dance is a rite of passage for many teenagers. Whether it is Spring Fling, the Homecoming Dance, a Winter Formal or Senior Prom, most people probably have a story or two from their own high school dance. These dances seem so important to the high school experience that they appear as turning points in many movies. In movies that feature a dance, relationships are made and broken on the dance floor, impassioned speeches are delivered, and the mean girls always learn their lesson. Unfortunately, none of my high school dances involved spontaneous choreographed dancing, elaborately decorated ballrooms, or happily ever after like they do in the movies. But they also didn’t include buckets of blood, tears or murder, so I suppose I can handle the memories of uncoordinated dancing. Below, I have put together a list of movies that feature a school dance. Although most of the movies don’t revolve around the dance, it does play a crucial part in the plot and the developing relationships of the characters. Which movie dance do you wish you could attend? Avengers Assemble! Submitted by Kimberly C on Fri, 05/01/2015 - 9:14am This weekend The Avengers: Age of Ultron, the highly anticipated next installment in Marvel’s blockbuster superhero movies, hits theaters. Unlike many superhero movies that focus on the origin story of one particular hero, The Avengers brings together a massive cast of actors and actresses. Some of the actors, like Samuel L. Jackson and Robert Downey Jr, are well-known veterans of film, while others, like Elizabeth Olsen, are relative newcomers not only to the Marvel universe, but to Hollywood. But one thing all of these actors and actresses have in common is talent and charisma. Below, I have compiled a list of some of the moves and TV shows this group has done outside their work as Marvel superheroes. If you can’t make it to the movies this weekend to see The Avengers: Age of Ultron, or you just want to see what your favorite superhero does in his or her downtime, check out some of these other titles! Paul Bettany (Jarvis/Vision) – A Beautiful Mind; A Knight’s Tale; Inkheart; Master & Commander: The Far Side of The World Don Cheadle (James Rhodes/War Machine) – Crash; Flight; Hotel Rwanda; House of Lies; Ocean’s Eleven, Twelve & Thirteen; Traffic Robert Downey Jr. (Tony Stark/Iron Man) – Chef; Home for the Holidays; The Judge; Sherlock Holmes; Sherlock Holmes: A Game of Shadows Chris Evans (Steve Rogers/Captain America) – Fantastic 4: Rise of the Silver Surfer; The Losers; Snowpiercer; Sunshine; TMNT; What’s Your Number? A Furniture Facelift Submitted by Kimberly C on Thu, 04/30/2015 - 4:23pm Earlier this year, the Tomball Library celebrated its 10th anniversary on the Lone Star-College campus. After ten years of constant use, we thought it was time for a furniture facelift. New chairs (in lovely purple fabrics to match the colors in the carpeting) and tables are now scattered throughout the first floor of the library. Look for them by the book drop, the shelves of DVDs, the shelves of New Books, and other places. Stop by the library sometime soon and tell us what you think of our new furniture! Vroom, Vroom... Submitted by Kimberly C on Sat, 04/18/2015 - 11:44am Two weeks ago Furious 7, the highly anticipated addition to The Fast & The Furious movie franchise, released in theaters to huge box office numbers. Much of this box office success is, of course, generated by fans of the series. But a far more solemn reason behind Furious 7’s success is that it was the last movie filmed by Paul Walker before he passed away in a tragic accident last year. The success of this movie stands as a testament not only to the draw of action movies in general, but to Walker’s enduring legacy as a respected and beloved actor. Movies revolving around cars had long been a staple in Hollywood before The Fast & The Furious premiered in 2001. That franchise is, perhaps, unique in its success, but it is not unique in its portrayal of the culture of cars and the people who drive them. However, a movie doesn’t necessarily have to be about cars for it to feature a recognizable vehicle. In fact, some movie cars are so iconic, like the DeLorean in Back to the Future, that, even though they are not the central plot of the film, they almost become an extra character in the movie. Below, I have listed a few movies that prominently feature cars. Some of these are firmly entrenched in car culture, while others simply feature an iconic car. Which is your favorite? 50+ Bus Trip to Chappell Hill Lavender Farm Submitted by Kimberly C on Thu, 04/09/2015 - 2:55pm Join us for a relaxing bus trip to the Chappell Hill Lavender Farm! Entrance to the Lavender Farm is free, but you may cut lavender to take home for $5 a bunch. Lunch will be at Must Be Heaven in Brenham, followed by shopping and wandering in Downtown Brenham. Please bring money for lunch and any shopping you might wish to do. We will meet in the library lobby on Thursday, May 7th at 9:00 am. The bus will leave promptly at 9:15 am, and return to the library by 4:30 pm. Must be 50 or better to attend. Space is limited, and registration is required. You may register in person, over the phone, or online at the HCPL Events Calendar. The bus is provided courtesy of the Harris County Precinct 4 Senior Adult Program. For more information or to register, call the library at 832-559-4200. Flickr CC: Field of lavender Photo by: antgirl Earth Day Seed Bombs Submitted by Kimberly C on Thu, 04/02/2015 - 10:11am Get ready for Earth Day with us! Come by the library and make colorful seed bombs to beautify your yard. All supplies provided. For teens and tweens, ages 10 and up. Meet in the second floor Conference Room on Monday, April 6 at 1:00 pm. Flickr CC: Texas A&M Wildflower Field Photo by: sarowen

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U.S.EditionsAustralia EditionChina EditionIndia EditionItaly EditionJapan EditionSingapore EditionUnited KingdomUnited States Aug 25, 4:02 AM EDT SubscribeEverything You Need To Know, Right Now. Everything You Need To Know, Right Now.The IBT Pulse Newsletter keeps you connected to the biggest stories unfolding in the global economy. Please enter a valid email Search Search BusinessTechnologyWorldNationalMedia & CultureMillennial MoneyEntertainmentSports Subscribe Media & Culture Film Helps Heal Rwandan Wounds Twenty Years After Genocide By Nicholas Deel On 05/14/14 AT 2:04 PM Ayuub Kasasa Mago, the subject of Finding Hillywood, directed by Leah Warshawski. Photo: Leah Warshawski, Finding Hillywood It’s been 20 years since the Rwandan genocide, which claimed the lives of up to 1 million citizens, mainly Tutsis, in a mass ethnic slaughter by the Hutu they lived alongside. As the country’s infrastructure has rebuilt itself so too has its culture, and a new documentary seeks to chronicle Rwanda’s nascent film industry."Finding Hillywood" largely follows the journey of Ayuub Kasasa Mago, a Rwandan filmmaker and actor whose mother was murdered during the 1994 genocide. For Ayuub, having struggled since those days, film was a saving grace. He came to cinema by chance when he landed a small gig on a crew for the filming of “The Last King of Scotland,” which was about Idi Amin's dictatorship in neighboring Uganda. Since then he hasn't looked back.Now Ayuub is part of a dedicated group of Rwandan filmmakers on a mission to develop a film industry. They call themselves Hillywood, so named for the "thousand hills" of the country. They travel from village to village, setting up mobile theaters and spreading the word. Rwanda is still a very poor country, and for many this is their first exposure to film. Workers from Hillywood set up an inflatable screen for a film screening in rural Rwanda. Photo: Leah Warshawski, Finding Hillywood The hope is that the communal experience of watching film will help heal a still wounded nation. The hope is also that filmmakers from outside the country will come to see Rwanda as an attractive location for productions.In conjunction with the film, director Leah Warshawski has also set up RwandaFilm.org, a site for local filmmakers to network and build contacts.She spoke with International Business Times about her experiences making the film and what she hopes for the future of the Rwanda film industry.FINDING HILLYWOOD (2013) documentary trailer from Inflatable Film on Vimeo. IBT: What made you want to make a documentary about film in Rwanda?Warshawski: We were in Rwanda on a totally different project for a different company and we met some local filmmakers. We hire local filmmakers wherever we go. The last day we were there we were asking them, “What else do you guys do?” And they told us about Hillywood. And the idea of thousands of people standing in a stadium watching movies together for the first time in their own language was really intriguing for us. I think for most filmmakers that idea is intriguing, the power that cinema can have. And that was kind of the beginning. We knew we wanted to make a film. We started making a film about the festival and it turned into more of a character study over the course of six years.IBT: It centers largely around Ayuub Kasasa Mago, a Rwandan filmmaker whose mother was killed in the genocide, Can you tell us about this journey to film?Warshawski: He got his first job working on "The Last King of Scotland" just by chance. And then he kept working in the industry from there, but that was really his first opportunity to work in the film industry. And he talks about that a little more in our film, but he didn’t take a traditional path, like a lot of filmmakers. And we can certainly identify with that.IBT: What do you think it is about film as an artistic form that’s important to Rwandans?Warshawski: This is the 20th anniversary of the Rwandan genocide this year, and film for them, and I think for most people, can be used to heal. There’s something you feel when you’re there watching a film at Hillywood in the jungle with thousands of other people. You feel there’s something transformative about that. And most certainly Ayuub’s own redemption has come through filmmaking and making films for him. He has very personal stories about that. And for a lot of the other filmmakers as well there, they maybe not able to talk about their experiences but it does come out in films that they make and so enabling people to tell their own stories is really powerful and film is a powerful medium to do that.IBT: What are some of the film that Rwandans are eager to make? Are there themes you see emerging?Warshawski: Initially they were making films about pretty heavy topics. Most of them centered around domestic violence, genocide, war and now there’s the whole gamut. Although, and Ayuub even says in our films that genocide is part of their everyday society no matter what, the films they’re making are cartoons, animations, documentaries, narratives. The industry is growing and there’s much more variety now. And by the way, they absolutely love music videos so those are huge. Those are always a big hit with the kids. So they’re starting to make the whole gamut.IBT: How can those of us in the West who are interested in seeing films coming out of Rwanda or supporting films coming out of Rwanda, how can we get involved?Warshawski: All of the filmmakers in our film are very accessible online. You can find all of them and ask them to watch their films and see what they’re working on. And we also created an outreach site. It’s called RwandaFilm.org and we worked in partnership with BPeace and the Academy of Motion Pictures and also two organizations in Rwanda, the Ministry of Sports and culture and a development board. All of these organizations are coming together to create kind of this LinkedIn for Rwandan filmmakers, but also for the international community to get in touch with filmmakers there. If you have a project, if you’re a journalist going into film for the 20th anniversary and you have a project and you need crew in Rwanda, we really want this to be kind of the one stop shop. It has crew, it has locations, it has discussion boards, photos and travel tips. This site, the RwandaFilm.org site, is really what we hope will outlast our film. We want to help the film industry grow, the film economy grow and we believe that finding jobs for people, that jobs will bring peace. We want everybody to keep working. We want to keep working and we want the filmmakers in Rwanda to keep working as well. I would urge people to check out that site, like the Facebook page and keep that site in mind if you are traveling to East Africa or know anybody going over there who needs some help.IBT: Going back to your film, can you give us a quick check list of the awards and recognition that "Finding Hillywood" has received so far?Warshawski: We’ve won four major awards, we won the audience award for best documentary at the Napa Film Festival in November. We won the best documentary by a Pacific Northwest filmmaker at the Eugene [Oregon] Festival. We won an award, a third prize for best documentary at the Afghanistan Human Rights Festival. And we were the Women In Film-sponsored film last year, they only choose one to sponsor and they sponsored ours in Seattle. We won the best mid-length film at the Montreal Black Film Festival last year as well. We’re up for a couple of awards right now, but I don’t want to jinx anything. Hopefully we’ll have more to add to the list this year. We’ve got a lot of festivals coming up.IBT: What’s next? A DVD, a larger theatrical release?Warshawski: We partnered with GATHR for theatrical on-demand, so you can actually request our movie to screen in your local movie theater. You can go to our website. It’s findinghillywood.com. You can request the movie in your theater. We have an international rep trying to sell broadcast rights internationally. We have an educational distributor in New York who’s selling to libraries and colleges and universities. And we’re still looking for domestic broadcast, so if you know any networks that might want to screen our film, we’re still looking for that. We have DVDs for sale in person right now. When we go to the festivals, I’m selling them, but probably not online for a couple months, because we really want people to see this film in a theater, which is why we partnered with GATHR. We feel like it’s a movie about a festival, you should see it in a festival environment, you should see it with other people and we’re really hoping that we can bring the film to different communities that way before we put it on DVD and digital.IBT: Those are all my questions. Anything I’ve missed you think is important?Warshawski: I just wanted to note that we are looking for outreach funds this year to keep managing the RwandaFilm.org site, but our goal is really to transition the site over to a Rwandan organization this year and so we are looking for interested parties in Rwanda who might want to manage the site. So I would just urge people to check it out and if you know anybody locally in Rwanda that they may want to take that on, that would be wonderful. We have been working the last couple of years to develop and create it and thankfully BPeace and the Academy have done so much work for the site and it looks really great, but we’re not going to be running that site much longer. The idea is to really transition it over and to watch it grow from within Rwanda, not from outside. And so that is one of our major goals this year.

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hei-fihei-fi-news Kubrick's horror classic gets back 24 tense minutes Jack Nicholson in terrifyingly good form in 'The Shining' Warner Bros The Shining, once dubbed the "scariest movie ever", is set to provide more chills for British audiences with the release of a previously unseen extended version.The British Film Institute is to release a cleaned-up version of the horror classic, directed by Stanley Kubrick and starring Jack Nicholson, which is 24 minutes longer than the film available in the UK for the past three decades.Jane Giles, the head of content at the BFI, said: "We adore and rate Kubrick as a director. And we've been thinking about looking at his work in different ways for a long time."The 1980 film, described by the celebrated director Martin Scorsese as "essentially unclassifiable, endlessly provocative and profoundly disturbing", will preview on Halloween before opening nationwide several days later with a running time of 144 minutes.Ms Giles said: "When we realised the US version of The Shining hadn't been released properly in the UK we thought it would be a very interesting thing to do." Kubrick cut the film for Europe after the longer version was poorly received by critics. However, he gave his blessing to both versions.The European version cut background storylines and plot points such as Jack's battle with alcohol and beating his son. Among the shocks to be added back in are the appearance of skeletons seated around a table in the hotel.Ms Giles said she first saw the film at 16. "It was the first time I'd seen a film like this. I thought it was amazingly sophisticated and intellectual. It presented something really quite mysterious."The film has provided a series of cultural touchstones, most famously the scene where Nicholson smashes through a door with an axe as his wife cowers, then utters the line: "Heeeere's Johnny."Kubrick's film was adapted from a Stephen King novel about a writer who looks after an isolated hotel which has closed for the winter. King was unimpressed with the results. More about: Comedy Films

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Stepping Out An afternoon with Linda Eder and the Nassau Pops The Broadway star joins the orchestra for a gala concert Wednesday, October 9, 2013 1:26 pm Actress-singer Linda Eder, who is a frequent performer at Tilles Center, joins the Nassau Pops Symphony Orchestra for the first time. By Karen Bloom The Nassau Pops Symphony Orchestra turns to Broadway for its 10th anniversary gala concert benefiting the United Cerebral Palsy Association of Nassau (UCPN). Linda Eder, known for her starring role in the musical “Jekyll & Hyde,” joins the accomplished orchestra for an afternoon of theatrical delights.Maestro Louis Panacciulli and his Nassau Pops are ready to share some of the best of Broadway, at this special edition of their annual concert, in support of their 10-year relationship with UCPN, on Sunday, Oct. 27, at 3 p.m. “This is a milestone for us and we are thrilled that Linda Eder is going to be part of it,” Panacciulli said. “It is humbling for our local orchestra to work with someone of her caliber. “Eder has been acclaimed as one of the greatest contemporary voices of our time . With a repertoire that spans Broadway, standards, pop, country and jazz, she has performed for sold-out crowds at venues across the country and throughout Europe. In her role as the tragic character, Lucy, in the musical “Jekyll & Hyde,” Eder blew the roof off of New York’s Plymouth Theater (now renamed the Gerald Schoenfeld Theater) each night for over two years as she belted out the musical’s signature songs, notably “Someone Like You” and “A New Life.” She has established herself as a popular and accomplished interpreter of pop standards and theatrical songs since she launched her recording career in 1991 with her self-titled debut album. Her numerous releases include “And So Much More,” “It’s No Secret Anymore,” “Christmas Stays the Same,” “Gold,” “Storybook,” “Broadway My Way,” and “By Myself: The Songs of Judy Garland.” A favorite with area audiences, and a frequent performer at Tilles Center, Eder brings some Broadway glamour to the Nassau Pops’ yearly concert.“We are very fortunate that she is able to join us,” Panacciulli said. “It’s very exciting for us and for the audience. She’s a tremendous talent and has always been a big draw at Tilles Center.”Eder’s hour-long performance includes a medley of “I’m Always Chasing Rainbows,” “Don’t Rain on My Parade,” Marvin Hamlisch’s “Ice Castles,” and “Climb Every Mountain,” along with such Broadway favorites as “Don’t Cry for Me Argentina,” “Man of La Mancha” and, of course, some songs from “Jekyll & Hyde.”As always, the 60-member Nassau Pops opens the concert in their inimitable style. To get everyone in the mood for what is to come, the orchestra sets the tone with an overture from “Hello Dolly!,” followed by an orchestral medley of songs from “Mame” and “My Fair Lady.” “This is my tribute to the ladies of the stage,” said Panacciulli. “We’re highlighting the great women of Broadway who certainly deserve recognition. Dolly and Mame, of course, are icons. And My Fair Lady always stands out.”Panacciulli, a Franklin Square resident, has been at the helm of the Nassau Pops since 1984. Besides his duties with his orchestra, Panacciulli is in his 18th year teaching music in Valley Stream School District 13 and serves as band director at Nassau Community College, a post he has held for 23 years.After the orchestra’s instrumental portion of the program, Creation — the four-person ensemble of singers who participate in UCPN’s Adult Day Treatment Program — will make their yearly appearance to close the first half of the concert. They’ll sing “Till There Was You,” the classic “I Heard it Through the Grapevine” and “Home,” a new song featured on American Idol.“They do a great job,” said Panacciulli. “They are part of the musical class at UCPN and they’ve been with us for 10 years. Each year they develop more confidence and poise. While new members come and go, it’s been basically the same kids (David, Chris, Riva and Melissa) who have been the group’s core all these years. It’s very uplifting to see them perform and they are what this concert is all about. It makes me feel good. It’s quite an accomplishment for these kids to perform with a 60-piece orchestra.”The Nassau Pops and UCPN have become closely aligned over the past 10 years. “Everyone knows we work with them — they are our pet project,” Panacciulli said, reflecting upon his involvement with organization. “I was looking for a charity to work with and was immediately taken with what I saw back then,” he relates. “Everyone I met there was smiling and there were so many happy faces. I was really taken by seeing people afflicted with CP. Their enthusiasm, aided by the support of the staff, really caught me. UCPN is a tremendous organization that does great work with infants all the way up to adults. We’ve developed a successful long-lasting relationship.”As always, all box office receipts are being donated to United Cerebral Palsy of Nassau. “This year, it’s more important than ever for us to be able to help them,” Panacciulli said. “UCPN took a big hit from Sandy. They lost three of their group homes, including the one in Long Beach, and also lost a significant portion of their funding from the state. We are fortunate to have Linda this year and aim to sell out the concert to help out with their budget woes.”NEFCU has partnered with the Nassau Pops as the concert’s title sponsor. “NEFCU is very closely aligned with the Nassau Pops in our mission to enrich the communities and lives of the neighbors we serve. Their partnership with the Nassau Pops will enable us to donate every dollar of every ticket sold to assist UCPN,” Panacciulli said. Over 1,800 children and adults with cerebral palsy, developmental and other disabilities attend the UCPN center in Roosevelt. Everything from rehabilitation to recreational therapy, education to employment and specialized primary medical care is available on-site at the private 13-acre campus.Nassau Pops Symphony Orchestra Benefit for UPCNSunday, Oct. 27, 3 p.m. Reserved seats are $65, $50 and $35. All proceeds are donated to UCPN. Tickets are available through TillesCharge at (516) 299-3100 or www.tillescenter.org. Tilles Center for the Performing Arts, LIU Post, Rte. 25A, Brookville. A newspaper is as good as its sources Red foxes at home at Merrick's Levy Park and Preserve On Broadway Think you can toss that caber? Advanced search

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Brit Marling finds exciting new direction with 'The East' Acclaimed actor-screenwriter thrilled about timing of new espionage thriller POSTED: 05:33 PM MDT Jun 21, 2013 UPDATED: 12:47 PM MDT Jun 25, 2013 Small Text Brit Marling in "The East." Since her acclaimed indie film breakout "Another Earth" in 2011, word of Brit Marling's acting and screenwriting talents have spread like wildfire around the globe, making her one of the hottest talents in Hollywood.Her latest film in front of and behind the camera, the espionage thriller "The East," comes after a busy nine months that has found Marling acting opposite the likes of Richard Gere and Susan Sarandon in "Arbitrage," and working with Robert Redford -- the actor and director -- and a talented ensemble cast in "The Company You Keep.""I've been really lucky since I've gotten to be a part of a lot of really great stories," Marling told me in a recent interview. "With 'Arbitrage,' I really loved the script and there were a lot of great female characters in that movie, which had something interesting to say."As for Redford, Marling said she not only was thrilled to be working with the actor and filmmaker, but the person who has had such tremendous influence on the independent film industry."I've admired him as an artist for so long, but also as a human being in the world with what he has been able to create with the Sundance Institute," Marling enthused. "So many artists are able to make a living at what they love do because of his festival and the labs for screenwriters and directors it has."The Sundance Film Festival gave Marling a voice as an acting and a screenwriter because of "Another Earth," which earned a Special Jury Prize. Her other indie work includes the sci-fi mystery "The Sound of My Voice," which she co-wrote with the film's director, Zal Batmanglij.The two also collaborated on the screenplay for "The East," which is once again directed by Batmanglij.Expanding into more theaters Friday, the film stars Marling as Jane Owen, a former FBI agent-turned-undercover operative for a private security firm who is saddled with the daunting task of infiltrating The East -- an eco-terrorist group which has been exacting covert attacks on major corporations that have covered up crimes against humans and nature.After she accepted by the group (Alexander Skarsgard, Ellen Page, Shiloh Fernandez, Toby Kebbell), Jane becomes fascinated with their ideals and soon finds the lines blurred and her loyalties tested.Marling says "The East" is probably her most commercial film to date, which is not necessarily a bad thing. After all, since it still is an indie production being released through indie distributor Fox Searchlight, she and Batmanglij were still able to tell their story without compromising their collective vision -- a important vision in that melds with the times we live in."The film is a sort of thrill ride -- but it's like an espionage thriller that cuts through a more prescient landscape -- a landscape about the now, which I think raises a lot of questions about things like activism, authority and accountability," Marling explained. Related Content Marling said the film is not politically divisive, and that people on both sides of the aisle will share common frustrations."Whether (they're) on the right or the left of the spectrum or somewhere in-between, I think everybody is feeling really frustrated with corporate greed and corporate accountability," Marling said.In an unfortunate bit of serendipity, Marling said some events she and Batmanglij initially wrote as fiction actually came to fruition as real-life events a short time later."There are instances like the BP oil spill. We actually wrote that scene that happens at the beginning of the film, and a couple weeks later, that occurred," Marling said.Whether it's portrayed in a film or happens in real life, Marling, 30, said events like major oil spills can't go on without some sort of follow-up questioning."Here this massive disaster happens, and in the PR nightmare to clean it up, they dump dispersant on the oil that's just as bad for the environment as the oil spill is. Then they get slapped on the wrist with a fine that they could probably pay in a week, and it all disappears. I think everybody feels like, 'Wow, there's something that doesn't feel right here.'"Marling says in the complicated world of filmmaking, it's not often the timing of film can be in sync with the news of the day, and she's thrilled "The East" is coming out at the right time."The thing we keep hearing over and over again is, 'The film is so zeitgeisty -- it's so about what's happening right now," Marling said. "Usually there's a lag in filmmaking -- it takes so long to get a film made -- and when it's done, it ends up talking about the past. It is rare to get to be able to put your finger on the pulse of what's happening around you."The only thing better, Marling added, is the satisfaction of knowing she's accomplished a rare feat in industry -- releasing a movie that can be every bit as informative as it is entertaining."As a storyteller it's your job to entertain and keep moviegoers on the edge of their seats and show them something they've never seen before," Marling said. "That was our primary focus, and if you can do that and set it in world in which all this rich stuff is happening, then maybe it will connect with somebody."

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"Everything makes me nervous - except making films." Director’s Notebook: ‘The Heat’ Director Paul Feig on How Test Screenings Shaped His Favorite Scene In this monthly column we spotlight new Blu-ray/DVD releases by interviewing directors about the scenes that stood out most for them while making their movies. This month, we talk to Paul Feig about his follow-up to Bridesmaids, the Sandra Bullock/Melissa McCarthy comedy The Heat (out October 15). After years of directing episodic TV (ranging from Freaks and Geeks, which he created with the help of Judd Apatow, to Nurse Jackie) Paul Feig has established himself as a go-to for feature-length comedies thanks to the breakout success of Bridesmaids. He’s now followed that by reteaming with Melissa McCarthy for the buddy-cop laugher The Heat. McCarthy weaves spontaneous comedic gold as the hard-nosed Boston cop Mullins, while Sandra Bullock plays the “straight man” in this duo, Ashburn, a stuck-up, by-the-book FBI agent. In Feig’s favorite scene, the two get to know each other at a dive bar, which quickly gets out of hand as the ladies get drunk and wreck havoc. Here, Feig gives us some of the mechanics that go behind making a scene like this work, and why for him test screenings are an integral part in putting the final touches on it. “There’s nothing we need to accomplish here other than fun.” “The bar scene was always something I was looking forward to shooting. I always like doing those scenes that kind of are in service of the story but also where you go, okay we can actually have fun here. In Bridesmaids it was the airplane scene. I knew it was just going to be fun to see Kristen [Wiig]’s character drunk and all the stuff we came up for her. It was the same with this because we just created these areas to work in. We knew we had our scripted thing where they are kind of bonding at the bar, but after that we just came up with stuff—like the dancing part, I just wanted to see them dance. [Screenwriter] Katie [Dippold] wrote a bunch of really funny scenarios and we shot those but they were a jumping-off point and one of my favorites is when they tape up their faces with scotch tape and make each other laugh. In the DVD I put in basically the whole 10-minute take of that. “I wanted Sandra and Melissa to be comfortable [in the scene] but because of logistics we had to shoot it two weeks into principal photography. I kept trying to move it because I wanted them to know each other better, but it turned out to be great because it’s a scene of them bonding but they don’t really know each other, so the timing worked out really well. They bonded pretty quickly but they became even closer doing those vignettes together. “We shot the bar scene over two-to-three days. You have to get all the dialogue in the bar right, and that’s a lot of playing. It’s very scripted but also everyone is writing jokes on Post-its and passing them to me, so that was fun. Then we got to the bits of drunkenness, then it becomes a free-for-all in a controlled chaos sort of way. With the Scotch tape bit literally the only line was 'Ashburn and Mullins take shots,' so to me that’s the scariest and most fun thing. There’s nothing we need to accomplish here other than fun. So originally I thought we’d do it all at the bar, we started at the bar and then I thought I didn’t want to stay at the bar, it would be visually boring, so I looked around and saw they had this checkered-board table on the set so I said let’s pull it over here and maybe they’ll just do shots checkers, that would be a different way for them to down shots. So I told Sandra and Melissa and they kind of gave me a look like that’s a lame idea, and I was like let’s just try it. I went to set up the camera and I come back and they had called for a roll of Scotch tape and they tapped their faces all up. So I just walked into that going okay this is weird and hilarious. They just started doing this stuff. I was just crying laughing. The bits are in the movie but you don’t get that same energy when it’s cut up, so that’s why I’m happy we have the extended take on the DVD. You can hear us laughing in the background when they discover the tape. That’s the stuff I live for. In the moment, two people just making each other crack up. If you can figure out how to get that in a film you’re in great shape. But there was a lot to manage in that drunken sequence. We had so much stuff and had to figure out what to cut. “I’ve been burned so many times thinking something is going to be hilarious and then it doesn’t get the laughs that you want and you go, s**t, what happened? But I was pretty certain the bar scene would play because it was fun and I picked a fun song but we played with it a lot. There was a lot more dancing in the first cut. You can tell when people are getting fatigued. You want to go in with everything that’s funny but you can pay the price down the line because you wear the audience out. It was the same with the airplane scene in Bridesmaids, that could have easily been a 20-minute scene, but there’s a point when you know that’s too much.” “…I want the laughs of a real audience.” “It’s all about test audiences. I’ll let some people watch a cut but I’m much more dependent on a test audience. I start my test screenings two-to-three weeks into my director’s cut and then I’ll do them every two weeks, and not with friends or family, I want the laughs of a real audience. Our personal friends who are in comedy, they laugh at different stuff and I’ve been burned in the past by showing it to friends and family and thinking it’s all killing and then you get in front of your first test audience and they don’t laugh through half of it. When it’s comedy professionals we want to twist stuff, 'Oh, you see this all the time, you should twist this,' but with a real audience it’s too hip for the room. I know some people who are horrified by test audiences but I really rely on them. If you’re making a drama, yeah, it’s a different thing, but the 10-week director’s cut can be the worst thing you can go through, because you fall in love with everything. No one is immune to it, I’m certainly not. So if you start the test screenings two weeks in you think it’s working but you aren’t sure and you throw it up [on-screen] and see what people think. “We did 10 test screenings [for The Heat] so we tweaked the scene 10 times, and by the end it was micro tweaks. But we record the laughs and that’s our bible. Test audiences fill out these questionnaires, which is whatever, and they do this focus group. We always go to the recording. It’s something that Judd [Apatow] started doing. I think people were doing it before. I know people who will record the audience on night vision to see if they are shifting in their seat or look bored, that’s too much information for my taste. [Laughs] It’s totally empirical evidence. You get in the editing room and you get notes from the studio, it’s very easy to resolve stuff, you go, 'Well, let’s go to the tape.' That happens to me all the time.” Follow @Petershall Follow @MoviesDotCom Features, Interviews, At Home, Blu-rays and DVDs Paul Feig, The Heat, Director's Notebook Melissa Rauch

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Submit TipsSend FeedbackTerms of ServicePrivacy PolicyWhat's really worth watchingChanning Tatum on First Love, "Dear John," and ABBA By Sasha Perl-Raver NEWSLETTERS Receive the latest popcornbiz updates in your inboxPrivacy policy | More Newsletters"What does it mean to truly love another?"That's the question Nicholas Sparks, in his wiley, tear-jerking way, asks in "Dear John," the most recent film adaptation from the author who has become one of the most successful franchises in Hollywood thanks to films like "The Notebook" ("It wasn't over for me. It still isn't over." Smooooch)."Dear John," the story of John Tyree (Channing Tatum), a Special Forces solider who falls in love with Savannah Curtis (Amanda Seyfried) while on leave at home in North Carolina, is about "first love, that one you cannot get right no matter how hard you try." At least that's how Tatum, sporting a goatee and a luxurious black cashmere sweater, explained it after settling into a table at the Four Seasons in Beverly Hills. The actor, who deftly exposes a masculine yet vulnerable John Tyree, has been attached to the project since it began development four years ago, long before the studio had a script, a director or a co-star. He says it was the imperfection of the love story that first attracted him to the material."You're supposed to not do things right," Tatum smiles. "That's what I loved about reading the book and that's what I love about the movie. It's not a fantastical box of a movie with a bow on top. It's real. It has more edge and darkness to it than some of [Sparks'] novels in the past."Adding to the realism was the inclusion of Oscar-nominated director Lasse Hallstrom ("What's Eating Gilbert Grape," "The Cider House Rules," "My Life As a Dog"). Whenever anything veered toward the maudlin, the director would revolt. "'It just seems like the worst movie moment. I can see it in the trailer and I just can't have it,'" Tatum, in a soft, spot-on Swedish accent, imitates, chuckling. "He doesn't do things badly. He has a sort of allergic reaction to anything that's cheesy." It's an interesting affliction for the man who helmed a catalogue of ABBA videos during their prime years, from 1974-1982, including classics for "Dancing Queen" and "Supertrouper." Filled with soft focus, smoke machine haze, star filters and silver leisure suits, those videos made frequent appearances on the "Dear John" set. "He'll show you on his iPod," Tatum laughs. "He'll be like, 'Hey guys, would you like to see my earlier work?'"Published at 11:46 AM PDT on May 30, 2012NewsWeatherInvestigationsEntertainmentTrafficContact UsConnect With UsFCC Independent Programming ReportFCC News and Information Programming ReportNBC Non-Profit News Partnership ReportsKNTV Public Inspection File21st Century SolutionsSend FeedbackTerms of servicePrivacy policyAdChoices

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Pledis Entertainment to Debut Another Girl Group, Hello Venus Pledis Entertainment revealed a picture of their latest girl group, Hello Venus, on April 17 through their official website. Hello Venus is After School’s sister band, and one of Pledis Entertainment’s next generation idol groups, alongside their new boy band, NU’EST. Hello Venus is a six member girl group comprised of Yoo Ara, Nara, Alice, Ra Im, Yoon Jo, and Yoo Young. Their team name is supposed to have the duel meaning of a friendly “hello” and a mystical “Venus.” Each member has built their own following prior to their debut, including Yoo Ara and Yoon Jo who made their names as Pledis’ main trainees. Yoo Young, the youngest member of the group, was born in 1995. “Hello Venus will depart from the classic, beauty and love image of the goddess Venus. Instead, it will create a new 21st century, friendly and welcoming type of Venus image,” Pledis Entertainment said. Hello Venus is currently busy filming their music video and taking photo shoots for their debut in May. They are planning to expand their roles from music to TV dramas and variety shows, as well. Pledis Entertainment has Son Dam Bi, After School, and NU’EST under their management.

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Richard Cohen: On detainee torture, a debate we need In retrospect, a better title for the terrific film "Zero Dark Thirty" would have been "Ror-schach." As with the famous ink blots developed by Swiss psychoanalyst Hermann Rorschach, some people look at the film and conclude that torture works, others conclude that it doesn't, still others think the movie advocates torture, while some -- and now we have gotten to me -- don't know what to think. I am implacably opposed to torture .Y.Y. unless it can save lives. This foggy position of confusion and ambiguity has been largely missing from the debate over the film. Everyone seems so sure of everything. The rush for certainty started, I think, with the basso profundo statements from the filmmakers that the movie is -- as the credits state -- "Based on Firsthand Accounts of Actual Events." I have no idea what this means since the director, Kathryn Bigelow, and the screenwriter, Mark Boal, concede that they used composite characters and have necessarily compressed the 10-year hunt for Osama bin Laden into a 2�-hour movie. Some things get left out, like truth. Almost instantly, three members of the Senate intelligence committee, Dianne Feinstein, Carl Levin and John McCain, protested the film's depiction of torture as instrumental in locating and ultimately killing bin Laden. They insisted instead that it was dogged intelligence work, the piecemeal accumulation of information that, say whatever else you will about it, is not inherently dramatic. No one will ever make an action movie about an accountant. The three senators have access to highly classified information and, while their demand that the CIA fess up and detail its cooperation with the filmmakers is out of bounds, their experience and knowledge have to be taken into account. As a group, they are a somber lot. Still, others have taken the same position. Journalists with no access to classified information but with access to people who possess that information insist that (1) torture doesn't work and (2) it did not lead to the killing of bin Laden. Okay, point taken. But for me, the debate has gone beyond the veracity of the film -- all movies are lies to some extent, and the greater lie is to claim they are not -- to all these declarative statements about the morality of torture. They come out, veritably smoking, from various journalists, who cite reports of detainees who died under torture with their lips sealed. Our own fear of intense pain is beside the point: What would work on you or me might not on a diehard jihadist, for whom torture is a mere occupational hazard. Perhaps the most unequivocal statement comes from Steve Coll in the New York Review of Books. Coll is a former managing editor of The Post and the author of "Ghost Wars: The Secret History of the CIA, Afghanistan, and Bin Laden, from the Soviet Invasion to September 10, 2001" for which, appropriately, he won the Pulitzer Prize. He is, in other words, a highly serious and thoughtful person who says the following: "Even if torture worked, it could never be justified because it is immoral." Really? Is it immoral to waterboard someone who knows of an imminent Sept. 11-type attack? Wouldn't it instead be immoral not to do everything in your power to avoid the loss of thousands of lives? Torture in that case might be hideous, repugnant and in some rarefied way still immoral, but I could certainly justify it. This is far different than waterboarding an al-Qaida member who knows something about bin Laden's whereabouts. After all, if it took a decade to get him, a bit more time would not have mattered. Morality and the clock are, inescapably, connected. The trouble with this debate is that it has taken on an MSNBC-Fox News quality -- the need to establish uncomplicated positions. The phrase "it depends" has been chased from our political life -- a sign of feared wishy-washiness, which is, crucially, bad for TV ratings. But it would be all right with me if the government were silent on torture so that no detainee could be confident of civilized treatment or if, in a crisis, an understandable looking away was permitted. Life ain't neat. The Rorschachian qualities of "Zero Dark Thirty" have proved beneficial. We are getting a robust debate over torture that we should have had years ago, and we are finding out a bit more about it -- whether it works and whether it can ever be justified. In this way, what the film says is really less important than what is being said about it. In the category of "thought-provoking," it deserves an Oscar. Richard Cohen is a syndicated columnist with the Washington Post Writers Group. Readers may email him at cohenr@ washpost.com.

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Harry Potter Cast The "Harry Potter" cast first began their Hogwarts journey as children in "Harry Potter and the Philosopher's Stone." "Harry Potter and the Chamber of Secrets", "Harry Potter and the Prisoner of Azkaban", "Harry Potter and the Goblet of Fire", "Harry Potter and the Order of the Phoenix", "Harry Potter and the Half-Blood Prince", "Harry Potter and the Deathly Hallow - Part 1" and "Harry Potter and the Deathly Hallow - Part 2" takes the youthful wizards through a storyline that only J.K. Rowlings, author of the "Harry Potter" book series, could describe. From book to the big screen, the "Harry Potter" cast keeps Hogwarts safe and Harry Potter alive. Who are some of these crafty cast members appearing within the last release of eight Harry Potter movies? Harry Potter's best friends and family. Daniel Radcliff Has had a large following since Harry Potter began. In eight movies, Harry Potter faces dark forces, an invisibility cloak malfunction, a mirror offering false hope, Myrtle the stall ghost, Quidditch, Death Eaters, and a nasty yet popular lightning bolt scar on his head. By the time you watch the last movie Harry Potter reaches his young adult age with two best friends, Ron Weasley and Hermoine Granger. Lord Voldemort lives to kill Harry Potter's future and Harry's posse pulls it together to save the "chosen" one. Daniel Radcliffe's past performances outside of Harry Potter included his film debut in "The Tailor of Panama", his role as Maps in "December Boys", and his role as Auther Kipp in "The Woman in Black." Daniel has also won multiple awards in and out of Harry Potter. Rupert Grint Is the hot read head all the young girls are falling over to get to. Just as Harry, Ron Weasley is not a stupid guy yet can be quite annoying with the off and on inner whimpering over Hermoine, the potential girl for him. Ron is the Shaun White of the Harry Potter series, but not by hair color alone. Rupert Grint has multiple levels of skill and can dish up a swanky attitude as seen in Harry Potter. Rupert Grint took on roles such as Alan A. Allen in "Thunderpants" and Ben Marshall in "Driving Lessons" outside of his work in the "Harry Potter" movies. Emma Watson Hermoine Granger is as cute as ever and she's not a little snotty know it all anymore. She's a big snotty know it all. But her beauty, intelligence, and inner strength never seems to overcome the knowledge of her parents being Muggles, of non-magical blood. Hermoine Granger takes herself as serious in the end just as she did from the beginning. She could turn a boy into a frog if she really wanted to. Better watch out Ron Weasley! Aside from her work in the "Harry Potter" series, Emma Watson portrayed Pauline Fossil in "Ballet Shoes" and did the voice of Princess Pea in "The Tale of Despereaux." However, her strengths as an actor remains as Hermione Granger in Harry Potter. Gary Oldman Plays Sirius Black and is the dead godfather of Harry Potter. Sirius Black was killed by LeStrange in an earlier Harry Potter release but makes his reappearance. Gary Oldman is one of the most talented actors with a line of great films. But Oldman's dark side of light hearted features pretty much matches the usual way he carries himself. Meaning, good call on casting. He has been acting since the early 80's and is known for his performances in such well known films as "JFK", "Dracula", and "True Romance", to name a few. Gary Oldman has won more awards than any other Harry Potter cast member outside of Harry Potter films. He was nominated for Best Supporting Actor for "Harry Potter and the Prisoner of Azkaban." Gary Unmarried Cast

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Edward Burns: A Look At His Career As An Actor, Filmmaker, and Family Man Thursday, 2 Feb 2012, 12:16:00 AM Beverly Cohn Photo Courtesy Summit Entertainment/Myles AronowitzEdward Burns as Detective Jack Dougherty in “Man On A Ledge.” Die-hard New Yorker Edward Burns first captured cinematic attention in the most poignant “The Brothers McMullen,” a story about the struggles of three Irish Catholic siblings, which he wrote, produced, directed, and starred in. The film won the Grand Jury prize at the 1995 Sundance Film Festival as well as the Best First Feature award at the 1996 Independent Spirit Awards. His breakout-acting role was in “Saving Private Ryan” elevating his status to a bankable “movie star.” Since then he has continued making his small, and always critically acclaimed, independent films as well as working as an actor in such films as “15 Minutes,” “Newlyweds,” “27 Dresses,” “Friends With Kids,” and the soon to be released “I, Alex Cross.” Burns recently sat down with a select group of journalists to discuss, among other topics, his latest film, “Man On A Ledge,” a fun popcorn adventure caper about a man threatening to jump off a building ledge 227 feet up in the air. The film is loaded with interesting twists and surprising turns. He co-stars with Sam Worthington, Ed Harris, Elizabeth Banks, Jamie Bell, Anthony Mackie, Titus Welliver, Genesis Rodriguez, and Kyra Sedgwick. The following has been edited for continuity and print purposes. Being as multi-talented as you are, when you are hired as an actor, do you ever see things directorially that the director might be missing and do you act on it? Burns: Never. The first movie that I acted in that wasn’t my own was “Saving Private Ryan.” I knew when I showed up on that set that I wasn’t going to be offering any suggestions to (Steven) Spielberg as to where to put the camera (laughter). I went on that set thinking this could be graduate film school for me and I’m going to watch how the great master does it. What specifically did you learn from working with Spielberg? Burns: I learned a lot about working with actors and communicating with the crew, and executing different types of scenes I’d never done. For example, we we were doing two or three takes and then moving on. We’re thinking that he hates us and we’re all going to get fired. Then we have this scene where we have a fourth take and he’s giving us very specific direction and after 12 takes, we finally move on. At lunch we asked him what happened and why all the direction. He said that, ‘Today you didn’t know what the hell you were doing.’ He explained that he cast us because we were very specific types and he knew what we could do and wanted us to that in the film. He said, ‘You’ve got a lot of scenes with five guys talking to each other and I’m going to give you three takes to figure it out. You obviously made your choices and came prepared, but I don’t expect you to nail it on the first take. I’m going to give you room to get warmed up. In the first take you might hit 50 percent of what you planned on doing, but maybe missed a couple of moments. I figure by the third take I’ve given you enough room to know whether or not you’re going to find it on your own.’ Most times I guess we did. How did that experience impact on your own directing style? Burns: Prior to that experience, I was the kind of director who thought directing meant that after every take I sit down with the actors and give them some direction. The first film I made after “Ryan” was “Sidewalks of New York.” I look at the wonderful performances I got in that film, not to take anything away from the actors in my first three films, but I really gave almost no direction in that film. It was more gentle pushes and nudges sometimes to speed it up. That was the start of collaborating with my actors in a different way – encouraging a bit more and improvising. I bring them in early and encourage them to help me flesh out the characters. Actors are only concerned about the character they’re playing, whereas the writer/director has to worry about the entire piece. A good actor is going to show up and know his character much more intimately than the filmmaker, and even the writer, so I want to tap into the work they’ve done in order to help me better understand the character, and also flesh it out in a different way by adding some nuances that I didn’t think of. What did you pick up from Tom Hanks? Burns: We’ve all worked with jerks on sets, but I credit Tom with learning how to conduct yourself as an actor. He’s one of the biggest movie stars of all time and the guy shows up early every day, knows his lines, never argues with the director, knows everybody’s name, is polite and giving to everyone, and does his off-camera work with the same energy as when he’s on camera. We were all a bunch of young kids and nobody had been in a big movie before so we were constantly picking Tom’s brain about the ‘biz’ and his preparation in developing a character. The great thing about Tom is, while he takes the work very seriously, he doesn’t take himself seriously. Your character of Detective Jack Dougherty in “Man On A Ledge” tries to talk Sam Worthington’s character of Nick Cassidy off the ledge. Do you think you could actually do that in real life? Burns: Probably not. I doubt that I have that skill set. I have a couple of little kids so I’m negotiating all day long – eat your broccoli if you want to watch “The Adventures of Tin Tin” (laughter). You drive a hard bargain (laughter). Does your wonderful New York accent ever get in the way? Burns: The thing that I was most happy about in this film was that it was shot in New York and I didn’t have to deal with my accent. Sometimes I get, ‘We have to do another take because that New York s--t came out’ (laughter). Your dad was a New York Police sergeant. Did you use him in any way in developing your character? Burns: Not necessarily. He was a cop. His brother was a cop. I’ve got five first cousins who are cops – three of my childhood buddies became cops so I grew up immersed in cop culture and know how to walk the walk and talk the talk enough to fake it in a movie. There were a couple of guys I knew that you could say that while I didn’t exactly base my character on them, I did tap into that type of jerky personality where he’s pissed off at the world when he gets demoted and has to play subordinate to Elizabeth’s (Banks) character of Lydia Mercer. He’s breaking her chops the whole time and belittling every choice she makes, mocking every mistake. That’s always fun to do. It’s kind of like the character in “Saving Private Ryan” who was a similar kind of jerky guy and I think I excel at that (laughter). Does your family ever make fun of you because you didn’t become a cop? Burns: No. Even though my dad was a cop, when I expressed interest as a young guy in being a writer, he became my biggest supporter. If I ever complained early on about the business, he’d tell me to take the cop test, but now it’s too late to take the cop test (laughter). You studied literature and filmmaking. Did you ever take formal acting classes? Burns: No. In film school you start making your 16mm black and white silent films and I didn’t know any actors, so I put me and my friends in the film. As I started to make what we call sync-sound movies, that actually had dialogue, I would give myself a couple of lines. That’s how I started acting and like anybody else, I got the bug. I guess my training was making all those student films and then making “The Brothers McMullen.” How did your career change after “The Brothers McMullen?” Burns: After that film came out, I got a ton of acting offers to be in real Hollywood movies, but I knew what a fraud I was as an actor, quite honestly, because we shot that film in only 12 days and I acted in six or seven of those days. I was in the editing room and knew how bad I could be (laughter). Basically, I didn’t give much thought to the acting because I was writing a version of myself. So I decided to get a few more films under my belt. I can’t say that I took any formal training, but I studied acting and worked at it and tried to get better. Finally after three films, I felt confident enough in my ability to put myself out there and then I got “Saving Private Ryan.” Is it easier to be an actor or a director and how does it impact on your role as a husband and father? Burns: It’s easier to be a director when you make the kinds of films I make. I make these small movies in New York. I control our schedule and the number of hours we work each day and it ensures that I am there to either drop the kids off at school or be home by bedtime. I’m really lucky. I’m one of the few guys who have been able to stay in New York and one of the few independent filmmakers who has managed to stay independent in making my movies. One of the reasons is that I got lucky in that I fell into this acting career and quite honestly you get paid a lot more money acting in “Man On A Ledge” or “I, Alex Cross” than you do making independent films. That blessing has afforded me a certain level of financial freedom that has allowed me a level of creative freedom. Which New York story has not been told and would you like to fill in that gap? Burns: I have a script called “On The Job” and I’ve been trying to get it made for 15 years. It is a multi-generational Irish-American NYPD family saga ala “The Godfather.” It takes place from 1966 to 1974. We almost got it made years ago. We had the money and then lost the guy. I have one more film to do and that will be next up. That’s a big project. Burns: I need a hit (laughter). If “I, Alex Cross” is a hit, I can assure you that film will get made. Do you live a normal life in New York? Burns: Yes. My wife and I don’t ever get hassled. We live near The Greenwich Hotel where a lot of celebrities stay, so if Tom Cruise is staying there, and we happen to walk down the street, they’ll take a picture of us, but otherwise on no occasion do we get hassled. Is it easier on your family life living away from Hollywood? Burns: I don’t know really. We never gave that any thought. We’re both New Yorkers. She’s transplanted, but I’m born and bred and we both love the city. Part of the reason we were set up originally was the fact that we’re both New Yorkers who didn’t want to leave and wanted to raise our kids in the city. I love it so there’s no reason to ever leave. It gives me everything I need.

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CelebsSean Hayes Powered by imdb Sean Patrick Hayes was born and raised in the Chicago suburb of Glen Ellyn, Illinois. His father, Ronald, a lithographer, left the family when Sean was a young child, leaving his mother to raise Sean and his four siblings as a single mother. His mother, Mary, works at a food bank. Sean supported himself as a classical pianist and as a member of a pop band for five years, while attending Illinois State University, where he majored in performance and orchestral conducting. He began his post-collegiate professional career in Chicago theatre, as musical director at the Pheasant Run Theater for several years, appearing on stage in several productions as well. He also appeared in the original production of "Role Play" at the Organic Theatre.An alumnus of Chicago's famed Second City improvisational comedy group, Hayes had gigs as a stand-up comic, performing at The Comedy Club in Los Angeles. While still in Chicago, Hayes won roles in television shows as well as the television movie A & P, based on a story by John Updike, before landing the role which earned him an Emmy Award in 2001 - Jack McFarland - on the hit NBC comedy series Will & Grace. He has also been honored with a SAG Award, an American Comedy Award and a TV Guide Award as well as with two Golden Globe Nominations. Hayes made his feature film debut in 1998 in the title role of the art-house hit Billy's Hollywood Screen Kiss, which won critical acclaim at the Sundance Film Festival. He also co-starred in the box-office hit Cats & Dogs for Warner Bros Studios.Of Irish descent, Sean Hayes makes his home in Los Angeles with his long time boyfriend, now husband (as of November 2014), Scotty Icenogle, a Los Angeles music producer. See full bio on IMDb » 'The Three Stooges' Who'd You Rather? "The Three Stooges" aka Moe (Chris Diamantopoulos), Larry (Sean Hayes) and Curly (Will Sasso) are back on the big screen.Question is ...More Who'd you rather? The Wanted vs. One Direction Mark… READ MORE > - 4/14/2012 3:30 AM PDT

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A Celebration 22 March, 1982 A Celebration Lyrics Trash, Trampoline and the Party Girl Lyrics The single does not appear on any U2 album. It is considered one of the rarest of U2's regular 45s and was deleted within six months. The song was performed live for the first time on February 25, 1982 at the Uptown Theatre in Kansas City, Missouri. However, it had a short lifespan in U2's live set, played for the last time on March 1, 1983 in Sheffield. It was voted No. 2 in the Best Single category in the Hot Press Readers' Poll. The single also appeared on Rare Rock Collection - Rock Against AIDS, a 1987 compilation released by 98KZEW with proceeds to benefit Rock Against AIDS. Producer Steve Lillywhite Release Date: 22 March, 1982 Produced By: Steve Lillywhite Engineer: Label: Island Records Recorded At: A Celebration VIDEOS "On one of those occassions where they were trying to throw us out of the studio, we had to come up with something on the spot. We came up with Party Girl, which was originally Trash, Trampoline and the Party Girl, they were three characters. I was thinking of one particular character in the band. It was just something that was going on at the time. It's not really about Adam... I was just making it up as I went along." alanrbono 26 June, 2012 ALBON Great single, seen them preform it in the SFX hall Dublin December 1982 what a great gig, they made video in Kilmainham gaol Dublin pity its 30 years since they have played it Laislinnn 02 May, 2012 A Celebration One of my favourite U2 early recordings. I have a copy of it...don't remember where it came from, but it is definitely one of my favorite early U2 faves. It's so raw and alive and just says, "listen to me!!! I have something to say and something to show you!!!!". Right as they were getting their groove together and before they got clean-cut. It's wonderful! Newer comments 1 - 2 of 2 Older comments

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The BIG Story: Can The Cleveland Show Last? @youngJFK | September 28, 2009 - 10:50 pm Given the scarcity of color in primetime-and on TV, period-The Cleveland Show has a lot of showing and proving to do. While this spin-off of Seth McFarlane’s popular series Family Guy has the advantage of an already loyal fan base, earning respect will be an uphill battle, judging from last night’s season opener. Family Guy enthusiasts know Cleveland Brown as the lighthearted neighbor to the Griffin family; the token Black dude with a Southern slur that produces the word “turrible.” The spin-off’s premise: After losing his home in a divorce, Cleveland leaves the town of Quahog with his pudgy 14-year-old son Cleveland Jr. and ends up reuniting with high school crush Donna (Sanaa Lathan). She has an Afro’d five-year-old son and a teenage daughter and proclaims strangely that “these kids need a man in their lives and I need a man.” Fittingly, she and Cleveland get hitched. Mike Henry, who is White, voices the character of Cleveland. Although he plays a Black man convincingly, it’s unfortunate that a real-life African-American actor couldn’t land that speaking role. The covert blackface doesn’t impede the show’s racial humor, but it does perhaps make the jokes more cliché than Tyler Perry gags: A smack-talking son, a white neighbor attempting slang (“Sup dog?”), an obligatory Black president remark. Not surprisingly, the funniest portions of the premiere were the Family Guy-derivative elements: Absurd flashbacks (R. Kelly posing as a toilet), and baby Stewie, who after bidding farewell to the “chocolate people” gets up in arms about the spin-off (“What the hell?! He’s getting his own show?”). Otherwise, Cleveland is more leisurely than its parent series. When raunchiness is present, it’ll rarely be on behalf of its leading man, who has a more down-home anti-angry Black man quality about him. The most infuriated he gets in episode one is when he speaks through clenched teeth to Donna’s daughter’s love interest Federline Jones. Such diluted comedy has led to early reviews of Cleveland being either lukewarm or disapproving. L.A. Times wrote: “For those who love and admire ‘Family Guy,’ ‘The Cleveland Show’ offers another version, slightly watered down and…much less smart… ‘The Cleveland Show’ is neither sweet nor particularly funny, neither a family comedy nor a true satire.” Variety wrote: “For those who buy into the MacFarlane formula… this is all riotous fun. For the rest of us, it’s a bit like Dane Cook’s stand-up act-a reminder that what tickles current teens and twentysomethings is often markedly different from the satirical material that amused their parents.” Since the series has already been renewed for a second season, Fox must have hope that it’ll grow on viewers. But getting a cartoon off the ground can be challenging even without the added difficulty of a starring minority household. Cleveland isn’t the first Black cartoon to nab a primetime slot; remember Fox’s Eddie Murphy-backed stop animation series, The PJs? Created in 1999, the claymation earned consistently impressive ratings and nabbed three Emmys, but faced backlash for it’s depiction of Black life. Spike Lee called it “hateful towards Black people.” Even some mainstream cartoons get a bad rap out the gate. See The Simpsons, particularly the character of Bart, who was considered to some a negative influence on kids. Meanwhile, Family Guy was initially disregarded as a cheap Simpsons knock-off. Other times, logistics inhibit an otherwise popular cartoon. Debuting in 2001, the WB’s animated series The Oblongs had trouble finding footing, only airing two episodes before being cancelled. It soon made a comeback when Canadian network Teletoon picked it up, followed by Cartoon Network. And despite its debut pulling in 19 million viewers on Fox, sci-fi cartoon Futurama suffered from a wavering time slot. After being cancelled in 2003, the show has also been rejuvenated via Cartoon Network. Even with rocky starts, good cartoons prevail. The fate of Cleveland Show seems promising, as the New York Daily News put it: “If ‘The Cleveland Show’ isn’t quite as sharp-tongued or focused yet as ‘Family Guy,’ it’s got the eccentricity to fit into broadcast television’s most off-center evening.” Viewers-especially fans of MacFarlane’s Family Guy and American Dad-will likely stay tuned to watch how the series grows out of its stepchild role. It’s either that, or House of Payne. Choose wisely. -Clover Hope Watch the pilot episode of The Cleveland Show below: American Dad, Cartoon Network, Eddie Murphy, Entertainment, Family Guy, Futurama, Mike Henry, Peter Griffin, Sanaa Lathan, Seth McFarlane, Stewie Griffin, The Cleveland Show, The Oblongs, The PJs, The Simpsons 0 Jennifer Lopez Snatches Britney Spears’ Crown In Vegas Residency

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TV Your Balance +tax Hard to believe this NYPD boy is the chosen one By: Brad OswaldPosted: 02/26/2013 1:00 AM This article was published 25/2/2013 (1276 days ago), so information in it may no longer be current. Who knows what the future holds?Well, when it comes to the new CBS cop drama Golden Boy, we do. CBSMcBride (left) and James (centre) find themselves out on a ledge in Golden Boy. The series, which premieres tonight at 9 (on CBS and its Canadian home, CTV), focuses mostly on the present-day exploits of New York City detectives, but the storyline gimmick that drives the narrative is that one of them -- ambitious and aggressive newbie homicide investigator Walter Clark (played by Theo James) will, within seven years, rise through the ranks to become the youngest police commissioner in the history of the NYPD.Knowing that, however, doesn't spoil the fun of watching what turns out to be a slightly better-than-average police drama filled with recognizable but likable New York cops who seem directly descended from the crew on NYPD Blue.One of them, in fact -- Det. Deborah McKenzie, played by Bonnie Somerville -- bears more than a striking resemblance to Blue's Det. Laura Murphy (played by Somerville in that storied series' final season).Mostly, what makes Blue and Golden a workable colour match is their shared affection for the grit, attitude and clipped conversational rhythms that are the hallmarks of set-in-New-York cop shows. It's a case of familiarity breeding affection rather than contempt.There is the matter of time-jumping to be considered, however, and in the first few episodes, it seems like Golden Boy's producers are still trying to figure out what to do with it. The pilot episode appears to open in the present, with Clark being interviewed for a magazine article about his meteoric rise to the top cop job; when the action flashes back to the beginning of his career, however, it becomes evident that the "present" in the opening is actually the future, and the "past" in the flashback is really more or less the present.By the end of Golden Boy's prèmiere, viewers will likely feel like they've been jerked back and forth through time more than enough. The good news, for those who like the characters and are inclined to give the series a second chance, is that the gimmick is employed much more sparingly in subsequent episodes.Clark's journey up the career ladder begins when his quick action saves the life of his uniform-cop partner; when the commissioner offers a promotion as a reward for his heroism, Clark requests a spot on the NYPD's homicide task force -- a job reserved for detectives with at least a decade's field experience.Clark gets what he wants, but it turns out to be more than he bargained for, because his new squad-room mates are reluctant to accept a pushy young upstart who hasn't earned his gold shield in the traditional manner. He's partnered with the team's most senior detective, Don Owen (Chi McBride), and to say the two get off to a prickly start is something of an understatement.Owen, who's trying to survive the final two years before retirement with a minimum of turbulence, becomes a reluctant mentor to the new kid. Beyond their pairing, the room is filled with big egos, blunt talkers and frequent nose-to-nose confrontation, and Clark soon finds himself facing off against Det. Christian Arroyo (Kevin Alejandro), Owen's former partner, to determine who's going to be the homicide squad's alpha male.The case-file stuff is pretty much standard-issue cop-drama fare, with office politics often playing as big a role in investigative outcomes as basic clue-gathering. McBride, ever a towering presence who's as reliable as an all-pro tackle protecting his quarterback, anchors the partnership angle in a way that allows James, as Clark, to alternate between being a cop with good intentions and instincts and a career climber willing to cut corners and blindside colleagues for personal gain.In the end, Golden Boy's signature element also turns out to be its most obvious limitation. The guy in the future isn't quite convincing as the NYPD's leader, and the guy in the present doesn't really seem to possess the attributes that might, not too far down the road, allow him to rise to that lofty position.And because of that, it's probably harder to imagine Golden Boy being around seven years from now than it is to consider its central character's unlikely success.brad.oswald@freepress.mb.ca Twitter: @BradOswald Read more by Brad Oswald. Golden BoyStarring Theo James, Chi McBride, Kevin Alejandro and Bonnie SomervilleTonight at 9CBS and CTV3 stars out of 5

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Youth on the go Rushmore, a film directed by Wes Anderson, written by Anderson and Owen Wilson Rushmore suggests a place for American heroes in a hurry.* Max Fischer (Jason Schwartzman), whose own name conjures up a Nobel Prize-winning physicist or a precocious chess champion, attends Rushmore, a private school somewhere in America. Far from giving into fashionable lethargy and sloth, Max is very active. He belongs to (or runs) the debating club, the French club, the beekeeping club, the flying club, the gun club, the chess club, the astronomy club, the calligraphy club, the fencing team, the Junior Varsity decathlon team, the school paper and more. He's at Rushmore on a scholarship; his father is a barber, although Max tells everyone he's a brain surgeon. Max is short, wears glasses and braces, and dresses nattily in the school blazer. Unfortunately, he's not a good student and faces the imminent end of his Rushmore career. Does Max keep so active to ward off despondency? Who knows, but he responds to a brief, misanthropic speech given to the assembled student body by Herman Blume** (Bill Murray), a millionaire and Rushmore alumnus-supporter. Blume has two dreadful sons and a wife he doesn't care for. He seems on the verge of mentally checking out. When he jumps into a swimming pool he would like to stay submerged if he possibly could. He and Max strike up a friendship. Blume looks up to Max, who is always on the go. Max, 15, develops a crush on an elementary school teacher and young widow, Rosemary Cross (Olivia Williams). He begins doing things for her, like bringing her lemonade, buying exotic fish and building (with Blume's money) an $8 million aquarium on the school's baseball diamond. (Max is not easily diverted. When the teacher tells him that a relationship between the two of them is out of the question, he responds, "I understand, you're not attracted to me. C'est la vie!") For the last activity he gets expelled from Rushmore. Blume develops an interest in Miss Cross too, which sets the two men against one another for a time. They both have nasty and underhanded streaks. In one scene, for example, Max shows up at the teacher's window at night, claiming to have been struck by a car while riding his bicycle. While she goes to fetch some water for his fake wound, he hops on her bed and in the same motion pops some French chanteur in the tape-deck. However, Miss Cross, who's actually very sweet, can take care of herself, one feels. Filmmakers Anderson and Wilson ( Bottle Rocket, 1996) obviously feel that young people have gotten a bad name, and they are determined to set the record straight. I think they're on to something. As a rule adolescents don't want to sit around and do nothing; they're burning up with energy, plans, loyalty, love. Max may suffer from a few delusions--he tells Miss Cross, for example, that he's applying to Oxford and the Sorbonne, with Harvard as a fall-back--but he is capable of extraordinary things too. We learn that he was admitted to Rushmore on the basis of a one-act play he wrote in the second grade about Watergate. He has founded and operates his own theater company, the Max Fischer Players. The snatches of his plays we see are some of my favorite moments in the film. First, there's a version of Serpico, with a young boy dressed as a nun acting as a look-out for an undercover police operation. Max plays some kind of lowlife in sun-glasses in a second piece. The third play, entitled Heaven and Hell, seems loosely inspired by Oliver Stone's overwrought Vietnam drama Heaven and Earth, among other things. Max gets school bully Magnus Buchan***, whose Scottish accent makes it difficult for American ears to grasp his curses and threats, to play a leading role in the last piece. Max also casts Margaret Yang, who has a crush on him, as a Vietnamese freedom fighter and potential love interest. The theater pieces are immaculately done miniatures. Bill Murray is excellent as the wilted and then flowering Blume in Love. He is one of the best American performers around in any medium. Seymour Cassel is memorable as Max's humbled but supportive father. Schwartzman is remarkable as the energetic, large-minded but imperfect Max. Anderson and Wilson, who attended the University of Texas together, have made a film with something very human and charming about it. In passing, Rushmore makes the point that people of all sorts can get along. It also makes a compelling argument for honesty, earnestness and obsession. At times the film grows self-consciously quirky and it raises some tricky problems that the filmmakers are perhaps ill-equipped to treat, but as a whole, it is a delight. * Mount Rushmore rises 5,600 feet in the Black Hills in South Dakota. Gutzon Borglum carved 60-foot portraits of George Washington, Thomas Jefferson, Abraham Lincoln and Theodore Roosevelt in its granite face from 1925-41. ** Businessman Hermann Karlovich, who suffers a breakdown, is the central figure in Vladimir Nabokov's Despair; Jewish Dubliner Leopold Bloom is the protagonist of James Joyce's Ulysses. *** John Buchan was a talented Scottish adventure writer ( The Thirty-Nine Steps, 1915) and proponent of British imperialist bullying; later governor-general of Canada. Café Society: Woody Allen’s love letter to the wealthy and famous Suicide Squad: The latest comic book film Captain Fantastic: An anti-establishment superhero? Chasing Asylum: Exposing Australia’s brutal refugee-detention regime Documentary director Eva Orner discusses Chasing Asylum A portrait of photographer Robert Frank Season 3 of Netflix’s BoJack Horseman: Hollywoo(d) and mental illness Sleeping Giant: Deception and lies about the “new” working class Turkish regime imprisons and harasses artists, journalists and academics after coup attempt

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Al Mihrab Architecture, Media Activism, Islamic Art and Halal Food Archive for Call Centers Rizwan Manji: Taking Jobs From White America Posted in Books/Magazines, Islam, Media, TV/Film with tags 24, America, Arab, Call Centers, Canada, Hindu, Hinduism, Hollywood, ILLUME, India, Indians, Islam, Jobs, Magazine, Media, Middle America, Muslim, NBC, Outsourced, Outsourcing, Paan, Rizwan Manji, Sikh, Stereotypes, Terrorist, White on December 18, 2010 by irydhan I interviewed actor Rizwan Manji from NBC’s “Outsourced” for ILLUME Magazine (www.IllumeMag.com). He talked about what its like to be Muslim in Hollywood and the importance of ‘good Muslim’ roles. How did you get the part of Rajiv Gidwani on NBC’s “Outsourced” ? I was sent the script for the Pilot and thought it was hilarious. As an Indian, I could relate to some of the characters who share the same culture as me, and this was the first time that I have heard of a major TV sitcom about South Asian culture. I initially was called in to audition for the role of Gupta (played by Parvesh Cheena) and did not get the role, but after the producers could not find a suitable actor for the role of Rajiv, they called me in again and I got the part. Many people who watched the pilot episode, felt the show was filled with too many stereotypes and was not really a funny show. How do you respond? The pilot episode was basically a quick introduction to all the eight main characters. We basically have 22 minutes to introduce each person and you don’t really have much time to go into that much detail of each character. It is a pretty standard set-up as most TV sitcoms and if you have seen other shows such as Friends, etc. you will see that in the beginning they quickly introduce each character and you see how each character is on the surface (i.e. so and so is the dumb character, etc.). The main goal of any sitcom is to entertain and establish an audience who is willing to come back to watch again. Will the TV show go into the different religions of the characters or stay focused on the culture of India? Currently there is one call center worker, Samina, who is a Muslim women who wears Hijab (played by a Non-Muslim) and she does interact with my character (my character is Hindu) in a future episode, but at this point in time the TV series is not focusing on religion and when references are made it is mostly the Hindu religion. As a Muslim of South Asian descent, you are familiar with the tradition of parents limiting their children’s field of study to medicine or engineering. How did your parents react to your decision to get into acting and were they supportive of you? I was pretty lucky, because my family was very supportive of me. At first my parents did not really understand why I wanted to be an actor and also how I would be able to make a living out of it, since they came from a background, like most South Asian parents, of leaving their homeland (Tanzania), going to another country (Canada) and working hard to allow their children to go to a good university so they can become a doctor or lawyer, etc. My parents never told me no for acting, but they did encourage me to go to school and get a degree as a back-up plan. I did go to school in Alberta for one year, but afterwards decided that I want to study acting at the “American Musical and Dramatic Academy” in the United States. It was difficult to get in and also I didn’t have any money to pay for tuition, so I obviously had to ask my parents for help. I thank my sister, who really was able to sit down with my parents and convince them that this is what I really wanted to do. Now, my father is really excited about the whole acting thing and whenever he spots an opportunity for a South Asian role, he tells me to apply for it and kinda acts like my manager! As a Muslim, do you think it is important for more Muslims to get involved with acting in TV and Films? Definitely. Muslims need to be involved and active. TV is watched all over the world, especially TV which is produced here in America. It is the most visible platform we have now. If majority of the world sees only evil Muslim characters and roles on TV, that is detrimental to everyone, not just Muslims. There needs to be a greater presence of Muslims on TV. Were you offered any negative roles in terms of portrayal of Muslims and how did you respond? Yes, I received many offers which portrayed Muslims in the stereotypical manner of just killing someone and yelling something in Arabic. I turned down many of these roles. But some of them I did debate whether to take them or not. For example, I was offered several roles to be a terrorist on the series “24”, which I turned down, but in the last season, they had several characters who were “good guy” Muslims (such as Anil Kapoor’s character). So when I was offered a job to play a small role of a bad guy, I accepted it, since I saw that a major character was portraying a “good brown Muslim person”, so it wasn’t a one sided thing, where all the muslim characters are bad. But I do struggle with these roles and turn down something if it makes me feel uncomfortable. What advice do you have for young Muslims who are interested in becoming actors? If it’s your passion, then go for it. But don’t think that you will become rich quick. It’s a struggle and is not easy work. I have been working in this business for 15 years now, and had to do a lot of side jobs along the way. There is very little money in the beginning. But if you like it and have a passion for it, then do it! Al Mihrab at Patheos.com Why I Eat Halal Food (Part 1)I started eating fully Halal when I was about 16 years old. At that time most of my Muslim friends did not eat fully Halal and it was only after learning about Halal in Sunday school that I started to take it more seriously. When I was growing up in the 80’s and 90’s there [Read More...]ISF – Abdul Sattar Rydhan Media ScholarshipDear Friends and Family, My family and I recently initiated a scholarship through the Islamic Scholarship Fund (ISF) in memory of my late father, Abdul Sattar Rydhan, who passed away 8 years ago this month. We named it the ISF-Abdul Sattar Rydhan Media Scholarship. He loved his community and had a passion for media activism, [Read More...]29 Bay Area Halal Eats for #SuperBowl50 FoodiesOne of the largest sporting events in the country, SuperBowl50 will be coming to the San Francisco Bay Area on Sunday February 7th, 2016. Thousands of people around the world will be visiting the Bay Area during the nine days leading up to the Big Game, from Jan 30th to Feb 7. San Francisco is [Read More...]Lessons from a Halal RestaurateurRecently I sat down with Ali Malik, a native of the SF Bay Area and an American Muslim entrepreneur, who stumbled into the Halal restaurant business accidently after being in the banking and finance industry for 8 years. A few years after the financial collapse of 2009, Ali became a partner at Falafel Corner in [Read More...]FAUX NEWS: Trump Dislikes New Star Wars Movie! (Parody)For Immediate Release: FAUX News (Dec 25th, 2015): Trump Dislikes New Politically Correct Star Wars Mr. Trump issued a statement after watching the latest Star Wars film, “The Force Awakens” on Dec. 25th at a press conference: “I’m a fan of Darth Vader, so was disappointed that he was not in the latest Star Wars [Read More...]VIDEO: Avoid Common Mistakes on Mosque Projects (ISNA CHICAGO 2015)Special Thanks to ISNA for providing us with the raw (unedited) video footage from our Presentation at the 2015 ISNA Convention in Chicago. Also thanks to my friend Javaid Malik for editing the video and making it presentable, since the original video was unfortunately not recorded professionally. Feel free to share the video with anyone [Read More...]Avoid Common Mistakes on Mosque Projects – Part IIChristopher McCoy and I were invited to do another Mosque panel discussion at ISNA’s 52nd Annual Convention held in Chicago, IL this past Labor Day weekend (Sept 4th to 7th, 2015). We doubled our panel size and added two more speakers to join us this year. We made sure to have a Muslim woman Architect [Read More...]Super Suhoor Smoothie! Suhoor (or Sehri in Urdu/Hindi) is the pre-dawn meal, which Muslims wake up (or try their best to wake up) for getting some food and drink in before the long day of fasting ahead. Nowadays with the small food processors like the “magic bullet” and others, you can make quick and easy smoothies that [Read More...]Free Advice for Architecture Design ClientsOver the past couple of years, people have asked me for advice on building design and construction projects. Some of these are for private residences and others are for larger commercial or assembly projects. I thought some of them are good to share because a lot of people have similar questions regardless of the type [Read More...]SuperBowl Recipe: La Taquiza PoutineHere is another great recipe for your SuperBowl party (or any other get together) by Nyela G. from Mississauga, Canada: La Taquiza Poutine This is a twist on the classic poutine blends together the Mexican culture with a French classic. By incorporating chicken, sour cream and guacamole to the poutine, it makes a hearty entrée [Read More...] Create a free website or blog at WordPress.com. Al Mihrab Blog at WordPress.com. Follow Follow “Al Mihrab”

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PABLO FRANCISCO Purchase Tickets 10:30 PM UP Comedy Club, Chicago, IL Preview Video Feature: Sean Savoy and Chris Fonseca MC: Kandace Saunders When Pablo Francisco hits the stage, he immediately brings his audiences to their feet with boisterous laughter and applause. He weaves together his arsenal of characters, spontaneous outbursts, and clever insights to create a stand-up show that more resembles an hour-long comedic jazz riff. He is an off-the-wall, animated character that points out the absurdity in an illogical, pop-culture obsessed world. His unmatched take on all things pop culture has taken him into the ranks of the most popular touring comedians worldwide. Pablo’s enormous popularity and outrageously funny material has hooked millions of viewers on YouTube and Facebook. Pablo’s latest ONE HOUR special, They Put It Out There, will be released this fall, followed by a worldwide tour. In the spring of 2009, Pablo completed a European tour where he sold almost 20,000 tickets in 9 cities across Scandinavia (the Fall 2007 Tour sold 30,000 tickets in 30 days). Concurrently, Pablo is packing colleges and major concert venues across the country. Francisco recently contributed self-produced content to digital campaigns for Nokia, Absolut and Rhapsody. It is not uncommon to sense the anticipation of Pablo’s audience as his fans await their favorite impressions, while being surprised by his unpredictable transformations. Those who experience Pablo’s show for the first time find themselves captivated by his hilarious dead on impressions. Gene Lavanchy of FOX – TV Boston calls Pablo “the most talented comedian in the business today”. His unbelievable ability to physically morph himself into movie stars, singers, friends, family, and a multitude of nationalities give Pablo’s show a universal appeal. His drop-dead funny spoofing often leaves his audiences struggling to catch their breath which is the driving force behind his huge success. His rendition of the intensely melodramatic Spanish language soap operas on Telemundo and his narration of the action-movie preview with Arnold Schwarzenegger as a tortilla vendor bring screams of laughter coast to coast. This gifted performer continues to thrive on his creativity and the spontaneity of stand up comedy selling out concert venues, universities and comedy clubs alike. Pablo continually pushes the envelope, constantly refining new material and frighteningly accurate embodiments. Pablo's first critically acclaimed ONE HOUR special on Comedy Central entitled “OUCH!” continues to stay on the network’s most requested list. DVDTALK calls “OUCH!” “Truly original and funny”. His much anticipated follow-up Comedy Central Special is due out in 2011. In addition to his Comedy Central specials, Pablo has appeared on "The Tonight Show with Jay Leno", Comedy Central’s “The Show Biz Show w/ David Spade” and “Mind of Mencia”. He has also been a cast member on the Fox Network's sketch comedy show "Mad TV,” TBS’s “Frank TV,” and made his debut appearance on Howard Stern’s radio show in 2009. 90 minute show no intermission

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Summer TCA: Live from Beverly Hills -- NBC Getting Cranky Peter Ames Carlin, The Oregonian on July 20, 2008 at 3:58 PM, updated July 21, 2008 at 11:22 AM Light at the end of the tunnel for the press tour. These two days with the NBC Universal Megalopolis, or whatever it is they call it, are the last days of the press tour. Way more amusing than the real thing. Which you'd think would make the gang cheerful, but in fact it does the opposite. Too many days of too much to do and way, way too much to eat and drink. The deepening realization that real life is only a day or two away. And that the people we left behind there might not be entirely happy to see us when we get back. Not the burned out, hungover, bitter versions of us, at any rate. Another buzz kill: NBC-Universal. Not because the shows aren't good. "Friday Night Lights," "30 Rock," "The Office," "Earl," etc. NBC, and its various corporate components, is/are eminently capable of making brilliant TV shows. But the corporate culture at the network, at least as it comes reflected to us here on the press tour, is aggravating to the extreme Start with the executive presentations made by each of the NBCU channel/network heads. Note how each speech proceeds with exactly the same stage direction - the exec starting out at the lectern on the side of the stage, but then after a minute or two, making precisely the same gesture of leaving the lectern to pace the stage, all casual-like. Only there's obviously nothing casual about it, not the least bit. Because they're reading their lines off of the big prompter at the back of the room. With the assistance of which they are all able to prattle on and on about the joys of corporate synergy, and branding, and franchising, and so on. Bonnie Hammer, president of NBC-Universal cable entertainment, and some array of other related branches of the NBCU omniverse, delighted the crowd with a soliloquey that began promisingly enough with talk of "the main priority" being the sacred task of "finding unique material with great entertainment value." So far so good. But that ten words was followed by 77 others that revealed, perhaps, the real heart of the matter. "But equally important," she continued.... "But equally important, we're going to be looking down the line to figure out from the get-go how to turn each property into a franchise ultimately becoming its own distinct brand. What platform should it spring from? Online, mobile, DVD. Are there possibilities for game? Merchandising? Will it work internationally? All these factors and more will be considered for every project before we press go. It's all about owning and managing a franchise for the entire life span." . It's poetry, isn't it? I'm sure that sort of stuff kills at the upfronts, when the audience consists primarily of advertising buyers and corporate execs and every other kind of MBA you can imagine. But if you happened to be a TV critic, as so many members of the TV Critics Association turn out to be, or even just a person with a more content-oriented type of perspective (e.g., the average viewer) you might find that kind of full-throated arias to commodification to be, oh i don't know, just a teensy bit off-putting. Or maybe that's just me. Sunday's first major NBC network session turned out to be the last session of the day: a with conference with the "SNL" gang. Lorne Michaels, and Seth Meyers and Fred Armisen and Andy Samberg andKristen Wiig, and on and on. And so there were a lot of questions about politics and such, and Armisen very quickly ended up on the griddle, with particular emphasis on his Obama imitation. And why so many people didn't think it was particularly successful. Not as funny as the real thing. And the real thing isn't even funny He shrugged. He waved it off. He shucked He jived. Tried to make up something funny to make the question go away. Except for that nothing he said was especially funny, and no one was laughing. Check that: a few people were laughing. A lot. And guess who they were? Yes, that's right: the rest of the "SNL" cast. Who were, happily enough, terrifically amused by Armisen's riffs. Which, on a human level, was very sweet and generous of them. You like to see that in a person, and in a group: mutual support and enjoyment, no matter what. Very nice. But as one of my colleagues notes, may be what "SNL"'s real problem is -- the only people who are truly amused by it are the people who work on "SNL."

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Tees Maar Khan: The Con is on the Web! Movies, News | September 28, 2010 Pooja Rao Share on Facebook Share on Twitter+ The buzz around Farah Khan’s next Tees Maar Khan has been strong ever since the first reports came out. The film, produced by Twinkle Khanna, Shirish Kunder & Ronnie Screwvala wrapped up shooting last week and is preparing for a Christmas release. Ever since that first announcement, the film has been hitting the headlines. First, it was the casting of the super-hit jodi Akshay and Katrina together, then came Katrina’s much-hyped item song and the tag of being the next Jhumma Chumma girl. Subsequently, tongues were set wagging with the news of the “now-together-now-separated” pair of Salman-Katrina being paired up for a song in the movie. Most recently the rumoured spat between the lead pair set the gossipmongers on hot pursuit for spicy stories. Nonetheless, all this publicity led to a great build-up and fans were impatient for the first look and promos of the film. On the sidelines, while Farah Khan was struggling to get her triplets to shoot for a cameo for the end credits, hubby Shirish Kunder is busy donning multiple caps of writer, producer, editor, debutant music composer and lyricist for the film (along with Vishal and Shekhar) as well as composing the background score. Shirish is especially elated about his composition for the film’s title track, for which Sonu Nigam lends his voice in 50 different ways, Shirish says, “Sonu Nigam, who has sung the title track, needs an exceptional mention and credit for the wonders that he has done to this track. He has sung the same song 50 times in 50 different voices! Of the 50 odd voices, there are male voices, female voices, the chorus and also Chinese girl’s voices. Sonu has sung all of these voices. And even in the male voice, there are 4 different voices. Each and every vocal that one hears is sung by Sonu Nigam! This is a song that tells us about all the characters in the film.” While the first look was out over the weekend, the official website for the film was announced earlier today! Going by the theme of snazzy and sharp con-game, the background music composed by Shirish, a delectable mix of James Bond meets Pink Panther, is intriguing and catchy. Get a glimpse of the biggest conman, Tees Maar Khan on www.teesmaarkhan.net. View all posts by Pooja Rao →

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Grangeville Sunset Auto-Vue Mount Idaho Grade Road at Grangeville Salmon Road, Grangeville, Blue Fox Theatres (Official) Movies (First Run) Blue Fox Theatre Mode Theatre Kooskia Opera House Kamiah Theater This drive-in opened in 1955, closed in 1986, and was reopened in the late-1990’s. It’s the only operating drive-in in central Idaho. (There are none left in northern Idaho; all the others are in the southern part of the state.) The Sunset Auto-Vue may enjoy a unique status in that its marquee is several miles away from the actual drive-in. There is no signage of any sort at the site itself. However, the same owners operate the historic Blue Fox Theatre (built in 1930) in downtown Grangeville, and they use the left side of the marquee to advertise whatever double feature is showing at the Sunset Drive-In. The drive-in is open weekends only, May through October. Speaker poles still fill the lot, but the transition to FM sound was made some time ago. Despite the lack of signage, the wooden fences separating the lot from the highway are colorfully painted. You can see hills and mountains from the lot, which is immediately surrounded by farmland, so it’s a very pleasant setting. It’s on the road to a ski area near the town of Mount Idaho, but it’s off the two major highways that go through Grangeville, so expect to stop and ask for directions! If you surf the web, you can easily find a story that was done on the reopening in Boxoffice magazine, which includes a photo of the screen in its dilapidated early-1990’s state. It explains that the family that owns the Blue Fox Theatre became frustrated at being only able to show one picture a week, and it came to them that by refurbishing the old property, which they still owned, and putting on double features, they could have three films running a week, in the summer, at least. They don’t have much competition; the nearest open theater to the south is the Roxy Theatre in Cascade, a two and a half hour drive, and the closest to the north would be the Liberty Theatre in Lewiston, more than an hour away. Chris Willman SteveSwanson This is a cool drive-in, although in a remote part of the state. The screen blew down in January of 2008. Instead of closing down, they bought a new Selby tower. The snack bar has good food & prices. Here is the correct address: Mt Idaho Grade Rd & Grangeville Salmon Rd, Grangeville, Idaho, 83530 Website: http://www.bluefoxtheater.com/sunset-auto-vue

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In end, you get what you settle for By Ronda Rich August 27, 2013 11:30 p.m. It has long been my belief that the dreams tucked into our hearts are the compass we’re given to find our direction in life. Children know at an early age what they’re called to do. Sadly, too few grow up to follow that calling because life’s demands and sensibilities get in the way.The key, I have decided, is to grow up brave enough and bold enough to follow our dreams, regardless of how crazy they may seem to others. Strong perseverance and determination will lead to the fulfillment of our passions. Believing that, I’m always looking for stories that underscore my philosophy. I read a story in Vanity Fair magazine that inspired me so much that I ripped it out and kept it.In 1975, Sylvester Stallone, then an unknown actor, convinced producers Robert Chartoff and Irwin Winkler to take a look at a movie script he had written about a fighter. It turned out to be a great script, so United Artists offered Stallone — starving and down on his luck — $250,000 to buy the script and star someone like Burt Reynolds, the hottest movie actor at the time, in it.Stallone, despite his growling stomach, stood firm. He wanted to star in it himself, and Chartoff and Winker promised him that chance. The producers bravely guaranteed the production against a small budget, shot it in 28 days and persuaded United Artists to release it in time for the Academy Awards. Critics panned it and the producers, standing outside the theater on opening day and bemoaning their luck, thought it was all over. Actor Peter Falk of “Columbo” fame walked up and said, “Go inside. The audience is standing and cheering.”The public bought what the critics hated and the studio had been wary of. Rocky went on to win best picture and two other Academy Awards. Stallone refused to settle. He saw it through to the end to get exactly what he dreamed of. And that’s another thing I believe — you get what you settle for.I’ve known Rich Middlemas for seven or eight years now. It is a friendship that was seeded when he contacted me about a book I had written to inquire if the movie rights were available. He’s an important part of my history in a couple of ways, one being that we lunched together in Los Angeles a couple of hours before I met the man I would marry. We still laugh over that day’s conversation when I explained that I was meeting “John Pinker” about a movie he was writing. I had completely misunderstood his last name due to a sinus infection that kept me from hearing well over the telephone.Rich’s story inspires me as much as the Rocky story. He was born in Atlanta and graduated from the University of Tennessee, another reason we connect: We’re both raised in the South. Southerners stick together, you know, especially in Hollywood. It’s a necessity, really.He loved film and the business of it. Unlike many who dream of going to Hollywood, he didn’t want to be an actor. He wanted to produce. His parents cheered him on. Shortly after landing there, he was hired as the assistant to the president of MGM (now Sony). He was gutsy enough to step out on his own and start looking for work he could option. One day, while reading online the high-school recruiting reports for Tennessee, he found a story about a football team in Memphis. He has an eye for a story. So he and two buddies produced a documentary called “Undefeated.” I was watching the Academy Awards from bed the night they won the coveted award for best documentary. I jumped up and cheered, not for the victory, really, but for the journey.I love dreamers who have courage. That’s even better than an Academy Award.Rich is the best-selling author of “There’s A Better Day A-Comin’”. Go to www.rondarich.com to sign up for her newsletter.

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Behind The Song: Miranda Lambert And Blake Shelton’s ACM-Nominated ‘Over You’ Filed Under: ACM Award, behind the song, Blake Shelton, Interview, Miranda Lambert, Only CBS, over you Kevin Winter/Getty Images for Stagecoach If it wasn’t for a telling comment from Blake Shelton’s father, the ACM Award-nominated song “Over You” might never have been recorded. Written by Blake and his wife Miranda Lambert, the touching song is about the loss of Blake’s brother, who was killed in a car accident when Blake was a teenager. “Over You” was recorded by Miranda and released on her album Four the Record, and it hit Number One last year on the country singles charts. This year, “Over You” been nominated for Song of the Year and Single Record of the Year at the 48th Academy of Country Music Awards. (Blake and Miranda are also each in the running this year for ACM Entertainer of the Year.) As Blake explains to Radio.com, “Over You” is a song he and Miranda wrote “because we were talking about my brother. And that’s how those things should happen, probably. It was really a way of healing, and honoring my brother’s memory.” Blake tells Radio.com, though, that the initial idea for the song actually came from a comment his father made. Read more about “Over You” on Radio.com

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Film Academy Invites 683 New Members To JoinSix months after announcing intentions to double the number of female and minority members in its ranks by 2020, the Academy of Motion Picture Arts and Sciences has invited 683 new members to join the organization.Dustin Hoffman Says Oscars Have "Always Been Racism"Dustin Hoffman feels there's a systemic racial problem in America that goes beyond the Oscars. "It's always been racism. It's kind of a reflection of what the country is," the actor explained.Spotlight, DiCaprio, Larson Winners In 88th Annual Academy AwardsThe movie Spotlight takes best picture honors at the Academy Awards. Leonardo DiCaprio wins his first Oscar as best actor for his role in The Revenant.Joe Biden: Live From LA, Introducing Lady Gaga At The OscarsLive from Los Angeles, introducing Lady Gaga at the Academy Awards, it's Vice President Joe Biden.From GRAMMYs To Oscars, Sam Smith Is Reaching New HeightsThough Sam Smith has mingled with Hollywood's elite thanks to the success of "Writing's On The Wall" — the Oscar-nominated, Golden Globe-winning James Bond theme song — he feels like the glitz is just a bonus.Will Smith Joins Wife In Oscars BoycottWill Smith said that he will not attend the Academy Awards next month, joining his wife, Jada Pinkett Smith, and others in protest against two straight years of all white acting nominees.Growing Academy Boycott After #OscarsSoWhiteAmid calls for a boycott of this year's Academy Awards over its all-white acting nominees, the organization's president said that it was time for major changes to take place -- and soon.Original Song Nominees At Oscars Is Battle Of The Pop StarsThe race for best original song at the Academy Awards is a full-blown battle of the 20-something pop stars, with Lady Gaga, Sam Smith and the Weeknd up for the honor this year.Nominations For The 88th Academy Awards AnnouncedThe latest on the 88th annual Oscar nominations announced Thursday in Beverly Hills, California, by the Academy of Motion Picture Arts and Sciences. Vin Diesel Says Oscars Weighted Against Action FilmsVin Diesel said Friday that the latest "Fast & Furious" film deserves a best picture Oscar but has two strikes against it when it comes to the Academy — it's an action flick and it's a sequel.This Week: Madonna Tumbles & Lupita's Dress Is MissingThis week, a Queen falls and a (not-so-classic) whodunit happens in Hollywood."Birdman" Tops Oscars Defined By AdvocacyThe 87th Academy Awards elegantly and subtly shifted the tone of the season from a fixation on snubs to a positive celebration of original filmmaking and advocacy. Listen Live

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» Film: Previews and Reviews Review: 11 Feathers Ken Korman on an unsentimental coming-of-age drama from China Ken Korman Thru Mar 7 11 Flowers 7:30 p.m. Wed.-Thu. 1618 Oretha Castle Haley Blvd. www.zeitgeistinc.net An unsentimental coming-of-age story from veteran Chinese director Wang Xiaoshuai (Beijing Bicycle), the original Mandarin title of 11 Flowers translates literally to something along the lines of "I am 11." That is a more fitting name for an autobiographical film that does a remarkable job of getting across what it's like to be an innocent preteen boy. Set in 1975, 11 Flowers is based on the director's experiences growing up in the rural province of Guizhou at the end of Mao Zedong's Cultural Revolution — a time when families in urban places like Shanghai were asked to move inland where factories were built to help defend the nation's industrial base against potential attack from the U.S.S.R. Though many of the adults pine for the cultural and material riches of their home city, the children are a product of the new environment and possess little understanding of the social upheaval surrounding them. The story involves a new shirt for an 11-year-old boy — a rare and valuable commodity during Mao's reign — a chance encounter with a fugitive and the growing political unrest in a rural village. But plot details are far from central as 11 Flowers is more interested in evoking a particular time and place from a child's unencumbered perspective. Surprisingly natural performances from an ensemble of young actors keep that goal well within reach. — KEN KORMAN Wang Xiaoshuai

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There's a new girl in town -- or at least there will be this spring. General Hospital is casting the role of a still-unnamed 20something blonde. General Hospital is looking to add a new character to its canvas, but exactly who that character is remains a mystery. According to the casting notice, the unnamed female character, which will be a contract role, is a mid-to-late 20something "Caucasian. Blonde. Beautiful, passionate, complex." There is speculation that this character could be Serena Baldwin, as her return has been the subject of Internet speculation for some time. Talk of the character's so-called imminent return heated up when Kin Shriner (Scott Baldwin) confirmed earlier this week that he'd be returning to GH. Shriner's alter ego is Serena Baldwin's father, a character not seen since the GH spinoff, Port Charles, ended its run in 2003. Serena was born on-screen on December 7, 1993. So if this mystery blonde is really to be Serena, the character would have to be "aged" slightly. The role -- whoever she turns out to be -- will start taping in March.

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[11/05/08 - 06:50 AM]A&E Greenlights New Original Series "Keyshawn Johnson: Tackling Design" Following the Trials of a Pro Athlete Trying to Make a Serious Play to Become a Respected Interior DesignerPlus: "Sell This House" gets the green light for a seventh season. [via press release from A&E] A&E GREENLIGHTS NEW ORIGINAL SERIES "KEYSHAWN JOHNSON: TACKLING DESIGN" FOLLOWING THE TRIALS OF A PRO ATHLETE TRYING TO MAKE A SERIOUS PLAY TO BECOME A RESPECTED INTERIOR DESIGNER "SELL THIS HOUSE" RETURNS FOR SEVENTH SEASON AND FACES CHALLENGING REAL-ESTATE MARKET AND FINANCIAL CLIMATE BOTH REAL-LIFE SERIES IN PRODUCTION SLATED FOR PREMIERE IN 2009 NEW YORK � November 5, 2008 � A&E Network today announced a new original series "Keyshawn Johnson: Tackling Design" and the seventh season of veteran original "Sell This House," both Real-Life series are currently in production and slated for premiere in 2009 as part of the Saturday line-up, The Big Fix. "Keyshawn Johnson: Tackling Design" will follow the day-to-day drama facing former NFL pro and current ESPN analyst Keyshawn Johnson as he embarks on a very different career path: interior designer. And "Sell This House" will continue to give homeowners advice on how to best market their property for sale in the most challenging real-estate and financial environment in years. "Sports fans are aware of Keyshawn's formidable skills on the field, but will be completely surprised by his talent as a designer. The fact that he is really trying to get his interior design business off the ground perfectly fits with our real life brand where we capture the real lives of extraordinary people," said Robert Sharenow, Senior Vice President, Nonfiction and Alternative Programming, A&E. "In the current real estate market, 'Sell This House' is even more pertinent than ever, because it demonstrates how to get the most out of your investment in your home." Outspoken NFL veteran wide receiver Keyshawn Johnson may be known best for his play on the field, but now he's putting a completely different set of skills to the test in "Keyshawn Johnson: Tackling Design." Furniture, fabric and finishings used to be just a hobby, but with his football days behind him Johnson's wide-receiving now has more to do with fitting furniture through the front door of a house. Will clients take this former pro-athlete seriously as an interior designer? The ten episode half-hour series follows Johnson as he tries to make a name in the world of interior design. And given the pressures and personalities, Johnson's famous temper is sure to be put to the test. During his eleven year career as an NFL wide receiver Johnson played for the New York Jets, Carolina Panthers, Dallas Cowboys and Tampa Bay Buccaneers, where he won a Super Bowl Championship during the 2002-2003 season. He retired in 2007 with 814 receptions, 64 touchdowns and 10,571 yards recorded during his career. Away from the gridiron Johnson heads up numerous business ventures and charitable endeavors including The Keyshawn Johnson Education Foundation which is dedicated to the health and well being of children. "Keyshawn Johnson: Tackling Design" is produced for A&E by Screen Door Entertainment by executive producers Joe Rizor and Alessandra Ascoli. A&E Executive Producers are Robert Sharenow and Andy Berg. After more than 150 episodes of the Emmy-nominated series "Sell This House," host Tanya Memme and resident designer Roger Hazard are true experts when it comes to offering up real-life experience and advice on how to make a sale and maximize returns. And they're back for the seventh season of "Sell This House" with thirteen new half-hour episodes. Using hidden cameras the series gives homeowners the chance to peek inside the mind of potential buyers. Each house is transformed on a budget, and then buyers are brought back in to give feedback on the changes. Will it be enough to make a sale? With the current financial and housing market in a fragile state, the "Sell This House" team faces the most challenging season ever to-date. "Sell This House" is produced for A&E by Screaming Flea Productions. Screaming Flea Productions Executive Producer is Dave Severson, Series Producer is Lee Christofferson. Robert Sharenow is the executive producer and Jessica Morgan the Supervising Producer for A&E Network. About A&E Network A&E is "Real Life. Drama." Now reaching more than 97 million homes, A&E is television that you can't turn away from; where real life shows are dramatic and scripted dramas are authentic. A&E offers a diverse mix of high quality entertainment; ranging from the network's original scripted series including "The Cleaner" starring Benjamin Bratt and "The Beast" starring Patrick Swayze, to signature Real-Life franchises, including the Emmy-nominated "Intervention," "Dog The Bounty Hunter," "Paranormal State" and "Criss Angel Mindfreak," and the most successful justice shows on cable, including "The First 48" and "Crime 360." The A&E website is located at www.aetv.com.

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You Are Here: Home » Entertainment » Naya Rivera and Big Sean’s Engagement is Off Naya Rivera and Big Sean’s Engagement is Off Posted date: April 24, 2014 In: Entertainment Big Sean and Naya Rivera By Leigh Blickley It’s over for Naya Rivera and Big Sean. Big Sean’s rep released a statement to Us Weekly on Wednesday, April 9, announcing that the rapper has decided to call off his engagement to the “Glee” star. “After careful thought and much consideration, Sean has made the difficult decision to call the wedding off,” his rep said. “The recent rumors and accusations reported by so called or fake sources are simply untrue. Sean wishes Naya nothing but the best and it is still his hope that they can continue to work through their issues privately. We will not be commenting again on this matter.” Despite reports that Big Sean, 26, cheated on Rivera, 27, a source tells Us “the allegations are 100% false and untrue” and that the “Beware” singer was the one who ended the relationship. The couple announced their engagement in October 2013 with Rivera telling the Spring 2014 issue of Cosmopolitan Latinas that she thought Big Sean would make “an amazing husband.” “He’s so kind to people, but he also wears the pants in our relationship, which I love,” she said. “We Latinas are very independent and strong, so it’s even sweeter that I’ve found somebody who can let me out of that role for a minute.” Ava DuVernay is the First African-American Woman to Direct a $100 Million Film Bernie Mac’s Widow Remembers The First Thing He Ever Said To Her Top Ten Most Beautiful Beaches in the World Notorious B.I.G. Scripted Comedy in the Works at TBS

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There is still time to get tickets to Saturday night's "Fly Me to the Moon" pops concert to be held at the Historic Bastrop High Apartments in the community room. The show, sponsored by The Rose Theatre, will feature Jeremy Davis and the Equinox Jazz Quintet. Davis and crew have performed many times for the Rose and always leaves patrons smiling."Jeremy and the entire band are such great performers and I have only heard great things from everybody who attends," Hal Robinson, Rose director said. "They just keep the audience engaged for the entire show and truly appeal to all ages," Robinson continued.Rose board member Linda Hayman confirmed tickets may be purchased at the door and emphasized that there will be someone to show attendees to the community room. She also said tickets could be purchased today at the Visitor Center or by calling 281.0911.The atmosphere for the concert is like that of a concert in the park and attendees are encouraged to bring a basket of food to snack on. There will be tables available as well as the old bleachers and a dance floor for those who wish to "cut a rug."The doors of the apartments will open at 6:30 p.m. and the show slated to begin at 7 p.m.

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Please download the latest version of Flash Player to view this content. WATCH PREVIOUS EPISODES » ABSOLUTELY MARITIMES SUMMER SERIES AIRS SATURDAYS ON CBC TV BEGINNING JUNE 29 The ABSOLUTELY MARITIMES summer series of independent documentaries and CBC music and comedy specials airs Saturdays at 8 p.m. this summer on CBC Television. CBC Maritimes worked closely with independent filmmakers throughout the region to produce this six-week series. Audiences will see hour-long documentaries that delve into such topics as racism, bullying, current struggles in the lobster industry and a glimpse into war era Halifax. "These are all home grown stories and productions. The producers work very hard to tell stories that are close to their hearts and their homes and we are delighted to broadcast these programs in prime time," says Peter Hall, senior manager, arts, documentary and performance programming, CBC Maritimes. ABSOLUTELY MARITIMES summer series includes: June 29: It Was The Dance A documentary, produced and directed by Fredericton, N.B.’s Acrolet International’s Semra Yüksel, about an inter-racial couple who suffer racism in Fredericton after the Second World War. It tells their story and examines the cruelty and effects of racism in New Brunswick and is also a launching point to examine the complex history and reality of racism that remains today. July 6: Everyone’s Famous A comedy, produced by Angus Swantee and Walter Forsyth and directed by Andrew Bush, which follows 30-year-old Donald who always wanted to be a ‘somebody’ but settled for being a decent guy with a decent girlfriend, working at a decent call centre. Donald becomes ‘internet famous’ after an embarrassing video of him goes viral, providing an unexpected new lease on fame. July 13: The Boy Who Was Bullied A documentary, produced and directed by Greg Hemmings at Hemmings House Pictures Ltd. in Saint John, N.B., about New Brunswick native John Peters Humphrey, a disabled man who fought for global human rights. It is told through the eyes of a disabled 13-year-old girl, Abigail Godreau, who lives in the same town in which Humphrey grew up. She too has lost an arm. Abigail is an ambassador for War Amps and an inspiration to her peers. July 20: Trapped A documentary that follows a group of independent Atlantic lobster fishermen who are not just fishing for their livelihood, but trying to preserve their future. Produced by Johanna Eliot of Halifax’s Ocean Entertainment, the story is not just a microcosm of what’s happening to small fishing communities in Atlantic Canada, it’s a microcosm of our rapidly changing world, told from a unique perspective. July 27: Dancing Was My Duty – Halifax was the last stop for hundreds of thousands of soldiers on their way to Europe and the Second World War. They were young men, many still in their teens who gathered in Halifax on their way overseas and were looking for love and recreation before facing war. This one-hour documentary, produced and directed by Vicki Grant, explores how they transformed this small east coast city. Aug 3: East Coast Sessions with David Myles and Classified (8 p.m.) David Myles and Classified perform Inner Ninja and other songs before a live audience at CBC Halifax’s Studio H. It is a singular opportunity to see them perform and hear them talk about their musical relationship. Followed at 8:30 p.m. by Tom Forrestall: Painting The Mystery, a documentary, produced, written and directed, by Chuck Lapp of Halifax’s Envision Productions Ltd., that reveals an intimate portrait of the Nova Scotia artist who is world renowned for his realistic paintings and ability to capture Atlantic Canada landscapes. In this program Forrestall speaks candidly about suffering with epilepsy and how the condition influences his art. Air Times Saturdays at 8 p.m. AT June 29-August 3, 2013

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Transforming A Real-Life FighterTo prepare for the role of Mallory Kane, Gina Carano underwent intensive training, starting with an in-depth special ops tutorial with the film's technical advisor and real-life security expert, Aaron Cohen. Cohen, who spent three years in Israel's special operations undercover unit, is the founder of IMS Security, a consulting firm that specializes in providing tactical counter-terrorist training. He helped the filmmakers and cast understand the realities of undercover operations. "I felt that training with Aaron Cohen would provide Gina with a solid foundation of confidence," says Soderbergh. "If she felt that the physical demands were doable, that would go a long way toward making her feel comfortable with the performance. I chose Aaron because I wanted someone who was familiar with that world as it is today and not somebody who did it 10 or 20 years ago. He became part of the brain trust for this film, vetting virtually everything we did." Cohen's participation in the film was crucial from the get-go, as he sat in on script meetings between Soderbergh, Jacobs and Dobbs. From small story points to wardrobe decisions, Cohen provided the filmmakers with checks and balances every step of the way. "I could ask how a conversation would go if you were trying to convey a piece of information but can't come out and say it," says the director. "He was on the set all the time and I would email him at all hours of the day or night. His input was invaluable, down to details like where you might hide your gun." According to Cohen, the film captures the true nature of special ops. "Everything from the dialogue to the nature of the operations is authentic. In one case, an operation is botched and that is real. There are a lot of things that can go wrong in the world of special operations and they do." Under Cohen's direction, a 5,000-square-foot warehouse in downtown Los Angeles was transformed into a staging ground for special operations training. Three dozen portable walls reconfigured the wide-open space to replicate the film's diverse settings. "He put me through two months of boot camp in that warehouse," Carano says. "He had me doing sprints, entering and exiting make-believe apartments—everything Mallory does in the film." For 30 hours a week, Carano was immersed in special operations training. "Aaron's goal was to prepare me both mentally and physically for this movie," she says. "I read his book, but nothing could have prepared me for the boot camp. He taught me everything from the basics of guns to his life experiences. One of the things he impressed on me was that as a special operative, you're commissioned to take on the jobs that the government doesn't want to have its fingerprints on. If you're caught or imprisoned, you're on your own. The process was extreme and amazing. I come from fighting in a cage, which is very organized. He helped me develop the mindset I needed for Mallory, which is cutthroat to the extreme. It's life or death." Even with her years of mixed martial arts training, Carano was pushed to the edge during her preparation for Haywire. "Gina has a warrior mentality," Cohen says. "We were really tough on her because we knew we could be. I wanted her to go beyond her comfort zone. It was important to immerse her in the mindset of a Special Forces operative. As a fighter, she's working alone. In special operations, missions are only successfully accomplished with teamwork." To help develop that sense of camaraderie, Jacobs arranged for castmates Michael Fassbender, Channing Tatum, Julian Alcaraz and Max Arciniega to join Carano's training for limited periods of time. "I felt it was important to bring everybody together so they understood the amount of cooperation involved in order to be successful," says the producer. "I wanted the training to be as real as the story consulting." Channing Tatum spent four grueling days of training with Cohen. "The day I arrived at the warehouse, I had no idea what I was getting into," he says. "I don't even think Aaron said hi to me and for the next four days and I didn't really say anything. I just did exactly as I was told. "We learned all the tactical movements," the actor continues. "He showed us how to take a room and look as if we'd done it for years and years. He just beat it into us." Tatum's previous fight training gave him an advantage, according to Cohen. "He has great hand-eye coordination, tremendous balance and is very strong. He also had had some excellent training on some of the other films he's appeared in. I helped him clean up his pistol work for the hostage rescue scene. We worked with him and Gina on some of the things that can go wrong in an operation that haven't been seen before on film. Weapons do malfunction in the middle of a shootout, they jam or are empty or they weren't oiled properly. You have to be able to not only fire the weapon, but manipulate it through all types of problems." Cohen's tutoring paid off in Barcelona when Tatum's weapon malfunctioned during a take. He cleared it and used it without anyone being the wiser. "When that malfunction occurred," recalls Cohen, "Channing looked at me, gave me a thumbs up and we moved on to the next shot." Carano's impressive mixed martial arts experience with its emphasis on hand-to-hand combat did not prepare her for the wide range of weaponry used in the film but Cohen did. "I spent a lot of time developing Gina's primary weapon skills," he says. "We trained her in various forms of sub-machine guns and assault rifles, using real weapons that had been converted into blank-firing weapons. She also worked with pistols, including the Glock 179mm, Sig Sauer 9mm, the Uzi and micro-Uzi, as well as a Commando assault rifle. "The training was comprehensive and very physical," he adds. "Her background gave her a huge advantage in terms of the motor skills needed for handling weapons. She was able to move very quickly and effectively while carrying out complex maneuvers." Along with the special ops training, Carano worked closely with the film's fight choreographer, J.J. Perry and stunt coordinator R.A. Rondell. Ordinarily the stunt coordinator's job is to teach an actor how to engage in a knockdown drag-out fight without getting hurt. But for Haywire, it was more important for the coordinator to teach the star how to not hurt someone else during the fight scenes. Her natural athleticism came in handy, says Rondell. "You can teach an athlete to do anything. She came in with a heavy fighting background and she also has a unique discipline. I approached everything I taught her working off her disciplines as a fighter. We had to teach her not to actually hit someone. We had to reprogram her to pull her punches slightly and to react realistically to being movie punched. She actually sat a few people down initially. But in the end, she was as good as any stunt person in the fight scenes." During her training at Los Angeles' Fight Gym 8711, Carano learned to admire the stunt people she saw working around her. "They are amazing athletes," she says. "All I could do was jump in. I already knew how to punch and kick, but stunt fighting is a completely different art. Since they knew my style is Muay Tai and boxing and Jiu-Jitsu, they incorporated all of that into the fighting scenes. I had my input and they were very receptive to it, which made for some very beautiful fight sequences." The audience first experiences Mallory's physical prowess in a shocking fight between her and Aaron, played by Channing Tatum. Although they are on the same side in the Barcelona affair, they also find t � 2016 61�, All Rights Reserved.

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ONGo TO SLIDESHOW show comments Iron ManThe Incredible HulkBy CS ON April 18, 2007SHAREMarvel Entertainment, Inc., SEGA® Europe Ltd and SEGA® of America, Inc. have expanded their relationship to include the rights to develop and distribute games inspired by Marvel’s Hall-of-Fame franchises — Captain America, The Incredible Hulk and ThorIron Man, with both game and film slated to be released in May 2008.“Video games are an ideal medium to showcase the appeal and excitement of our Super Hero franchises,” said David Maisel, Chairman, Marvel Studios. “SEGA is one of the industry’s most innovative game developers and we are thrilled to partner with them to bring ‘Captain America,’ ‘The Incredible Hulk’ and ‘Thor’ to the video gaming arena. These franchises represent three of Marvel’s most popular characters and lend themselves to captivating game play. We have already seen SEGA’s passion for the Marvel Universe through the early development of the ‘Iron Man’ video game, and we look forward to working closely with them over the next few years to maximize the potential of these franchises in the interactive entertainment space.”Under the expanded agreement, SEGA will develop a title to be based on Marvel Studios’ highly-anticipated The Incredible Hulk feature film. Hitting theaters June 13, 2008, the film will return the larger-than-life Super Hero to the roots of the long-running comic series and television show with an all-new action-packed storyline directed by Louis Leterrier (Transporter 2, Unleashed). The Incredible Hulk video game will be released in the same timeframe as the film. Games based on Captain America and Thor will follow, though the timing of those feature film projects, currently in development, has not yet been determined. “We are excited to broaden our partnership with Marvel, a recognized leader and innovator in the entertainment industry,” said Simon Jeffery, President and COO, SEGA of America. “As SEGA continues to create games that are built from the ground up to appeal to Western audiences it makes perfect sense to work with a powerhouse like Marvel. ‘Captain America,’ ‘The Incredible Hulk’ and ‘Thor’ are icons that people are already familiar with and love, so our goal is to give gamers the ability to play out their fantasies by actually becoming these Super Heroes. Fans can now not only watch them in movies and read about them in comic books, but also literally control their actions through the video games we are creating. We look forward to bringing these icons to life like never before and putting the power in the hands of the fans.” SHARE TWEET Show CommentsPlease enable JavaScript to view the comments powered by Disqus. MoviesTVStreamingGamesTrailersDVDContact UsAdvertisePrivacy PolicyTerms of Use monitoring_string = "df292225381015080a5c6c04a6e2c2dc"AdChoicesAdChoices ComingSoon.net is a property of CraveOnline Media, LLC, an Evolve Media, LLC company. ©2016 All Rights Reserved CopyrightLooking for movie tickets?Enter your location to see which movie theaters are playing

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Star Trek Voyager: Jetrel ‘Something so enormous as science will not stop for something as small as man, Mr Neelix.’ Neelix is forced to confront the scientist whose weapon destroyed his homeworld when it’s revealed he may be dying from radiation sickness. TV Tropes used to have a listing for what they called a Good Troi Episode; an episode focusing on a character whose featured episodes are usually terrible attempts at comedy, but who, every now and again, would be given a serious, dramatic episode that turned out to be surprisingly good. I think the example given was The Next Generation’s ‘Face of the Enemy’ (the page has since been withdrawn and now redirects to A Day in the Limelight, which isn’t the same thing at all). Neelix is the Troi of Voyager, and ‘Jetrel’ is the example par excellence of a Good Neelix Episode. Enjoy it – they’ll be few and far between over the next seven seasons. The trouble with Star Trek’s attempts to tackle Big Historical Issues through thinly veiled metaphor is that they have a tendency to do so with all the subtlety of a Klingon mating ritual. Just as Deep Space Nine’s ‘Duet,’ though much beloved by fans, might as well have plastered ‘Concentration Camp Liberator’ and ‘Space Nazi’ across the foreheads of its principal characters, Jetrel might as well have introduced himself as Oppenheimer and had done with it. The problem is, when characters are forced into such firmly pre-determined roles, there is a danger that they become ciphers rather than fully three-dimensional people, forced into a metaphor rather than developing naturally. Having said that, Neelix’s backstory as outlined here is quite plausible for his character and it’s early enough in the show that it doesn’t feel too forced. His confession to Kes that he didn’t fight in the war at all is also nicely done and adds to his character. The audience is left uncertain whether he was a conscientious objector, as Kes clearly believes, or a deserter, as he seems to view himself, and that fits rather nicely with his slightly mysterious character. Neelix is so often played for comic relief that the harder edge to the character – first seen scavenging and tricking the crew into helping him to rescue his girlfriend – tends to get forgotten about unless the plot requires it, but it’s always nice to see it resurface. Star Trek characters don’t generally have any trouble talking about their feelings (which I suppose is to be expected considering they put a counsellor on the bridge of their flagship) which sometimes drains these Very Special Episodes of some of the tension they might otherwise have had as we’re not left to draw out and consider these people’s emotions and experiences, but simply told exactly what they’re thinking and feeling. It’s good to see characters have emotional breakthroughs and talk about their problems, but perhaps showing a little more and telling a little less might make these episodes feel a little less preachy. On the other hand, Star Trek can’t show mangled bodies or the effects of severe radiation poisoning, so talking about it is really all they have. The episode takes off in another direction when Jetrel’s ultimate plan is unveiled – he’s trying to bring thousands of people back from the dead. He’s on the verge of creating his own personal zombie army! It’s an idea so simultaneously understandable – what if you could undo the worst thing you ever did? – and yet so spectacularly creepy (especially when you think about what the pulsating thing he creates in sickbay actually is) that it briefly takes the episode off in a whole different direction. It’s probably a good thing all round that his idea doesn’t work, as the philosophical, spiritual and even practical implications (thousands of death certificates to retract) would be astronomical. Bits and pieces: - The pool table at Sandrine’s is tilted, much to Tuvok’s irritation - Neelix didn’t realise how short-lived Kes’s species were when they met. This is not only rather sad, but also makes him somewhat less weird for falling for a one-year-old. Tuvok (after missing at pool): Perhaps the ship's stabilizers are not operating at peak efficiency. Neelix: Peace of mind is a relative thing, Captain. Neelix: Is there anything besides science that makes your heart beat faster, Dr Jetrel? Jetrel: Not any more. Jetrel: There is no way I can ever apologize to you, Mr. Neelix. That's why I have not tried. Heartfelt and well performed, but just a bit too earnest. Three and a half unsubtle metaphors out of four. Star Trek Voyager season 1 Star Trek Voyager home Jetrel, Star Trek Voyager, Star Trek Voyager recaps, CrazyCris Definitely an excellent Neelix episode!I think the show's creators really screwed up with Neelix. He could have been a very interesting character, so different from the usual Federation-types (as seen in the pilot), but then they white-washed him and made him bland and not-so-comic relief. Pity! Thursday, November 22, 2012 at 11:52:00 AM PST I'm torn on Neelix. I don't hate him as much as many do, but don't find him that interesting either. Mostly I just put up with him! Friday, November 23, 2012 at 1:57:00 PM PST

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Van Helsing (US - DVD R1) Writer/Director Stephen Sommers returns to familiar ground with this monster mash of Universal's three most iconic characters... Halloween at the box office came a little early this year with writer/director Stephen Sommers’ latest would be blockbuster Van Helsing which kicked off the summer movie going season. Sommers has had success in the past with his Mummy films dominating the early summer season box office and DVD sales in the Fall. Could this film be a trick or a treat for viewers at home? Note: This review is of the standard single disc release of Van Helsing. The three disc Ultimate edition includes the Universal classics Dracula, Frankenstein and The Wolf Man as well as more featurettes on the film. The transfer and content of the actual film are identical in both releases. Movie Van Helsing has the prerequisites for a great monster mash with three of Universal’s most iconic creatures going head to head, a feast for the eyes in visual effects and production design and Hugh Jackman as the title character. Unfortunately it doesn’t have much else going for it! The visual effects onslaught supplied by ILM, among others, becomes repetitive after a while offering nothing new or surprising later in the film and the story is silly, containing wooden dialogue and nearly zero character development. At the beginning of the film we are introduced to the main villain, Dracula (Richard Roxburgh), as he attempts to steal away the monster Frankenstein creature (Shuler Hensley) for reasons that will be revealed later in the story. Thanks to some torch bearing locals he is forced to flee Transylvania without the creature. Flash forward one year later to Paris where we find our hero, Van Helsing (Hugh Jackman) attempting to capture Mr. Hyde (with voice and facial movements by Robby Coltrane and motion capture courtesy of Hensley). After an encounter with Hyde, Van Helsing is called back to Vatican City on urgent business and given his next assignment to travel, along with sidekick friar and weapons master Carl (David Wenham) to Transylvania to aid in the hunt for Dracula. Upon arriving, they meet Anna Valerious (Kate Beckinsale), whose family has sworn an ancient oath to vanquish Dracula or spend eternity in Purgatory. Too bad for Anna and her family that she and her brother, Velkan (Will Kemp) are the sole remaining members of their clan and dear brother has just recently taken up lycanthropy as a lifestyle choice. It is now up to Van Helsing, Carl and Anna to track down Dracula and his cohorts, including his brides (Elena Anaya, Silvia Colloca and Josie Maran) and Igor (Sommers’ regular Kevin J. O’Connor), and stop whatever evil madness the Count has in store. Along the way the plot involves Frankenstein’s Monster and the Wolf Man, and while the Wolf Man character serves little purpose beyond a plot device and a neat visual effect, the Frankenstein Monster is delivered in a good performance by Hensley. The Monster is easily the best developed and interesting character in the entire film, and I only wish that Sommers could have found more for the creature to do. On the other hand, Dracula is played a little bit too over the top by Roxburgh for my tastes and comes across as a whining Mafioso whipped by his wife (or wives in this case). Van Helsing and Anna are mired by stiff dialogue and do not offer much character development of their own. The only character other than Frankenstein’s Monster that truly comes across as interesting is Wenham’s Carl, who is given the best dialogue in the whole film. By the time the climax of the film comes, the visual effects and repetitive action sequences make it seem as if you have seen it all before, probably because for the last 1 hour and 45 minutes you have! The film jumps from one action sequence to the next at breakneck pace and it creates a very disjointed feeling while watching the film. Sometimes it’s not a bad thing to stop and take a breath and let the audience soak in some of the wonderful effects that have been created instead of hitting them with a barrage of them all at once, over and over again. While I can appreciate what Sommers has tried to do with this film, make a fun and action packed popcorn flick, I think the film would have benefited from slowing down a bit and concentrating more on story and character rather than gee whiz effects. It probably would have cost the producers less in the long run too. One thing you cannot deny is that Van Helsing is rarely a boring film and the visual effects and sets are amazing, but it is an overly produced one and not subtle enough when it needs to be to provide any good scares. Think of your obnoxious neighbor’s over done Halloween decorations…sure it’s all in good fun, looks pretty cool and probably cost them an arm and a leg, but it just screams tacky and feels ridiculous to live next door to. Video The film is, as expected, presented in anamorphic widescreen, but curiously enough Sommers has decided to go with an aspect ration of 1.85:1 rather than the 2.35:1 aspect ration of his Mummy films. One can only assume this was done to favor the numerous visual effects, as there are more found here than in Sommers’ previous films, but it gives the film a claustrophobic feel; it does not open the film up enough and make it seem like the epic it wants to be. That aside, the picture quality is what one would expect from a new film with a transfer that is very sharp and free of major defects containing no obvious edge enhancement problems. The major drawback, however, is that the film is very dark and does not contain a lot of eye popping color. This has more to do with the nature of the film itself than the director and cinematographer’s choices; you don’t really expect to see vampires and werewolves running around on a bright, sunny day do you? The transfer even in the very dark areas of the film is very well done and presents no visible grain that lesser releases would reveal. The virtual cornucopia of visual effects jumps off the screen with only the slightest matting defects to be found here and there; the visual effects in the film are for the most part amazing. Overall, this is one of the best transfers I have seen this year. Audio The audio for the DVD is presented in English Dolby Digital 5.1 and French and Spanish Dolby Digital 2.0, with optional subtitles for each language and is near reference quality with good use of the surround speakers just when you would expect it, and sometimes when you don’t. The only drawback is that in some scenes the dialog is difficult to hear over the booming score and/or the sound effects during action sequences. Other than these minor instances, the sound is near perfect and the sound design for the film is just as good as the visual effects. Although not one of his stronger efforts, Alan Silvestri’s score fits in perfectly within the context of this film, but I for one would have preferred a creepier score more in line with the classic Universal Monster films rather than the obligatory action/adventure score. Extras The disc features two audio commentaries, the first a filmmaker’s commentary with writer/director Stephen Sommers and editor Bob Duscay who has worked with Sommers on all of his previous films. The second commentary features the actors portraying the monsters of the film, Richard Roxburgh (Dracula), Shuler Hensley (Frankenstein’s Monster), and Will Kemp (The Wolf Man). Both commentaries are a good listen and lively with the filmmaker’s commentary providing some good insight on all aspects of the film’s production. The rest of the special features are average at best. First off is a virtual tour of Dracula’s castle entitled ‘Explore Dracula’s Castle’ which looks into one of the best sets designed for the film in closer detail than can be seen watching the film, but is not at all in depth enough for anyone who would be interested in a feature like this would like. Add in the fact that the navigation for this feature is both cumbersome and frustrating and it is almost a complete bust. Next up is a special feature called ‘You Are in the Movie’ where the filmmakers placed hidden cameras around the set during filming. The point of this is to give the viewer an inside look into what goes on behind the scenes on set from the actors’ point of view. It turns out to be nothing more than a glorified behind the scenes montage without any real insight to the production; it really offers nothing new. A short segment called ‘The Legend of the Van Helsing’ character is provided and I was looking forward to this feature but again I felt short changed. After discussing all too briefly the character’s origins from Bram Stoker’s novel and the previous incarnation in Universal’s films, the feature mainly focuses on the new Van Helsing character as portrayed by Hugh Jackman; the segment turns out to be more of a spotlight on Jackman than it is a history of the character. The third featurette, ‘Bringing the Monsters to Life’ focuses on ILM’s work involving the creatures created for the film. This is actually the most interesting of the features and does a good job of going into detail the work and ingenuity behind bringing these monsters to the screen. The rest of the features are rounded out by the usual trailers, outtakes, standard DVD-ROM content and a demo for the Van Helsing XBOX game. Oddly enough and seemingly out of place is a preview for Dreamworks’ Shrek 2, but also included before the main menu are trailers for Universal’s Shaun Of The Dead and Seed Of Chucky. The animated menus for the DVD are well done and fit in nicely with the tone of the picture. Overall Van Helsing’s visual effects are really a treat, but overall the film is somewhat of a trick. While the film is exciting to watch it feels fragmented and repetitive while jumping from one action scene to another, and the story is as convoluted at it is silly. Those looking for a sugar coated effects movie will eat it up like a bag of Halloween candy while others looking for more substance and scares will find nothing but rocks in their bag. Related Links... Mummy Returns, The (US - DVD R1) League Of Extraordinary Gentlemen, The: Special Edition (AU - DVD R4) Dracula - Superbit Collection (UK - DVD R2) Review by Matt Joseph English Dolby Digital 5.1, French Dolby Digital 2.0, Spanish Dolby Digital 2.0 Audio commentary by Writer/Director Stephen Sommers and editor Bob Ducsay, Audio commentary by Richard Roxburgh, Shuler Hensley and Will Kemp, 'Explore Dracula's Castle' interactive feature, 'You Are in the Movie' featurette, 'The Legend of Van Helsing' featurette, 'Bringing the Monsters to Life featurette', theatrical trailer, outtakes, demo for the Van Helsing XBOX game, DVD-ROM content, previews for SHREK 2, SHAUN OF THE DEAD and SEED OF CHUCKY Hugh Jackman, Kate Beckinsdale, Richard Roxburgh, David Wenham, Shuler Hensley, Will Kemp, Kevin J. O'Connor Action, Adventure, Fantasy and Horror

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News 10 of Anna Kendrick's Best Moments Movies | Inside Movies 'Blood Meridian' deserves a director who understands the Western genre by Jacob Shamsian Share (Danny Martindale/WireImage) Blood Meridian Posted July 30 2014 — 7:10 PM EDT With James Franco’s recent test footage for his not-to-be Blood Meridian film adaptation now online, it’s time to think about what we want from a movie version of the landmark novel. Franco shot that test footage a few years ago and showed it to Scott Rudin, who owns the rights to the novel, but Rudin seems to have turned him down—and should continue to do so. So Franco, instead, directed another movie adaptation of a Cormac McCarthy novel: Child of God. The movie comes out this week, and Franco wrote a piece for The Daily Beast explaining why he loves McCarthy’s work and why he wanted to bring it to the screen. It’s a heartfelt essay that shows a sincere appreciation for McCarthy’s vision, and an understanding of his signature poetic ugliness. However, having an understanding of the literary merits of McCarthy’s work doesn’t mean Franco has the ability to make good movies from his books. Directing an adaptation of a literary masterpiece takes some skill, and Franco has shown—twice—with William Faulkner’s As I Lay Dying and McCarthy’s Child of God—that he’s no good at it. The two movies premiered at Cannes and Venice respectively, and were widely dismissed by critics at both. His adaptation of Faulkner’s The Sound and the Fury is going to premiere at this year’s Venice Film Festival, and advance buzz is mute. Adapting another inherently un-cinematic novel isn’t a wise choice as the next step, especially a property as massive in scale as Blood Meridian. In his Daily Beast essay, Franco mentions Harold Bloom as the man who introduced him to McCarthy. Bloom is one of the author’s champions, calling Blood Meridian, published in 1985, ”the ultimate Western.” In an interview with the AV Club, he said, “It was the greatest single book since Faulkner’s As I Lay Dying. … It culminates all the aesthetic potential that Western fiction can have. I don’t think that anyone can hope to improve on it, that it essentially closes out the tradition.” According to Bloom, Blood Meridian says everything the Western—as a genre about the conquest of the wilderness, the conflict with Native Americans, and the violence of mankind in a lawless territory—has to say. You may disagree, but there’s no question: The novel is a massive landmark in the history of the genre in literature, changing the way we talk about the Western as a whole. Every Western literary novel post-Blood Meridian needs to somehow address its status in postmodern terms and justify why the genre is still relevant, casting some new interpretation on the traditional Western novel themes. In the history of cinema, something similar happened to the Western genre, with Unforgiven in 1992. The first major wave of Western films started with DW Griffith, and then extended through the age of John Ford and John Wayne, largely addressing chivalry and the relationship between Americans and Native Americans. The second phase of the Western genre started with Spaghetti Westerns, where Clint Eastwood is the central figure. Then in 1992, Eastwood directed Unforgiven, which is the cinema version of “the ultimate Western.” Eastwood also stars in the movie, as a retired bandit who once again takes up his gun to take out a couple of violent cowboys. The movie portrays the basic building blocks of the genre to be simplistic, unfit to represent real life. It addresses the Western as a genre itself, as something with faded relevance in American society. It’d also the last Western Eastwood ever made. So now we’re in the third phase of Westerns in cinema, the “neo-Western” phase, as critics have called it. These movies address the subjects of the Western (frontier expansion, Manifest Destiny) in a different context. Consider three recent examples of neo-Westerns: Rango (2011), Meek’s Cutoff (2010), and The Three Burials of Melquiades Estrada (2005). Gore Verbinski’s Rango takes on the Western on a meta-note. It has a character named “The Spirit of the West,” who looks an awful lot like Clint Eastwood himself, giving advice to the title character. Kelly Reichardt’s Meek’s Cutoff addresses Bush-era Western expansionism metaphorically in an Old West setting. Melquiades Estrada, by Tommy Lee Jones, considers the traditional Western conflict of the “civilized” white man and the “uncivilized” Native American and connects it to America’s contemporary border problem. A movie adaptation of Blood Meridian, to be good, must somehow meld the ideas that both literature and cinema are in a new phase of the Western genre. I’m sure Franco has been thinking about that, but I’m not confident he can represent it cinematically. Tommy Lee Jones, who directed Melquiades Estrada, might actually be the perfect director. He’s best known as an actor, but he’s also excellent behind the camera. He has actually adapted McCarthy before, with The Sunset Limited in 2011. His newest movie, another neo-Western, The Homesman, premiered at Cannes this year and was well-reviewed. Jones is thinking about the neo-Western genre more than anyone else, and if anyone can put a good adaptation of Blood Meridian onscreen, it’s him. Maybe he can give James Franco a cameo. Westerns Top Stories

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Review:academica says:Hey, here for the Review Battle :) This is a really interesting start. It's not clear yet why Victoire and Teddy are no longer together, and even her feelings toward Dennis aren't quite clear. I sense that you'll answer a lot of these questions in the chapters to come. I liked the way you highlighted important moments between Teddy and Victoire as their relationship grew over time. Parts of their narrative seemed a tad cliche, like the big deal over checking with her dad and the very touching moment surrounding the birth of her first child, but I suppose that would be part of the perfect love story for a super romantic girl like Victoire. I do think you did a good job of staying in character, especially with Teddy's mischievous nature and Harry's sort of calmer, more mature attitude. The one thing that I wasn't a huge fan of here was the way you kept switching up the tenses. I think the flow of the story would be improved if you stuck to one point of view (either first or third) and got rid of the line breaks so that we just have Victoire telling us the whole story. Switching it up like you have makes it a bit difficult to follow the narrative in terms of where we are and who is telling the story. Nice beginning! Good luck with the rest! -AmandaAuthor's Response: Thanks so much for the review. I agree that it's extremely chiche at times, but that's sort of what I was going for, you know? Victoire's life with Teddy was really cliche. It will become very clear exactly what's going on. Yeah, I'm not a huge fan of the way it's written, either. What I struggled with was that two of the memories were from Teddy's POV, and it wouldn't make sense to me to have Victoire saying "Teddy thought that blah blah". That's a totally legitimate critique and I'm glad I wasn't the only person who thought that.

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The Victim [ Read Simon Rother's Review ] The Victim 0 votes, 0.00 avg. rating (0% score) Release Date: Fri, Sep 14 2012 Release: Directed By: Michael Biehn Starring: Jennifer Blanc, Michael Biehn Synopsis: Good time girls Annie (Jennifer Blanc) and Mary (Danielle Harris) find themselves in a life and death situation. Annie’s life is put in jeopardy when she is witness to a violent act at the hands of two Sheriff’s Deputies. Fleeing from attackers (Ryan Honey, Denny Kirkwood) she stumbles across Kyle (Michael Biehn), a recluse living in the middle of the woods. The ruggedly handsome loner stays far from civilization – that is – until a single knock on his door throws his solitary life into chaos. Two worlds collide in this psychological thriller that will make you question your trust in mankind. The Latest The Victim News Final Trailer for Michael Biehn’s The Victim With Michael Biehn’s The Victim finally hitting DVD and Blu-ray this September 18th via Anchor Bay Films, we have scored the final trailer for the flick, and I for one am super stoked to check this one out. Check out the trailer below and see what you guys think. Synopsis: “Good time girls Annie (Jennifer [...] The Victim Movie Review Michael Biehn was present at Montreal’s Fantasia International Film Festival for the Quebec premiere of his movie which he wrote, directed, and starred in, “The Victim”; a low-budget movie that plays along the thin line of parodies to B-rated movies and a serious thriller. Annie (Jennifer Blanc-Biehn, Michael Biehn’s wife), a stripper who parties with [...] Anchor Bay’s The Victim Hits DVD & Blu-ray This September For those of you who have been anxiously awaiting the arrival of Michael Biehn’s The Victim can now rejoice, as we have all the details on its upcoming home video release. From the Press Release: “You can take what you want from life or you can play the victim. On September 18th, Anchor Bay Films unleashes the provocative [...] Anchor Bay Picks Up The Victim I for one am stoked to see what Michael Biehn can bring to the table with The Victim, his directorial debut, so far things have been looking good, and perhaps we may not have that long to wait as the North American rights have been picked up and we have all the details. According to [...] The Victim Gets Picked Up By WTFilms Michael Biehn’s directorial debut The Victim is definitely one I’m interested in checking out, for one, it’s Biehn’s directorial debut and second, it has me intrigued. With The Victim having its International debut this October 7th at the Stiges Film Festival the guys over at Dread Central have received word that, The Victim has been [...]

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