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[01/14/10 - 09:07 AM]Planet Green's Fresh and Irreverent Series, 'The Fabulous Beekman Boys' Puts a Spotlight on Two City Dwellers Who Leave Everything Behind to Go CountryThe newcomer, from World of Wonder, premieres Wednesday, June 16 at 9:00/8:00c. [via press release from Planet Green] PLANET GREEN'S FRESH AND IRREVERENT SERIES, 'THE FABULOUS BEEKMAN BOYS' PUTS A SPOTLIGHT ON TWO CITY DWELLERS WHO LEAVE EVERYTHING BEHIND TO GO COUNTRY -- World of Wonder Production, Set for Premiere June 16, 2010, Explores How One Couple Takes Their Lives into Their Own Hands, One Goat at a Time -- Los Angeles, January 14, 2010 -- What do you get when you combine a former Martha Stewart Vice President, a drag queen turned ad exec and New York Times bestselling author, an estate and farm in upstate New York, a few quirky neighbors and goats, pigs and a llama to boot? In the case of Planet Green, it's their next primetime docu-series The Fabulous Beekman Boys, scheduled to premiere Wednesday, June 16 at 9:00 p.m. ET. The Fabulous Beekman Boys is a funny and irreverent peek into the world of Josh Kilmer-Purcell and Brent Ridge, a fish-out-of-water couple who are reviving a farm in upstate NY in order to create a new organic lifestyle brand, 'Beekman 1802'. The series, produced by Fenton Bailey and Randy Barbato's World of Wonder, uncovers how the couple's city slicker skill-set doesn't mean much when it comes to wrangling pigs and making goat's milk cheese. "We believe that a farm can be much larger than its fences. If someone told us that we'd trade in New York City for eighty goats, two pigs, a dozen chickens and a narcissistic llama, we would have told them that they were crazy," said Kilmer-Purcell and Ridge. "It turns out that we are." "The Fabulous Beekman Boys is an amusing look into Josh and Brent's very unique relationship, their desire to create a business and to transform their lives. Watching it unfold in real time is hilarious and entertaining" said Laura Michalchyshyn, Planet Green, Health, and Fit TV President and General Manager (who recently bought a farm of her own!). "Brent is a quintessential type A personality with a 'my way or the highway' attitude while Josh is a laid back, genteel kind of guy who spends weekends on the farm but is still commuting to work in the city during the week. Their eccentric, extended friends and family dynamic reveals to viewers that trying to live the simple life isn't so simple after all. We can't wait to bring these charismatic new personalities to television." "They bought the farm...literally!" says co-executive producer Fenton Bailey. "From wrapping 14,000 bars organic goat milk soap to organizing a harvest festival to benefit the nearby town of Sharon Springs, Brent and Josh have their work cut out for them, 24/7." The Fabulous Beekman Boys documents the adventure of a lifetime, as Brent and Josh try to make their entrepreneurial venture a success without sacrificing their personal relationship. The farm is home to a menagerie that helps produce everything from egg white soap to cheese, but with Josh still living in the city to earn a paycheck and Brent living full time at the farm dealing with the day to day tasks, the couple have created a recipe for conflict. They try to make the most of their weekends together on the farm now that their getaway has become their latest project, but there's always more work: be it a harvest weekend, book signing or launching a new flavor of cheese. There's a lot on the line but the "boys" are driven to fulfill their dreams. When Pigs Fly - Episode 101 With Josh still living in the city to earn a paycheck and Brent living full time at the farm to launch their organic lifestyle brand, the couple tries to make the most of their weekends together on the farm. Brent and Josh welcome two new residents to their growing family as they bring home a pair of baby pigs who seem more than a bit reluctant to join the Beekman menagerie. Later, Josh asks Brent to come into the city for the first reading of his new book, but Brent says he's too busy with the business and Josh is left disappointed. Personal feelings are quickly put aside after Polka Spot, the llama, appears to have become ill after her feeding. Brent's calm doctor skills take over, while Josh sets off in a panic, only to later discover that the llama was simply sunning herself. Josh heads back to the city for the week and has a successful first reading of his book as he recounts the first time he met Brent's former boss, Martha Stewart. When Josh returns to the farm looking forward to a relaxing weekend, Brent has other plans in mind and immediately sets off to do work. Josh can't handle the fact that Brent has turned their weekend getaway into a business and Brent reminds Josh that they have committed to a year of sacrifice to get their company up and running. But Josh threatens that he'd rather not have a business at all if it means having to sacrifice their relationship in the process. Beekmanpalooza - Episode 102 In order to bring attention and business to Sharon Springs, as well as to the burgeoning Beekman brand, Brent plans a Harvest Weekend. The 3-day event includes a garden party on the Beekman property, a harvest festival in the village and a feast at the American Hotel. Brent stresses out Josh and Farmer John, wanting to make sure everything will go off as perfectly planned and Josh laments that Brent has no idea how to throw a good party. The garden party goes off without a hitch, but the question of whether people will actually show up to the festival still looms. Josh exchanges his farming attire for an outfit more appropriate for debuting their new Beekman cheese at the harvest festival, while Brent frets about the poor attendance. Eventually, the crowds turn out and the festival is a success. At the harvest feast, Josh is dismayed when Brent announces he didn't get them reservations to the gourmet dinner, because he wanted to sell out all the tickets. Brent and Josh resort to eating a less-than farm fresh meal, but still find that the weekend was, in its own way, pretty perfect. Unhappy Birthday - Episode 103 Josh heads home to the Beekman from NYC looking forward to his 40th birthday weekend on the farm. But because Brent has agreed to host the first-ever wedding at the Beekman, Josh's birthday is put on the back burner. Josh has a hard time accepting that the weekend won't be all about him and he freezes Brent out, but his anger is overshadowed by sympathy when the ominous weather threatens to ruin the bride's special day. Brent and Josh pitch in to help with the ceremony, and Josh confesses that his disappointment lies less in the fact that he didn't get a birthday party, and more in that another couple is getting married at the Beekman before themselves. In the end, the wedding goes off without a hitch and Brent gets back into Josh's good graces with a birthday present that truly takes Josh by surprise. Dr. Brent Ridge was the Vice President of Healthy Living for Martha Stewart Living Omnimedia and developed Stewart's Healthy Center for Living at Mt. Sinai Hospital in New York. Brent's doctor skills come in handy when the animals on the farm fall ill. Josh Kilmer-Purcell is the New York Times bestselling author of I Am Not Myself These Days and Candy Everybody Wants. His newest book The Bucolic Plague: From Drag Queen to Goat Farmer An Unconventional Memoir (Harper Collins, June 2010, $29.95), is a look back at his experiences at Beekman Farm over the past year. The Fabulous Beekman Boys is executive produced by Planet Green's SVP of Production & Development, Jeff Hasler and Executive Producer Lynn Sadofsky. Executive Producers from World of Wonder are Randy Barbato, Fenton Bailey and Tom Campbell. Angela Berg is the supervising producer. Innovative production company World of Wonder is behind such entertaining hit series as Tori and Dean: Home Sweet Hollywood, RuPaul's Drag Race, Million Dollar Listing and Man Shops Globe. In addition, World of Wonder has created award winning films and documentaries such as The Eyes of Tammy Faye, Party Monster and Monica in Black and White. With offices in Hollywood and London, the company has produced cutting-edge fiction and non-fiction programming for HBO, Showtime, VH1, Sundance Channel, Discovery, MTV, BBC, PBS and Channel 4 UK, and can be found online at its entertainment blog The WOW Report, which boasts 500,000 unique visits per month at www.worldofwonder.net. Planet Green is the multi-platform media destination that launched on June 4, 2008. Planet Green is the center for a new conversation, speaking to people who want to understand how humans impact the planet, and showcase passionate people doing forward thinking things. Planet Green and its two robust websites planetgreen.com and TreeHugger.com, offer unique, original, insightful, inspiring, and entertaining content related to how we can evolve to live a better, brighter future. Planet Green's unique programming, digital tools, and content will enlighten, empower and most certainly, entertain. Planet Green is a division of Discovery Communications. [january 2010] S · FABULOUS BEEKMAN BOYS, THE (PLANET GREEN)

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Sheen Enters Rehab; ‘Two and a Half Men’ Shuts Down TV | By Josh Dickey on February 23, 2010 @ 1:15 pm Sheen's publicist says he's leaving the show — for now — as a “precautionary measure” Charlie Sheen is entering rehab and will take a break from the hit CBS comedy "Two and a Half Men," which is shutting down production while he's in treatment. "As a preventative measure, Charlie Sheen has entered a rehabilitation facility," Stan Rosenfeld, Sheen's publicist, said in a statement Tuesday. "He will take some time off his series ‘Two and a Half Men.' He has asked that his privacy be honored. No further statements are planned." It was not immediately clear how Sheen's absence would affect the show's schedule. The half-hour comedy was in production this week on the 19th episode of its 23-episode run; but like most shows, "Two and a Half Men" is in reruns while the Olympics are on NBC. It could conceivably have enough material banked to hold it over while the actor goes through treatment. In a joint statement from CBS entertainment head Nina Tassler, Warners TV president Peter Roth and Chuck Lorre, "Two and a Half Men" executive producer, said they support their star. “CBS, Warner Bros. Television and Chuck Lorre support Charlie Sheen in his decision today to begin voluntary in-patient care at a treatment center," the statement said. "We wish him nothing but the best as he deals with this personal matter. Production on ‘Two and a Half Men’ will be temporarily suspended.” Sheen's wife, Brooke Mueller, also went to rehab in the weeks after a Christmas domestic incident at their Apen home. But Mueller left the Malibu Center this weekend after someone on the staff leaked her medical information; her reps said her treatment was ongoing. Sheen was charged earlier this month with three counts, including felony menacing and two misdemeanors — third degree assault and criminal mischief. He is due in an Aspen court on March 15. Sheen has had several stints in rehab dating back to 1990, including a court-ordered treatment and detox program following an overdose that required hospitalization. After the December arrest, Sheen's co-star John Cryer told People magazine that Sheen was doing well, but was visibly under strain. "He was in his usual good humor on read-through day," Cryer said, "but obviously with the weight of something hanging on him a bit." Averaging 15 million viewers this season, "Two and a Half Men" is the most-watched sitcom on TV, according to Nielsen. The Christmas incident had no noticeable effect on the ratings for the show, which has two years left on its renewal order from CBS. Sheen's absence could have a wider impact than just the 9 p.m. slot on Monday nights — if he's gone long enough to disrupt the episode order, it's possible that it could affect a settlement between Warner Bros., which produces the show, and CBS. The network was sued in 2008 by Warners, which claimed CBS had failed to pay off production deficits to the tune of $49 million. CBS settled that action by renewing “Men” for three more seasons in a deal that included multiyear pickup of “Big Bang Theory." Whether an inability by Warner Bros. to deliver on its full slate of "Men" episodes would upend the settlement was not immediately clear.

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Speak, Royalty http://www.truthdig.com/arts_culture/item/speak_royalty_201011252/ Posted on Nov 25, 2010 By Richard Schickel All going as imagined, it’s really no more than a minor embarrassment. Prince George (Colin Firth), second in line for the English throne, has a speech impediment, which renders it an agony for him to talk in public. But that’s not something he has to do very often. His older brother, Edward (Guy Pearce), may be a perfect twit, but he is quite capable of speaking his vacuous kingly lines, leaving George to putter about his palace, lovingly attending his wife and their two princesses. Still, it would be nice if this earnest and kindly man could be relieved of his agony, and his wife, perkily played by Helena Bonham Carter, sets about finding him a speech therapist. All of the candidates turn out to be pompous frauds, until, somehow, she finds herself in the down-market digs of Lionel Logue (Geoffrey Rush), an Australian and a failed actor with his own highly eccentric ideas about speech therapy. These include an insistence on addressing George as “Bertie” and having his wife sit on his tummy (“Quite fun,” she judges the experience) while he lies on the floor, intoning nonsense phrases. So far, it’s not much more than another odd anecdote in the history of a royal line that is not lacking in such incidents, many of them much deadlier than this one. Then, of course, Edward falls in love with that less-than-gay divorcee, Wallis Warfield Simpson, precipitating the infamous constitutional crisis, his abdication of the throne and his subsequent career in irrelevancy (which included, of course, his flirtation with fascism). Now, it would not just be nice if Bertie could conquer his stammer; it is vital that he do so, for he is about to become one of the prime spokesmen for a nation standing on the brink of World War II. He is also about to seal a deep, odd-couple friendship with Lionel. Bertie is initially presented as rather a phlegmatic sort of fellow in Firth’s finely measured performance. He has a king’s loosely worn dignity, but he has just the right touch of irony when it comes to pomp and circumstance, and eventually he lets us see that he has unsuspected reservoirs of anger and affection as well. Lionel is ever the live wire, fully capable of challenging even the Archbishop of Canterbury (head of the established church) in order to protect the interests of his patient. He’s as cheeky as Bertie is staid, and I think their relationship is the most interesting that we have seen on the screen this year. I also think that “The King’s Speech” is the best movie I’ve seen so far in 2010. Normally, I avoid such flat-out superlatives—I’ve always thought they are a bad critical practice, and a potentially embarrassing one. But this film, written by David Seidler and directed by Tom Hooper, is an exceptional case. It tiptoes up to the farcical, then, at just the right moments, withdraws to the thoughtful, particularly as regards the issues of class that king and commoner must inevitably address in a country that, under the impress of economic crisis and an onrushing war, was in the process of revising. Who knew that this revision was being quietly encapsulated at the very top level of society? Yet this is a true story and everything about its subtle screen presentation reassures us of that truthfulness. This is a movie that almost entirely takes place in rather cramped quarters, some of them well furnished, some of them close to squalid. And, as befits a movie that is about the art of learning to speak freely, its true glory is in its well-judged dialogue, which is full of sudden emotional reversals—sometimes angry, sometimes affectionate, but always with a truthful ring. It is the common curse of movies about royals that the temptation to speechify is usually not avoided. But here we have a film about the very act of speech that avoids that pitfall. The truest measure of “The King’s Speech” is that all its performances feel unrehearsed, unaware of the effects the players are having on each other and on us in the audience. Yet it is quite wonderfully suspenseful. When Bertie must make his most important speech, rallying the nation to fight a desperate war, we are in agony that he succeed. Yes, Lionel is with him, virtually conducting the performance, mouthing his words, giving hand signals. But we understand, as well, that success is going to be a close-run thing. We are informed, at the end of the film, that the speech teacher would be at the king’s side for all of his major addresses thereafter, that he would be a valued member of his entourage until George’s death. This is a story kept in proportion. It never strums hard on its larger underlying themes. And, God knows, it never deteriorates into one of those awful “triumph-of-the-human-spirit” tales. It stubbornly remains a story of a man with a problem he overcomes thanks to the intervention of a clever, helpful, persistent friend. It is a film that knows its limits—and then transcends them almost casually, but with resonant and powerful effect. imdb.com King George VI (Colin Firth, left) takes his cues from Lionel Logue (Geoffrey Rush) in “The King’s Speech.”

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27 March 2005San DiegoThe rest of the rehearsal week in L.A. passed with many more late nights but not too many crises. The band were in from Thursday to Saturday during which time we have beaten the set into shape though playing and much discussion. Also present are Gavin Friday, long time friend and advisor to the band and Steve Lillywhite producer of many U2 albums. Both of these gentlemen know their way round a rock show and are here to aid and abet the process.The days ran to schedule, with crew work in the mornings, band in at 2 or so for music rehearsals, then one or two run-throughs of the set, often going till midnight. After that the creative team would retire to the dressing room to compare notes, watch video tapes and plan further strategies for a couple of hours. Finally, once the building was quiet and empty again, myself and the night crew would have the place to ourselves to carry on programming and turn the strategies into reality. Often we would work late, one night getting back to the hotel about 7am, just in time to meet a van full of crew about to head into the gig for the early shift. Open 24 hours, we are.Today we leave and head to San Diego. I got a ride down with Michael Tait, the fabricator of our astonishing stage. Michael is what's now known as an 'industry veteran' and has been making wonderful objects for U2 since the War tour, when he was also the lighting supplier. He's also very funny, and given that the other passenger in the vehicle was Mark Fisher, the tour's 'Architect' (i.e. set designer), it was a most entertaining journey. It was also very productive, as we are currently deep in discussions about the European leg of the Vertigo tour. Necessarily the show will be quite different to the one we are creating for North America as the shows al all outdoors. Not only that, but given the dates are late June in to July, much of the show will be played in daylight. This needn't be a problem, but it does require a different approach and a good deal of thought.About a month ago we did think we had a plan, but over the past week or so I began to have misgivings about it and have ended up pulling the plug on the original idea. I am refusing to panic about this, but time is now very short and of course everyone is completely consumed with the labour pains of the indoor show. However, two hours in an enclosed space with a couple of industry veterans does wonders for the creative flow, so I have renewed confidence that all will be well as the next idea begins to take shape. Into San Diego, dinner, early night.

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Viewer addiction to new Kevin Spacey drama series Wednesday - 2/6/2013, 10:56am ET This image released by Netflix shows Kevin Spacey in a scene from the Netflix original series, "House of Cards," an adaptation of a British classic. The 13-episode series was made available on Netflix on Feb. 1. (AP Photo/Netflix, Melinda Sue Gordon) FRAZIER MOORE NEW YORK (AP) -- I binged.There was much anticipation for "House of Cards," a new original series from Netflix starring Kevin Spacey that arrived in one big helping -- all 13 episodes of its first season -- on the subscription streaming service last Friday for viewers to enjoy, at their leisure, in the weeks, months or even years to come.Unless, that is, the viewer just couldn't stop. Which was me. I proved incapable of saving some for later, devouring all 13 hour-long episodes over the weekend. Then I licked the bowl.Now I'm gorged, and I'm left hanging for who-knows-how-long, deprived of answers to the questions with which the season jarringly concludes.But more to the point: I love the series. It hooked me. (Courting bedsores, I took root on the couch last Friday night and watched the first seven episodes in a row.)"House of Cards" is a loose but respectful adaptation of the 1990s British political thriller of the same name, a TV masterpiece starring Ian Richardson as a conniving, manipulating Parliamentarian who rises to the level of prime minister before meeting his fate in the span of just 12 hours that aired over several years as a trilogy.The new "House of Cards" is set in Washington, D.C., in the current day. It finds Spacey as U.S. Congressman Francis Underwood, a shrewd country boy from South Carolina who, early on, describes himself as "just a lowly House majority whip (whose) job is to clear the pipes and keep the sludge moving."His is a somewhat different self-appraisal than that of Richardson's Francis Urquhart, the Conservative Chief Whip in the House of Commons, an avuncular aristocrat who wields a silver tongue, a twinkle in the eye and a bloodthirsty streak. With equally false modesty but far more polish, he describes himself as "merely a functionary. I keep the troops in line. I put a bit of stick about."Like the original, the new "Cards" has its particular Francis soon joining forces with a young, hungry and attractive journalist (Kate Mara) in a partnership of subterfuge and mutual convenience that quickly gets personal.And he, too, has a strong and supportive helpmate, his wife Claire (played by Robin Wright) whom he loves "more than a shark loves blood."Once or twice, Underwood echoes Francis Urquhart's coy non-quite-confirmation, "You might very well think that, but I couldn't possibly comment." Then, thankfully, he lays it to rest.While the original "House of Cards" is irresistible (and readily available right there on Netflix), this "Cards" is an original too. In contrast to the starchy, Thatcher-era government its forebear makes sport of, this "Cards" is waist-deep in today's Beltway melt-down, where Congress is "choked by pettiness and lassitude," as Underwood notes in one of his asides to the viewer.Underwood (who, in contrast to the right-wing Urquhart, is some semblance of a liberal Democrat) has his eye on a loftier perch than the House, and there seems no limit to the cunning he can muster toward that goal. Confident but ever-mindful that things can always go awry, he relies on no grand plan but, instead, a thicket of potential counter strikes. His is a meticulously orchestrated power grab.The result is a dark, hard-edged thriller whose soundtrack -- far from the proud brassiness of the British "Cards" -- is a thrumming, cautionary bass line.The intense style of this "House of Cards" reflects the pair who developed it: Beau Willimon, the Oscar-nominated screenwriter of another political drama, "The Ides of March," and David Fincher, Oscar-nominated for directing "The Social Network," a thriller in its own geeky right.Spacey -- once he and the audience get used to his Southern accent -- is arresting. As a politician on the make, he is evocatively deadpan and sad-eyed, as if he wished this wretched world didn't justify his deeds but will damn sure make the best of it.It's easy to sum up: "House of Cards" is an outstanding, even addictive enterprise.And this brings us to the way Netflix is giving it to us. For virtually the first time in television history, a TV series isn't a controlled substance.Here's a show that isn't parceled out in carefully prescribed weekly doses! Such an innovation could have major implications, especially with Netflix's all-you-can-eat price structure. (And, by the way, it could fail. At least one analyst has cast doubt on "House of Cards" as a magnet to expand the service's subscription base: In theory, you could subscribe for one month, catch all the episodes plus any other goodies you want, then bail.) 1 2 - Next page >> Comment

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Home / Events / Theater / Antony & Cleopatra TREE PALMEDO 7 pm most Thursdays-Saturdays through July 26. For full schedule, visit portlandactors.com, Friday July 18 | Free Antony and Cleopatra is the summer blockbuster of Shakespeare plays, with sweeping battle scenes, star-crossed romance and an epic three-hour runtime. It’s great for the stage, but doesn’t seem like the best fit for the low budget and family audience of a Shakespeare-in-the-park production. All the more impressive, then, that Portland Actors Ensemble manages to convey most of the play’s emotional heft and cinematic scope within the confines of Laurelhurst Park. Director Elizabeth Huffman places the audience on either side of a strip of carpet, with impressively decorated platforms on each side representing the play’s warring factions: The Roman side is rendered in gray and red, and the Egyptian half is speckled with gold hieroglyphics. The production also includes live Middle Eastern-tinged music in its key dramatic scenes, resulting in a score that’s more tasteful than that of most actual blockbusters. All of these trappings are welcome, but the key to successful Shakespeare will always be the acting, and here, too, the company mostly delivers. Matt DiBasio is a loud, bombastic Antony, but as much as he tries to command the stage, the show belongs to Andrea White. As Cleopatra, she growls, cries and regally orates her way through a performance that would be epic in any setting. Where: Multiple locationsPhone: 467-6573Website: http://www.portlandactors.com/ GOOGLE Multiple locations Other events in Theater Also At Multiple locations There's no more events in Multiple locations

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Phase 4 Films has announced the video-on-demand (VOD) World Premieres of DRACULA REBORN and PROMETHEUS TRAP on October 1st. Head inside to check out the trailers and posters for both films. THEIR SEARCH FOR ANSWERS WILL TAKE THEM TO THE EDGE OF THE UNIVERSE…. In deep space, the military cruiser, VENOM, is diverted from its mission to investigate a derelict freighter ship, the PROMETHEUS. On board, all of the crew are dead – victims of sabotage. And its only cargo is a weapon… one that will change the course of time and their destiny. PROMETHEUS TRAP The end begins…Again… The first film in the STILL NIGHT MONSTER MOVIE SERIES, DRACULA: REBORN is a modern retelling of Bram Stoker’s classic novel, DRACULA. Set in modern day Los Angeles, the story revolves around Jonathan Harker, a man who had it all… a good job, a beautiful wife, and a family on its way. But in the dark of night, a wealthy and enigmatic stranger, Vladimir Sarkany, will come forth to destroy it all. Now, in order to get his life back, he has to join forces with an unlikely crusader Abraham Van Helsing and prepare himself to make the ultimate sacrifice. Forget what you know about the legend…all is about to be Reborn. DRACULA:REBORN Believe the unbelievable.

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The Walking Dead Social Game won't be a click-fest [Interview] by Joe Osborne, Posted Mar 15th 2012 10:00AM "If you have a game where all you do is just click, click, click and you progress through everything, you don't actually make any decisions and there are never any consequences, we don't think, frankly, that's a very interesting game," RockYou Studio Partners GM Josh Grant admits. "And we don't think that's a game that really represents this amazing franchise really well." Many a branded Facebook game fall into this trap, resting on the laurels of a high-profile brand to turn out as nothing more than a series of arbitrary tasks to click digital objects. The Walking Dead Social Game, developed by Atlanta, Ga.-based Eyes Wide Games and published by RockYou, will not be that type of branded social game, we're told. Rather, the publisher sees this as a golden opportunity to do something new. "One of the opportunities we feel with the strength of this brand, is not to try to recreate everything that's been done on the platform, but to use this brand as a great vehicle to bring gameplay mechanics and consequences that are a fun an interesting part of games to the platform," Grant says. "Obviously, people die in the series and there are consequences to people's actions, and those are principles that we very much wanted to get into this game." Set to launch on Facebook this April, The Walking Dead Social Game is the crown jewel of RockYou's publishing division, Studio Partners. We're told that the game will employ a turn-based strategy combat mechanic that's easy enough for casual fans of the AMC series to enjoy, but packs the depth that more seasoned gamers thrive on. That's an ambitious undertaking in and of itself, especially considering how it seems Eyes Wide looks to approach asynchronously play. For instance, players will get to recruit their friends and other non-player characters to either protect their camps while they're away on missions or come along for the ride. Regardless, those players can and will die, but it won't be the end for them. This is a zombie apocalypse, after all. "When those friends die in the game, that will not be the last time you see them," Grant tells us. "When you see them again, they will look very different and act very different. And the player will have to make choices that will have consequences about how they resolve that conflict."

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'The View' anticipating another Daytime Emmy loss NEW YORK - The ladies of "The View" are embracing their inner Susan Luccis. After eight Daytime Emmy nominations for best talk show hosts and eight losses, they're so confident of another defeat that the 8-year-old show is staging a "Watch the Ladies Lose" contest in which three viewers will be flown to Hollywood to watch the ceremony. They're not yet halfway to Lucci territory - the "All My Children" actress lost 18 times before winning best actress in a soap opera in 1999. "There's always this taboo about discussing who will win and who will lose," said Bill Geddie, the show's executive producer. "We know we're losing. Why not just own up to it?" Talk shows with multiple hosts traditionally don't win, he said. Ellen DeGeneres won last year, and she's the only single host nominated this year. "There's always somebody to hate, and we've got five of them," he said. "There's always somebody you're not going to like and the nature of the show is we tick people off now and then." The nominees - Barbara Walters, Meredith Vieira, Star Jones Reynolds, Joy Behar and Elisabeth Hasselbeck - will poke fun at themselves next month by highlighting the "top 5 reasons the ladies won't win." Daytime Emmys co-host Tom Bergeron will also give "The View" a backstage look at things the winners see, but "The View" hosts won't. Three fans who win the contest will be flown first to New York for a makeover and then to Hollywood, where they will meet Hasselbeck on the red carpet. All the fuss provides a month's worth of publicity for the Daytime Emmys, which are being held April 28 and televised on ABC - not coincidentally the network where "The View" is usually seen. "I think it just speaks to the fact that we don't take ourselves too seriously," Hasselbeck said. Down deep, she's not quite as ready as Geddie to admit defeat. "I'm an optimist, so I still feel like we could win," she said. "I like to go into things saying I'm the underdog, but I'm going to win." Could this actually be some sort of counterintuitive campaign? Could calling attention to their losing streak help them win? "It's a very good question," Geddie said. "My guess is the timing is such that we're probably deep into the voting process. Probably a lot of decisions have already been made. In essence, Ellen has already won. It would be funny if it backfired and we wound up winning, but I don't think that's going to be the case." HUMAN INTEREST EMMY TOM BERGERON NEW YORK ABC EXECUTIVE PRODUCER EMMYS BILL GEDDIE BARBARA WALTERS ENTERTAINMENT_CULTURE SUSAN LUCCIS ALL MY CHILDREN ELLEN DEGENERES ELISABETH HASSELBECK ACTRESS THE VIEW JONES REYNOLDS JOY BEHAR MEREDITH VIEIRA The Augusta Chronicle ©2014. All Rights Reserved.

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Home>> TV Hosts >>Claudia Bassols Claudia Bassols co-host, Spain… on the road Again Barcelona-born Claudia Bassols graduated from Spain’s Coco Comin School of Musical Theater and studied acting at Australia’s National Institute of Dramatic Art, at the University of North Carolina Wilmington, and in Los Angeles. She made her stage debut in Wilmington, where she received great reviews for her performance in the play Boys’ Life. She supported herself during the audition phase of her career by appearing in commercials and singing in pubs with her band, The End. Perseverance and hard work paid off when she was cast in the leading role of “Carmen” in the sitcom El Mundo de Chema, alongside renowned Spanish comedian Carlos Latre. Since then she has played the lead in other Spanish TV series such as C.L.A. No somos �ngeles. She has also appeared in supporting roles on some of Spain’s most successful TV series (Amar en tiempos revueltos, Mis adorables vecinos). Fluent in Spanish, Catalan (a Romance language spoken in parts of Western Europe), Swedish, Italian and French, Bassols has been frequently cast in English-speaking roles, including the feature film Blackout starring Amber Tamblyn and Aidan Gillen. Shows: Spain... A Culinary Road Trip www.spainontheroadagain.com

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Open/Close Navigation History Of The Eagles - The Story Of An American Band | Now on DVD History Of The Eagles - Live In Concert History of the Eagles Now Streaming on Netflix History of the Eagles, the iconic band’s acclaimed documentary, is now available for streaming on Netflix. The Emmy Award-winning film features rare archival material, concert footage, and never-before seen home movies that explore the evolution and enduring popularity of one of the world’s biggest-selling and culturally significant American bands. Subscribe to Netflix or get a free trial and watch now HERE. Buy the History of the Eagles now on DVD and Blu-Ray or get the Limited Edition Super Deluxe Box Set and T-Shirt bundles now in the official Eagles Online Store. Get the Eagles Newsletter The Eagles on Facebook © 2014 Eagles. All rights reserved.

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Free Movies Online Freemeo is a Great New Place to (Legally) Watch Free Movies Online Features By Scott Beggs on July 29, 2013 | Comments (1) Meet Jeromie Whalen. By day, he works as a project coordinator for a non-profit media center. By night, he’s trying to make it easier for everyone to legally find free movies online. Feel free to thank him when you take a break from watching movies. Specifically, Whalen has created a YouTube channel called Freemeo Movies that plays host to full-length, public domain movies. All ad-free. I was planning on getting an exact number for this piece but, well, there a ton of them — almost exclusively from the 30s and 40s. Some have thousands of views, some only 3. Some are famous flicks featuring actors like Cary Grant and John Wayne, others are sprung from cinema’s oubliette to have a new shot at life. All of them deserve a chance to be seen. As the story hit Reddit, Whalen had already spent a ton of personal time finding films, ensuring their copyright status and then uploading them with complete profiles and poster art. This is the Lord’s work, and naturally I had some questions. Fortunately, Whalen offered some insights into why he’s doing it and what we need to know when it comes to enjoying (and using) stuff in the public domain. IMDb Wants to Make Every Movie and TV Show Free Movie Marketing By Neil Miller on September 17, 2008 | Comments (20) IMDb.com’s site founder Col Needham said Monday, “Our goal is to show our users every movie and TV show on the Internet for free on IMDb.com.” Needless to say, I can see many of the wandering movie-lovers of the interwebs being down with that.

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Amazon Indiebound Religion in Contemporary European Cinema : The Postsecular Constellation author: Camil Ungureanu , Costica Bradatan publisher: Routledge pub date: 02.24.2014 tags: Religion , Film S. Brent Plate on Religion in Contemporary European Cinema : The Postsecular Constellation The Resurrection of God in Cinema August 7th, 2014 reset - + IN 1898, CAMERAMAN William Dickson trailed Pope Leo XIII around the Vatican grounds, documenting a series of vignettes of his activities. The Roman Catholic leader walked, rode in a carriage, and sat with attendants, simple movements recorded by the new technologies of the motion picture camera. The scenes were intended for Catholics in other parts of the world, especially the United States, who could see the head of the faith, fully animated, and could peek inside the sacred grounds. This seems banal enough, but the images allowed something extraordinary. With the formation of the secular Kingdom of Italy and the capture of Rome in the 19th century, the Vatican had become a closed-off space. Pope Pius IX hyperbolically called himself a “prisoner in the Vatican,” and conflicts between church and state were fierce. Unlike Pius IX, Leo XIII was noted for his diplomatic ways and, we might add, his media savvy: he became the first Pope to have a sound recording made of his voice, and the first to be filmed. Mass media linked the Vatican with the outside world. Film became a tool through which the relationship between church and state could be reoriented. While some of the animosity between Italy and the Vatican was relieved with the formation of Vatican City as its own city-state in 1929, the trans-European tensions between older political theologies and newer, secularized nations continue today. We all know the standard narrative: Europe has turned away from God; its citizens have stopped attending worship services, become “secularized.” As they have done so, popular cultural practices have filled the gap: sports, television, video games, web surfing, and social media all vie for rapt and faithful attention. And cinema continues to resituate and reconceive the ways citizens practice their politics and piety. In a thoughtful new collection, Religion in Contemporary European Cinema, edited by Costica Bradatan and Camil Ungureanu, Bradatan suggests that “behind the façade of a secularized world, a wide range of ‘spiritual experiences’ gives people a new sense of belonging to a grander, cosmic order, as well as of personal fulfillment.” So, while politics and religion have undergone a trial separation in the modern West, cinema provides an arena for filmmakers and audiences to jointly partake in a “cosmopoietic” project. If anything, as the subtitle of the volume suggests, today’s Europe lives under a “postsecular constellation,” a star sign that links heavens and earth, sacred and profane, and, yes, politics and theology. Bradatan, a scholar of European philosophy and an editor at the Los Angeles Review of Books, sets the stage for the 11 contributions when he states that secular worldviews, along with the rise to prominence of the modern nation-state, are often imagined to be “intellectually insufficient and seen as offering existentially poor options.” To the contrary, cinema, as the authors here all rightly know, has always been linked with the sacred. The essays in this collection all find ways these linkages are occurring. Many of the contributions owe a significant debt to modern continental philosophy, with liberal use made of Gilles Deleuze, Jacques Derrida, Jürgen Habermas, Søren Kierkegaard, Julia Kristeva, Jean-Luc Nancy, and Slavoj Žižek (though strangely no Hegel). For the most part, the essays resist the use of film as some mere “illustration” of a deeper philosophical point, a method that continues to plague approaches to cinema from religious and theological perspectives. Instead, cinema here joins with philosophical projects as responses to cultural settings, at the same time as it generates its own unique cultural products. Film and philosophy both respond to, and create, sociopolitical environments. Along these lines Catherine Wheatley looks at Nanni Moretti’s Habemus Papam (2011) via Nancy, arguing that “both men’s engagement with Christianity is […] interested in Christianity’s self-surpassing, its dis-enclosure.” John Caruana explores Bruno Dumont’s anti-Christ film La Vie de Jésus (1997) in light of Kristeva’s writings, to assess how Dumont is involved with an “unorthodox atheism”: the philosophical-cinematic endeavor here is not about belief and unbelief, it is about reality and the unveiling thereof. Bradatan’s entry on Krzysztof Kieślowski’s Blind Chance (1981) brings Mircea Eliade’s myth of the eternal return to bear, noting how the nature of film is such that time can be rearranged in creative ways, and we can scan back and forth through past, present, and future, allowing an “escape” from the terror of history. Other contributors argue that the filmmakers themselves offer critical analyses of religion: filmmaker as philosopher. Camil Ungureanu sees Lars von Trier’s Breaking the Waves (1996) and Antichrist (2009) as two “religious” films even when they pit “religion against religion.” Trier gives us an experience of religion, but also protests against it; he is ambivalent, but it is a productive ambivalence. Alina Birzache discusses the trope of the “Holy Fool” in Russian film. The figure is prophetic, for example in Andrei Tarkovsky’s films where the fool criticizes socialism and capitalism alike. But in the post-Soviet era, in films like Pavel Lungin’s The Island (2006), the fool becomes universalized, able to critique anything to which they might set their gaze. In another chapter, Geoffrey Nowell-Smith goes back to Pier Paolo Pasolini, from a less secular age, to explore the sacrificial motifs in the Italian director’s films, especially his masterpiece, The Gospel According to St. Matthew (1964). Sacrifice for Pasolini was not merely pagan or Christian, but could be useful on intellectual grounds and applied across sociopolitical structures. Post-secular filmmakers offer creative, aesthetic models for living, but not at the expense of ethics. Paul Coates listens to the audio tracks in the films of Kieślowski, Michael Haneke, and Lucrecia Martel, finding sounds to be linkages between characters, a way of creating and connecting “neighbors.” In one of the more original pieces in the collection, Nathan Abrams charts a new type of horror film through the eyes of Stanley Kubrick and Roman Polanski in which horror and evil are not relegated to the supernatural world but to wholly secular means, and the challenge is to respond in human-centric ways, to take responsibility. Meanwhile, Robert Sinnerbrink uses Alejandro Iñárritu’s film Biutiful (2010) to think through a “post-secular ethics,” an ethics that centers on mortality, but also on the multicultural world that has emerged in post-secular Europe. And Jolyon Mitchell offers a long historical take on Russian film, beginning with Tsarist-era films, into the Soviet Revolution, and ultimately to the current post-Soviet age. By examining one nation’s cinema over many political shifts, we find a variety of ways religious themes are put to use for and against the powers that be. For the most part, post-secular means “post-Christian” in these essays, but there are tinges of how it might also mean “pluralism” (though this doesn’t get explored as much as it could have). The real contribution here is by Asuman Suner, who turns to a particular Muslim spirituality in Turkish films, and specifically Semih Kaplanoğlu’s “Yusuf Trilogy.” Suner articulates a “new aesthetic form” found not in the specifics of Islamic theology, but in everyday, chiefly secular, life, what she calls “spiritual realism” in Kaplanoğlu’s films. And here we come to one of the central themes running through these essays. In many of the films discussed, the spiritual is found in the mundane. In the slice-of-life films of Kaplanoğlu, the Dardenne brothers, Dumont, Haneke, or Kieślowski, authors see the elevation of the everyday — such sacralizing, such re-enchantment, occurs by close seeing, by watching and listening carefully. The implicit bet is that by viewing such films, a transference of aesthetical and ethical practices might be resituated in the socio-political-religious world outside the spaces of cinema. There is little by way of audience response; these are mainly formal analyses, coupled with some genre and auteur theory. Since this is about post-secular Europe, I do wonder how many Europeans are actually watching, listening, and thinking about the implications of escaping the terror of history, confronting the nihilism of post-Christian self-surpassing, or heeding the cry of the holy fools on the fringes. But these contributors provide the reader with ways to live under the star signs of the post-secular. The range of contributions is sufficiently capacious to create the larger argument about a reanimation and reimagination of the cosmopoietic order. One final point needs to be made with regard to Dickson’s Vatican filming: at two brief points during the process the Pope looks directly at the camera, raises his hand, and offers a blessing. The gesture has been interpreted in two ways. First, and perhaps most logically, Leo XIII understood that he was being recorded and meant for his blessing to travel to the faithful who would see it in other places. The other oft-noted interpretation is that the religious leader was actually blessing the camera itself, understanding what a crucial technological tool it would become. Either way, within a few years of the birth of cinema, the film camera inserted itself as a vital player in religious and political life. The representational medium could become an important stand-in for presence, well beyond the isolated walls of the Vatican, engaging global politics. And perhaps, as some began to surmise, we can only live in the realm of representation, as humans cannot bear very much reality. Early filmmakers and theorists saw the magical possibilities in the new light and image shows, a chance to enchant an increasingly disenchanted world. Two world wars, a rise in postwar affluence, and a decline in religious adherence shifted the particular modalities of cinema’s encounter with the sacred, but audiences continue to delight in the worlds of film, to find something intellectually, imaginatively, and spiritually rich. And so in this post-secular age, filmmakers — whether professed atheist or professed Catholic — struggle with the religious dimensions of life. They find, as Ungureanu states in his final remarks, “a powerful source of values and experiences […] that a secularism focused exclusively on a immanent reason is unable to account for.” The perceived split between faith and reason, the transcendent and the immanent, may be the grandest illusion of all. S. Brent Plate is visiting associate professor of religious studies at Hamilton College and co-founder and managing editor of Material Religion: The Journal of Objects, Art, and Belief. Recommended Reads As Unclear as Life Itself: An Interview with Cristian MungiuA Radical Move by a Conservative PopeMatters of FaithSon of Man: Scott Korb on Reza Aslan’s "Zealot: The Life and Times of Jesus of Nazareth" The Romanian New Wave Crests: Cristian Mungiu's 'Beyond the Hills'On Reza Aslan's "Zealot": A SymposiumPhilosophy as an Art of Living print

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click here Movies Wild About Harry Description: A woman who wants to get rid of her husband has second thoughts when he's suddenly not the man he once was in this romantic comedy shot in Ireland. Harry McKee (Brendan Gleeson) is the host of a long-running television series called What's Cooking? in which he shares recipes with celebrity guests. Harry is also an alcoholic, and chronically unfaithful to his wife Ruth (Amanda Donohoe), which has earned him a certain amount of bad publicity over the years. Ruth decides she's had enough of Harry's unreliability and demands a divorce, which Harry is in no position to contest. But the day before their divorce is to be declared final, Harry is attacked by muggers; his injuries leave him severely disoriented, and as a result he humiliates a powerful politician (James Nesbitt) on the air before passing out and falling into a coma. A week later, Harry regains consciousness, but something has happened to his memory -- he can't recall anything that has happened in the past 25 years, and he's convinced that he is only 18 years old. Ruth discovers her husband is now literally a different person, and with a little prodding she's able to re-educate Harry into a sweet-tempered and monogamous teetotaler. Harry isn't able to leave his past entirely behind, however; even if he can't remember it, the politician he embarrassed is eager to get revenge. Wild About Harry also features George Wendt and Adrian Dunbar.~ Mark Deming, All Movie Guide

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SHARES: Diane Warren on Justin Bieber's 'Never Say Never': "Best Concert Movie I'd Ever Seen" Diane Warren has worked with a lot of heavy hitters in music. Among them Aerosmith, Cher, Elton John and Céline Dion. One of the most recent artists she worked with was recent Billboard Award winner Justin Bieber. OK! talked exclusively with Diane about her collaboration with Justin and what’s next for her in her legendary career. OK! NEWS: JUSTIN BIEBER ON CREATING A WOMEN’S FRAGRANCE — “I WANTED TO BE SMELLING THE GIRLS’ NECKS” How did her collaboration with Justin for his film Never Say Never originally come about? Over dinner! “The way it came about was I was at dinner and my friend, who is head of music at Paramount, was with Justin’s manger and they came to my table. It was just random,” Diane explained to OK!. “They said we need like an ‘I Believe I Can Fly’ for this movie. Soon after that, I hired the same lawyer that is Justin’s lawyer. It kind of fell into place. They loved the song and 210 million YouTube views later. I mean, YouTube is like radio for those kids. I think the song is going to become a little classic.” Diane loved the film too, although she was a little hesitant at first about it. “Yeah. I love that movie!” she said. “I love how the song was used. It was like all the videos of him growing up and it was just such a great use. I love the movie. Honestly, I thought it was the best concert movie I’d ever seen.” “When I first heard the song and I hadn’t seen the movie, I went to the premiere and I was like, ‘Oh, I have to sit through this?’ But then it was like, I wanted to see more!” Diane explained. “It really broke down how he broke out of YouTube and what a hardworking kid this is, and there were moments where I cried. Like, where he saw that little girl outside the theater where he used to sing. It was so sweet. It was just such a moment. Seriously, it was a great movie.” Does she think Justin can keep his success up? The answer is yes! “If he keeps his head on his shoulders, his talent will take him there,” she said. “He’s super talented. He’s a hardworking, talented kid. We’ve seen stuff happen to other kids, but I think he’s going to be okay. He has people around him who are really good for him. As long as he maintains that, he’s unlimited, really.” OK! VIDEO: WATCH JUSTIN BIEBER & SELENA GOMEZ KISS AT BILLBOARD MUSIC AWARDS What’s next for Diane? Working with everyone! “Everything from Akon to Mary J. Blige, to hopefully Aerosmith again, to Mike Posner.” She also just finished executive-producing Kristin Chenoweth‘s new album. “She’s really a country singer. She’s from Oklahoma. That’s who she is. It was my idea to tap into that,” she explained to OK!. “I saw her on Glee doing a Carrie Underwood song; I was like, ‘Wait a second. You’re a great singer. You’re from Oklahoma, like Carrie Underwood. Lets make you her big sister. Her album is fantastic. I think people are going to love it.’ “ You can see Diane on HSN on June 2 at 11 p.m. ET with her new duo Due Voci, when they present Due Voci: The Music of Diane Warren for a live one-hour prime time special of her greatest hits. Tags: Get Scoop, OK! Exclusive, Aerosmith, Akon, Carrie Underwood, Celine Dion, Cher, Elton John, Justin Bieber, Mary J. Blige, Glee

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« The Voice’s Adam Levine & Maroon 5 to Debut New Single Featuring Christina Aguilera | Home | Celebrity Apprentice’s Gary Busey Fired From New Film for…Being Gary Busey » Food Network Star: Interview With Bob Tuschman June 15, 2011 08:28 AM by Megan Thompson If you know the names Rachel Ray and Giada De Laurentiis it’s probably because of Bob Tuschman. Bob has helped discover and develop numerous cooking celebrities throughout his career. Currently Bob is a general manger/SVP at Food Network and judge on the Food Network Star. We were able to speak with Bob on a call and find out why Food Network Star really resonates with the audience and what truly makes someone a star in the food world. Keep reading to hear what Bob has to say about the network’s top rated show. As the season progresses and you start to get a feel for the contestants and how well they cook, do you gain a sense of who is going to make it to the end? You think I would after all this time, but I have to say I’m constantly surprised week to week. It’s one of the reason I really love doing the show and I think part of the reason why it’s so interesting for viewers. Even though I have people who I pick out early on as favorites, I have never stopped being surprised at what sorts of things trip them up both in terms of their internal struggles and in terms of certain challenges that we give them. I’m always surprised by people who start out the show at the very back of the pack and emerge through the sheer force of will, through their ability to really listen to notes and to just to never stop improving themselves. I often said the people who end up winning they are often the people who can grow the fastest in the shortest amount to time. How difficult is it to get to know the contestants and getting attached to them – does that make it difficult when it is elimination time? Yes, but having four selection committee members keeps you honest. When we do the deliberation at the end of the show, there is nothing scripted about it, it’s our honest opinions. We often come at it from very different points of view. Even though I may get personally attached to people that I’m rooting for, I think I’m pretty clear where their deficiencies are as well as their strengths. What did it take for you to get comfortable on camera? Well, I think if you watched the very first season you will have a good idea – I like to think I have improved also along with the contestants. In high school and college I did plays, so I have always enjoyed being in front of people. When I watch myself in early episodes I thought – I seem so low energy, flat and monotone. I was aware that I needed to ramp up my performance, just to come across more so how I would in real life. How has what you’re looking for in a star changed from season 1 to season 7? I think our expectations are higher now. As the seasons have progressed, so has the celebrity status of our current food stars. Our food stars have become national celebrities, far outside just the food world. Rachel Ray and Guy Fieri are national names, outside of people who are just food watchers. If you have three criteria that help you to make your decision – what would they be? I’m looking for comfort in their own skin. We are looking for a strong sense of who they are and who they want to be. A creative intelligence, so no matter what challenge we throw at them – they can handle it. The third would be, just a strength, not the physical, but in an emotional sense. What would be your last meal ever? I can tell you what genre it would be in, Italian or Mediterranean, those are the flavors that naturally appeal to me. In a former life I probably lived on a Mediterranean island. If you could create the ultimate Food Network Star, what would be the combination of cooking, star power and personality be? I would actually say evenly split, which is the huge difficulty of Food Network Star. We get pitched every year hundreds of people who are excellent cooks. And we get pitched people who are really amazing excellent personalities, but don’t really have the food sense. To get all three in one person is so difficult and is why I have gray hair! Have you ever felt that you were too harsh on a contestant with your criticism? Yes, I certainly have had eliminations were I regretted. I felt bad about Kelsey, this was a few seasons ago, who is now on Cooking Channel. I said repeatedly in that season that she was too young and I got such hate mail when she was kicked off because people loved her so much. I feel direct, honest and tough criticism is the biggest favor I can give someone because you give them the opportunity to approve. I want to give everyone the chance to raise their game – and they have to do it in a very short time period. Do you find the show is less about food and more about star making? Well I would say that we want every show to be unique. There are a lot of cooking competition shows on our network alone. The unique promise of Food Network Star is that you get a peek behind what it takes to be a celebrity chef in this day in age. It is very different than what people think, because most stars that make it – make it look easy. Have you been surprised how strong the ratings for the show have been? Yes, we are obviously thrilled by them. One of the great thing about this show is it brings all of our viewers together. So whether you like more reality programming, whether you like informational programming or competition programming- it appeals to everyone. I think people like it for so many different reasons. It’s obvious that viewers are addicted to this season’s Food Network Star. Thanks to Bob Tuschman for speaking with us – he was great to talk to, very open and entertaining. We can’t wait to see what happens on the next episode of Food Network Star, airing Sunday at 9EST. Comment below and let us know what you think of this season! Want more? Follow our tweets on Twitter and “like” us on Facebook! For other great Reality TV News, please feel free to check out SirLinksALot: The Next Food Network Star and then come and discuss the show on our Reality TV message boards. Visit our sister site SheKnows for more breaking news about celebrities and entertainment! Photo Credit: Food Network Topics: Food Network Reality TV Shows, The Next Food Network Star | « The Voice’s Adam Levine & Maroon 5 to Debut New Single Featuring Christina Aguilera | Home | Celebrity Apprentice’s Gary Busey Fired From New Film for…Being Gary Busey » One Response to “Food Network Star: Interview With Bob Tuschman” Alfonso Dupont Says: June 15th, 2011 at 7:48 pm Why didn’t someone ask him how gay he is, based on his appearances I would say EXTREMELY HOMO.

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Currently Hot Topics: Jurassic World Trailer | Interstellar Explained | Wonder Woman Movie | Avengers 2 | Hunger Games Mockingjay Review | ‘How I Met Your Mother’ Renewed for 9th (and Final) Season After rumors swirled that Jason Segel was ready to depart How I Met Your Mother after the current eighth season, almost ensuring that this would be the last for the CBS comedy series, a deal has been made in the 11th hour to keep him around. A final decision had to be made this month in order to figure out whether or not the overarching story of the show needed to begin closing this season or finish out with season 9, and Segel was the one cast member who was hellbent on finally leaving the show. So what happened? Deadline says Segel “decided to bail and leave the cast hanging. But he just got turned around today at the last second. The show was literally dead.” Sounds like Segel got lawyered. The contracts for all of the stars, including Josh Radnor, Cobie Smulders, Neil Patrick Harris and Alyson Hannigan, in addition to series creators Craig Thomas and Carter Bays, were up at the end of the current season, so a new deal had to be figured out for the endgame. Thankfully, CBS now has all the key components for what will be the ninth and final season in this long saga of love for Ted Mosby. That’s good news since CBS was hopeful they would get at least one more season for the show. I’m just hoping Segel isn’t coming back begrudgingly and he has the inside track on what will hopefully be a satisfying conclusion. Honestly, as a fan who has seen every episode of the series, I’m relieved that we have an end in sight, but this season has not impressed me at all. Only with last week’s power hour of two episodes did I feel like some real progress in the story had been made and the charm of the earlier seasons had returned. Otherwise, there’s been too many ridiculous things happening that started to turn the show into one of the less satisfying comedies on CBS right now. But perhaps this will turn out much like The Office, where the penultimate season was lacking in the spirit of the finer writing of earlier episodes, but the farewell season brought back the quality goods with vengeance. With season 9 set as the end, it sounds like fans will finally learn who the mother is either in the fall of 2013, or the spring of 2014, and that’s something to be excited about now. With all the red herrings and complicated storytelling that adult Ted Mosby has thrown to his kids, hopefully the payoff is worth the nine year wait. But the question remains as to just what actress is perfect to play the love of Ted’s life. It’s going to be hard to please everyone with this casting, and it might be as divisive an element as the ending to LOST. Only time will tell. How I Met Your Mother is on winter hiatus (like the rest of the network shows) but will return with new episodes on January 14th at 8/7c on CBS. Soure: Deadline TAGS: how i met your mother

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Posts tagged as history HistoryExploring the Hidden Racist Past of the Looney Toonsby Matt Crowley | September 16th, 2014I have an uncomfortable confession to make: I have never liked the Looney Tunes. Despite the cultural pervasiveness of these characters, and a lifelong love of animation on my part, they’ve always struck me as annoying, repetitive, and boring — for all the pandemonium that Bugs Bunny and his ilk ostensibly represent, their chaos is bland, their destruction is predictable, and their lineage is corporate. To be fair, my exposure to Looney Tunes at the time bore that out pretty well: I grew up in the age of Space Jam and the slew of jerseys, sneakers, McDonald’s toys, pogs, and cookie jars that film spawned. Today is no better, [...] HistoryWhat's So Special About 'The Richard Pryor Special'?by Abby Denton | August 19th, 2014There's a famous story about The Richard Pryor Show — as Richard Pryor's star was rising in Hollywood in the 1970s, NBC commissioned the man to make a 10-episode sketch program to be broadcast in prime time. Family-friendly viewing not being Pryor's first priority, he clashed with the censors again and again until finally they let him off with only four episodes. These four episodes are still credited with an enormous influence over the genre of TV sketch comedy — directly cited by future blockbusters such as In Living Color and Chapelle's Show — and launching the careers of several performers, including the late Robin Williams in one of his [...] From the ArchivesFinding Long Lost Jack Benny Episodesby Ramsey Ess | August 23rd, 2013The last time on From the Archives that we checked in on Jack Benny, it was towards the end of his career, in 1973. While he was getting on in years, his oft-complimented timing was still just as sharp as it always was, and he still put on a good show. However, judging any comedian's performance at the age of 79 seems a little unfair, unless they're George Burns, so today we're going to examine Jack Benny at his peak, with the help of the new Shout Factory DVD The Jack Benny Show: The Lost Episodes. I've spoken many times in this column about the various studios [...] HistoryBig and Glossy and Wonderful: The Birth of the 'National Lampoon' Magazineby Ellin Stein | June 25th, 2013The first issue of the National Lampoon appeared in April 1970 and sold fewer than half of the five hundred thousand copies printed. Some readers may have thought they were buying yet another Harvard Lampoon magazine parody, understandably confused by a cover that was a variation on their recent Time parody; a dimly lit model in revealing costume posed against a muddy brown background with the caption “Sexy Cover Issue.” Less predictably, next to the model was a grinning cartoon duck — a Doug Kenney idea. “Henry would say, ‘Wouldn’t it be great to do an interview with [legendary New Yorker humorist] S. J. Perelman,’ and Doug would say, ‘We [...] SNLNew Sketches in an Old Package: 22 Examples of New 'SNL' Content that Debuted in Rerunsby Ben Douwsma | April 17th, 2013Reruns of Saturday Night Live are usually edited somewhat from the original live broadcasts. These edits are often just minor fixes of technical issues and improvements to the sound mix, but throughout the show’s history, the reruns have also cut entire sketches, or replaced them with dress rehearsal performances. On rare occasions, a repeat of Saturday Night Live will feature new content. This usually happens when another segment is cut from the rerun, and something is needed to fill time. In the earlier seasons, sketches would often be added from different week’s shows, but even as early as Season 2, original content has turned up in an SNL rerun. [...] HistoryHow Bill Cosby Helped Launch Joan Rivers' Comedy Careerby Mark Whitaker | September 15th, 2014By the time she died, Joan Rivers had such an engraved image as an outrageous, foul-mouthed comedian that it’s hard to believe that she started out intending to be a dramatic stage actress. In the late fifties, after graduating Phi Beta Kappa from Barnard College with a degree in English lit and anthropology, she even played the then-daring part of lesbian in a play called “Driftwood” that had a six-week run in a 40-seat attic theater on West 49th Street. (Her lover was another still undiscovered young actress by the name of Barbra Streisand.) By the early sixties, however, Rivers wasn’t getting much theater work, so she accepted an offer [...] RaritiesWatch Woody Allen's Incredibly Rare Short Film 'Men of Crisis'by Ramsey Ess | July 17th, 2014 One of the rarest pieces of comedy of the modern era, Woody Allen's short film Men of Crisis: The Harvey Wallinger Story, has appeared on YouTube. Originally made for PBS but deemed too critical of the Nixon administration to air, the film has never been officially released. For more info on Men of Crisis, see the first installment of our ongoing column "From the Archives." HistoryThe Best of 'Army Man,' the Humor Magazine That Was the Foundation of the Original 'Simpsons' Writers Roomby James Folta | July 9th, 2013If there is such a thing as a cult comedy magazine, it's Army Man, America's Only Magazine. With a writing staff that included George Meyer, Jack Handey, Jon Vitti, John Swartzwelder, David Sacks, Ian Maxtone-Graham, Andy Borowitz, Roz Chast, Ian Frazier, Bob Odenkirk, and many many more, it's criminal that Army Man isn't more well known. But the humor magazine ran for only three short issues and was never widely distributed. It was a homemade production, each 'zine photocopied and stapled by comedy genius George Meyer. The quality of the humor is only surpassed by the the caliber of the writing staff and their subsequent projects. Most famously, creator [...] HeroesThe Unsung Brilliance of Tom Lehrerby Matt Crowley | June 20th, 2013One of the sharpest wits of the 1950s and ‘60s was Tom Lehrer, the mathematician-turned-satirist who sang and performed blackly comic songs lampooning social norms, musical genres and the headlines of the day. In his foreword to the CD collection The Remains of Tom Lehrer, Dr. Demento calls Lehrer “the most brilliant song satirist ever recorded,” and “Weird Al” Yankovic has referred to him as “the J.D. Salinger of demented music.” Yet for all this, Lehrer remains little-known to many contemporary comedy aficionados. This is unfortunate, because though his catalog is relatively limited — a few dozen songs — each is a gem, brimming with biting humor and genuine musical [...] RIPThere Will Never Be Another Jonathan Wintersby Dennis Perrin | April 15th, 2013There, in his eyes. Controlled madness. Laser-keen in bursts. Pointed and precise. Vulnerability, too. A certain tenderness. His eyes set the tone for his act. I can't think of an American comedian more revered and respected than Jonathan Winters. (There's Jack Benny, for those who remember him.) Winters created a world where you were welcome, but you had to keep pace. His rapid-fire mind took hairpin turns. The inattentive might be left in his dust. Winters was one of the more offbeat performers in mainstream comedy. He was as polished as Hope. As graceful as Gleason. As biting as Rickles. Yet Winters pushed it further. Breathed different [...] ArtPuck Magazine and the Birth of Modern Political Cartooningby Alex Dueben | September 10th, 2014In the late 19th Century, long before Mad Magazine and the Daily Show, there was Puck. The magazine helped to change the very nature of political cartooning, was at the forefront of printing technology and agitating for progressive causes during the Gilded Age — and is even credited with helping to put Grover Cleveland in the White House in the election of 1884! In their new book What Fools These Mortals Be: The Story of Puck, America’s First and Most Influential Magazine of Color Political Cartoons writers Michael Alexander Kahn and Richard West look at the history and the influence of the magazine. Richard West has written extensively about [...] HistoryWatch Louis C.K., Stephen Colbert, and Conan Give the Gettysburg Addressby Bradford Evans | November 12th, 2013 Abraham Lincoln gave the Gettysburg Address 150 years ago this month, and documentarian Ken Burns has been asking people to film themselves reciting the famous speech and put it online at LearnTheAddress.org. Here's Stephen Colbert doing it in character as Lincoln with a beard and hat above and Conan O'Brien and Louis C.K., who does his with Jerry Seinfeld in the room, below (via Vulture): HistoryUnearthing John Swartzwelder's 1996 Unsold Western Pilotby Brian Boone | July 1st, 2013Antenna Free TV has a piece today on a near-mythical pilot from 1996 called Pistol Pete, written by the also near-mythical Simpsons scribe John Swartzwelder. A kooky, comic western, and an unmade show on par with cult lost gems like Lookwell and Heat Vision and Jack, it starred Brian Doyle-Murray and Steve Kearney, whom Harris tinterviews. Swartzwelder even makes a brief statement about the show, and shows up in a photo, both of which are remarkable, because if you know anything about the incredibly reclusive comic genius, it's that he's an incredibly reclusive comic genius. Begrudging RespectThat's Not Funny, That's Sexist: The Controversial Legacy of Benny Hillby Justin Gray | May 15th, 2013The Benny Hill Show towered over even Monty Python in terms of worldwide appeal and popularity in its hey day, which is just astounding. However, history rewards the victors and while Monty Python looms large over sketch comedy even today, Benny Hill has been reduced to a curious footnote in comedy history. While both share an enthusiasm for absurdity, Monty Python’s sketches often featured a healthy dose of cerebral satire buried within the anarchic foolishness. Hill, however, strikes modern viewers as broad and cartoonish, avoiding subtly altogether. Make no mistake; Benny Hill was a huge comedic presence for twenty years (1969-1989) during the run of his titular The Benny [...] Older posts »

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| Universal drops 'Stretch' on eve of theatrical release By Chelsea Lewis , 1/22/2014 Universal Pictures has abandoned plans to release the Patrick Wilson comedy-thriller Stretch. The production was overseen by Jason Blum and Blumhouse productions. Stretch was directed by Joe Carnahan, who is known for his work on The A-Team and The Grey. The budget was under $5 million for the film and it was set to be released in theaters in late March, The Hollywood Reporter added. Stretch would have told the story of Wilson who plays a chauffeur who picks up a difficult and devious billionaire, played by Chris Pine. The Star Trek actor is also only featured in the film with a cameo role. Jessica Alba, Brooklyn Decker, Ed Helms and Ray Liotta also star in Stretch, Cinema Blend reported. Blum is known for working on films such as Paranormal Activity and Insidious. He also worked on the breakout horror film the Purge which already has a sequel in production. Even though Universal has dropped the project, a source close to the studio says that they are looking into creative ways to release the film. image: Wikimedia Commons More Articles By Chelsea Lewis ‘The Voice’ top eight announced Must Watch Videos: London Richards, One Direction, Bruno Mars ‘The Voice’ top ten perform live Fall Out Boy new album 'American Beauty/American Psycho' announced for January Top 10 sand animation music videos

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Become a Supporter We Get Support From: Become a Supporter Baby Boomers Return To The Multiplex, And Hollywood Notices By Ina Jaffe | NPRFriday, February 22, 2013 Maggie Smith plays aging opera diva Jean in the film Quartet. Increasingly, movies are turning their attention to older subjects in order to draw in older audiences. If you're not counting the days until the release of Iron Man 3, if you're not sure who Kristen Stewart is, and if the last romantic comedy you saw starred Meryl Streep, you just may be over 50. That's a segment of the moviegoing audience that may have been neglected once — but no more. A number of films appealing to older audiences, or films that have themes closely related to aging, have been scooping up nominations for Oscars and other awards. That change was pretty clear at a recent red-carpet event in Los Angeles, where a handful of photographers clicked away at Dustin Hoffman. Only a handful, mind you, because this was one of the more low-key events of the season: the AARP's Movies for Grownups Awards. Hoffman, who's in his mid-70s, was being honored for taking the plunge into directing for the first time with Quartet, about a retirement home for musicians. "The irony is they're living in a retirement home, and they're refusing to retire," Hoffman says. The AARP started its Movies for Grownups feature in its magazine 12 years ago, says editor Bill Newcott. "And we realized we were having trouble finding enough movies to fill a page that really we felt resonated with the audience," Newcott says. "And so we decided, 'Wouldn't it be fun if we could be the medium through which our readers could find these movies?' — and also, at the same time, encourage Hollywood to make more of them." But the film dealing with aging that's received the most attention this awards season is not a Hollywood product. It's an Austrian film set in France called Amour. It's an unflinching look at a devoted, long-married couple — both music teachers — and what they go through together when the wife has a stroke and begins a painful, irreversible decline. The subject matter is difficult. Tom Bernard, co-president of the film's distributor, Sony Pictures Classics, says the studio originally released Amour on just five screens. Still, "we saw that this movie had a chance if we got it noticed by the critics, by the academy and even the Golden Globes," Bernard says. And it has been. Amour has won trophies from the Cannes Film Festival, the British Academy of Film and Television Awards and various critics organizations. Emmanuelle Riva, 85, is the oldest person ever nominated for an Oscar as best actress. Amour also has Oscar nominations for best picture, best director, best screenplay and best foreign film. And it's now playing on 600 screens. "For a small foreign-language film, we are achieving way beyond what this movie would have been able to do if it hadn't had all that recognition," Bernard says. Empty-Nesters Flock Back To Art Houses Amour's emotional opposite is The Best Exotic Marigold Hotel, which follows a bunch of British pensioners who decide to retire in India. The comic drama has been more of a bridesmaid than a bride during awards season. But the box office should be consolation — the film took in more than $134 million worldwide. That was good news for Landmark Theatres, a small U.S. chain that specializes in independent films. Ted Mundorff, Landmark's CEO, says the audience for most of the films Landmark shows tends to be older. "When the baby boomers were in college, they went and saw 'art film,' as it was called in those days," Mundorff says. "And after they became empty-nesters, they returned to going to movies." And baby boomers, as you may have heard, are a huge demographic. They're also less likely than younger audiences to be spending their entertainment time and money playing video games. But it's not just small, independent films that are dealing with themes of aging lately. Skyfall, the latest James Bond movie, shows Dame Judi Dench as M fighting against bureaucrats who think she's too old for her job. Even Daniel Craig's 007 is treated as a bit over the hill. And there have been other mainstream movies in the past year with appeal to an older audience: Hope Springs, starring Meryl Streep, and Parental Guidance with Billy Crystal. Newcott says that 12 years after his organization started Movies for Grownups, the studios are figuring out that there's a huge audience of people older than 50. "We're gratified that Hollywood is recognizing this audience as being a major component in their business model," he says. So much so that there are now plenty of films catering to an older audience that are earning plaudits — and from groups besides just the AARP. Copyright 2014 NPR. To see more, visit http://www.npr.org/.

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Michael Mann Mulling Over Two Projects For His Next Feature By Eric Eisenberg 2010-10-25 13:39:38 comments Though his last two projects didn't blow critics and audiences away to the degree of his previous films, it's nearly impossible to discount Michael Mann. After all, he is still the director of Heat, The Insider and The Last of the Mohicans. So when Mann talks about possible future projects, people's ears perk up and now is no different. Speaking with the Financial Times about his new HBO series Luck, the director dropped two ideas that may become his next film. The first is called Big Tuna, a mafia story based in Chicago about Tony Accardo and Sam Giancana. Speaking about the potential film, Mann said "Here�s an older man who was the undisputed boss at a time when the Chicago outfit was the most powerful crime element in America. It becomes a classic tragedy of megalomania and hubris." The other possible story would be a project called Agincourt, a film set in 15th century Europe that builds up to the Battle of Agincourt between England and France. According to Mann, he was inspired by the project after seeing a gothic chapel called La Sainte-Chapelle while in Paris. Considering that he just directed Public Enemies, I would personally love to see him tackle Agincourt before going after Big Tuna. While I'm sure that there's a story to be told, medieval Europe would be new territory for the filmmaker to explore and Mann has never been one to be shoved into a box. That said, seeing "Directed by Michael Mann" is pretty much all I need to buy a ticket. Chris Hemsworth Trades Thor For Cyber-Terrorism In Thrilling Blackhat Trailer Adam Sandler And Russell Crowe Almost Played The Leads In This Oscar-Nominated Classic Spike Lee Takes Over Michael Mann's Former Project Gold Michael Mann's Agincourt Is Getting A Rewrite

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PLOT | COMMENTS | AUDIO | TRIVIA | CAST | CREDITS | PURCHASE "Detective Harry Callahan. You don't assign him to murder cases. You just turn him loose." The movie opens with a sniper shooting a girl in a San Francisco rooftop swimming pool; assigned to the case is Detective Harry Callahan. He is called to the office of the mayor, who has received a demand for $100,000 from the killer, calling himself Scorpio, or he will kill another. From the start we see that Callahan has a problem with authority, as the mayor calls into question his unorthodox methods. A decision is made to try to gain time by placing a notice to the killer in the paper, while at the same time mounting helicopter surveillance and rooftop vigils. Meanwhile we get a glimpse of Harry's methods - and his outsize .44 Magnum - when he foils a bank robbery (the famous "Do I feel lucky?" scene). Harry is commended for his handling of the incident, but is then grudgingly landed with a new partner for the Scorpio case, Chico - a Mexican sociology graduate. Meanwhile Scorpio has been spotted from a helicopter, but escapes, and Harry and Chico cruise the streets that evening looking for him. They see someone who matches the description and follow him, but he is not the man - and Harry gets comically mistaken for a peeping Tom. They are then called to another location, where it turns out the man in question is actually a jumper on top of a building. Harry gets on the crane-lift, distracts the man and, after a struggle way above the ground, brings him down to safety - he tells Chico he is called Dirty Harry because he gets all the dirty jobs. Next day, a 10-year old black kid has been shot by Scorpio, and that evening a rooftop shootout between Harry and Scorpio ensues - but the latter escapes again. He then kidnaps a 14-year-old girl, rapes her and buries her alive, demanding $200,000 for her whereabouts. Harry is sent with the money and is run around the city from phone to phone by Scorpio, and when they meet in a park Harry is beaten up, and Chico - who has been tailing them - gets shot (but not fatally). Harry however stabs Scorpio in the leg with a stiletto, and is able to trace him through a hospital to the deserted Kezar Stadium - where he beats the girl's whereabouts out of Scorpio. She is already dead though, and Scorpio walks away because his rights have been violated. Now Scorpio hires a thug to beat him up, so he can lodge a brutality case against Harry (who says it's obvious he didn't do it - because "he looks too damn good"). Scorpio meanwhile has robbed a liquor store and obtained a gun, and goes out and hijacks a school bus, demanding the money and a plane. Harry refuses to be the mayor's "delivery boy"; instead he goes to the bus's route and leaps onto its roof from a trestle bridge. After a high speed drive while Scorpio tries to shake him off, they end up in a quarry, where Harry chases Scorpio, exchanging shots all the time. Eventually Scorpio grabs a boy who is fishing and holds him as a shield, but Harry shoots him in the shoulder, leading to a reprise of the "Do I feel lucky?" scene - this time delivered with venom. Scorpio takes his chance, and is gunned down by Harry, who disgustedly throws his badge into the river. This is the film which finally secured Clint Eastwood's position as a major force in American cinema. It was highly controversial on its release - the ever-hostile Pauline Kael described the film as "fascist", but

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DIRTY DANCING - Hana Hou Picture Show As with GREASE (1978) and FOOTLOOSE (1984) before it, DIRTY DANCING became a cultural phenomenon in 1987. In the summer of 1963, innocent and pampered 17 year old Frances “Baby” Houseman (Jennifer Grey) vacations with her parents at a Catskills resort. One evening she is drawn to the staff quarters by stirring music and meets the handsome hotel dance instructor, Johnny Castle (Patrick Swayze). Over the course of the summer these two individuals from different walks of life find a way to fall in love. DIRTY DANCING was a surprise box office hit and earned a Golden Globe and Academy Award for Best Original Song in 1988. Join in on the conversation and vote to see your favorite films return to the big screen each month. Follow us @ConsolidatedHi and ”like“ us at www.facebook.com/ConsolidatedHI or fill out a comment card in the lobby at Ward 16 to participate. Emile Ardolino Eleanor Bergstein Patrick Swayze, Jennifer Grey, Jerry Orbach 88 Academy Award winner Best Original Song Ward Stadium with TITAN XC - Release Date 02/06/2013

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Dust Devil (DE - DVD R2) Gabe Powers hitches a ride with the director's cut version of this cult movie This review is sponsored by Feature Politics and horror stories have marched hand in emblematic hand for centuries. The modern horror film is often a barometer for the general state of public politics, disguising some of the most rabid attacks on government as simple entertainment. Science Fiction, Fantasy, and Horror will often mirror a society's functionality and fears, feeding on the anxiety of world events and everyday life, from the black plague, to the rise of fascism, and the nuclear arms race. Images of the World Trade Center's collapse have refueled the nightmares of creative filmmakers in this generation. Quite often this duality can be surface level and general, as in Last House on the Left and The Texas Chainsaw Massacre, both made in response to the televised violence of the Vietnam War. It can be satirical and cynical, as in George A Romero's four zombie films, each one representative of its decade’s politics. The message can also be far more overt, such as that of John Carpenter's They Live, an obvious (and not always successful) jab at Neo-Conservatism and Reganomics. Richard Stanley’s Dust Devil is actually more of a cop film then a true blue horror film, but it does have a distinct supernatural twist. A gruff and dusty hitchhiker (the criminally underrated Robert Burke) is murdering his way across South Africa. He’s not a simple serial killer, but a shape shifting demonic entity that recognizes and preys on the desperate souls. An aging local detective must overcome racial resentment among his underlings, and his own skepticism in order to save an emotionally fragile woman who has just left her husband in search of herself. Set and made in the early nineties, in newly freed South Africa, Dust Devil is virtually swimming in political metaphors. The stench of the apartheid era motivates every diabolical occurrence, and the apprehension of distrust among races brings about the films most agonizing moments. Though the metaphorical Dust Devil is the physical villain, it's pretty obvious that racial distrust and poverty are the real horrors of the film. The film is most comparable to Alan Parker’s 1987 chef d'oeuvre, Angel Heart. Both films are supernaturally based murder mysteries, with deep cultural interests and political subtext. Parker’s film is superior, but Dust Devil has a certain unshakable presence that makes it seem perhaps more significant that it actually is. Both films have overwhelming sense of dread, and are most memorable for their artistic execution rather than their actual plot lines. Dust Devil's South African geography verges on post-apocalyptic. The landscapes are barren and foggy with dust (hence the title). The demonic killer himself, it is said by the film's token nutty shaman, is drawn to towns that are waiting to die. In effect, he kills the entire town, drowning it in sand and taking the souls of all its people. This imagery is film's strongest facet, and it builds a sense of impossible danger throughout. The horror is in the fact that no matter how hard they may try to escape their fates, every character, including the devil himself, is doomed from the beginning. The meandering plot hinders the film in that it isn't really a plot at all, but rather a loosely connected series of haunting images. This will put off some viewers, but those used to the bizarre visual excesses of most cult European horror films will feel right at home. Dust Devil is by no means a genre masterpiece, and its base similarities to the superior Angle Heart make it hard to recommend to casual genre viewers. Video Though presented in its original 1.85:1 aspect ratio, Laser Paradise hasn’t exactly gone out of their way to make Dust Devil look pretty for this release. First off, the print is non-anamorphic, making any and all imperfections super magnified. These imperfections include, but are not limited too, heavy film grain, digital blocking, compression and film related artefacting, and an overall lack of detail. I was actually sort of shocked by a few shots, which were so grainy that I couldn’t tell what was going on. These problem shots are mostly found in interior and night scenes. Daytime sequences are generally all right, with the exception of the heavy film grain and constant artefacting. Unlike some genre films that can actually benefit from a grainy presentation, Dust Devil's foreboding visuals lend themselves better to a crisp and clean image. Some shots are very obviously meant to be Rorschach test-ish, and the grain during the titular dust storms is clearly forgivable. The film is not exactly new, nor was it high budget when it was made, but other companies have produced much better results from much more damaged source material in the past. In the end, the print is only indecipherable in a couple instances, and to my knowledge the only director’s cut available on the DVD format. From what I understand, it’s worth suffering though an inferior video presentation in order to see the unaltered version. Audio Usually weak video presentations go hand in hand with weak audio presentations, especially when the source material is aged and lacking. I’m pleased to say that this isn’t the case with this release of Dust Devil. The soundtrack has been remixed (I’m assuming, based on the film’s age) into a solid Dolby Digital 5.1 mix. The music track is occasionally overpowering, but in general there is an even balance of sound. The surround channels sell some of the films creepier moments better than a stereo or mono soundtrack ever could. I had a few problems deciphering some of the dialogue, but this was more due to the actor’s thick accents than the volume of their voices. Extras The main extra and reason one would want to buy this DVD above any other is the fact that it is presented uncut. It seems that even in the early ‘90s, the good old Weinstein Bothers were cutting up director’s original visions in favour of their own, and the US release of Dust Devil apparently bears all the scars of a Miramax scissor attack. Run time accounts seem to differ from site to site, but the general consensus seems to be that this DVD is a completely uncut version. Also included is a brief little documentary that was shot on video during the filming process. Though quaint and quite informative for its running time, it does have a silly tendency to present director Stanley in a quasi-mythic light. The video quality of the doc is pretty rough, but manageable. Everything is capped off with a trailer. Overall In some circles, Dust Devil is a true modern classic. I admired its scope and ingenuity, though it appears that its reach tends to exceed its grasp. As I said, the original US VHS release was cut by something like 20 minutes, and seeing as that the uncut version is slightly hard to follow as is, I can't image how inconceivable that version was. This German DVD is lacking in video quality, but is still decent enough to enjoy. It's also the only version available on legal DVD in the whole world. You can purchase this title from Xploitedcinema.com. Related Links... Bird with the Crystal Plumage: Special Edition, The (US - DVD) From Hell (US - DVD R1) Hellboy: Director's Cut (US - DVD R1) English and German Dolby Digital 5.1 and Dolby Surround Trailer, "Making Of" Robert Burke, John Matshikiza, Terri Norton, Chelsea Field, Rufus Swart, William Hootkins

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UltimateDisney.com | DVD and Blu-ray Reviews | DVD & Blu-ray Schedule | Walt Disney Treasures | Classic Cartoon Favorites | Search Classic Cartoon Favorites: Volume 9 - Classic Holiday Stories DVD Review Classic Cartoon Favorites: Volume 9 - Classic Holiday StoriesDVD Details Running Time: 58 Minutes / Rating: Not Rated 1.33:1 Fullscreen, Dolby Surround (English, French) Subtitles: English; Closed Captioned DVD Release Date: September 27, 2005 Originally Released Between 1952 and 1983 Single-sided, single-layered disc (DVD-5) / White Keepcase Suggested Retail Price: $14.99 In 2009, Disney issued a DVD in its new Walt Disney Animation Collection line holding the three shorts of Classic Holiday Stories plus an additional Christmas cartoon. The release effectively replaced Classic Holiday Stories, which had been discontinued along with the rest of the Classic Cartoon Favorites line. Click here to read our review of this new DVD and here to buy it from Amazon.com. Buy from Amazon.com � Buy Walt Disney Animation Collection: Mickey's Christmas Carol The Classic Cartoon Favorites would appear to be a flourishing DVD line for Disney. Launched in January, the series has provided roughly an hour of color animated shorts from the format's heyday with no bonus features per each modestly-priced disc ($14.99 SRP). Though each wave has offered one less title than the one before it, a third lot released late last month brought the line's current total of entries up to nine. The issuance of nine discs in just over nine months leads one to think that these discs have been sufficiently embraced by the target audience and maybe some customers outside of it as well. Comprising that intended audience: those wanting vintage Disney cartoons on DVD without a desire for the collectible tins, bonus features, or comprehensiveness that the chief alternative line, the Walt Disney Treasures, has provided. With Christmas less than three months away, it makes a little sense that this third batch of volumes would be centered on "the holidays." Though the selected cartoons which make up the two latest entries could have easily fit on one disc and even been accompanied by bonus features, Disney hasn't balked on the line's initial design -- an hour of shorts, no extras -- and any complaints from collectors appear to have been drowned out by satisfying sales numbers. The subject of this review, Volume 9 - Classic Holiday Stories, actually does break with a couple of Classic Cartoon Favorites traditions. While adhering to the overall running time guideline (it clocks in at 58 minutes), the disc holds only three animated shorts, which of course means you are receiving some shorts longer than the typical 6 to 8 minutes. Two of the three 'toons provided are more substantial: The Small One (1978) and Mickey's Christmas Carol (1983) are "featurette"-length, or about three times as long as Disney's standard short films. Those release years you see in the parentheses of the previous sentence offer the second area where Classic Holiday Stories' contents differ from past volumes. Until now, the series has only mined cartoons as recent as the early 1950s, when the regularly full schedule of producing and releasing Disney shorts more or less came to a halt. The two bulkiest inclusions here were produced well after the relative and certain deaths of the short format and Walt Disney himself, but the title's labeling of them as "Classic" (twice, no less) does not seem objectionable because: A) those audience members who first saw them in theaters as children are now old enough to have children of their own and B) they represent high points in a lull for Disney animation. Both Mickey's Christmas Carol and this volume's brief middle cartoon, Pluto's Christmas Tree, have already turned up on DVD twice. They first appeared (sans original credits) edited into the "all-new" direct-to-video movie Mickey's Magical Christmas: Snowed in at the House of Mouse in 2002. Then, in May of 2004, they both resurfaced in a more pleasing and complete pleasing presentation on the Walt Disney Treasure Mickey Mouse in Living Color, Volume 2. On the other hand, this marks The Small One's Region 1 debut on the format. Out of print on VHS for some time, but available on Region 2 DVDs like the UK's Countdown to Christmas, the cartoon's American DVD premiere is noteworthy and may mean there is yet another videocassette you no longer really need in your shrinking collection. A closer look at the volume's three Classic Holiday Stories follows, in the order they are presented: "The Small One" (1978) (25:25) In this simple, sweet story, an unnamed Judean boy has the unfortunate task of having to sell his best friend, a playful but petite donkey named Small One. All the boy needs is to find someone willing to part with a lone piece of silver, but locating someone both wanting and worthy of the donkey proves to be a challenge. First, he encounters a dark man who is interested only in the creature's hide, then an odd trio of shysters making marketplace deals left and right who are little help, and finally a "jolly" auctioneer who ridicules the boy and makes a spectacle out of the donkey. Saddened and low, the boy and Small One are approached by a friendly bearded man looking for a donkey to help his wife get to Bethlehem. The deal seems to please all parties: Small One gets a chance to prove his strength in a most important way, the boy can rest easy that his pal will have a nice home, and the traveling couple will be able to get to Bethlehem. Even if the ending is somewhat subtle, I'm sure you can guess why Small One and his new owners are following the bright star in the sky and it is a most satisfying conclusion to a cartoon filled with heart. The Small One marked the directorial debut of Don Bluth, who had spent the preceding years animating characters on Disney films like Robin Hood, The Rescuers, and Pete's Dragon. The short was released nine days before Christmas in 1978, attached to a reissue of Pinocchio. It would prove to be Bluth's last Disney credit, as he left the studio in grand fashion nine months later, joined by eleven others in the same week. Since exiting Disney, Bluth has helmed a number of animated films, beginning at a time when studios not named Disney generally didn't animate for theaters. He has given us such sequel-spawning productions as An American Tail, The Land Before Time, All Dogs To Heaven, as well as more recently for Fox, Anastasia and the CGI-heavy flop Titan A.E.. This featurette is distinguished among the Disney canon not just because of the paucity of films of this length, but also because of its surprising religious theme. Truth be told, it hardly feels like a Christmas short until its closing minutes, but introducing this element impacts all that came before it and underscores the strong Christian nature of the film's message. The short was adapted from a children's book by Charles Tazewell (who did not live to see it made) and it is handled sensibly and effectively. Though some may fault it for being saccharine, I would wholly disagree. Compared to the typical glitzy Christmas specials of today, there's a pleasant low-key mood present here, which is apparent from the tender melancholy of its opening and closing song. In that regard and in the fact that Small One acknowledges the true meaning of Christmas goes beyond thinking of others and being nice, the cartoon reminds me a bit of A Charlie Brown Christmas. That's no small praise, as I consider the Peanuts' debut TV special perhaps the finest 25 minutes of animation ever produced. While I can't quite say the same about Small One after just one viewing, it is definitely a compelling cartoon I intend to revisit much. "Pluto's Christmas Tree" (1952) (6:53) On a lighter note, there is this standard-length short, which was the next-to-last Mickey Mouse theatrical cartoon produced for thirty years. It also happens to be one of Disney's best, with or without Mickey. Christmastime is upon us, a fact quickly announced by the brief medley of seasonal tune instrumentals that accompanies the opening title screens. To prepare for the holiday, Mickey and Pluto go out to chop down a Christmas tree. The one Mickey picks out unexpectedly comes with two chipmunk residents, Chip 'n (you guessed it!) Dale. When Pluto finds this out, he's enraged, but the two mischievous rodents narrowly and repeatedly escape the dog's attempts to thwart them. Pluto's antics threaten the vibrantly-decorated tree and raise Mickey's rarely-seen temper. Another nice, happy, Christmasy ending punctuates this fun cartoon which at all times dazzles the eyes with its colorful holiday imagery. "Mickey's Christmas Carol" (1983) (25:35) This third and final short on the disc is really a wonderful blend of new and old Disney styles. Representing the "old" was Eric Larson (one of Walt's Nine Old Men, acting as "animation consultant"), Clarence Nash (the original voice of Donald Duck, in his last performance), and the visual sensibilities (from the enduring cast of characters to the feel which can be characterized both as vintage and timeless). As far as the "new", among those key players who were cutting their teeth on this production in anticipation of many great things to come were Glen Keane, Mark Henn, Don Hahn, and pre-Pixar John Lasseter. This hybrid of talent aligned to make Mickey Mouse's return to the big screen for the first time since 1953 an auspicious and memorable occasion. Charles Dickens' beloved tale of redemption is condensed to featurette length with the miserly Ebenezer Scrooge being played, of course, by Scrooge McDuck. The rest of the casting is expertly done, with roles going to a mix of the regular gang (Donald, Pete, and so on) as well as some memorable supporting characters from 1940s animation like , Jiminy Cricket (the Ghost of Christmas Past), Willie the Giant (the Ghost of Christmas Present), Mr. Toad and his friends, and more. It's fun trying to recognize characters left and right, whether they're from Disney's Tortoise and the Hare of the 1930s or Robin Hood of 1973. Mickey plays Scrooge's thankless employee Bob Crachit who is used to putting up with his boss's stingy and self-serving ways. Scrooge, on the other hand, is not very aware of the error of his ways, until he is visited by his old (now dead) partner Jacob Marley (played by a shackled Goofy) and shown his past, present, and future pitfalls by a quirky trio of visiting spirits. You and I both know the story, and yet, that alone never seems to rob any of its countless adaptations of their potency. Mickey's is not my favorite take on Dickens' masterpiece (that honor goes to Bill Murray's Scrooged), but it is hard not to love. Compact and clever, dramatic and funny, faithful and original, Mickey's is many things, and all of them to its benefit. Released in 1983, the short scored high praise and wound up earning top billing in many places over its feature-length accompaniment (a reissue of The Rescuers). It even garnered an Academy Award nomination in the Best Short category (but lost to claymated Ed Koch singing "New York, New York"). Christmas Carol may be Mickey and company's finest (half-)hour yet, and few would dispute it is the best use the Mouse has been put to since Walt's passing. If after watching this entire collection and you're still not in the mood for Christmas, you might want to check your pulse. All three cartoons are presented in the 1.33:1 fullscreen aspect ratio, regardless of the dimensions they were created in. The Small One (which was animated for the full 1.37:1 Academy Ratio, though matted to 1.85:1 for theatrical projection) is riddled with digital artifacts and other minor but noticeable blemishes throughout. Like other shorts that have made their DVD debuts in the Classic Cartoon Favorites line, the lack of a Treasures-type restoration is evident in the choppy transitions, distracting print flaws, and restlessly busy shots. As easily the oldest of the lot, the wear-and-tear in Pluto's Christmas Tree is more understandable and comparable to a Treasures transfer which is imperfect but acceptable/good considering the age. Created in the Academy Ratio, fullscreen suits it fine. As the 22-year-old "baby" of the bunch, Mickey's Christmas Carol definitely looks the best, but it is seen in the 1.33:1 ratio as opposed to the 1.66:1 16x9-enhanced presentation it received on Living Color, Vol. 2. Comparing the two reveals that this disc definitely offers an open matte transfer, as the film loses literally one or two lines on each side (at most) while adding a more noticeable amount of imagery at the top and bottom. Though one assumes the Treasures presentation had it right, the mildly different framing here does not seem problematic either and it is perhaps a little odd (but not inconceivable) that work would have gone into visuals that only would have been seen on home video or television. Nonetheless, the open matte technique is less offensive than cropping (and even 20% missing picture is enough to bother, as was the case with The Prince and the Pauper on the recently-released Timeless Tales DVD), but the widescreen Treasures transfer could have just as easily been recycled if that is truly the animators' intended ratio. Outside of the messy print intrusions on the first two shorts and Small One's unfortunate premature aging, picture quality isn't too bad. Colors are mostly consistent and vibrant, and Mickey's compromised element is basically immaculate. The sound presentation, entirely encoded as Dolby 2.0 Surround, is mostly parallel with the visuals. The Small One's audio is in need of remastering; its dialogue is constantly muffled and its handful of songs clearly lack the zest they are intended to possess. Pluto's Christmas Tree was made in Mono, but it holds up fairly well. Few problems can be found on Mickey's Christmas Carol, as its dialogue and sound design are impressively conveyed, with subtle reinforcement from the rear speakers. BONUS FEATURES and DESIGN As you should know by now, the Classic Cartoon Favorites do not contain any bonus features. While I hate to constantly refer to a DVD that is not the subject of this review, Mickey Mouse in Living Color, Volume 2 did contain a wonderful making-of featurette on Mickey's Christmas Carol that runs only a minute shorter than the cartoon itself. Again, this disc's presentation is inferior, as the only things beside the feature short that you'll find are some colorful menus, ads for other DVDs, and that innovative Disney exclusive, FastPlay. The 16x9 animated menus employ the same design as past Classic Cartoon Favorites, only with a holiday twist, which means that snow falls, there are more bells to the loud accompanying music, and Mickey and friends are decked in their winter attire. FastPlay, as you know, erases the need for viewer interaction by cycling through previews and the feature presentation for you without going to the menu unless you intervene. Ads for other Disney properties can be found both on the disc and in the case. At the start of the disc, previews play for Lady and the Tramp: Platinum Edition, Chicken Little (its latest trailer), and Kronk's New Groove. The Sneak Peeks menu houses five additional promos for Toy Story: 10th Anniversary Edition, Tarzan: Deceptive Edition, Old Yeller: 2-Movie Collection, Kermit's 50th Anniversary Edition Muppet movie reissues, and the first wave of the Timeless Tales series. The double-sided insert lists the cartoons and almost-correct runtimes while pushing the line's other 8 volumes on back. Smaller papers promote the Timeless Tales series and the digital offerings of the studio's second date of holiday-themed DVDs (November 1). Classic Holiday Stories contains three of the finest shorts the Disney studio has ever made, cartoons which are ideal for Christmas season viewing and suitable for any other time during the year. The presentation, however, leaves something to be desired, as the debuting featurette, The Small One, appears well in need of picture and sound work. Those who own the Walt Disney Treasure Mickey Mouse in Living Color, Volume 2 will be understandably reluctant to acquire second versions of the other two shorts (including an open matte version of Mickey's Christmas Carol). On the other hand, viewers who have avoided the Treasures and are content to own merely a sampling of cartoon shorts, the entertaining and enduring animation in this collection is as likely to please and of as high a caliber as any other collection in the Classic Cartoon Favorites line. If you are able to put past the disappointments in presentation and the usual lack of bonus material, then don't hesitate to pick this up on the basis of the short films. Otherwise, get Mickey's second color Treasure (if you haven't already) and continue to wait for a more distinguished release of The Small One. Buy from Amazon / Buy Mickey's Christmas Carol DVD / Buy Mickey Mouse in Living Color Vol. 2 Mickey's Christmas Carol (Walt Disney Animation Collection: Classic Short Films, Volume 7) Walt Disney Treasures: Mickey Mouse in Living Color, Volume 2 � Mickey's Twice Upon a Christmas (2004) Mickey's Magical Christmas: Snowed In at the House of Mouse � Winnie the Pooh: Seasons of Giving One Magic Christmas � The Santa Clause � The Christmas Star � I'll Be Home for Christmas The Nightmare Before Christmas � The Muppet Christmas Carol � Winnie the Pooh: A Very Merry Pooh Year Peanuts: Deluxe Holiday Collection � Alvin and the Chipmunks: Classic Holiday Gift Set � Shrek the Halls Other Classic Cartoon Favorites DVDs Reviewed: Classic Cartoon Favorites: Volume 1 - Starring Mickey � Classic Cartoon Favorites: Volume 2 - Starring Donald Classic Cartoon Favorites: Volume 3 - Starring Goofy � Classic Cartoon Favorites: Volume 4 - Starring Chip 'N Dale Classic Cartoon Favorites: Volume 5 - Extreme Sports Fun � Classic Cartoon Favorites: Volume 6 - Extreme Music Fun Classic Cartoon Favorites: Volume 7 - Extreme Adventure Fun Search This Site: UltimateDisney.com/DVDizzy.com Top Stories: Reviewed October 7, 2005.

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News and Blog Viva Elvis by Cirque Du Soleil to Perform On So You Think You Can Dance On July 1 LAS VEGAS – Cast members from Viva ELVIS™ by Cirque du Soleil® at ARIA Resort & Casino™ in Las Vegas will perform live on "So You Think You Can Dance" in Los Angeles on July 1. "So You Think You Can Dance" airs on FOX at 9pm PST. The Viva ELVIS performance will feature twenty dancers and acrobats performing a specially choreographed version of the Return to Sender number. Choreographers Napoleon and Tabitha Dumo have... Melissa Etheridge does Elvis Tribute on MILLION DOLLAR QUARTET stage Melissa Etheridge joined the cast of Million Dollar Quartet for a quick performance recently and did an incredible Elvis tribute, which you can see below. On December 4, 1956, an auspicious twist of fate brought Johnny Cash, Jerry Lee Lewis, Carl Perkins, and Elvis Presley together. The place was Sun Records’ storefront studio in Memphis. The man who made it happen was Sam Phillips, the "Father of Rock and Roll," who discovered them all.... Snoop Dogg attends Viva Elvis show Cirque du Soleil’s Viva Elvis at Aria in MGM’s CityCenter has become the must-see for celebrities on Las Vegas trips, including non other than Snoop Dogg, who saw the show on June 21 with his daughter. Snoop took her to the show for her birthday, and they loved it! Not only were they waving the Elvis flags that they caught during the finale but Snoop and his daughter posed with the cast after the show. Enter for your chance to win a trip to Memphis for Elvis Week 2010! SIRIUS|XM Elvis Radio is giving you a chance to win the ultimate Elvis experience – a trip for two to Graceland in Memphis, Tennessee for Elvis Week 2010! This is the crown jewel Elvis event during the year long 75th celebration of his birth. SPONSORED BY SIRIUS XM Radio Inc. For full details visit http://www.sirius.com Presley statue prompts memories of meeting Elvis Elvis Presley certainly left his mark on Hawai'i, or rather the image of Hawai'i he created in the minds of his moviegoers. And he was instrumental in raising funds and awareness for the USS Arizona Memorial in Pearl Harbor. But it's his 1973 "Aloha From Hawai'i Concert" -- the first concert broadcast by satellite, said to have reached more than a billion viewers -- that has earned the King a personalized marker in the islands: a bronze... Priscilla Presley talks about New Las Vegas Show Viva ELVIS Internationally famous pop culture icon, Priscilla Presley joined Fox 2, on Monday May 17th, 2010, to chat about Cirque du Soleil's new Las Vegas Show. It's called "Viva ELVIS" at Las Vegas ARIA Resort & Casino. "Viva ELVIS" a harmonious fusion of dance, acrobatics, and live music, is a tribute to the life and music of Elvis Presley. Missed Viva ELVIS on Dancing With the Stars? Watch it now Viva ELVIS on ABC's "Dancing with the Stars", Macy's "Stars of Dance" performance features "Viva ELVIS by Cirque du Soleil," with a medley of Elvis Presley’s iconic hits. Watch! Viva ELVIS Tuesday Night on Dancing With The Stars This week on "Dancing with the Stars" on ABC, Macy's "Stars of Dance" performance features "Viva ELVIS by Cirque du Soleil," with a medley of Elvis Presley’s iconic hits "Blue Suede Shoes" and "Heartbreak Hotel." Check your local listings for time in your area. Happy Record Store Day! Record Store Day is an annual celebration of the unique culture surrounding hundreds of independently owned record stores in the USA, and hundreds of similar stores internationally. On Saturday, April 17th, all of the independently owned record stores will come together with the communities they serve to celebrate the art of music. Special releases and various promotional products are made exclusively for Record Store Day. This year Legacy... Special Offers for Elvis Week on American Idol Celebrating Elvis week on American Idol, we have two great digital album offers. On iTunes you can get Elvis 75 for a limited-time offer of only $9.99. Elvis 75 was released this year to commemorate the 75th birthday of the King and contains 25 of his career defining hits. At AmazonMP3, you can get Playlist: The Very Best Of Elvis Presley as a Daily Deal for today only at a super low price. Playlist contains 14 Elvis hits and fan favorites in an... Limited manufacturing error on "ON STAGE" Legacy Edition Dear customers: Due to a very limited manufacturing error, an incorrect disc was included in a small portion of Elvis Presley "On Stage (Legacy Edition)" UPC 88697-63213-21. You may call a hotline at 1-888-621-5794 and request a replacement disc which will be mailed to you if they have purchased a copy with the incorrect disc. This hotline will remain active through October 1, 2010. Sorry for the inconvenience. Elvis - On Stage Legacy Edition In-Stores Today! Free Track from Amazon MP3 The Legacy Edition of Elvis Presley On Stage is in stores today. The deluxe 2-CD packages couples remastered versions of the 1969 album, Elvis In Person, plus 6 Bonus Tracks, along with 1970's On Stage, with an additional 4 Bonus Tracks. For a limited time, download Elvis' "Walk A Mile In My Shoes" from the newly remastered On Stage Legacy Edition, for FREE, only at Amazon MP3. http://tinyurl.com/y95fqu5 You can also purchase Elvis Presley On...

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Morgan Spurlock’s Shadow Eugene’s honorary stoner, comedian Doug Benson, returns to our green valley Article | April 18, 2013 - 12:00am | By Alex Notman April 21 may as well be the new 4/20, as far as Eugene and comedian Doug Benson are concerned. The seminal stoner and star of Super High Me returns to WOW Hall for his 3rd annual celebration of giggling and giggle weed, hot off releasing his on-the-road documentary The Greatest Movie Ever Rolled — to continue in the vein of pot variations on a Morgan Spurlock theme — on Chill.com. Also the host of the Doug Loves Movies podcast, Benson sounds off on his favorite and most despised films of 2013, smoking with the stars and legalizing marijuana. This is like your umpteenth time in Eugene. Why do you keep coming back? I did a show on April 21st a few years back and had such a great time I decided to make it an annual thing. Are you sure it’s not the weed? Oh, yeah, and the weed. Thanks for reminding me. The Pew Research Center recently released a poll that shows for the first time in over 40 years of polling, the majority of Americans support legalizing pot. Were you surprised by this news? Not surprised at all. Only old people who don’t smoke think it should be illegal. And they are all dying. Has this change in mainstream opinion affected your act at all? Why or why not? Hasn’t changed my act one bit. Weed will always be a fun thing to talk about. And to use! EW recently spoke with Maria Bamford, who also released her comedy special through Chill.com. Now you’ve released The Greatest Movie Ever Rolled. Is this the new big thing for comics? How is it working for you? Louis C.K. got the DIY ball rolling when it comes to comedy specials. Maria’s is great because it’s not a typical stand-up special. It’s her doing her act for her parents! So I liked what they are doing at Chill.com and thought that would be a good place to put my new movie for people to see. So far it’s working out great — no one has complained to me about having to spend $8 on it, anyway. The concept is a movie about raising funds for a movie — that’s so meta. Where did you come up with the idea and why did you want to make it? I came up with the idea because my first documentary, Super High Me, was a rip-off of Morgan Spurlock’s Super Size Me. So when I decided I wanted to make a follow-up to Super High Me, I thought, why not continue to steal Morgan’s ideas? He made a movie called The Greatest Movie Ever Sold, which was him using product placement in a movie to raise money to make and release that movie. So that’s where I came up with my title and premise. Would keep ripping Spurlock off, but his next movie is about a boy band and I don’t wanna touch that. You’re a movie buff. You do the Doug Loves Movies podcast. Besides The Greatest Movie Ever Rolled, what’s your favorite movie of 2013 and why? I’m sad to say my favorite movie so far this year has been Spring Breakers. It’s really disturbing and yet kind of hypnotic. And all the other guys watching it alone in a theater agree. What’s your least favorite movie of 2013 and why? I really hated the latest Die Hard movie because it seemed like they didn’t even try to make it good. Is there any movie star or director you’d really like to get high with? Most of them! I love it when I meet an actor or director I admire and they wanna get high. I won’t name names but I’ve smoked with some pretty awesome ones. Even Academy Award nominees! Who really makes you laugh right now? Sarah Silverman, Graham Elwood, Paul F Tompkins, Rory Scovel, DC Pierson, David Huntsberger, I could go on and on. I’ll try to bring one of ‘em with me for my show on 4/21. About the Author Alex Notman Arts Editor Alexandra is the arts editor for Eugene Weekly. You can follow her on twitter at @nicklenotman

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Paul Robert Herman Paul Robert Herman graduated from the University of North Carolina at Charlotte with a degree in psychology. He earned his teaching credentials from the University of Colorado at Boulder, specializing in creative writing and film. After moving to Hollywood, he completed UCLA's Professional Program in Screenwriting. He worked for several years as an assistant producer for an entertainment company in Pacific Palisades before branching off on his own. He has written, directed and produced short films through his multimedia company, Jade Tiger Productions. Jade Tiger Productions Tales from the Script *This is a promotional service of HarperCollins Publishers, 195 Broadway, New York, NY 10007, providing information about the products of HarperCollins and its affiliates. By submitting your email address, you understand that you will receive email communications from Bookperk and other HarperCollins services. You may unsubscribe from these email communications at any time. If you have any questions, please review our privacy policy or email us at [email protected]. Works by Paul Robert Herman

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Most Popular People With Date of Death in 1934 Sort by: STARmeter▲ | A-Z | Height | Birth Date | Death Date Marie Dressler Actress, Dinner at Eight Once you saw her, you would not forget her. Despite her age and weight, she became one of the top box office draws of the sound era. She was 14 when she joined a theater group and she went on to work on stage and in light opera. By 1892, she was on Broadway and she later became a star comedienne on the vaudeville circuit... Soundtrack, Invictus Jean Vigo Writer, L'Atalante Jean Vigo had bad health since he was a child. Son of anarchist militant Miguel Almareyda, he also never really recovered from his father's mysterious death in jail when he was 12. Abandoned by his mother, he passed from boarding school to boarding school. Aged 23, through meetings with people involved in the movies... Lilyan Tashman Actress, Manhandled Lilyan Tashman was born on October 23, 1896, in Brooklyn, New York. After toying with some stage work, she made her film debut with Experience. That was her only film of that year, and the next year she also made only one film, Head Over Heels (this was at a time when some studios and their performers were turning out a film per week)... Soundtrack, Forrest Gump Edward Elgar was born on June 2, 1857, in Broadheath, near Worcester, where his father named William Elgar, was a music shop owner and a piano technician. Elgar was the fourth of six children. He was self-taught in all musical instruments, that were at his disposal in his father's shop, and he studied all the sheet music available in the shop... Prince Randian Actor, Freaks Prince Randian was born in the Demarara district, British Guyana in 1871, the child of British Indian slaves. Born with tetra-amelia syndrome (the lacking of all four limbs), little is known about his early life or how he was discovered, but it seems his incredible adaptability did not go unnoticed... Lowell Sherman Actor, The Pay-Off Lowell Sherman was one of the early cinema's first major stars who successfully made the transition from actor to director. Born in either 1885 or 1888, his parents were John Wm. Sherman, a theatrical producer (1855-1924), and Julia Gray Sherman, an actress and daughter of actress Kate Gray. In 1905... Jenny Lee Snow Actress, Freaks Elvira and Jenny Lee Snow, also known as the Snow Twins, were born in Georgia, but they were often advertised in their sideshow act as being from the Yucatan of Mexico and sometimes from Australia. (Some reports state that they were not actually twins at all). Reputedly, Elvira's birthdate was March 2... Bonnie Parker Self, Dillinger: Public Enemy No. 1 One of the most famous bank robbers in history, he was born John Herbert Dillinger on June 22, 1903, to a grocery store owner named John Wilson Dillinger and his wife Mollie (the family also included an older sister, Audrey). By all accounts the Dillingers were a normal "all-American" family, but the... Karl Dane Actor, The Big Parade Born Rasmus Karl Therkelsen Gottlieb in Copenhagen, Denmark, on October 12, 1886 the future Karl Dane had a rough childhood. His father was an alcoholic and spendthrift. At a young age his parents divorced. To escape his unhappy home he took a great interest in the arts, particularly puppeteering (something popular in Denmark at the time). Dane apprenticed as a machinist during his teenage years... Russ Columbo Soundtrack, Raging Bull Writer, Winsor McCay, the Famous Cartoonist of the N.Y. Herald and His Moving Comics Like many pioneers, the work of 'Winsor McCay' has been largely superseded by successors such as Walt Disney and Max Fleischer but he more than earns a place in film history for being the American cinema's first great cartoon animator. He started out as a newspaper cartoonist, achieving a national reputation for his strips 'Little Nemo in Slumberland' and 'Dreams of a Rarebit Fiend'... Dorothy Dell Actress, Little Miss Marker Dorothy Dell was born Dorothy Dell Goff in Hattiesburg Mississippi, on January 20, 1915. Her family later moved to New Orleans where she became friends with Dorothy Lamour . The two girls dreamed of becoming actresses together. Dorothy began entering beauty pageants when she was a teenager and in 1930 she was crowned Miss Universe... Lew Cody Actor, Don't Change Your Husband This dark-haired, suave American-born matinée idol of French ancestry abandoned a medical career after receiving favorable reviews for his performance in a school play at McGill Medical College in Montreal. He went on to study drama at the Stanhope Wheatcroft School of Acting in New York, then toured... Ernst Röhm Self, Victory of the Faith Born in Munich in 1887, Ernst Röhm joined the German army as a teenager and served in World War I. He became acquainted with Adolf Hitler in 1919. Hitler shrewdly took note of Röhm's intensely militaristic nature, his experience in the war and the fact that he was the leader of an extreme right-wing paramilitary organization called the Frontbann--one of many such units... George W. Hill Director, The Big House George W. Hill (1895-1934)--not to be confused with later director George Roy Hill (1921-2002) of Butch Cassidy and the Sundance Kid fame--was one of the ace filmmakers at mighty MGM, along with King Vidor and Tod Browning, from the mid-'20s until his death in 1934, directing such major stars as Lon Chaney and Wallace Beery... One of seven children of dirt-poor Georgia farmers, Charles Arthur Floyd was born on February 3, 1904. His family moved to Oklahoma shortly after his birth, where they bought a small farm. Their luck was no better in Oklahoma than it was in Georgia, and drought, plagues of insects and devastating dust storms combined to keep them just barely out of the poorhouse... Eugenie Besserer Actress, The Jazz Singer Eugenie Besserer was born in Watertown, New York on Christmas Day of 1868. She was largely a silent film actress who made her debut in 1910's silent version of The Wonderful Wizard of Oz. She was 42 at the time. For the most part Eugenie was a character actress, much in demand for filling in roles. Because of her willingness to take just about any role... Baby Face Nelson Lester M. Gilis, aka "Baby Face Nelson," began his crime career at an early age in a street gang in the Chicago slums. He was given the nickname "Baby Face" by his gang members because he looked much younger than he actually was (14). His specialty was car theft, bootlegging and armed robbery. He spent several years in prison on auto theft and bank robbery charges... Maria Sklodowska-Curie Willard Mack Writer, The Dove John Francis Dillon Director, Sally John started his career with Keystone in 1913 under the name `John Dillon,' working with Kalem, Farnum, Nestor, Universal, Keystone and Lubin Pictures. The latter part of his career was spent playing bit parts and second leads in B pictures. Gertrude Howard Actress, I'm No Angel Paul von Hindenburg Self, Hindenburg Coming from an aristocratic Prussian family, Paul von Hindenburg joined the Prussian army as a young man, retiring as a general in 1913 at age 66. Recalled to duty during World War I, he was placed in command of the German forces at the battle of Tannenberg in 1914 against the Russians which, due to... Weston Doty Actor, Peter Pan Wilhelm Diegelmann Actor, The Blue Angel Gerald du Maurier Actor, Lord Camber's Ladies Sir Gerald Du Maurier was one of the top thespians on the English stage in the first third of the 20th Century, and his distinguished career as an actor-manager led to his being knighted by King George V in 1922. Born in Hampstead, London on March 26, 1873, he was the son anglo-French writer and cartoonist 'George du Maurier'... Alec B. Francis Actor, Beyond the Rocks Francelia Billington Actress, Blind Husbands Francelia Billington born in Dallas, Texas, raised on a ranch, became an expert at horsemanship, on stage from an early age, later a pretty star of popular westerns and melodramas, first working with the Kalem Film Co in 1912 then moved to Reliance-Majestic studios and Thanhouser the following year and starred in many films under the direction of D.W... Thorne Smith Writer, Topper The 1926 publication of "Topper" brought writer Thorne Smith immediate acclaim. A sophisticated spoof of middle-class manners and morals, it chronicles the madcap adventures of Cosmo Topper, a mild-mannered bank executive who is rescued from his drab "summer of suburban Sundays" by fun-loving ghosts George and Marion Kerby... Cicely Oates Actress, The Man Who Knew Too Much Edith Yorke Actress, City Girl Tom Buckingham Writer, Should Tailors Trifle? John Daumery Director, La foule hurle Lou Tellegen Actor, 3 Bad Men Born in the Netherlands of Greek/Dutch descent, Lou Tellegen (born Isidor Van Dameler) was a marvelously handsome man whose life was temptestuous. Having something of a wandering pair of feet, he journeyed through Europe during his youth, doing odd jobs like prize fighting, driving a cab in Brussels... Emile Chautard Director, The Blind Sculptor French director and actor of American and French films. He began his career as a stage actor at the Odeon in Paris, then at the Eclair, where he became artistic director and chief director of the theatre school in 1910. Five years later he traveled to America and began a successful career as a film director for a variety of American film companies... Harry A. Pollard Director, The Sacrifice Phyllis Rankin Actress, The Swim Princess Winston Doty Harry Lorraine Actor, Wireless Hal Skelly Actor, The Struggle Dancer Hal Skelly was born in Wisconsin in 1892, he left home at 15 to join a circus, went with 17 to comedy, toured with light opera China and Japan, joined after that Dockstader's minstrels, made his Broadway debut in 1918 in "Fiddlers Three". His biggest success was the play "Burlesque", what was filmed as "Dance of Life"... John J. McGraw Self, Breaking Into the Big League Robert Brower Actor, Thirty Days at Hard Labor James Durkin Actor, The Chasm Sydney Deane Actor, Melting Millions Edgar Connor Actor, Black and Tan Edgar Connor grew up dancing for pennies on the streets of Jacksonville, Florida, when, in 1906, J. Rosamond Johnson and Bob Cole, two black vaudevillians, recruited him to sing and dance in two of their vaudeville productions, "The Shoo-Fly Regiment" and "The Red Moon." From there, he became a fixture in vaudeville both in the States... Bert Woodruff Actor, Speedy Bert Woodruff was the son of non-professionals Hannah R. and William A. Woodruff of Peoria, Illinois. He was married to Hattie M. Sprague. He entered the theatrical profession in 1876 in Minstrels and toured for two years as a Minstrel. Toured on the stage from 1878 until 1882, and then entered Vaudeville in Peoria... Louis F. Gottschalk Composer, Orphans of the Storm

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Library Foundation of Los Angeles [ALOUD] Young Literati This is Your Library Gregory Peck Reading Series Stay Home and Read a Book Ball Support LFLA < Return to Calendar Saturday, June 22, 2013 5:00 PM Mark Taper Auditorium, Central Library Share Sat, Jun 22, 5:00 PM Glen Mazzara Behind the Scenes with Today's Best Television Writers For Members of the Library Foundation of Los Angeles&a Become a Member today!Library Foundation of Los Angeles Members are cordially invited to join us for the second episode of "The Writer's Cut." This new series celebrates the written word and how it comes to life on television with the modern storytellers of our time - writers who craft our favorite shows.On Saturday, June 22, 2013, Glen Mazzara, former executive producer and writer for shows such as "The Walking Dead" and "The Shield" will be in conversation with television agent Rob Kenneally about the art of writing for television. (Watch Glen in a LA Times panel discussion with other showrunners in the run up to the 2013 Primetime Emmy Awards Nominations.)The evening will begin at 5:00 pm with a Member reception in the Flora Thornton Courtyard followed by the program at 6:00 pm in the Mark Taper Auditorium. Admission is free, but space is limited, so please respond early. To make reservations, place your name on the waiting list or become a Library Foundation Member, please contact Membership Director Erin Sapinoso at 213.228.7552 or [email protected]. Glen Mazzara is currently in talks with Warner Bros. to write a movie prequel for Stephen King’s The Shining. The former Executive Producer and Showrunner on AMC’s “The Walking Dead,” his writing and producing credits include the Golden Globe Award-winning police drama series “The Shield,” “Crash,” and “Hawthorne.” Rob Kenneally is a Television Agent at Creative Artists Agency (CAA). He previously served as Executive Vice President of ReplayTV Services, President of Television for Rysher Entertainment, and Executive Vice President of the FOX Broadcasting Company. Reservation policy: Reservations will be taken until the program is full, at which point a waiting list will be maintained. If you or anyone in your party can no longer attend, please inform us ahead of time to the best of your ability, so that we can keep an accurate reservation count as well as accomodate other guests who wish to attend. If you are on the waiting list and a reserved guest cancels, a representative of the Library Foundation will contact you regarding availability. Location: The Flora Thornton Courtyard and Mark Taper Auditorium are located on the first floor of the Tom Bradley wing of the Central Library at 630 West Fifth Street, Los Angeles, CA 90071.Parking: Parking is available underneath the Central Library at 524 South Flower Street. Standard rates apply. Directions/Parking: Unless otherwise indicated, ALOUD programs take place at the Los Angeles Central Library's Mark Taper Auditorium, 630 W. Fifth Street, Los Angeles, CA 90071. Featured In Our Store Books Tote Price: 22.00 Pouch BookPrice: 16.95 ©2014 Library Foundation of Los Angeles

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Young Justice (Mania.com) By:Eric Moro The Teen Titans DC Comics' crime-fighting team of junior superheroes have experienced a number of revamps throughout their storied career. There's the original 1964 team, which launched within the pages of BRAVE & THE BOLD #54 and consisted of only Robin, Kid Flash and Aqualad (sidekicks to their adult namesakes). Then there's the team that most Gen Xers remember 1980's THE NEW TEEN TITANS from writer Marv Wolfman and penciler George Perez. The 21st century sees another incarnation still one inspired by the '80s, but brought to animated life by creators at the Cartoon Network and Warner Bros. Animation."I just felt like the TEEN TITANS was one of the properties left in the DC Universe that hadn't been turned into a cartoon yet, but really needed to be," says Sam Register, Cartoon Network's senior vice president for original animation. "I don't remember exactly what my attraction to the comic book was [as a kid], because I've gone back and read them and some of it doesn't quite hold up anymore since it's been 20 years. But it's still just great stuff."

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Catch Me If You Can2002 - PG-13 - 141 Mins. Director: Steven SpielbergWritten By: Frank William Abagnale, Jr. (novel)Starring: Leonardo DiCaprio, Tom Hanks, Christopher Walken, Martin Sheen and Frank Abagnale, Jr. (cameo) Review by: John Ulmer "Catch Me If You Can" is based on the true story of Frank Abagnale, the most successful conman in history. By the age of 19, Frank had already posed as a pilot for Pan Am, paraded around as a medical doctor, and fooled everyone by taking an on-the-side-job as a lawyer. (By the way, he faked a Harvard-graduate diploma to become one.) During this time he cashed fraudulent checks at various banks around the country, and eventually around various places in the world. His is an amazing story, and this film is based on it. There's no real plot to go into, as I have already given it to you. Other than telling you that the film opens when Frank is sixteen and runs away from home after his parents (Christopher Walken and Nathalie Baye) have a messy divorce, you pretty much have the setup for a light, fluffy, and altogether fun film. Frank is played by Leonardo DiCaprio, and the man hot on his trail, agent Carl Hanratty, is played by Tom Hanks. There isn't really a Carl Hanratty in real life, but it adds to the story. Frank, on the run, actually starts to become friends with Hanratty, who realizes Frank is just an adolescent and does not realize the eventual outcomes of what he is doing. Hanratty sort of adopts Frank, even after he is caught and thrown in a French prison. He helps him get transferred to an American prison, and then even gets him a job in the FBI for spotting fraudulent checks. I read Frank William Abagnale, Jr.'s true-crime memoir, which was released a few decades ago. It differs from the film at times, and it isn't always as light-hearted as the film is. But in terms of pure, fluffy fun at the movies, "Catch Me If You Can" is a sure-fire hit. At times it seems to stray a bit too far off the path of realism, unlike the book, but that's part of the fun, really. The film is entirely watchable, and doesn't try to become an epic. Steven Spielberg creates a real dazzler here; it is effortlessly watchable and even at two and a half hours long, it doesn't become overbearing. I thoroughly enjoyed it, and, unlike most critics, I thought Tom Hanks did a great job in his role. I especially like how Spielberg captured the image of the '60s so well here, and John Williams' score fits the part of the film very well. And as for the cast, they are all matched perfectly to their characters. I especially liked Christopher Walken as Frank Abagnale, Sr., who steals every scene he is in. His performance was worthy of its Oscar nom. If you just want to sit back and relax, "Catch Me If You Can" is the perfect film for you. There's nothing all that special in the film, but the film kind of becomes special because it is so easy to watch. I recommend "Catch Me If You Can" to anyone who can enjoy a movie for what it is. "Catch Me If You Can" is a true popcorn flick, and maybe a little bit more. Movie Guru Rating

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November 26th, 2014 Hollywood Shocker: Publicist Ronni Chasen Shot Dead Shocking news shook up Entertainment industry today when famous publicist Ronni Chasen was found in Beverly Hills with multiple gunshot wounds and later died in the hospital. According to TheWrap, Chasen was shot five times, and then crashed her car into a light pole. The investigation has begun, but no suspects or motive had been identified yet. The tragedy took place just minutes after Chasen left the afteparty for the world premiere of the film “Burlesque” at the Grauman’s Chinese Theater. According to her best friend, no one saw Chasen leave the party or with whom she left. Chasen was likely on her way home when she was attacked. She was single, childless and had once been married and divorced. She was sister of Larry Cohen, a successful screenwriter and director. Chasen began her career 1972, and later worked for major studios such as Disney and Fox, films “Driving Miss Daisy” and “De-Lovely.” She quickly advanced while working at Rogers & Cowan before opening her own outfit Chasen & Company, which mainly presented composers, including Hans Zimmer, and other music-related Oscar campaigns. Chasen was a regular on the Academy Awards circuit. Among her recent projects are “Wall Street: Money Never Sleeps” and “Alice in Wonderland.” 0 comments » 14 Oscar Winning Horror Movies

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Sundance News, Sundance Features Sundance News Sunday 19th January, 2014 - 17:00 GMT Weirdness: When Publicity Pictures Aren't Worth It - Aaron Paul With Wii Fit U Wii Fit U, B****Aaron Paul is all the rage right now. Although an actor with a highly respectable career over a number of years, he's shot to prominence in recent times due to his role as Jesse Pinkman in Breaking Bad; he's now appearing in the lead role of the upcoming Need for Speed movie, for better or worse. So he's hot stuff, winning awards...79 commentsWii USundanceAaron Paul Friday 13th December, 2013 - 14:45 GMT News: Nintendo Announces Its YouTube Video Challenge Winner They're off to Sundance for a DK projectIn recent times Nintendo of America has been running a contest with a number of popular YouTube channels, in which they were challenged to produce videos based on Super Mario 3D World or The Legend of Zelda: The Wind Waker HD. We featured one of the entries, in which a cat wasn't impressed by the idea of...15 commentsWii UVideoEventZeldaSundance

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Broadway May Be First Stop for Andrew Lloyd Webber's School of Rock Musical Jack Black starred in the film For the first time since the 1971 bow of Jesus Christ Superstar, a new Andrew Lloyd Webber musical may premiere on Broadway prior to London. The Telegraph reports that the award-winning composer's stage adaptation of the Jack Black film "School of Rock" has its sights set on Broadway. The film comedy starred Black as a musician who pretends to be a substitute fourth grade teacher at a prep school and transforms his students into a rock band. Lloyd Webber is considering Broadway as the first stop for School of Rock because of U.S. child labor laws, which are not as strict as those in London. More restrictive child labor laws in the U.K. necessitate casting three to four children to fill one role due to the amount of time the young performers are able to work. Lloyd Webber told the Telegraph that there was a "strong possibility" the production will premiere in New York first because it is easier to cast child performers in the U.S. He also added that the title's popularity in the States was an added bonus. "You don't have to do all this triple casting, you can cast them as if they're adults and then you can have them for a six-month or a year contract if you want to, without these endless changes," he said. "And with a show that is so dependent on the children really being able to play, I think that's important." School of Rock is currently in development, and Lloyd Webber cautioned that he will spend the summer working on the musical before deciding if the project will continue. The earliest audiences can expect to see School of Rock on stage is likely 2016. The musical will incorporate original songs from the film in addition to new material penned by Lloyd Webber. Top Ten Revisited: Songs by Andrew Lloyd Webber Unexpected Songs: Top Ten Compositions By Andrew Lloyd Webber RECENTLY POSTED NEWS Second Helpings of Famous Turkeys: Flops and Cult Musicals That Deserve a Second Chance 22 Mar 2014 -- Top Ten Revisited: Songs by Andrew Lloyd Webber 19 Oct 2013 -- Unexpected Songs: Top Ten Compositions By Andrew Lloyd Webber 19 Oct 2013 -- Unexpected Songs: Top Ten Compositions By Andrew Lloyd Webber 19 Aug 2013 -- Following Brief Hospitalization, Andrew Lloyd Webber Resumes Work on Stephen Ward Musical 09 Jun 2013 -- Andrew Lloyd Webber Will Not Attend Tony Awards Due to Health Issues; Tony Winner Issues Statement Romeo and Juliet, With Elizabeth Olsen, Julian Cihi, Daphne Rubin-Vega and T.R. Knight, Opens at CSC Gabriel Ebert, Patch Darragh, Katherine Waterston, Jeremy Shamos and More at Opening Night of Mr. Burns The Phantom of the Opera's Sierra Boggess and Norm Lewis Celebrate First Curtain Call Andrew Lloyd Webber on a Special Edition of OSAA

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The Real HousewivesClassless countess LuAnn publishes Class with the Countess by Andy Dehnart 20 Apr. 2009 | 4:44 pm Last Thursday, there was a major event in American letters and literature: the publication of the long-awaited Class with the Countess: How to Live with Elegance and Flair, written by Countess LuAnn de Lesseps. Make that former countess LuAnn. Who wouldn’t want advice from the woman who, on a recent episode of The Real Housewives of New York City, talked to kids about self esteem by laughing at and mocking one girl whose career goal was to be a babysitter, and responding to another girl’s modeling dreams by saying that girl could lose weight? As if that wasn’t enough, LuAnn later bragged about “mentoring girls” on her blog, insisting–without any hint of irony!–that “girls who are supported by positive role models and provided with information on the physical and emotional changes that occur during adolescence have less depression, teen pregnancy, and substance abuse problems.” As a cast member on The Real Housewives, LuAnn–like all of the cast members during this amazing, drama-filled season–is pretty much someone who preaches what she doesn’t practice. (Amazingly, she’s not even the worst one this season.) Still, she’s now on tour so she can spread her classiness. The book’s reviews on Amazon are nearly all negative, and tend to city her hypocrisy. One mentions that her co-writer, who was seen on the show, isn’t mentioned on the book’s cover. LuAnn may be on the road to some self-awareness, though. she recently told People that she “was devastated” over her split with the count, and said, “When I wrote the book I felt very secure. And that’s totally changed.” « LuAnn separates from her count husbandReunion host Andy Cohen tells arguing Real Housewives to “talk about it at lunch” »more stories about The Real Housewives The Sing-Off loses its starNBC's super-fun December a capella singing competition The Sing-Off is returning, but without its star judge, Ben Folds, and only as a two-hour special. Those are really depressing changes for a series that proved itself to be a super-fun show when it returned last December.

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QuickClick: Princess Bride Gets Mixed with Game of Thrones 03.18.13 by Ryan Those who have read George R.R. Martin's A Song of Ice and Fire novels know that the length might be a little too much for a grandfather to attempt to read to his sick grandson, especially when one considers that the first two books were each adapted into two full seasons of HBO's Game of Thrones. Still, that hasn't stopped the juxtaposition of The Princess Bride with the hit TV show. In fact, it's one of the jokes of the mashed-up trailer, which sees Peter Falk read Game of Thrones to his grandson (Fred Savage), replacing the story of Westley, Buttercup and Prince Humperdinck with that of Ned Stark and Prince Joffrey, but to similar results. Related: The Princess Bride Game of Thrones (TV) MORE FROM REELZ: 10.13.2014REELZ' Fantasy Football Team Lives Up to Its Name 06.17.2013Fall in Love with The Princess Bride All Over Again Tonight on Reelz 06.10.2013The Princess Bride and Star Wars Come Together in Today's QuickClick Did you know?REELZ isn't just a great place for movie reviews and celebrity news, we also have a great slate of original programming.Choose one of our shows below to learn more! MORE REELZ SHOWS ON TELEVISION

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Frank Langella to Star in Wall Street 2, Josh Brolin May Join as Well 08.10.09 by REELZ Variety reports that Frank Langella, the veteran actor who most recently starred in Frost/Nixon, has joined the cast of Wall Street 2: Money Never Sleeps. The movie, due next April, is Oliver Stone's follow-up to his 1987 movie about a naive young broker (played by Charlie Sheen) who gets taken under the wing of the monstrous bigwig Gordon "Greed Is Good" Gekko (played by Michael Douglas). Douglas went on to win an Oscar for his performance, and to many audiences, Gekko remains one of the most vile-yet-charismatic villains ever portrayed on screen. Douglas has already agreed to reprise the role, and Shia LaBeouf is on board as an ambitious young trader, similar to Sheen's character in the first movie. At one time, Javier Bardem was rumored to star, but he has since confirmed that he will not take part. Langella, meanwhile, will play the role of an older broker who mentors LaBeouf's character. He is also scheduled to star in the thriller The Box, from writer/director Richard Kelly (Donnie Darko, Southland Tales), and All Good Things from director Andrew Jarecki (Capturing the Friedmans). In addition, Josh Brolin is rumored as a possible addition to the Wall Street 2 cast, although nothing official has been announced. Related: Frank Langella Michael Douglas Oliver Stone Josh Brolin Shia LaBeouf Wall Street Wall Street: Money Never Sleeps MORE FROM REELZ: 06.27.2014Jenny McCarthy and Sherri Shepherd Leave The View, Shia LaBeouf Gets Arrested, Two Friends Are Engaged 05.21.2014Crime Time: Top 10 Serial Killers in Movies 02.21.2014Star Wars Grrrl Power, Jada in Gotham, FF Cast, Franco Explains LaBeouf, Jai Courtney vs. Terminator, Rowlbraith Returns Did you know?REELZ isn't just a great place for movie reviews and celebrity news, we also have a great slate of original programming.Choose one of our shows below to learn more! MORE REELZ SHOWS ON TELEVISION

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Adam Lambert Debuts Disco-Glam Single "For Your Entertainment" Jackson's "This Is It" DVD Pushed to 2010, Doc Dominates Theaters Rock and Roll Hall of Fame Turns 25 With All-Star Sets From Springsteen, Wonder and More By Andy Greene | It was well past 1:00 a.m. when the first night of the Rock and Roll Hall of Fame's 25th anniversary celebration began winding down. For six hours, a capacity crowd at New York's Madison Square Garden had been dancing in the aisles to a superstar lineup only the Hall of Fame could produce: Bruce Springsteen, Simon & Garfunkel, Stevie Wonder, Crosby, Stills and Nash, Dion, Sting, Bonnie Raitt, James Taylor, John Fogerty, Jackson Browne and many others. It seemed like Springsteen and surprise guest Billy Joel swapping verses on "Born to Run" was the finale, but then many of the night's acts took the stage with the E Street Band and kicked into Jackie Wilson's "(Your Love Keeps Lifting Me) Higher And Higher." Nobody seemed to want the party to end, curfews be damned. See the Rock Hall concerts' most epic moments and special guests. The evening began with a speech by Tom Hanks, whose production company is turning the two concerts into a four-hour HBO special that airs November 29th. "When we were confused, rock & roll gave us purpose," he said. "Hail, hail rock & roll." Jerry Lee Lewis then kicked into his 1957 hit "Whole Lotta Shakin' Goin On" — a track he played at the first Hall of Fame induction ceremony in 1986. After a five-minute film highlighting American bands of the 1960s, Crosby, Stills and Nash began their set with "Woodstock," which featured incredible guitar work by Stephen Stills. Other highlights of their 10-song set were "Almost Cut My Hair," and the Buffalo Springfield classic "Rock and Roll Woman." CSN's first guest was their longtime friend Bonnie Raitt, who Crosby called "my favorite singer in the whole world." She did an acoustic version of "Love Has No Pride" and joined with CSN on an excellent cover of the Allman Brothers' "Midnight Rider," hugging the trio between songs and looking magnanimous. Next up was Jackson Browne on "The Pretender," and then James Taylor for "Mexico." The entire California crew joined together at the end of CSN's set for a sing-along "Teach Your Children." Check out a rundown of the night's big moments as they happened. A revolving stage kept the show flowing remarkably smoothly, and minutes after CSN ended Paul Simon and and his amazing touring band kicked into a one-two-three punch of "Diamonds on the Soles Of Her Shoes," "Me and Julio Down By the Schoolyard" and "You Can Call Me Al." Paul selected two of his New York musical heroes to come out for one song each: Dion DiMucci did his signature tune "The Wanderer" and "Little Anthony & The Imperials" delivered a stunning a cappella rendition of "Two People In The World," with a beaming Simon on background vocals. Find out who said what behind the scenes in our backstage report. After a short break, Simon and Garfunkel walked onstage together to a rapturous standing ovation, which only got louder when Simon began playing the opening notes to "The Sounds Of Silence." The duo added a big chunk of "Not Fade Away" to the middle of "Mrs. Robinson" and swapped verses on a powerful "Bridge Over Troubled Water" — which got one of the loudest rounds of applause of the night. The set ended with a jubilant "Cecelia" that had everybody in the Garden singing along. Simon and Garfunkel just finished up a tour of Asia and Australia that Paul strongly implied would be their last, so it may well be the last time they ever perform together. A video montage of Motown greats was supposed to kick right into Stevie Wonder's set, but technical problems delayed the start while a crew frantically tried to sort things out. Wonder improvised by rejiggering his set list, opening with a soulful cover of "Blowin' In The Wind," which was a hit for him in 1966. With his daughter Aisha on background vocals and a huge band, Wonder delivered stunning renditions of his biggest hits: "Signed, Sealed, Delivered I'm Yours," "Living For The City" and "Boogie On Reggae Woman," which climaxed with Wonder dropping to his knees as he played a sick harmonica solo. See how the all-stars spent their time backstage between sets and after the big show John Legend, who rushed over to MSG after singing at the World Series at Yankee Stadium, joined Stevie for a tender take on Marvin Gaye's "Mercy, Mercy Me," and then sat with Wonder at the piano for a cover Michael Jackson's "The Way You Make Me Feel" that had the whole arena chanting "long live Michael Jackson." The set continued with blues legend B.B. King guesting on "The Thrill Is Gone" and Smokey Robinson reviving his 1965 classic "Tracks Of My Tears." A bearded Sting came out for an awesome mash-up of "Higher Ground" and "Roxanne," but it was Jeff Beck who delivered the knock-out punch. The Yardbirds guitarist walked on for the finale of "Superstition" (he played on the original) and effortlessly delivered the first jaw-dropping guitar solo of the night. By the time the stage was set for Springsteen and the E Street Band it was 11:45, well over two hours behind schedule. The usually tight MSG curfew was clearly the furthest thing from Bruce's mind as he brought the exhausted audience to their feet with "Tenth Avenue Freeze-Out" and the Sam & Dave party classics "Hold On I'm Comin' " and "Soul Man," with guest Sam Moore. Longtime Springsteen friend John Fogerty ("The Hank Williams of his generation," said Bruce) sprinted out for a rollicking renditions of "Fortunate Son" and "Proud Mary." Darlene Love — who is on this year's ballot for the Hall of Fame — joined the group for the Phil Spector classics "A Fine, Fine Boy" and "Da Doo Ron Ron." It was Tom Morello, though, who really set the place on fire, delivering one of his finest guitar solos on "The Ghost Of Tom Joad" and dueting with Springsteen on the Clash's "London Calling." After "Badlands" much of the drained audience began leaving and then rushed back to their seats when Billy Joel sat down at the piano and launched into "You May Be Right," "Only The Good Die Young" and "New York State Of Mind." (The pair were uniting the kindred spirits of New Jersey and Long Island, Springsteen explained.) "Higher and Higher" wrapped up the night. The official set list had the show ending at 11:36:55 (yes, they thought they had it down to the exact second), but the final notes rang out at 1:31 a.m. Six straight hours of music, and that was just the first of two nights. Madison Square Garden has seen its fair share of historic gigs (the Concert for Bangladesh, the Bob Dylan tribute in 1992, the Concert For New York City, No Nukes), but there's little doubt that the Rock and Roll Hall of Fame's 25th anniversary concerts is joining that list of legendary events. Relive the Rock Hall's first big night in photos. Rolling Stone will be back on the scene at MSG tonight for the second Rock Hall show: get our latest updates live on Twitter (keep an eye out for #rockhall25):

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You are here: Home » Blog » Richard II (+Q&A) Richard II (+Q&A)February 13, 2013 by Shakespeare AdminComments are off July 10, 2013 @ 11:30 pm – July 11, 2013 @ 2:30 am Tina Packer Playhouse Directed by Timothy Douglas Featuring Rocco Sisto and Tom O’Keefe “Mine honour is my life; both grow in one.” How does a state contend with a barbarous ruler who is perceived to be appointed by God? King Richard II has designed the murder of his uncle, wasted public funds, and used the influence of his crown to misrule a nation. Not until Richard banishes Henry Bolingbroke does he create an enemy skeptical of his divine mandate who is intent on constructing his demise. The production features founding Company member and three-time OBIE Award winner Rocco Sisto in the title role. Sisto was last seen as Caliban in The Tempest, a role he’s performed twice at the Company to critical acclaim. He will be joined by Tom O’Keefe as Henry Bolingbroke, reteaming the duo after a appearing together in the world premiere of Joan Ackerman’s The Taster at Shakespeare & Company in 2010. After appearing in both Shakespeare productions last summer, Timothy Douglas returns to direct Richard II. Douglas last directed at Shakespeare & Company in 2007 with Joe Penhall’s psychoanalytic drama, Blue/Orange, a highlight of the Company’s 30th Season. THIS PERFORMANCE IS FOLLOWED BY A Q&A WITH THE ACTORS included in your ticket price

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0 Item(s) in Cart You are here: Home > Shop - Bruce Davison Collection Bruce Davison Star Trek, Lost, Seinfeld, Law & Order, X-Men #5 Bruce Davison made his Broadway debut in Tiger at the Gates in 1968. He also appeared as John Merrick in The Elephant Man and in The Glass Menagerie opposite Jessica Tandy. Davison was one of a quartet of newcomers including Barbara Hershey, Richard Thomas, and Catherine Burns when he made his film debut in Last Summer in 1969. In 1970 he played opposite Kim Darby in the film about peaceful student protest and its violent outcome The Strawberry Statement. Two years later he portrayed the title role in Willard. He also appeared in Ulzana's Raid, Peege, Mame, Mother, Jugs & Speed, Short Eyes,The Lathe of Heaven, and Six Degrees of Separation. In 1978 he appeared as Dean Torrence opposite Richard Hatch in the made-for-TV biopic Deadman's Curve (the story of 1960s pop duo Jan & Dean). The same year, he played the title role in the TV movie adaptation Summer Of My German Soldier. In 1981 he had the lead in The Wave, based on real events,starring as a history teacher who conducts an experiment in Nazi philosophy on his students. Bruce also starred in Tales from the Darkside, Season 1, Episode 8. In 1983, Bruce was cast by Joseph Papp in the Public Theater/New York Shakespeare Festival production of King Richard III. Additional Off-Broadway credits include Love Letters, The Cocktail Hour, and Paula Vogel's Pulitzer Prize-winning play How I Learned To Drive. He also played the role of Ruby in the 1985 comedy Spies Like Us starring Dan Aykroyd and Chevy Chase. In 1990 he portrayed a gay man whose lover is dying of AIDS, in Longtime Companion. The role earned Davison a nomination for the Academy Award for Best Supporting Actor. Davison went on to appear in other movies addressing AIDS: in 1995's The Cure, he portrayed a physician sought by a young boy with AIDS in search of medical help. In 1996, Davison appeared in the film It's My Party, which chronicled the true events of a man dying with AIDS who decides to hold a farewell party for family and friends before taking his own life. Davison's website states he is a spokesperson for many AIDS-related groups and is a board member of the industry AIDS organization Hollywood Supports. In Los Angeles, Bruce has appeared on stage in Streamers and The Normal Heart, winning the Los Angeles Drama Critics Circle Award and Drama-Logue Award for his performances. Other LA theatre credits include The Caine Mutiny Court Martial (directed by Henry Fonda) and a stage adaptation of To Kill a Mockingbird. He is familiar to movie audiences for Runaway Jury, Apt Pupil, and his role as Senator Robert Kelly in the X-Men movie franchise. Though his character died in the first film, Davison appeared in X2 as a shapeshifting impostor of Kelly. Davison also portrayed a rich philanthropist in the movie Christmas Angel. Davison's many television credits include Hunter, Marcus Welby, M.D., Love, American Style, The Waltons, Lou Grant, Murder, She Wrote, Designing Women, Seinfeld, Chicago Hope, Law & Order: Special Victims Unit, V: The Series, Star Trek: Voyager, Star Trek: Enterprise, Battlestar Galactica, Lost, CSI: Miami, Ghost Whisperer, Castle, Hawaii Five-0, the Stephen King mini-series Kingdom Hospital, and a recurring role on The Practice. Davison also had the recurring role of defense attorney Doug Hellman in the CBS drama Close to Home. In 2001, Bruce directed the TV film Off Season, which starred his Lovelife co-star Sherilyn Fenn, Rory Culkin, Hume Cronyn, and Adam Arkin. In 2007, Bruce returned to the big screen, playing Eric O'Neill's father in Breach. Also in that year, Davison was cast in the role of Charles Graiman, creator of the Knight Industries Three Thousand in NBC's revival of the television series Knight Rider. Bruce also played the role of Dr. Silberman, the psychiatrist who once tormented Sarah Connor, in the seventh episode of Terminator: The Sarah Connor Chronicles. In May 2010, Davison was cast to portray art dealer Wilhelm Van Schlagel for several episodes on ABC's General Hospital to begin airing in July, 2010. In 2010 he starred in the TV movie Titanic II. He is currently filming for Rob Zombie's The Lords of Salem set for release in 2012.

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Blue Man Group Tickets for all Blue Man Group Peformances Your Location | Select Location TicketsNow > Theater Tickets > Other Theater Tickets > Blue Man Group Tickets Blue Man Group Tickets Bald-headed men in blue latex paint might sound like a reincarnation of the Smurfs, but the men of Blue Man Group are an international phenomenon! Come see the Blue Man Group converge lights, music, and props to create a must-see show! Buy your Blue Man Group tickets now! Fabulous Fox Theatre - Atlanta Michael & Susan Dell Hall Charles Playhouse Briar Street Theater Miller Auditorium Monte Carlo Hotel and Casino Uihlein Hall at Marcus Center TN Performing Arts Center Andrew Jackson Hall Pooler, GA Johnny Mercer Theatre Providence Performing Arts Duke Energy Center for the Performing Arts Majestic Theatre San Antonio Palace Theatre Waterbury-CT The wonderful thing about Blue Man Group (other than the fact that their show is an incredible spectacle) is that they go absolutely everywhere! Usually when you think of Blue Man, you think of Vegas, and it’s true that they spend most of their time on the strip. But they also do a number of shows outside of Sin City from New York to Biloxi. The trio of friends (Chris Wink, Matt Goldman and Phil Stanton) worked as caterers for Glorious Foods in Manhattan, New York in 1988. They started appearing on the streets of NY wearing black clothing and decked in their traditional blue make-up and performing different types of unusual events. They eventually moved to La MaMa Experimental Theater Club where they performed shorts. Meryl Vladimer, artistic director at La MaMa, enjoyed the trio’s work and commissioned them to create their own show. The three came up with TUBES, and as more people heard about the show, the bigger the friends got. It wasn’t long before the group moved to the Astor Place Theater in 1991. They have had a number of different adaptations of their original show, but all of them have some form of drumming to get the blood flowing. The trio never speaks or makes grand gestures on the stage. Instead, they use their eyes to show a range of emotions including surprise, curiosity and wonder. The bliss of the show comes in its simplicity. It is about discovery, movement and change. The group interacts with one another before taking on a new challenge or obstacle. The “idea” behind them being blue is that they do not have any race to stereotype them. They are as innocent as children and just as curious. Themes for their shows include self-consciousness with regard to cultural norms (such as the Twinkies act), innocence, bombardment by information, science and technology and even the common idea behind the “rooftop” theme. The latter idea is one in which always seems to be explored in their shows, going along the path of “moving or climbing to the top”. This idea was said to have come from the program on PBS where Joseph Campbell discussed myths, known as The Power of Myth. If you’re looking for more great theater events, Wicked tickets are the way to go. You can experience the story of the Wicked Witch of the West and hear her side of what really happened the day Dorothy came to the Land of Oz. Another great show that is a must see for any fan of Mel Brooks is the ultra-hilarious Young Frankenstein. It is the adaptation of the 1974 film version of the Mel Brooks classic. You can get Young Frankenstein tickets at a great price. Don’t miss out on either of these incredible shows.

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All times are UTC - 5 hours Pursuit of a Green Planet - New Film Project Post subject: Pursuit of a Green Planet - New Film ProjectPosted: Tue Oct 25, 2011 11:29 am Site Admin A friend of mine has been working on a documentary film for the past 3 or 4 years. I'm contributing in various ways. Please check it out:Trailblazing Vegan Bodybuilder Robert Cheeke teams up with Pursuit of a Green Planet for new film projectNew documentary film poised to become boldest voice of health-consciousness movement in hip hop October 25, 2011 - Pursuit of a Green Planet is more than just a film project. Producer Keith Tucker is a living experiment, as he makes the radical transition from your average American diet and lifestyle to one that is truly vegan, organic, and green. As part of his 30- day film crowd-funding campaign, Keith Tucker and Robert Cheeke team up to promote National Home Vegan Potluck Tweetup's in an effort to encourage people to contribute to the 30 day funding campaign. http://www.indiegogo.com/PursuitofaGreenPlanet/Film contributors will also enjoy the new book “Vegan Bodybuilding and Fitness”. One of the world's most recognized vegan body builders presents a comprehensive guide to building a fit body while eating a plant-based diet. Author Robert Cheeke inspires people to develop magnificent bodies. His passion for doing the most amount of good while causing the least amount of harm has inspired athletes, trainers, and anyone interested in a strong, healthy body. This book includes information on the most important things to consider in order to be a successful vegan bodybuilder including the best way to put together vegan meal programs and training regimens, how to find sponsorship and make bodybuilding a career, and where to find access to vegan products, services, and equipment. There is also advice on how to take bodybuilding beyond a personal endeavor and use it for activism and outreach.Pursuit of a Green Planet is hosting the National Home Potlucks Tweetup on Saturday, November 5, 2011 at 3 PM. Invite your friends to bring a brown bag or potluck item to gather at your home for community gatherings around the nation at 3 PM in each time zone. This Tweetup will rally support around the film project’s 30 day Indiegogo campaign and will bring people together for this new health movement. Connect on Twitter and Facebook to chat with celebrities, hip hop stars, artists, community leaders, environmental activists and health experts using the hashtag #HipHopisGreen.Throughout the 30 day campaign, tweetup contributors will receive products from some of the leading people in the new vegan green movement in Hip Hop. And a lucky winner will receive a signed copy of Robert Cheeke’s new book “Vegan Bodybuilding and Fitness” “I greatly look forward to watching this project unfold and I trust Keith Tucker to deliver an outstanding production. Promoting conscious living is a big part of my life and I am honored to be involved in this project." Says Robert Cheeke Pursuit of a Green Planet's 30-day film funding campaign using the crowd-funding platform Indiegogo. "We choose to use "crowd-funding" because it is a new innovative way for creative arts projects like ours to make our vision a reality. Plus, it allows us to reach out to the very people who are concerned and affected by the issues we are examining in the film," said Keith Tucker.Vegan Body Building and Fitness is now being offered as an extra added perk of the 30-day fundraising campaign at the” Plant Level” and above at www.indiegogo.com/pursuitofagreenplanet. Robert Cheeke Robert Cheeke grew up on a farm in Corvallis, OR and at age 15 decided to give up meat for good. Months later he became a full on vegan and began organizing Animal Rights events at Corvallis High School and was very active in the community working on a variety of environmental issues. He helped start recycling programs, protested the clear cutting of forests, and was heavily involved in Food Not Bombs, feeding vegan meals to the public. Robert is the co-founder of C-VEG, a Corvallis-based Vegan group, a former Board Member for non-profit groups Organic Athlete and Northwest VEG in Portland, and the Founder and President of Vegan Bodybuilding & Fitness. Currently Robert works full-time for Sequel Naturals as a National representative for Vega, a line of vegan whole-food products, and also works full-time running Vegan Bodybuilding & Fitness on www.veganbodybuilding.com, which includes writing books and filming documentaries.Pursuit of a Green Planet is more than just a film project. It is poised to become the boldest voice of the growing health consciousness movement in Hip Hop. The film takes a critical look at the connections between food, culture, economics and the epidemic of obesity related disease plaguing America’s youth. Contributing to Pursuit of a Green Planet is a way for you to vote for media you would like to see. We'll get there through donations both large and small. Everyone will receives a public thanks through the website, social media and blog. Depending on the amount you contribute, you can receive wonderful perks including Cooking Healthy Lessons and the official Pursuit of a Green Planet DVD, as well as many other products from the many vegan, green and hip hop partners associated with the film project. www.indiegogo.com/pursuitofagreenplanet, www.hiphopisgreen.com. # # # In Health, Keith Tucker " Pursuit of a Green Planet" Where Hip Hop meets the Green Movement A Documentary film by Keith Tucker 30 day funding campaign on NOW. http://www.indiegogo.com/PursuitofaGree ... 901&i=addr You can find us all over the place. www.hiphopisgreen.comhttp://www.facebook.com/pages/Pursuit-o ... 32?sk=wallwww.youtube.com/poagphttp://twitter.com/hiphopisgreenwww.greendinner.ning.comwww.myspace.com/thecultivationofhiphop Also don't forget to look for the Keith Tucker show coming back to radio soon.For now check SOME of the legendary shows here: www.thekeithtuckershow.com Belle.le.disko Post subject: Re: Pursuit of a Green Planet - New Film ProjectPosted: Tue Oct 25, 2011 4:07 pm Rabbit Joined: Sat Oct 15, 2011 12:16 pmPosts: 35Location: Atlanta, GA This project has the potential to be very powerful! How'd you get involved, Robert? The National Home Potluck Tweetup on Nov 5 is a great excuse for a potluck/ house party! Yay! _________________* * * * * * * * * * * * * * * * * *The only job where you start at the top, is digging a hole.- Anonymous Post subject: Re: Pursuit of a Green Planet - New Film ProjectPosted: Wed Oct 26, 2011 6:13 pm Site Admin Thanks!I met the producer 3 or 4 years at the Seattle Vegetarian Festival and he invited me to be part of the documentary. He's been working away at it fo the past 4 years and is now in the fundraising stage to get it off the ground.Exciting time!We're hoping to bring in more start-up funds to get it off the ground.Thanks for helping spread the word!Robert

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Bollywood Britain Great Bollywood movies filmed in Britain If you were under the impression that all Bollywood films are filmed exclusively in India, then think again. In recent years Britain has become increasingly popular with Bollywood producers scouting for locations. Bollywood Stars including Salman Khan, Amitabh Bachchan, Shah Rukh Khan and Aishwarya Rai have all been honoured with statues at London’s Madame Tussauds. Read on for some great Bollywood movies filmed in Britain.LondonDilwale Dulhania Le Jayenge (1995)Aditya Chopra’s tale of young Indians living in the UK uses some of London's most popular attractions including Big Ben, the Houses of Parliament, Whitehall, Westminster Bridge, Leicester Square and Buckingham Palace. Salaam-e-ishq (2007)This story of 6 couples uses London locations including Trafalgar Square and Tower Bridge. Salman Khan, Priyanka Chopra, John Abraham, Anil Kapoor, Juhi Chawla and others star.EnglandKabhi Khushi Kabhie Gham (2001)The action of this smash hit includes scenes filmed in London and around Oxfordshire. You’ll spot Tower Bridge in London, Blenheim Palace in Oxfordshire and Stowe School and Stowe Gardens near Buckingham. Blenheim Palace is one of Britain’s finest stately homes and Stowe Gardens are amongst the most celebrated landscaped gardens in Europe. Mohabbatein (2000)This charming love story of love blossoming at a strict Indian private school was filmed around Oxford and Longleat House in Wiltshire. Longleat is a superb example of a 16th-century country house and is known for its safari park. Mujhse Dosti Karoge (2002)You’ll find locations used in this love triangle in the Lake District and all over London including at the Natural History Museum, the London Eye and Oxford Street.Scotland Credit: Eusebius@Commons Kuch Kuch Hota Hai (1998)Watch closely during the opening number of Kuch Kuch Hota Hai and you’ll spot several beautiful Scottish locations including Eilean Donan Castle and Inchmahome Priory on an island in the Lake of Menteith. Pyaar Ishq aur Mohabbat (2001)Rajiv Rai’s film about an Indian girl who comes to study in Scotland was filmed in numerous locations including Stirling Castle, The University of Glasgow, Loch Lomond and Culzean Castle.WalesKyun…! Ho Gaya Na (2004)Dolbadarn Castle and Llanberis star in this romantic comedy directed by Samir Karnik. People who viewed this page also viewed... Football itinerary View all products BritRail GB Flexi Pass

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Someone from ER is likely to play Steve Jobs in the Sony movie November 18, 2011 / 8:33 am Share Comment If it isn’t Noah Wyle, who played Jobs in Pirates of Silicon Valley, it might be George Clooney, Wyle’s co Star in the hit TV show from a decade ago, ER according to the Sun. The actor, 50, is reportedly battling it out with his former ER co-star Noah Wyle, 40, for the role.The biopic, which is expected to start filming next year, will chart the life of the amazing entrepreneur, who died last month from pancreatic cancer at just 56. According to Now magazine, filming on the project is due to start next year. Noah Wyle, who frankly looks a lot more like Jobs, said of the opportunity to play Steve Jobs again: “Are you kidding? I would give my eye teeth, in the heartbeat”

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100 Broadway, Warner Bros. Circuit Management Corp. Modern Theatre Premier Theater The Broadway Theatre on Broadway in downtown Lawrence was a medium-size movie theatre which was for a time controlled by Warner Brothers theatre circuit. Further details welcomed. Ron Salters The MGM Theatre Photograph and Report form for the Broadway has an exterior photo dated May 1941. The theatre had a heavy classical facade with a very fancy rectangular marquee with “Broadway” on the front. There was a large arched window above the marquee. The Report states that the Broadway is on Broadway in Lawrence, that it has been showing MGM product for over 10 years; that it was over 15 years old (in 1941) and in Good condition. It had 685 seats on the main floor and 519 in the balcony, total: 1,204 seats. The Broadway is listed in the 1942-43 Motion Picture Almanac as being controlled by the Warner Brothers theatre circuit, along with the Palace, Modern and Warner theatres in Lawrence. jimroy I’ve assembled and added a few pix of the Broadway to this gallery if you’re interested. http://www.pbase.com/jroy/broadway Thanks Don, there’s that and others here Theater Row The Broadway is listed in the 1927 Film Daily Yearbook as having 1300 seats, open daily.

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Smoke Signals May 1, 2006 by EmanuelLevy Leave a Comment Smoke Signals, made by the Native American filmmakers Chris Eyre and Sherman Alexie, a prolific writer who was raised on the Coeur d'Alene Indian Reservation. The film premiered at Sundance, where it won the Audience Award and the Filmmakers Trophy. “This is a new voice from our oldest culture, and it's about time,” said Miramax's Harvey Weinstein, who released Smoke Signals. “It gives an insight into people we've never really understood. We needed them to tell us a story, and we needed to hear it in their words.” Based on Alexie's story, “The Lone Ranger and Tonto Fistfight in Heaven,” Smoke Signals concerns two young Native Americans, Victor (Adam Beach) and Thomas (Evan Adams), who travel from Idaho to Arizona to pick up the ashes of Victor's father. Along the way, the movie sends up Indian stereotypes (the stoic Indian warrior face), while grappling with what Alexie described as “our dysfunctions,” namely, parental abandonment and alcoholism. Initially, “Smoke Signals” was called “This Is What It Means to Say Phoenix, Arizona,” but Scott Rosenfelt, whose company financed the picture, knew that a distributor would change the title to something less mellifluous, because “mellifluous doesn't play.” Centering on absentee fathers and wandering sons, “Smoke Signals” is about the kinds of endemic dislocations that Indian audiences can relate to. Unlike earnest and preachy films about Native Americans, “Smoke Signals” presents an affectionate portrait of friendship and rapprochement. On the eve of July 4, 1976, a couple on Idaho's Coeur d'Alene Reservation celebrate the bicentennial, but the party ends in a tragic fire in which they lose their lives. Thomas Builds-the-Fire, their baby boy, is thrown out a window and is caught by Arnold Joseph, who raises him with his own son, Victor. The story cuts back and forth between the present and 1988, when Victor and Thomas were 12 and Victor's alcoholic father (Gary Farmer) left his wife (Tantoo Cardinal) and their son at their trailer home. Victor goes to Arizona to settle his father's affairs and bring back his ashes, but he can't afford to go without the financial help of Thomas, who insists on going along. Over the years, the two have grown into different kinds of men: Victor is proud and cynical, whereas Thomas is a bright and resourceful raconteur of outrageous tales. Victor has been bitter about his father's drinking and abandonment, but in Phoenix he learns some truths about his father from a kind woman (Irene Bedard) who looked after him before he died. Structured as a journey, Smoke Signals is basically a coming-of-age story that emphasizes the need for reconciliation between father and son and between past and present. White Americans have not made coexistence easy for Native Americans. When a group of people has been oppressed, it is not unusual for the oppressors to “ennoble” them, which explains the notion of the Indian as “the noble savage” in American culture. However, with their newly gained power, the filmmakers expect to fight white hostility with new weapons: their movies and books. For Alexie, “Smoke Signals” is “our Great Train Robbery, a seminal Native American big bang.” Based on the notion that Indians are “fundamentally different and don't want to change that,” the movie is about “self-love.” Alexie was influenced by all those historical romance novels about Indian warriors ravaging virginal white schoolteachers. If Indians were depicted as blue-eyed, it's because half-breeds were perceived sexier then full-blooded Indians. Indians in novels always performed “animalistic” acts, inspiring white women to commit acts of primitive ecstasy. In the movies, Indians were always accompanied by ominous music. The only mainstream films to portray contemporary Indians were the “Billy Jack” films, an attempt to cash in on the exploitation fare that had proved successful with black viewers. Indians cheered as Billy Jack fought for every single Indian, conveniently ignoring the fact that the actor Tom Laughlin was not Indian. Prominent actors, such as Charles Bronson, Burt Reynolds, Burt Lancaster, and Charlton Heston had already portrayed Indians. When it came to the movies, Indians learned to be happy with less, as Alexie observed: “We didn't mind that cinematic Indians never had jobs, were deadly serious, and were rarely played by Indian actors.” Cinematic Indians were supposed to climb mountains or wade into streams and sing songs. Indians became so passive to the possibility of dissent and so accepting of their lowered expectations, that they canonized a mediocre film like “Powwow Highway” (1989). But times have changed and when Alexie rewatched Powwow Highway for the first time in years, he reportedly cringed in shame and embarrassment over its blatant stereotyping, such as the scene in which the protagonists Philbert and Buddy wade into a stream and sing to the moon. The commercial success of “Smoke Signals,” which grossed $7 million, has already had enormous effect. “Every dusty Indian screenplay that's been sitting on a shelf for 15 years is offered to us for development,” Alexie said. “Every loincloth movie in Hollywood has been resurrected.” However, Alexie is committed to creating a new image, “a native character with a career, a teacher, a lawyer.” For him, moral responsibility is at stake: “There are boys and girls who are going to see themselves on screen, who are going to know that Chris and I directed and wrote it, who are going to know that all the actors in it were Indians playing Indians, and it's going to hand them dreams.” Share this: Filed Under: REVIEWS Speak Your Mind Cancel reply

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"Across the Sea" Written by Damon Lindelof and Cartlon Cuse Directed by Tucker Gates In which the story of Jacob, his rival, and their long struggle on the island is finally revealed... Status Report - Final Analysis Sometimes the most complicated of situations begins with a simple scenario. And sometimes it can be maddening to discover that some answers simply don�t exist, or ultimately don�t really matter. With the expectations for the final season of �Lost� so high, especially in terms of answers to long-standing questions, it�s not easy to realize that the audience is meant to do some of the ground work itself. Already it is being said that this is perhaps the most polarizing episode of �Lost� yet, and that�s understandable. This was not the mythological info-dump that many had anticipated. Instead, it was a glimpse at key events and moments that factored into the ordeal experienced by the survivors of Oceanic 815 for the past six seasons. Where detailed explanations were expected, epic in scope, the writers maintained their typical tonal focus. And that probably should not have been unexpected. Look at �Ab Aeterno�, after all. The episode that was supposed to reveal Richard�s history on the island and answer dozens of questions regarding specific motivations at key points of the story amounted to a tiny sliver of his background. Yet it is also considered one of the best episodes of the series. That�s probably not going to be said about this episode, even if one accepts that the writers were never going to switch gears and deliver a one-hour Powerpoint presentation on the history of Jacob and his brother. Richard�s story had the benefit of being, at the core, a human story. The viewers could identify with Richard�s plight and his choice. By contrast, �Across the Sea� is a pure slice of modern mythology. As much as it reveals the basic conflict on the island and why this story is taking place, it is far removed from the familiar trappings of the series. And if one is unprepared for an origin story that is as much metaphor as it is revelation, reactions could be markedly negative. In essence, some of the criticisms of this episode underscore the very reasons why the writers didn�t try to deliver a precise explanation for the innate mysteries of the island. The concepts at the heart of the story are so metaphysical in nature that it just wouldn�t be satisfying. Sometimes the knowledge of the idea of something is better than knowledge of the thing itself. Take, for instance, the explanation that there is a cave of bright light that is, in essence, the �heart of the island�. This ties directly into the metaphor of the cork on the Hell bottle from �Ab Aeterno�. Once one accepts the idea that the island is akin to a cork, and that a crack or pore in the cork could let out some of what is trapped behind it, then the rest is really unnecessary. Jacob has already said that if his rival (who could now be called Adam) escapes the island, then it would mean the death of everyone in the world. This clearly ties into the idea that a spark of the light from the island is contained in every man, woman, and child. The desire for more of the light from this universal Source drives the corruption that both Eve and later Adam say despoils humanity. (Those familiar with aspects of Jewish mysticism may recognize this concept.) This episode makes it very clear that the light is not the only important element; there is also the water to consider. Water is very important in this episode. Adam makes it very clear that the successful manipulation of the properties of the Source to leave the island relies on a combination of �light� and water. Again, the details don�t really matter, because the net effect is already known. The Source could be the most important part of the entire episode. Strip away the metaphysical aspects, and it is simply the core electromagnetic/temporal anomaly on the island. In that respect, the light could simply be an outward manifestation of the true nature of the anomaly itself. One could even postulate that the physical, energetic properties of the Source mimic the miraculous: astonishing healing, extension of life, and the persistence of the spirit. The Source fuels all of that, regardless of its metaphysical nature. Eve�s presence on the island as the keeper of the Source points to the cyclical nature of the mythology. Eve was not some perfect individual, and she certainly didn�t think that humanity was capable of avoiding corruption. But she had been the keeper of the Source for a long, long time, and she needed to find a replacement. And it would appear that Eve felt that a child, untouched by the corruptive nurturing of human society, would be the perfect Candidate. This reveals another aspect of the �Lost� story: the question of nature vs. nurture. Eve was convinced that the nature of humanity is evil, and that the only way to develop a person to become the next keeper of the Source was to raise a child apart from humanity�s influences. One can only speculate that this is how she was raised herself. She only anticipated one child, Jacob, when she abducted Claudia for the purposes of stealing her baby. The entire �Lost� epic is hinged on the fact that Claudia delivered twins. This clearly intersects with several elements introduced in the first season. Eve chose Adam to be her initial successor, because he was �special�. This is precisely the kind of language that was used with Walt and Aaron. In a way, this ties up Walt�s purpose in the narrative; he had the qualities that could have made him the ideal Candidate. But something went wrong long before Walt might have been chosen, twisting the possibilities. Before Walt, John Locke was the presumptive Candidate to take over for Jacob. At the very least, he was seen as a potential leader for the Others. But Adam conspired to derail Locke�s selection, and then set up Ben Linus as an alternative. When Richard thought that Ben could see the dead, he didn�t know (or take into account) Adam�s ability to take on the form of the dead. (As an aside, this is why Hurley continues to be in the running as the Candidate or future leader of the New Others. His ability to communicate with the dead is a sure sign.) For all intent purposes, Adam controlled the Others in the post-Widmore period. This was important to his machinations; when the Others were ready to abduct children, the reasoning was tainted. It wasn�t to bring a potential Candidate into a pro-Jacob society. It became a question of self-preservation. While it has been long theorized that the Incident caused the reproductive issues among the Others, it may have been Adam�s unseen influence on events. Thus the apparently ancient practice for selecting and preparing Candidates became a means of eliminating them from the game. (Keeping in mind that it�s still unclear how a person stops being a Candidate, since moral perfection is not a prerequisite.) As said, this does put Walt and Aaron into a position in the narrative that explains their importance earlier in the story. It wasn�t about them as individuals per se, but what they represented. Just about everything that happened in the first three seasons between the survivors of Oceanic 815 and the Others was a direct consequence of Adam�s overarching �loophole� plan. This episode finally makes sense of what was, based on strict adherence to limited perspective and unreliable narrators, seemingly contradictory. And frankly, if it�s not entirely convincing, it�s because the story itself hinges on the fact that Eve, and later Jacob, were in a position as keeper of the Source to apply their �special� abilities however they liked. The �rules� of the current engagement, which seem both basic and obtuse, come out of Jacob�s desire for control over a situation he never really chose. Jacob is no more perfect than any other human being, yet his imperfect �rules� could have massive consequences. Jacob�s humanity is obvious throughout the episode. The writers invoke the classic Biblical story of Jacob and Esau in the tension between Jacob and Adam. Eve clearly favors Adam, and Jacob is jealous of his brother�s apparent birthright. Ultimately, Jacob gets what he thinks he deserves, but his motives are never pure. His decision to kill Adam by tossing him into the Source, without thought to the consequences of that choice, reveals Jacob�s inherent violence. In a sense, Jacob�s very actions support Eve and Adam�s contention that humans are inherently evil and corrupt. And in light of Jacob�s own flaws, his inability to find a suitable Candidate for replacement for over 2000 years becomes even more understandable. Jacob wants to find someone who will embrace the �tabula rasa� opportunity provided by the island and overcome their mistakes and regrets to become something better. In a way, Jacob is looking for someone who transcends his own shortcomings, and that�s no simple task. (And explains why Jacob needed Richard to be his intermediary.) Yet it also ties directly into the redemption themes of �Lost�. For better or worse, the surviving Candidates are all viable because at some point in their lives, they chose to let go of the past. Jack, Kate, Hurley, and Sawyer have made the kind of journey that Jacob seeks. (Assuming, of course, that the seeming loophole with Kate is real and not just a production error!) As much as the overwhelming thrust of the story points to Jack, it really could be any of those four. Many fans say they don�t want Jack to be the Candidate because, for so long, he was an insufferable and stubborn jerk. But in a way, that�s exactly the point. If Jack hadn�t been unlikeable, then his recent turn towards a more sympathetic personality wouldn�t have been meaningful. And if Jack is still not the most likeable person in the world, that only speaks to the underlying message: that no one is perfect, but everyone has the hope of redemption. So, the mythological aspects of this episode explain the focus on �special� children, the underlying nature vs. nurture aspects of the Jacob/Adam conflict, the capricious nature of the �rules�, and why the story�s focus on the eventual consequences of these events just about make these event irrelevant. For all that this is great information, it�s not really enough at this stage of the game. Thankfully, it�s also not the full extent of what was revealed. Eve says that she gave the �game� to Adam. The game is Egyptian, and ultimately, the Egyptians were well established on the island. It would have been nice to know if the Temple, the statue of Tawaret, and the rest of the ancient structures came before or after Eve. Certainly there were hints that Jacob and Adam were more closely related to the Egyptians than the Romans. (Though why a Roman woman would choose a distinctly Hebrew name during that period is also hard to fathom.) But it�s clear that Eve was not the first keeper of the Source, only the one that started this particular cycle in the story. She could have been raised by the previous keeper after being taken from her people just as she stole Jacob and Adam. Her experiences with the colonizing Egyptians could have been the basis for her negative opinion of humanity. At the same time, many of the Egyptian ruins suggest that they were aware of Jacob and Adam as they are currently known, which places their arrival after Jacob�s ascension as keeper. Touching back on the imagery of light and water in this episode, the Temple and its spring suggests a link between the typical use of the spring�s water and the Source. The extensive ancient tunnels around the island suggest that Adam�s bid to tap into the Source never abated. If the water in the spring was infused with the power of the Source, as it seems, then Adam would likely have assumed that the Source was close and potentially accessible. And it�s equally logical that Jacob would have converted the original inhabitants of the Temple, once aware of Adam�s plans, to his own ends, thus eventually making the Temple off-limits to Adam within the context of the �rules�. This all touches on Adam�s current motivations, which are not entirely clear, even after this episode. As a human, Adam became obsessed with getting off the island, if only to know the world that had been denied him. Eve seemed content to allow Adam to see the evil within humanity on his own, right up until Adam was ready to start tapping into the Source to leave the island. One can assume that it was Adam�s threat to the Source that was the issue, not his plan for leaving. From Eve�s perspective, leaving to hang out with Romans on or off the island couldn�t have been all that different. Also, one can assume that the Romans tried to leave the island by boat, and Adam was aware that wouldn�t work.) Just as Adam was likely the instigator of the creation of the tunnels under and around the Temple, Adam probably talked someone (perhaps his Egyptian thralls) to complete the donkey wheel device. (Adam clearly uses castaways� desire to get off the island to his own end.) As already stated, why the donkey wheel worked doesn�t matter; the nature of the Source as an electromagnetic/temporal anomaly makes the point moot. That it lets people out in Tunisia is also incidental in light of these revelations. Yet it all points to a single question: what happened when Jacob tossed Adam into the Source, and why is it a fate worse than hell? It wasn�t just that Adam�s soul was ripped from his body. And it is apparent that over the course of 2000 years, the emergence of the �smoke monster� version of Adam has had an effect on the Source. There are two likely explanations. The first pertains to Eve�s decision to give Adam the game, which sets up the classic white/black dichotomy. This touches on the notion that there is good and evil in every person, held in balance. Eve believed that the evil was eventually pre-dominant, unless the good was sufficiently nurtured. If a typical human being is exposed to the Source, it could literally tear that person�s soul apart. The spark of the Source within Adam could have been held within the Source, while his dark and evil side could have manifested as the incorporeal smoke monster. If Adam is somehow still aware of this fragmented existence, it would be 2000 years of torture. Alternatively, Adam�s entry into the Source could have created a �crack� in the metaphorical cork holding back the darkness. If Jacob was not just interpreting Adam�s state of existence incorrectly (and there�s no telling if Jacob understands the true nature of what happened to Adam), then maybe something was unleashed from the Source. And what is the name of the hellhound at the gates of Hell? Cerberus, of course, once again pointing to the notion that the writers have been planting seeds for all this since the beginning! So what is Adam�s current goal? It�s not getting off the island; that was a pretext for gathering the remaining Candidates and getting them to kill themselves on his behalf. Instead, if Adam wants to �go home�, in either proposed scenario above, that location is the same: the Source itself. Either Adam wants to be reunited with the other side of his consciousness, still held within the Source, or he wants to return to the Hell when whence he came. Either way, it required killing Jacob and anyone with the potential to take Jacob�s place, thus acquiring the power to prevent Adam from going to the Source. It�s clear that letting Adam get to the Source would be a bad thing. The effect of his relationship to the Source has already been seen. The Source as seen by the original donkey wheel tunnel was still warm and vibrant; it is now frozen and cold. The Source no longer enervates the spring in the Temple. And even if Jacob tried to hide the Source from Adam for all this time, to the point of pushing his Others to eliminate anyone who came close to threatening the Source (likely the true purpose of the Purge of the Dharma Initiative), it�s very likely that Adam knows exactly where it is. After all, there is one individual on the island, going back to the very beginning, who always described his original experience with the spiritual side of the island in very different terms from everyone else. It always seemed odd that John Locke described what appeared to be his encounter with Adam as a �beautiful bright light�. Was that because Adam had been preparing Locke as his tool for so long, and knew how to manipulate him, or was he showing Locke what he wanted Locke to find? Even if Locke had only gotten a glimpse of the Source, that could explain his early insistence that the island was special. As much as Adam might want to get back to the Source, he also cannot allow the Candidates to get to it, either. That�s probably been true since the first time Jacob brought a Candidate to the island. And perhaps that was why it was assumed that the smoke monster was some kind of �security system�. Whenever Candidates got too close to the Source, Adam would kill or subsume the non- or failed-Candidates, thus frightening off the Candidates in the process. This suggests that the cave leading to the Source is within the �Dark Territory�. (And since it�s now known that the �rules� prevent Adam from killing a Candidate, it now seems clear that those damn trees from the first few seasons had nothing to do with survival. That never made sense, anyway!) Ultimately, the Source is at the heart of the resolution of the story. It seems obvious that Adam is trying to get back to the Source without anyone to stop him. It also seems obvious that Widmore, whether aware of the nature of the Source or not, is trying to find it and get there first. And it�s equally obvious that Desmond�s unique nature is meant to shield him from the kind of effect that the Source had on Adam, and that this is key to ending the current crisis. That is why Adam wanted Desmond dead. He doesn�t know how Desmond�s unique nature might interfere with his plans. It�s not just that Desmond isn�t a Candidate and thus can be killed; Adam clearly feared that Desmond would be a problem. And because this episode makes it clear that the existence of Adam�s current form is the result of a very specific mistake, there are two aspects to successful resolution of the story. First, the matter of Adam must be resolved. Jacob, directly or indirectly, is using Widmore and Desmond to fix the mistake that set this entire conflict in motion. If it was as simple as Jacob or his replacement sealing Adam back where he belongs, it would have already been done. As no human has previously been able to withstand the Source without presumably repeating the Adam problem, the opportunity is only now coming into focus. The key assumption is that Adam, as the smoke monster, is a threat to the Source, and all of Jacob�s cruel manipulations have been designed to eliminate that threat. (All, of course, in keeping with the methods he learned from Eve.) Second, even when the matter of Adam is settled, there is still the need for someone to take Jacob�s place as keeper of the Source. Because the Source, unlike Adam, is inherent to the integrity of the �Lost� universe on the order of pure myth, it can�t be resolved away. So someone needs to be the Candidate and start the cycle over again, learning from the lessons of Jacob�s mistakes. Even without Adam, there is still a Source, still a keeper, and still a need for someone to lead the eventual New Others. Desmond�s role in the defeat of Adam must invariably incorporate the meaning and purpose of the �Lost X� timeline. After all, when Desmond was exposed to the massive electromagnetic field test, his consciousness shifted to �Lost X� for a time. Logically, if Desmond were to enter the Source, the same thing would happen. The difference, this time, is that Desmond X has been actively bringing the passengers of Oceanic 815 together in the �Lost X� timeline. It all has to fit together to make this season-long sideways jaunt meaningful and worthwhile. There is still the small matter of Richard, Ben, and Miles, and how those characters are going to fit into the equation. All the signs point to sacrificial actions on their part, but there�s every reason to suspect some final surprises. It could be that Jack�s bid to end the conflict once and for all will require someone to keep Widmore out of the equation, and that could set up a long-awaited Ben/Widmore showdown. It�s reasonable at this point to assume that Jack will be the Candidate, but what does that mean for Kate? The problem with Kate is that her role has never been well-defined. She has gone through a redemptive arc by raising Aaron and subsequently devoting her life to finding Claire, but that�s not enough to explain her prominence in the story. So if Kate is not the Candidate, what role does she play? Some might be disappointed if this speculation comes to pass, but it�s very possible that Kate is currently pregnant with Jack�s child. Jack and Kate slept together on the night before the Ajira 316 flight that brought them back to the island. Kate only spent a few days in 1977, and only a couple weeks have passed since their return to 2007. Kate wouldn�t even know she was pregnant yet, but it�s a fair guess that Jacob or Adam would know. If Jack were to take on Jacob�s mantle as keeper of the Source, all the reasons for Kate to stay behind on the island would remain intact, whether Claire survives to leave the island or not. Jack and Kate both have plenty of family issues between them to agree, on some level, that their child might be the best choice for an eventual successor. After all, they know what it was like to be manipulated into coming to the island, and they would probably want to avoid doing that to someone else. As a new �Adam and Eve�, starting the next cycle, it would explain Kate�s overall significance and why her redemptive arc was focused on motherhood. These nuances and insights are all a result of this episode and the context it provides. Within the overall story of �Lost�, it�s clear that this relatively simple mythological tale brings plenty of answers to the table. Unfortunately, taken on its own, it�s too far removed from the main narrative thrust to reach the same heights as �Ab Aeterno�. Overall, this episode provides a mythological lynchpin for the entire �Lost� saga. While it does not give the sort of answers that were anticipated, it does provide enough perspective to put most of the pieces into place for the final resolution of the tale. Taken on its own, however, it doesn�t quite hang together, and some important elements feel rushed and vague. Of course, after the events of the previous episode, it may just seem too slow and ponderous in comparison. Writing: 1/2 Acting: 2/2 Direction: 2/2 Style: 2/4 Final Rating: 7/10 Back to Season 6 Back to the Island [email protected]

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by Mitchevious Mon Oct 21 2002 at 6:42:20 A feather floats from the foot of a man sitting at a bench . . . a diver slowly descends into the deepest depths on the planet . . . a cartoon alien shows himself to a small girl . . . a Delorian breaks the eighty-eight miles per hour barrier and is thrown through time to 1955. All of these classic movie scenes have one thing in common; they were made one hundred times better because of the music that accompanied them. Alan Silvestri is one of the most revered, most sought out, and most talented composers alive. Alan Silvestri's music sucked me in the first time I saw 'Back to the Future'. He has a way of making music in such a way that each movie he composes for has an individual catch, but yet remains distinctly Silvestri-esque. Alan Silvestri the person was born in New York on a balmy March 26th day, 1950. Of Irish and Italian descent, young Alan actually grew up in Teaneck, New Jersey; not New York as many people believe. Alan had a very normal childhood, and wasn't even born into a musical family. What he did do however, was find music on his own, at the age of four when he took up drumming. Later on in highschool, our hero taught himself to play multiple instruments: clarinet, bassoon, baritone and alto sax, woodwinds, and guitar; all in additon to the drums! His highschool years is also when he started to dabble in the writing of music, as opposed to just playing it. At this time, Alan's time was split evenly between the music and his other love, baseball. Halfway through highschool, his focus shifted from wanting to write more music than to simply play it. However, he wasn't sold on the idea of writing music as a profession. His true love was jazz. He wanted more than anything to become a guitar (more specifically a bebop guitar player) in a band. He persued that over composing after his graduation from highschool when he enrolled in the Berklee School of Music. Berklee was very jazz orientated and the twenty something Alan fit right in. He immediately joined a band as a bebop guitar player and enjoyed living out his dream. His stay at Berklee was a short one, as he left after only two years attendence. He wanted to travel the country, playing music and live life on the road. He did just that when he moved to Las Vegas and joined the band, Wayne Cochran and the C.C. Riders. The Riders were right up Alan's musical alley, even if the shows were a little low brow for the domesticated Silvestri. All while his traveling and playing, he continued to hone his writing craft. Out of highschool, on his own, and already in a band the young Silvestri was ready for something more. He knew something had to happen, or he would be forced to return home in disgrace. This is when the Alan Silvestri we know and love started to take shape. While in Vegas, Alan joined a new band as a composer/guitarist. This new band was popular in the underground scene and soon snatched up by a record producer. The band quickly signed up for a lengthy yet lucrative contract with this mystery man. However, it was not to be and was a quick lesson in the 'business' when the check signed to the band bounced. The band traveled to the city of angels in order to buy back the contract and regain control over their lives. They did just that, but they found themselves in Los Angeles without a penny to their name and without a place to go. Alan used a connection in Mike Jarrett (no relation to Jeff Jarrett, the professional wrestler), to secure safety in the large city. Silvestri more or less quit the band as Jarrett offered Alan his big break; scoring a movie. Alan quickly agreed and without prior compisition experience, made the score for 'The Doberman Gang'. For a kid with no experience in scoring movies, he did quite well for himself. After the movie gig was up, the 22 year old Silvestri moved onto the small screen with a job writing the score for uber-cop show 'Starsky & Hutch'. This is widely considered Alan's biggest learning curve of his career, because he had never composed for a full

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Mob of Angry Pixar Creatives Replaces Bob Peterson on ‘The Good Dinosaur’ In Production By Adam Bellotto on August 30, 2013 | Be the First To Comment Earlier this week, a rumor began floating around that Bob Peterson, director of Up, would no longer be directing Pixar’s latest (and thankfully, non-sequel) feature, The Good Dinosaur. Well, it turns out the rumors are true – Peterson is off the project. Pixar’s president, Ed Catmull, offered a few words of explanation on the sudden change: “All directors get really deep in their films. Sometimes you just need a different perspective to get the idea out. Sometimes directors … are so deeply embedded in their ideas it actually takes someone else to finish it up. I would go so far as to argue that a lot of live-action films would be better off with that same process.” That description of Peterson as so “deep in [his] film” that “a different perspective” was needed almost makes him sound a little unhinged. Like he chased the rabbit too far down the Good Dinosaur hole and had spent the last several months locked in a supply closet, constructing a crude time machine to get a more accurate representation of what dinosaurs really looked like. But apparently Peterson still has some degree of sanity, as this move isn’t a firing – Peterson will still remain with the studio. 6 Filmmaking Tips From Pixar Features By Scott Beggs on June 20, 2012 | Be the First To Comment If there’s any outfit that celebrates the team sport aspect of filmmaking, it’s Pixar. What began as the Graphics Group at LucasFilm has evolved into its own behemoth of wonder and magic. Not just pioneers of technology, they’ve sought to invent in order to put stories out into the world – using computer animation for the ancient purpose of spinning tales and crafting characters. Led by Ed Catmull, the production house (which was bought by Disney in 2006) boasts luminaries like John Lasseter, Brad Bird, Pete Docter, Andrew Stanton, Lee Unkrich and many more. There newest film, Brave, is in theaters this week, so here’s a bit of free film school (for fans and filmmakers alike) from RenderMan and company. Pixar Announces Projects About ‘The Good Dinosaur,’ Inside The Mind and Dia De Los Muertos Movie News By Neil Miller on April 24, 2012 | Comments (2) During all the festivities of CinemaCon in Las Vegas this week, the folks at Pixar announced several things. One being that their latest film Brave would help test Dolby’s Atmos format, a revolutionary new sound system that we reported on yesterday. The other — perhaps bigger — announcement is that they gave updates on three upcoming projects, all from original stories and all featuring Pixar veteran directors. Can’t wait to hear about Up co-director Bob Peterson’s dinosaur movie? How about Pete Docter’s trip inside the human mind? Or maybe you’re interested in Toy Story 3 director Lee Unkrich’s film about Dia De Los Muertos. It’s an interesting slate, about which we’ve compiled all the available details just after the jump. Lee Unkrich Reveals Batch of Rejected ‘Toy Story’ Titles, Original Still Best Movie News By Kate Erbland on August 24, 2011 | Be the First To Comment Normally, my capacity for interest in “might have been” cinematic trivia is limited to dreaming about the original, darker incarnation of Pretty Woman (just me?), but on certain occasions, other bits of fun knowledge catch my attention. Case in point – last night’s Twitter dump by Lee Unkrich (director of Toy Story 3, co-director of Toy Story 2, and editor of Toy Story) of “also-ran” titles for Pixar’s most beloved franchise. Pixar fans and movie buffs have long known that Toy Story was never meant to be the project’s official title, it was simply used as a working title for the film before Pixar chose something more permanent. The search for an official title led the filmmakers to ask all of Pixar to submit ideas, leading to over 200 possible titles. Yet, none of those titles seemed as appropriate as the deceptively simple Toy Story. Unkrich took to his Twitter last night to share some of those rejected titles, and even this small batch shows the spectrum the submissions ran, from the funny (Toyz in the Hood) to the simple (The New Toy) to the groan-worthy (Rex’s First Movie) to my favorite (Bring Me The Arm of Buzz Lightyear). You can check out the full list of titles that Unkrich revealed after the break. To Another Sequel And Beyond: Pixar Preps ‘Toy Story 4′ Movie News By Scott Beggs on June 27, 2011 | Comments (4) If you believe that the ending to Toy Story 3 was perfect, how would you feel about another film in the franchise? Tom Hanks revealed that he believed Pixar was actively working on Toy Story 4, and although the studio hasn’t confirmed the comment, it doesn’t exactly seem out of line considering their current love affair with returning to characters of the past, the amount of money that was made on the last one, and a few other hints and things left unsaid. Director Lee Unkrich commented last year that they would try to find ways for the characters to stay alive (shorts were one method), and Tim Allen even signed a contract for a fourth movie. Apparently he had free time waiting for Galaxy Quest 2 to get ramped up (which isn’t happening but totally should). Although the ending was wrapped up nice and tightly, there’s absolutely narrative room for a return to see what the characters are up to. The question that remains is the same question for all franchises that reach this point: will they overstay their welcome with a fourth film? There’s no real answer, but if Pixar sticks to its guns about creating a movie based on their desire to film a strong story, then it’s difficult to see how it could go wrong. This comes on the heels of Cars 2 hitting toy aisles theaters, but Woody, Buzz and the gang always had more appeal than the giant-eyed automobiles. Still, after an ending so […] Bold Claim: ‘Toy Story 3′ Has Nothing To Do With the Mid-Term Elections Features By Scott Beggs on November 2, 2010 | Comments (11) I’m sitting on the second row of my Senior year English class. My teacher, Mrs. Kallas (which was appropriately homophonic), uses her stringent voice to tell us the story of populism within the universe of The Wizard of Oz. The symbols of the political fight, the shoes, the farming scarecrow, the working tin man, something about William Jennings Bryan. It’s a great story, and all the symbols fit, but it’s not a good interpreation. For some reason, the myth of Wizard being an allegory for populism in the early 20th century has been perpetuated despite the true personal politics of L. Frank Baum. It’s a sign that anything can be read into anything. Enter Andrew Klavan and his editorial about Toy Story 3 as a political message against the politics of the current Democratic Party. Director Lee Unkrich responded to the infantile shoehorning of something relevant into something entertaining by saying, “Really? REALLY? Please keep Toy Story 3 out of your politics,” which is the appropriate response as a creator. Since I’m not the creator, I figured I’d have some fun with the idea and show how absurd Klavan’s article is by doing some shoehorning of my own. Here are three just-as-nonsensical interpretations of Toy Story 3. Kevin Carr’s Weekly Report Card: June 18, 2010 Features By Kevin Carr on June 18, 2010 | Comments (2) This week, Fat Guy Kevin Carr opens up his toy box to look at Toy Story 3D and Jonah Hex. Interview: ‘Toy Story 3′ Director Lee Unkrich Features By Scott Beggs on June 14, 2010 | Comments (6) Toy Story launched everything, and after millions of fans, billions of dollars in box office, and a shelf full of Academy Awards that might as well be labeled “Reserved for Pixar,” we find ourselves on board a train that refuses to slow down and seems to keep getting better with every new stop along the tracks. I was fortunate enough to speak with Lee Unkrich, the director behind Toy Story 3, and we discussed what makes toys upset, the personal tragedies in life that helped him tell the story, and what Pixar’s goals are for the future. Toy Story 3: The Best Movie of Summer 2010? Movie News By Neil Miller on May 17, 2010 | Comments (7) You only see a little bit of footage in this new featurette — which debuted at Yahoo! today — but if you’re like me, you might be starting to get the feeling that Pixar’s Toy Story 3 might end up as the movie of the Summer. read more... WonderCon 2010: Toy Story 3 and Woody’s Final Happy Ending Movie News By Rob Hunter on April 5, 2010 | Comments (1) I’m far from a Pixar fanboy, and in fact my position as resident cynic here at FSR has usually found me arguing against the perceived perfection of the critically acclaimed animation studio. And yet Disney’s panel for Pixar’s upcoming Toy Story 3 was one of my favorites of the convention. The reason why can be summed up in two words… John Ratzenberger. Toy Story 3 Trailer: Pixar’s Most Epic Adventure Yet? Movie News By Neil Miller on February 11, 2010 | Comments (8) You wouldn’t think it possible, considering the fact that Pixar has recently taken us to the deep space with Wall-E and to the far reaches of Earth in Up, but I have a feeling that Toy Story 3 might be their biggest adventure yet. Toy Story 3 Trailer: Officially in HD, Officially Beautiful Movie News By Neil Miller on October 12, 2009 | Comments (4) A few days ago we made mention of the Toy Story 3 trailer, which had popped up on YouTube a bit early. And sadly, it was gone very quickly. But it left with a promise of returning. And return, it has. The Beautiful, Full Toy Story 3 Trailer Appears Movie News By Neil Miller on October 9, 2009 | Comments (11) It’s likely that Disney and Pixar didn’t intend for the full Toy Story 3 trailer to be online this early, but that’s not really our problem. It’s actually our big win today… Toy Story 3 Teaser Trailer Lights Up the Web Movie News By Neil Miller on May 29, 2009 | Comments (11) Right on the heals of releasing their 10th (and according to my review, one of their best) film Up this weekend, the folks at Disney/Pixar have released the first teaser trailer for their next great adventure, Toy Story 3.

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Jen Murphy@jenmurphycomedy Last Comic Standing, NBCComics Unleashed, ABCTLC Half hour special Jennifer Murphy has been doing stand up comedy Los Angeles after beginning her Stand Up career in New York at a workshop with Colin Quinn. She has also studied Improv and Sketch Comedy with Second City Training Center.Since moving to L.A. she has performed on all the major club stages of the Hollywood Improv, The Comedy Store, and Laugh Factory.She has been seen in a National Febreeze ad, and in 2008 and 2010 appeared as a contestant on Last Comic Standing on NBC. You may have also seen her on Comics Unleashed with Byron Allen on ABC, or the half hour special "This Is Why You´re Still Single" on TLC.She recently became a client of New Wave Entertainment!

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Oyster and the Wind (A Ostra e o Vento),The Cast:Lima Duarte, Fernando Torres, Leandra Leal, Floriano Peixoto, Castrinho Director:Walter Lima, Jr Writer:Walter Lima Jr., Moacir C. Lopes Description: A supply boat sails to a lonely desert island with food and necessities for the lighthouse keeper and his daughter. The crewmen bring the goods to the tower and see before them a strange mystery -- steaming food on the table and a broken, bloody window. There is no trace of the keeper and his kin. Drawn from a novel by Brazilian author Moacir C. Lopes, this haunting, lyrical film chronicles the events leading up to this strange occurrence via the lost girl Marcela's diary. She was 13-years old and but for her domineering father, the island's sparse wildlife, the sea and the wind, she was alone. Having spent most of her life there, Marcela is used to it, but lately, as her body begins changing, she feels a strange yearning to be off the island and to be with other people. Once her father promised to take her to the mainland, but being a hermit, he broke that promise. Marcela was never the same after that. In her diary she writes of the mysterious Saulo who one day became her lover. That Saulo is the wind itself only adds to the mystery which concludes in a tense and gripping sequence.~ Sandra Brennan, All Movie Guide

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Lessons from ‘Showville’ Last updated: July 13. 2013 10:34PM - 733 Views By John Peters - [email protected] - 336-719-1931 Over the years, as job demands and family commitments have allowed, I’ve been involved in a number of community theater productions. I enjoy acting, and being in and around the theater, and the process of learning and working together with a cast and crew.And there’s a certain rush of adrenaline and nervousness that comes the first couple of nights of a show. The community theater where I gained most of my experience generally ran anywhere from seven to a dozen performances of each show, so eventually every production reached a point where it become a little stale, but there is no replacing the feeling of excitement that comes with those first couple of performances.At different points in my life I’ve had two recurring nightmares. The first, just because I know you’ll wonder, was earlier in my career and involved a tornado. No, the tornado was not the reason the recurring dream was a nightmare. The nightmare part of the experience was that I could never get my camera to work — in some dreams, I had no batteries, in others, no film (yes, this was a long time ago), and in others the shutter would stick and not allow me to shoot.The second recurring nightmare involved being on stage and my mind going blank. Not only would I forget the specific words from the script, I couldn’t even remember the general direction of the scene so improvising wasn’t a viable strategy. I have awakened from this dream several times in a blind panic.Let’s face it, when you walk on stage you’re vulnerable, exposed, in front of an audience and there’s no way to gracefully get out of the situation if things go bad.That’s why I was so impressed with the folks who gave it their all, auditioning for “Showville” when it came to town earlier this year, and was even more impressed by the finalists who were featured in Thursday night’s airing of the show.These people put themselves out there, not just for the local audience, but for a national audience that easily numbered in the hundreds of thousands, perhaps millions. I understand it’s television, which means ample opportunities for do-overs and re-shooting scenes, but that doesn’t allay the fact that these performers are being judged by people all across the nation.If you really listen to the performers as they told a little about their backgrounds and their reasons for wanting to be in the “Showville” contest, this was much more than a simple talent competition.To me, Dru Billings represents someone pursuing a dream. A young man who seems to be well-liked by those who know him, a hard worker going about his life, dealing with the same daily details we all have to attend to, while never losing sight of that dream. Too often people let the troubles and setbacks of life derail those dreams, but Dru has remained focused on his goal.Betty Tilley seems a pleasant lady, and one who has a deep and passionate commitment to her religious beliefs. She’s devoting much of her life to those convictions and using her talent as a way to share her beliefs, as a means to bring comfort and edification to others.Angela and Randy Shur are two local business owners who have worked hard for many years, and that effort has borne fruit for them in a tangible, financial way. They are using their ability, their position in the community, to help those in need and had planned to use any winnings they might have received from the show, to help others.Charice Bender, to me, is someone who has a passion in life in the form of dancing, and teaching others that discipline. And, she’s a person who saw something she wanted to do and she put everything she had into it. No holding back, no half-way pursuit, just all-out effort. Then she took those winnings and will be using them in her dance studio, to continue helping others learn and pursue a love of that art form.I think we can all learn something from these five individuals that goes beyond the on-stage acts, and personally I’m proud to say I’m the editor of the hometown paper where those people reside. I think they gave a strong accounting of themselves and the community, and I hope the rest of the nation saw a little beyond the stage as they watched the program, and saw people who had something to teach us that went beyond their show talent.

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January 9, 2014 by TMO People love their movies. The movie industry continues to rake in billions and billions of dollars each year despite economic downturns and the advent of home theater setups. These days, a major draw for theater audiences is 3D films. A far cry from the simplistic efforts of yesteryear, today’s 3D films are technologically impressive and, in many cases, incredibly lucrative for the studios that distribute them. In this retrospective feature, we trace the evolution of 3D movies from their humblest beginnings in the early 20th Century to their massive popularity in today’s marketplace. The motion picture industry began taking shape in the late 19th and early 20th Centuries. Almost from the beginning, studios and filmmakers were searching for ways to display their movies in three dimensions. The dominant technology to arise in this era was stereoscopic 3D. As described in William Friese-Greene’s original patent, stereoscopic 3D films were broadcast on two separate screens. Viewers could then view the screens through a stereoscope, merging the two images and creating the illusion of 3D. Some debate still exists as to what technically qualifies as the first 3D film. The popular pick is a 1903 short called L’arrivee du train. This short by the Lumiere brothers depicted an oncoming train roaring into a station. The quality was apparently good enough to convince several members of the audience they were about to be run over. The first commercially released 3D film was 1922’s The Power of Love. This was also the first 3D film to make use of anaglyph glasses. These glasses use lenses of opposite colors. When combined with a pair of corresponding film strips, viewers achieve the 3D effect. Red and Cyan are the most commonly chosen colors because that combination produces less image ghosting than others. Unfortunately, The Power of Love did not achieve wide release and the film has since been lost. Filmmakers and theater owners continued to experiment with the growing 3D market. Laurens Hammond and William F. Cassidy debuted their Teleview System in late 1922. This form of projection rapidly alternated frames from two film reels. Small viewers attached to the seats were synchronized to open and close their displays in accordance with the projector. Because of the cumbersome nature of the format, only one movie was ever developed specifically for the Teleview System. Experimentation continued for several decades, but high costs and the pressures of the Great Depression prevented studios from wholeheartedly adopting 3D. One notable success story during the Depression was Audioscopiks. This film relied on the red/cyan anaglyph format. Audioscopiks earned an Academy Award in 1936 in the Best Short Subject, Novelty category. 16-3 3-D Movies! Another WikiLeaks Cable About My Movies Annual Arab Film Festival at Arab American National Museum Next Weekend Film Festival Thrills at Arab American National Museum Nominated Afghan Film Fails to win Oscar but makes an impact Feature Films Saudi Film Nominated for Oscar Will Wilder’s Film Really Weaken Islam? YARPP powered by AdBistroPowered by Filed Under: *The Muslim Observer, 16-3, MMN News Services, MMNS, Volume 16Tagged: Comments

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NAATA The Bond Home Centre for Media and Cultural Studies-TISS August 17, 2008 in Uncategorized | Leave a comment Directed by KP Jayasankar and Anjali Monteiro 2003, 45 mins. Hindi with English Subtitles Produced by the School for Media and Cultural Studies, Tata Institute of Social Sciences www.smcs.tiss.edu Enquiries: sales.cmcs[AT]tiss.edu Naata is about Bhau Korde and Waqar Khan, two activists and friends, who have been involved in conflict resolution, working with neighbourhood peace committees in Dharavi, Mumbai, reputedly, the largest ‘slum’ in Asia. This film explores their work, which has included the collective production and use of visual media for ethnic amity. Waqar and Bhau’s work raises several uncomfortable questions for the filmmakers, so-called modern, middle-class, secular, urban beings. Naata juxtaposes the multi-layered narrative on Dharavi and the ‘stories’ of the filmmakers, thereby attempting to foreground a critical and active viewership. Naata is the second in a series on the people and the city of Mumbai. It is a sequel to Saacha (The Loom), 2001 Listen to an audio interview with the Directors, Anjali Monteiro and KP Jayasankar on KPFA. org in San Francisco, USA, on March 22nd, 2007 (Around 43 mins). Click here: http://www.kpfa.org/archives/index.php?arch=19316 Watch the film Naata : Click below “About a friendship that conveys a moving message to an increasingly polarized city…” Times of India “Creating conflict resolution strategies through peoples’ co-operation…” Deccan Herald “As a text which draws our attention to the power that finally rests with citizens to effect a change in the lives of their communities, Naata showcases the secular energies that make Dharavi, and in turn, Bombay, a place that takes great pride in celebrating its cosmopolitan identity” Art India “A moving personalised tale of communal harmony in the Mumbai’s biggest slum, Dharavi” The Hindu “[About] Two souls on the healing side of a communal divide” Indian Express “A moving personalised tale of communal harmony…” Himal South Asian Festival Selection: Film South Asia 2003, Kathmandu Travelling Film South Asia, 2003-4 River to River Film Festival 2003, Florence The First and the Last Experimental Film Festival 2003, Sydney World Social Forum Film Festival 2004, Mumbai Vikalp-Films For Freedom 2004, Mumbai Social Communication Cinema Conference and Festival, Kolkata, 2004 Goettingen International Film Festival 2004, Goettingen, Germany II International Visual Anthropology Festival and Conference, Moscow, 2004 Zanzibar International Film Festival 2004, Tanzania The Fourth Annual Festival of Visual Culture 2004, Joensuu, Finland 8th Ismailia International Festival for Documentary & Short Films 2003, Giza, Egypt 8th International Film Festival of Human Rights of Spain 2004 at Barcelona, Madrid, Bilbao, Girona and Vinaroz 7th International Festival of Documentary Film & Visual Anthropology Astra Filmfest 2004, Sibiu, Romania Platforma Video 2004, Athens, Greece Budapest HumanRights Film Festival, 2004, Hungary South Asian International Film Festival 2004, New York 3rd Forum for Visual Anthropology 2005, Geneva CRONOGRAF- International Documentary Film Festival, Chisinau, Moldova Signs 2005, Festival of Documentaries and Short Features, Thiruvananthapuram, Kerala 9th RAI International Festival of Ethnographic Film 2005, Oxford IV Festival Internacional del Documental Tres Continentes (IV Three Continents International Documentary Festival, Venezuela 2005 Ethnographic Film Festival of Montreal, Canada Telecast: YLE Finnish Television Network, Finland NDTV 24/7 Credits Voice Overs Monteiro’s voice: Shoba Ghosh Jayasankar’s voice: Anik Ghosh Technical Assistance Bharat Ahire Location Sound Harikumar M. Sound Mixing K.P. Jayasankar Harikumar M. Camera K.P. Jayasankar Script, Editing & Direction Anjali Monteiro K.P. Jayasankar Produced and distributed by Centre for Media and Cultural Studies Tata Institute of Social Sciences Mumbai 400 088, India Telephone: +91 22 25563290 Fax: +91 22 2556 2912 E-mail: [email protected] URL: www.cmcs.tiss.edu Distributor in USA: Documentary Educational Resources: http://www.der.org Directors’ Statement The idea of making this film grew out of our interaction with Bhau and Waqar and their work. We felt that this story of how Waqar, Bhau and the people of Dharavi have, on their own accord, produced and used various media materials for communal amity (ranging from posters to videos and audio cassettes) had an important lesson for all of us, in these troubled times. We feel that in our present fractured world, it is crucial to share stories of hope and struggle, stories that give us the courage to go on. We also wanted to explore the language of a non-confrontational dialogue with the viewer that gently prompts him/her to look within, to reflect on personal prejudice. As Asia’s largest slum, with a population of about 800,000, Dharavi has often been represented as a breeding ground for filth, vice and poverty, full of ‘migrants’, whose right to live in the city is often questioned by vigilante citizens’ groups and right-wing politicians. The film attempts to question these dominant representations of Dharavi in the popular imagination. Dharavi is shown as having a long history, with migration taking place from the late 19th century. It is a productive space and plays an important role in the economy of the city, as it is one of the major hubs of the informal sector that produces commodities ranging from food products to leather goods that cater to a large export market. The film pays tribute to this creativity, vitality and enterprise of Dharavi. We felt that the sheer energy and inclusiveness of informal grass-roots initiatives for communal amity raises several uncomfortable questions for us, so-called modern, middle-class, secular, urban beings, which we need to reflect on. We thought that the film needed to move beyond a ‘feel good’ story of the impressive work being done by Bhau, Waqar and the citizens of Dharavi. Hence, in terms of the structure of the film, we have introduced an element of reflection, through ‘our’ stories which could possibly lead to a critical and active viewership. These, we thought, will be spaces for the audience to reflect on their own ‘stories’. Reviews of Naata The Bond Author: Smriti Srinivas a Affiliation: a Department of Anthropology, University of California at Davis, Davis, CA, USA DOI: 10.1080/08949460701424312 Publication Frequency: 5 issues per year Published in: Visual Anthropology, Volume 20, Issue 4 July 2007 , pages 313 – 314 Naata (The Bond). Directors, producers, editors, writers: K. P. Jayasankar and Anjali Monteiro Production Company; Unit for Media and Communication, Tata Institute of Social Sciences, Mumbai; 2003. Color film, 45 minutes; Hindi and English, with English subtitles. Distributed by Documentary Education Resources, 101 Morse Street, Watertown, MA 02472; see http://www.der.org for details. Naata (The Bond) is a documentary with four intertwined tales. Bhau Korde, a migrant to Mumbai with his parents from the Ahmednagar district in Gujarat, who worked in a school in Dharavi from 1948 to 1995, tells the story of his life. Waqar Khan, who arrived in Mumbai with his parents and siblings from Bareilly in Uttar Pradesh, narrates how he held a variety of jobs in the city—as a hawker selling bananas, then ready-made garments, and finally, at the time of the making of the film, an owner of a ready-made garment unit with 40 machines. The producers and directors, Anjali Monteiro and K. P. Jayasankar, who are faculty at the Tata Institute of Social Sciences in Mumbai and first-generation migrants to the city themselves, also narrate their own story. Unlike Khan and Korde, however, we never see them. Their narrative of their families’ lives told through material culture—toothbrushes, toys, vegetables, and other objects. They describe this documentary as a sort of “self-reflexive ethnography, low budget.” It negotiates the middle-class origins of their film and its relationship to the subaltern classes that make another film through gentle self-humor, so that while the subaltern speaks, the viewers/directors are not voyeurs nor patronizing “others” but allied media. The final tale is a tale of two cities inextricably bound to each other: Mumbai, with its impressive skyline, the city of film stars, India’s great metropolis of about 18 million people, and Dharavi, Asia’s largest shantytown, with about 800,000 people. The “slum” that today lies within the heart of Mumbai, built by the labor of migrants who arrive daily to follow their dreams and those displaced by forces within the urban area, find that they live in the shadows of “the Mumbai of the outside” (bahar ki Mumbai), where the directors live. Dharavi’s history is described as one of communal coexistence: its mosque was built on land donated by Kolis (fishermen), and the Adi Dravidas’ Hindu temple was built through the assistance of the Muslims. There are pictures of Shirdi Sai Baba, a saint revered by both Muslims and Hindus, in a teashop, and we are told that the Ganapati procession in Dharavi every year visits the mosque on its route. We see scenes of Holi and Muharram being celebrated, thriving markets with meat on skewers and pineapple, and the ceaseless industry of residents making everything from food to clothes for a local and an export market (they feel they could even meet the challenge of cheap Chinese goods if the government provided some assistance). This is a “mini-Hindustan.” The documentary focuses on the growing political consciousness of Korde and Khan following the 1992-93 communal clashes in Dharavi. They try to respond to the question: How could people who had lived so close together and supported each other with shelter, food, and employment butcher each other or set fire to dwellings and stores? The directors’ camera follows the efforts of Khan and Korde, who become friends due to their involvement in neighborhood committees, as they produce a film on communal harmony. Their film, which involves those living in Dharavi, depicts the real stories behind the riots, the perpetrators and victims, and the many acts of courage and compassion by people who intervened to save the lives of others, irrespective of religious affiliation. They decide that they have been merely spectators of films for a long time; it is time to make their own, not a secular film by people having a secular discussion, but something else. This film was shown at their own expense in their communities and even on national television. This is a great documentary for graduate and undergraduate courses on South Asia, religion, urban studies, political science, sociology, or anthropology. It raises many questions about subalterns, power, visual media, local nongovernmental organizations, and cities. The film shows the initiative and enterprise of residents in the place they call home, where they have built everything, although for those on the outside this is a slum, filthy and crime-ridden. The editing is deft, the film has flashes of humor and some excellent footage of the city within the city. Its message is that if everyone pursued the modest goal of doing something about local problems (even with small budgets and resources), then real social change could occur. This is a simple message, probably unrealistic to some; but at the end of the film we find ourselves unable to disagree with Korde and Khan: this is not a secular film by people having a secular discussion, but something else. It takes us beyond the tired dualism of fundamentalism and secularism to the bonds that work in everyday life in the South Asian city. Naata and Ekta Sandesh Review by Infochange India: Naata: Directed by Anjali Monteiro and K P JayasankarEktaa Sandesh : Directed by Waqar P KhanProduced by Waqar P Khan, Mohalla Committee Movement Trust and Dharavi CitizensHindi with English subtitles, 62 mins Monteiro and Jayasankar’s Naata is about Bombay, and about Dharavi, the city’s most economically efficient neighbourhood, but the heart of the story lies with two extraordinary citizens, Waqar Khan and Bhau Korde and the making of their film, Ekta Sandesh. Khan and Korde are both long-time residents of Dharavi and both first-generation migrants to the city. Both count on Dharavi for their livelihood and for their perceptions of the nation. When the deadly riots of 1992-93 tore the city and their community apart, both were (separately) moved to act, to make sure that something like this never happened again. In Dharavi, as in other parts of the city, the Rashtriya Ekta Samiti and Mohalla Committees swung into action, soothing and repairing emotionally and materially fractured communities. While Bombay appeared to settle down and returned to business as usual, the communal cauldron continued to simmer, culminating, 10 years later, in the devastating conflagration of Godhra and Ahmedabad in 2002.In the intervening period, Khan and Korde had been busy, thinking of new and innovative ways to bring the message of communal harmony to their neighbours, friends and enemies. Khan used local children to pose for a picture, dressed as a Muslim, a Hindu, a Sikh and a Christian, bearing the slogan, ‘Hum Sab Ek Hain’, a poster that dominates the beach at Juhu Chowpatty even today. But over the months and years, Khan and Korde decided that film was the best medium for this message and, even as they were starting to shoot their film with the help and talents of local residents, the genocide in Gujarat began and their message and its dissemination became more urgent. Naata follows these remarkable men and their personal commitment to secularism, a commitment that sets them on the challenging path that results in the making and screening of Ekta Sandesh. Woven through Khan and Korde’s story of Bombay, a city of dreams and a city of shattered hopes, is another story of first-generation migrants, the story of Monteiro and Jayasankar themselves, who also came to the city separately and met there, and then followed the path of their (henceforward) conjoined commitments and destiny. Monteiro and Jayasankar use Naata and the documentation of Khan and Korde’s journey as activists for harmony as a moment to reflect on their own lives. We hear their voices without ever seeing them, as they construct a “self-reflexive ethnography”. Their young daughter (another unseen but fully articulated presence) provides the thread upon which the beads of identity and difference, of confusion and resolution, of questioning and answering, are strung. Her childish clarity sprinkles fairy dust on the issues that vex her parents, and this is where the personal story of the filmmakers collides with the determined idealism and activism of their subjects, Khan and Korde. Naata is among the new generation of documentaries where filmmakers forcefully place themselves and their concerns at the margin (if not at the very centre) of the films they are making. The filmmaker revealing her/himself in the process of filmmaking, or placing personal history in the service of a narrative, cannot be regarded as merely a nod in the direction of intellectual post-modernism or a narcissistic acknowledgement of intervention: rather, we must agree to recognise the filmmaker as a creating subject and an object at the same time. In Ekta Sandesh, Khan and Korde do not use personal narrative as the momentum for their film, instead, they make full and florid use of shared cultural narratives to make their point. Their film is unabashed in its exploitation of Bollywood: Ekta Sandesh is a montage of clips from Hindi commercial cinema, where heroes (Amitabh Bachchan, Dilip Kumar, Sunny Deol, Aamir Khan, Arvind Swamy and Ajay Devgan, to name a few), produce fiery and inspirational speeches about the secular nation and communal harmony. The film strings together another set of hopeful beads on a commentary (written by Dr Ram Puniyani) and interspersed with messages of how to nurture and develop communal harmony from former police commissioners (including Julius Ribeiro and KS Sahni) and local celebrities like Ravindar Jain and Ameen Sayani. The opening sequence of Ekta Sandesh consciously employs the full-blown elements of Bollywood cinema to tell us that pain and suffering are not coded by religion or community, that they affect us all, equally. Ekta Sandesh is much more than the sum of its parts. Khan and Korde themselves embody the message of secularism and communal harmony that they seek to spread. Traveling with a projector and a screen, Khan and Korde show Ekta Sandesh (at their own expense) in communities that have been savaged by manufactured distrust and prejudice. More than any other self-consciously post-modern film that I have seen, Ekta Sandesh conflates filmmaker, form and content to the point where the maker, the medium and the message become one. Add to that Naata, a film about this film, and you reach the point where instead of your head spinning, you have utter and complete clarity about what is being said. http://infochangeindia.org/documentary09.jsp Dharavi bridges its communal divide Kavitha IyerThu, Jan 1 01:30 AM In December 1992, when a blanket of communal discord as never seen before was thrown over the country following the razing of the Babri Masjid, among the first places in Mumbai that saw grubby walls plastered with ‘Mandir Wahin Banayenge’ posters, was Dharavi, home to about 70,000 families, all living within hearing distance of one another’s household conversations. When riots broke out, Dharavi burned for three days. Between December 1992 and January 1993, 62 residents of Dharavi died: three by arson, three by mob action, 28 by police firing, 28 in stabbing cases, including 43 Muslims, 17 Hindus and two others. Sixteen years later, the Ganesh Chaturthi festival of 2008 saw about 200 Muslims and as many Hindus dine together as the Muslims broke their roza in perhaps the only iftaar party ever to be organised by a Ganesh mandal, the meal served outside the enclosure where the elephant-headed god sat. Chief promoter of the iftaar party was Paul Raphel, a Syrian Christian and a member of Dharavi’s mohalla committee. And the bill was footed by Krishna K, the mandal’s Hindu organiser and a cable operator. “Nothing in Dharavi is now too difficult for us to control. Whatever tensions there may be elsewhere in the city, Dharavi has remained peaceful since 1993,” says Raphel, adding that the mohalla committee and its many offshoots in Dharavi have done much more than maintain peace. “We’ve formed long-lasting bonds with our neighbours now, religion is secondary.” While the state government and the police machinery mull over how to improve community participation in policing and intelligence gathering, a bond built in the aftermath of the 1992-1993 carnage has not only survived, but has grown into an example of how proactive citizens’ movements can keep the peace. Even on the issue of the redevelopment of the slum, the communities are together in a way that really gives Mumbai its cosmopolitan tag. “It could only happen in Dharavi,” says Bhau Korde, 70, one of the seniormost members of the Mohalla Committee Movement Trust that was set up across the city post-1993. Hundreds of people work together to keep communities together. When a church group organised a women’s day celebration, 200 Muslim women attended.” Traditionally, Dharavi used to be one of Mumbai’s most communally sensitive areas, a four-sq-km patch with people living in such close proximity that tensions mount easily in the large pockets of south Indians, Muslims and backward class Hindus. “Dharavi bilkul alag hai,” Korde says. “Dharavi Mumbai nahi hai. When we met people from various communities living next to one another, we saw they had been living together for over 60 years, peacefully. So how did the killing take place, we asked both Hindus and Muslims.” Korde insists people are intrinsically secular at the grassroots. The posters and provocation had come from outside. Korde’s search for friends from other communities led him to establish a long-lasting bond with Waqar Khan, 43, a shirt-manufacturer who is also an active member of Dharavi’s Mohalla Committee. “There is one major difference between the post-1992 situation and now,” says Khan. “Then, the problem was communal, and our solution was peace and brotherhood. Today, we have to deal with a bigger challenge. It has a new face called terrorism.” He says there is need for dialogue on why terror attacks occur and what makes young men turn to terror. “Islam doesn’t promote this. People are misleading youngsters,” Khan says. In 2005, filmmakers Jayashankar and Anjali Monteiro made Naata, a 44-minute documentary evaluating the bonds forged by the Mohalla Committee in Dharavi through the special relationship established between Korde and Khan. “It was inspiring to work with them,” Anjali says. “The middle class does not usually stick its neck out and engage with the world. And these people took their work beyond symbolic actions, spoke out and showed that one is responsible for the community.” She says the mohalla committee movement has also managed to build a younger generation of active citizens who are able to open dialogue between various communities on issues other than communal harmony-education, health and the redevelopment of Dharavi. About the Directors Jayasankar and Monteiro Anjali Monteiro and K.P. Jayasankar are Professors at the School of Media and Cultural Studies, Tata Institute of Social Sciences, Mumbai. Monteiro has a Masters degree in Economics and a Ph.D. in Sociology. Jayasankar has an M.A. in German Studies and a Ph.D. in Humanities and Social Sciences. Both of them are involved in media production, teaching and research. A presiding thematic of much of their work has been a problematising of notions of self and the other, of normality and deviance, of the local and the global, through the exploration of diverse narratives and rituals. These range from the stories and paintings of indigenous peoples to the poetry of prison inmates. So Heddan So Hoddan is the second in the series films set in Kachchh that they have made; Do Din Ka Mela (A Two Day Fair) was the first film http://atwodayfair.wordpress.com/ Jointly they have won thirty national and international awards for their films. These include the Prix Futura Berlin 1995 Asia Prize for Identity- The Construction of Selfhood, Best Innovation, Astra Film Festival 1998, Sibiu, Romania for YCP 1997, Best documentary award at the IV Three Continents International Festival of Documentaries 2005, Venezuela, for SheWrite ,Certificate of Merit, Mumbai International Film Festival 2008, Indian Documentary Producers Associuation (IDPA) Gold for Best Sound Design, Gold for Best Script and Silver for Editing for the film ‘Our Family‘. Their most recent awards are the Best film award at the International Folk Film Festival, Kathmandut and the Basil Wright Prize for So Heddan So Hoddan (Like Here Like There) at the 13th RAI International Festival of Ethnographic Film 2013. Vibgyor Film Festival, Kerala, Bangalore Film Society and Madurai International Film Festival have organised retrospectives of their work in 2006, 2010 and 2012 respectively. An adaptation of their film ‘Saacha‘ (The Loom) is a part of the exhibition ‘Project Space: Word. Sound. Power.‘ at the Tate Modern, London, between 12 July and 3 November 2013; The New Delhi edition of the exhibition is scheduled for Jan 10-Feb 8, 2014. They have several papers in the area of media and cultural studies and have contributed to scholarly journals such as Cultural Studies. They are both recipients of the Howard Thomas Memorial Fellowship in Media Studies, and have been attached to Goldsmith’s College, London and the University of Western Sydney. They were both attached to the University of Lund, Sweden as Erasmus Mundus Scholars in 2013. Monteiro was a Fulbright visiting lecturer in 2006-07 at the University of California, Berkeley. In mid 2013, they will be at the University of Technology, Sydney as visiting professor/fellow, for a semester. They also serve as visiting faculty to several leading media and design institutions in India and abroad. They are both actively involved in ‘Vikalp‘ , which is collective of documentary filmmakers campaigning for freedom of expression. They are also associated with various media and voluntary organisations. Follow “NAATA”

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Previous Next Wed, May 15, 2013 | 2:15 AM SHARES: Sneak Peek! Beyoncé and Other Stars Share Secrets About Their Animated Film 'Epic' Email me Blue Sky Studios/20th Century Fox It's OK! Movie Mania time! Check out Beyoncé, Amanda Seyfried, Colin Farrell and other stars getting animated in the upcoming animated film Epic. Beyoncé shows off how she uses her voice to create her character Queen Tara. "I've always imagined being in an animated film. It's been something I've been wanting to be a part of for a long time," she says. Photos: Check Out All the Red Carpet Pics of the Cast of Star Trek Into Darkness The star also notes, "Everything in this movie is big—action, characters—and the film really lives up to its title." Hitting theaters on May 24, the movie follows the story of Mary Katherine (voiced by Amanda), a teenager who suddenly finds herself mixed up in a battle of good and evil in an enchanted forest. She and a group of odd and interesting characters join forces to protect their worlds. Watch: The Best Films at Cannes This Year and Who's Starring in Them "Mary Katherine is a very strong willed young woman so it's ironic that she gets shrunk into this magical world that her father has discovered, and she knows that she needs to be involved in his battle," explains Amanda. Will you see Epic when it comes to theaters? Tell us in the comments section or on Twitter @OKMagazine Tags: Get Scoop, Amanda Seyfried, Beyonce, Colin Farrell, Josh Hutcherson

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Pulp Fiction Co-Writer Storming Castle Wolfenstein Adaptation Friday, November 2nd, 2012 at 2:45pm PST Roger Avary will return to the world of video games for an upcoming project. According to The Hollywood Reporter, the Silent Hill scribe will write and direct a film based on the Castle Wolfenstein first-person shooter game franchise. The Wolfenstein series launched from Muse Software for the Apple II way back in 1981. It began life as stealth-based shooter, but morphed into a first person shooter with the 1992 installment Wolfenstein 3D. The games find a soldier at Castle Wolfenstein, one of Hitler’s strongholds during World War II. As you traverse various levels, you encounter Nazi SS soldiers as well as mutated monsters. The Samuel Hadida-produced film will focus on many of these elements. “With Roger at the helm, we expect everyone will join us for a wild and fun cinematic ride that will grab contemporary film audiences with the same irreverent, hip, over-the-top approach that Roger brought to Pulp Fiction and the other films he has either written or directed,” Hadida said. “It is a big action adventure but also strongly character driven and based on a very solid story.” Avary first gained fame collaborating with Quentin Tarantino on his earliest films, Reservoir Dogs and Pulp Fiction, before branching out on his own to write and direct The Rules of Attraction among other projects. This will be Avary’s first writing and directing job since Rules and its companion film Glitterati, which came out in 2002 and 2004 respectively. Castle Wolfenstein, Panorama Media, Roger Avary Movies, Videogames Tweet http://twitter.com/Dawnell_do Dawnell_do I think this could work as a Inglourious Basterds meets Van Helsing.

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Tommy Johnagin featuring Alingon Mitra Purchase Tickets Tommy Johnagin featuring Alingon Mitra 16 & over Two items minimum Save $2.00 on your order by sharing this event with your friends at checkout! On line sales are now closed. Please contact the club to purchase by phone Description: Tommy Johnagin started stand-up at the age of 18, and then dropped out of college at 21to become a full time comedian. Tommy vows he will one day make enough money to pay his parents back for the six semesters of college he wasted. In 2007, Tommy was invited to the prestigious Just For Laughs Comedy Festival in Montreal, where he was the highest reviewed "New Face." Since then, he's been selling out shows to audiences at comedy clubs across America. His TV redits include FIVE appearances on The Late Show with David Letterman, Conan, Comedy Central's Live at Gotham, The Bob and Tom Show, CMT's Comedy Stage, John Oliver's New York Stand Up Show, and Last Comic Standing, where he placed second in Season 7. In 2009, he had his own half hour special on Comedy Central Presents, and most recently released his second comedy album Stand Up Comedy 2 through Comedy Central Records. View Map

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| Eddie Izzard is cast in "Powers" By Benjamin Mazzara, 8/17/2014 The British comedian is one of three announced castings for the Playstation Network series Eddie Izzard, the British actor and comedian who is known for his work on Hannibal and The Riches, has just been confirmed to co-star in Powers, the upcoming Playstation Network series based on Brian Michael Bendis and Michael Avon Oeming’s well-known comic. According to Deadline, the show plans to mesh the genres of superhero fantasy, crime noir and police procedurals. The show will be produced by Sony Pictures TV, and is set in a world full of people with superhuman abilities, called “Powers.” These Powers create, as one would expect, a huge wave of chaos, and it falls upon the Police to help reign in the godlike entities and protect the unpowered populace. According to IGN, Izzard will play the character “Wolfe,” a dubious Power, the world’s name for people with superpowers. Before being imprisoned in the specially made prison known as “The Shaft” for multiple heinous crimes, Wolfe was a mentor to main character Christian Walker, who was a Power himself before losing his abilities and joining the police force. As noted by Deadline, Wolfe’s terrible powers are keep in check through multiple brutal surgeries. Izzard was not the only cast member announced, with Noah Taylor from Game of Thrones and Edge of Tomorrow, as well as Olesya Rulin from Greek and High School Musical joining the cast as well. Taylor will be playing “Johnny Royalle”, a criminal leader with the ability to teleport, while Rulin will play “Calista,” an upstart teenage Power who has both know-how and a constantly evolving game plan. According to IGN, Izzard, Rulin, and Taylor’s casting has almost filled the main cast, with Susan Heyward being cast as Deena Pilgrim, Walker’s partner. The first two episodes will be directed by David Slade and written by Charlie Huston. There is no set release date. Image Courtesy of INFphoto.com More Articles By Benjamin Mazzara Amazon buys Twitch streaming site Prince announces two albums to be released in September Nicki Minaj back-up dancer bitten by snake during VMAs rehearsal Tom Hardy photobombed wedding while dressed as Bane 'Downton Abbey' bans all modern items from set

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Star Trek: Voyager: Male Cast Reunion One of the reasons that castmembers from old TV shows often site for signing on to reunion projects is the opportunity to see their old friends once again. Well, it doesn’t look like we’ll be seeing a Star Trek: Voyager reunion anytime soon but that doesn’t stop the actors from getting together anyway. Apparently the male members of Voyager have been getting together for lunch for sometime. On Tuesday night, they reunited for what Robert Duncan McNeill calls their “traditional boys steak dinner.” Ethan Phillips is moving back to New York and McNeill notes, “We’ll miss him!!!” McNeill tweeted the photo and you can see, from left to right, Garrett Wang (Kim), Robert Beltran (Chakotay), Phillips (Neelix), McNeill (Paris) and Robert Picardo (The Doctor). McNeill told TrekMovie that Tim Russ (Tuvok) usually attends but was unavailable this week. McNeill is currently directing an episode of FOX’s Breaking In and has a cameo in the series finale of NBC’s Chuck, a show that he’s directed many times. What do you think? Would you like to see the Voyager cast work on a new project together? Even if it wasn’t a Voyager reunion? Image courtesy Robert Duncan McNeill. More about: Star Trek: Voyager

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Vinyan Cannes More » ETRANGE 2011: DRIVE review Matthew Lee Drive is a confusing film: bear with me on this. The story's easy enough to follow - the taciturn anti-hero Driver (Ryan Gosling) breaks his vow of laissez-faire to help the mother and child who happen to be the first people in a while who've cracked the armour around his psyche. Ordinarily he doesn't let anyone in; he works as a mechanic or stuntman by day, and a getaway driver by night, shunning all emotional connection with the job. He doesn't concern himself with what criminal activities his clients are up to, won't carry a gun, refuses to get involved. For five minutes he guarantees he can get them clear of any pursuit - yet after that five minutes he simply walks away. On some level, the hapless schemes of his boss at the garage (Bryan Cranston, best known for AMC's series Breaking Bad) are similarly background noise. Driver just wants to drive.Then completely by chance he lends a helping hand to Irene (Carey Mulligan), the young mother in the flat next door. The two hit it off, and the seed of a relationship forms between them, but it's not to last; Irene's already married. Her husband Standard (Oscar Isaac) is about to get out of prison, and though he's making all the right noises about going straight there are some old acquaintances determined he won't get the chance. When they threaten to punish Irene and her son for the debts Standard ran up inside and left unpaid, Driver decides to help the man make good, but their choice of one last heist turns out to be significantly more complicated than it initially appeared. On paper, at least, it's a typical enough pulpy yarn born of tearing through Donald Westlake's back catalogue at a rate of knots.There's much to like about Drive; Gosling and Mulligan are terrific, managing a sweet, gentle and utterly believable chemistry that lends much of the film an unexpected poignancy. The action on the road is a thing of cold, slick beauty (though you don't get much, which is a significant problem by itself). The portrayal of Los Angeles as a writhing snakepit is predictable enough but there's a weary sense of ennui to it that proves oddly atmospheric - Driver's seen it all before, and just wants to get back to his beloved cars. When it clicks, Drive is extraordinary - the long stretch from where Driver and Irene meet, to a little while after the moment his efforts to help Standard go horribly wrong is thirty minutes or so that easily ranks alongside the best film-making from any director this year. Refn describes the film as being about having fun, and while he keeps that in mind Drive is sharp, committed and riveting stuff.But Refn seems to have something of a fluid idea of what fun ought to mean. What starts as if it's pursuing the kind of steely resolve Brian Helgeland might have come up with gets rather too absorbed in the over-the-top, caricatured indulgences of James Sallis' original novel. By the end of the film too much of Drive feels as if it's drifting into self-parody; the first death is genuinely shocking, but the violence turns into the kind of ludicrously dumb operatic gore that feels more like a spoof of Martin Scorcese (come on, someone defend the elevator scene, I dare you). The eighties sheen to the production no longer comes across as a stylistic choice, more a tiresome affectation, with constant glittering cityscapes that don't serve any purpose and repeated musical themes that seem to be

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Not a good night for movie stars at Emmys The Emmys welcomed plenty of movie stars to television's biggest awards show, including Julia Roberts, Woody Harrelson, Kevin Spacey, Mark Ruffalo and the reigning Oscar winner for best actor, Matthew McConaughey. All were sent home empty-handed.Instead, the Emmys opted for the tried and true Monday night, giving a long goodbye kiss to "Breaking Bad" and its cast, and the fifth straight award for best comedy to ABC's "Modern Family."Bryan Cranston, who played the memorable meth dealer Walter White on "Breaking Bad," won his fourth best drama actor Emmy, tying him with another four-time winner, Dennis Franz. Aaron Paul won his third supporting actor award playing Cranston's fictional colleague in crime. Anna Gunn, who played Cranston's wife, won for the second straight year and the series won its second consecutive best drama award.The bounty proved Emmy voters have a long memory, since the "Breaking Bad" finale aired 11 months ago."Thank you for this wonderful farewell to our show," creator Vince Gilligan said."Modern Family" co-creator Steve Levitan almost seemed at a loss for something new to say as the ABC show matched the five-year winning streak of "Frasier" in its heyday. Actor Ty Burrell won a best supporting actor award."It's a wonder that we get to do this for a living, that we get to be the ones up here when there are so many deserving shows," Levitan said.For much of the evening, the Emmys seemed to bask in Hollywood's glow, especially McConaughey's aura. He was the willing foil for jokes, particularly by Jimmy Kimmel. "You don't belong here," Kimmel said. "And take Julia Roberts with you."Director Gail Mancuso of "Breaking Bad" chose to look at McConaughey as she was accepting her award. "I knew if I had to look at my cast, I would tear up," she said backstage. "I thought, 'what's the next best thing? Matthew McConaughey.' He was sitting right there."Yet the only time McConaughey went on the stage was when he and "True Detectives" co-star Woody Harrelson were presenters. Their HBO series was the subject of much pre-show hubbub — many in Hollywood thought it should be in the miniseries category, not drama — but it proved a moot point as the major awards went elsewhere.Roberts and Ruffalo weren't honored for their roles in the HBO movie about the early days of AIDS, "The Normal Heart," although the project won the Emmy for best TV movie.Jumping back and forth between television and feature films isn't as unusual as it used to be, with television in a robust creative period. But with a lot of quality work out there, names aren't enough to guarantee an award.Emmys host Seth Meyers made note of the unusual time slot for the awards show, on a Monday (Sunday is the usual date) in late August. It was NBC's turn to air the show, and the network didn't want to pre-empt its lucrative Sunday night NFL football package."If I understand television, it means the Emmys are about to be cancelled," Meyers joked.Once the awards began, some of television's royalty added to their trophy cases. Jim Parsons, star of television's most popular comedy, "The Big Bang Theory," won his fourth straight award for best comedy actor. It was the third year in a row for Julia Louis-Dreyfus of HBO's "Veep" to win the best comic actress award.Julianna Margulies, the star of CBS' "The Good Wife," was the beneficiary of an especially strong season for the show, winning her second Emmy as best actress in a drama.For all the pre-show talk about new forms of television distribution, it was a good night for network television, between Margulies, Parsons and "Modern Family." Allison Janney won a best supporting actress award for her role in the freshman CBS sitcom, "Mom."Netflix and its biggest shows, "House of Cards" and "Orange is the New Black," didn't win any major awards.The Emmys included a touching tribute to Robin Williams, who died earlier this month, by his comedian friend Billy Crystal."He made us laugh. Hard. Every time you saw him," Crystal said.

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Son of Hamas, 13 Aug 2011 By John Brand This review is from: SON OF HAMAS (Paperback) I am nervous about dramatic autobiographical accounts of recently converted people. I am somewhat suspicious about their motivation and concerned about their spiritual vulnerability in becoming so prominent and high-profile at such an early stage in the spiritual journey. Of course, time will tell as far as Son of Hamas is concerned, but I put the book down, after reading it through in one sitting, marvelling at the saving and keeping grace of God who had been and is at work in some of the most unlikely places and people.Mosab Hassan Yousef is the son of one of the founders of the Islamic Resistance Movement, Hamas, and spend much of his youth accompanying his father as he spoke at public meetings and dialogued with some of the leading players in the Middle East turmoil of the 80s and 90s. He begins with a very helpful background to and overview of political developments in Israel and between Israel and Palestine, and there is a time line at the end of the book along with a useful `cast list' and a glossary of some of the terms and words. He was devoted to his father, a devout and faithful Iman, who, while never espousing the trademark violence and terrorism of Hamas, never did what he could to stop it. Yousef is critical of him while also, as a loyal son, protecting his life on numerous occasions, even when it involves getting him sent to prison for his own protection. As a youngster Yousef is arrested and brutally tortured by the Israelis and as a result agrees to become a double agent for Shin Bet, the Israeli secret service, though initially he is motivated by the possibilities that would afford him to turn on his handlers and kill them in revenge for what he and his people had suffered. Gradually he discovers that life is not a simple distinction between the good guys and the bad guys; that Hamas is not all that he had believed and neither are the Israelis. His is increasingly disillusioned by the deceit and violence of his own people though not uncritical of the Israelis either.Early on in his new and very dangerous double life he is met by some unnamed Christians who, unaware of who he is, invite him to a Bible study, share the Scriptures with him and Yousef begins to see that Christianity and Christ were not what he had been brought up to believe either. Gradually his values and attitudes change, affecting the way he interacts with both Jews and Arabs, and he comes to a point of conversion and is subsequently quietly baptised; itself a step of immense courage as well as of obedience.Eventually, Yousef leaves the employ of Shin Beth and settles in the States but not before he is personally caught up in and witness to some of the most dramatic and harrowing scenes you could imagine. Yousef realises that the greatest enemy faced by both Arab and Jew is not the other, and that there is ultimately no political solution to the Middle East crisis, only a Gospel one.For me, the highlights of the book are the four key players, at least from a human perspective. Yousef himself is, of course, at the centre of the story, but he has an honest view of himself at all stages of his journey and is adamant, even as his Christian story becomes a focus of world-wide attention, that he is no-one special, just someone in a spiritually privileged and opportune position to influence things for good and for God. His father, Sheikh Hassan Yousef, is a character you can't help but respect and admire despite his weaknesses. He is profoundly loyal to his faith and the bond between father and son is truly heart warming. Even when he hears in prison of his son's conversion, he refuses to disown him and when he gets a chance to speak to Yousef on the phone affirms him as his son. Sadly, the day before this book was published, Sheikh Hassan publicly disowned Yousef.The third main player is the Israeli agent, known for most of the book as Loai but later revealed as Gonen ben Itzhak. These two men, from polar opposites of the political and religious scale become the very closest of friends and their mutual respect and affection is deeply moving. Quite remarkably, for the work Yousef, a militant Palestinian, did for the Israelis, the Israeli Knesset Foreign Affairs and Defense Committee wrote him a letter of gratitude, perhaps the first of its kind in Israeli history.The fourth key player is unnamed in the book but is the faithful believer who first made contact with the young Arab and who, along with others, befriended, counselled and mentored Yousef as he grew into his Christian faith. It's a reminder that God has his faithful people serving as salt and light and not afraid to open their mouths even in the most hostile of environments.This is an immensely powerful and moving book. It is a genuine `page turner' and I was grateful that I had a `free' evening when I could immerse myself in it. It has to be said that some of the accounts of torture and suffering are harrowing but are in now way gratuitous or graphic. They are the harsh reality of the events recounted.I can't commend this book highly enough and now that it is available as a free download in Arabic, we ought to pray that it will be singularly used of God to soften and win the hearts of many. I sense, given my opening comments, that we ought also to be much in prayer for Yousef himself, that he would be protected, both spiritually and physically, and be of great usefulness to his new `handler', the sovereign God.For those that are interested you can watch a video interview with Yousef at [...], where there is also a link to his blog. SON OF HAMAS 1850789851 UASSAN YOUSEF MOSAB & BRA SON OF HAMAS John Brand

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Last night at the Brit Awards 2007, Arctic Monkeys won the award for Best British Album for their debut, 'Whatever People Say I Am, That's What I'm Not':"Sorry we couldn't be there tonight, but we're busy rehearsing for the year ahead. We're thrilled to have received the award for Best British Album. Our debut received a lot of recognition but no doubt this is a very special award and appreciated by all of us".They then went on to win the award for Best British Group:"Thank you for presenting us with this most prestigious award. It means a great deal considering the competition. Thanks to everybody for supporting us along the way. We look forward to seeing you all this year when we go back on tour".

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Brenda Chen BellaOnline's Anime Editor Pokemon The First Movie Soundtrack The soundtrack CD for Pokemon The First Movie was released around the same time that the film was released to theaters. The soundtrack is labeled as "music from and inspired by the motion picture," but it's really more like, "music from the motion picture, and some random songs that have absolutely nothing to do with the movie whatsoever." For example, B*Witched's "Get Happy" appears on this CD, but the song itself was first released about a year earlier as a b-side to the US pressing of the "C'est La Vie" single. Another example is Britney Spears' "Soda Pop"; it was released on the ...Baby One More Time album about 10 months before the film was released to theaters. Of the 16 songs that appear on the soundtrack CD, only six songs make some kind of an appearance in the film: Billy Crawford's rendition of the Pokemon theme song, M2M's "Don't Say You Love Me" (which was promoted as a single from the soundtrack), Christina Aguilera's "We're a Miracle," Vitamin C's "Vacation" (which appeared in the "Pikachu's Vacation" short), Angela Via's "Catch Me if You Can," and Blessid Union of Souls' "Brother My Brother." The other 10 songs appear to be songs that these artists' labels wanted to include on the soundtrack in the hopes of gaining more exposure for these artists by being associated with the Pokemon franchise. It's obvious by the artists included on this disc that the soundtrack was being aimed at a young audience. Besides the artists listed above, this CD also features such artists as *NSYNC, Emma Bunton (formerly Baby Spice from the Spice Girls), 98 Degrees, Aaron Carter, Billie, Mandah (now known as Willa Ford), and Ashley Ballard. When I listened to this CD, the standout tracks to me were the songs by M2M, Christina Aguilera, Vitamin C, Angela Via, Midnight Songs, and Blessid Union of Souls. Billy Crawford's version of the Pokemon theme song was tolerable; while it wasn't bad, it wasn�t great, either. And the remaining songs on the disc just sounded like generic, throwaway late 1990s teen pop songs. Unfortunately, the standout songs don't make me want to rush out and buy this soundtrack, because they are outnumbered by the songs I'd be more likely to skip. The disc also includes Hyperlock software, which enables the owner of the CD to access special film footage through a special website available only to people who own the soundtrack CD. If you're a Pokemon fan who wants to own every item that's Pokemon-related, then this CD is for you. If you're a fan of the late 1990s American teen pop sound, then you will also find this CD to be enjoyable. If you're a fan of one of the artists on the CD, and the song that's included here is hard to obtain elsewhere, then this CD is also for you. If you don't fall into one of these three categories, then you probably won't have much of an interest in the soundtrack for Pokemon The First Movie. In order to write this review, I checked out a copy of this CD through the King County Library System. Pokemon ThemeDon't Say You Love MeIt Was YouWe're A MiracleSoda PopSomewhere, SomedayGet Happy(Hey You) Free Up Your MindFly With MeLullabyVacationMakin' My Way (Any Way That I Can)Catch Me If You CanHave Some Fun With the FunkIf Only Tears Could Bring You BackBrother My Brother Anime Site @ BellaOnline Content copyright © 2013 by Lesley Aeschliman. All rights reserved. This content was written by Lesley Aeschliman. If you wish to use this content in any manner, you need written permission. Contact Brenda Chen for details.

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Spike Lee Back In New Orleans For Levees Sequel Documentary By Jason J. Hughes 5 years ago comments Spike Lee is back in New Orleans today, beginning work on a sequel to his Emmy-winning documentary series When the Levees Broke for HBO. While the sequel doesn't yet have a name, it's intention is to shine a light on the region five years after the devastation of Hurrican Katrina, and I'd imagine the right name will present itself as he films. It's easy enough for those of us who don't live in or around New Orleans to have kind of moved on with our lives, but it's not nearly so simple for them. The city is still decimated and struggling in so many places. The response, as it was when the hurricane first hit, has been severely lacking in certain ways. At the same time, the community spirit and the rebuilding that has been taking place is inspiring and touching. I'm hopeful that Lee will showcase both the positive sides of the human spirit that have gone into the region in the intervening five years, as well as the serious disappointments the citizens have faced. HBO is anticipating the project to be complete -- and titled -- for a summer 2010 release, according to Tweet The Bizarre Way Game Of Thrones Is Advertising Its New Season True Detective Season 2 Is Coming, Here Are The Latest Details The Game Of Thrones Scene Natalie Dormer Demanded Be Changed Hugh Laurie Is Heading To The Funniest Comedy On TV How Natalie Dormer Wants Her Character To Be Killed On Game Of Thrones Westworld Was Just Picked Up By HBO, Here Are The Details True Detective Season 2: What We Know So Far

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Will Catherine Tate Replace Steve Carell on "The Office"? Christopher Rosen When the guest roster for the season finale of The Office was announced, one name stood out among the Hollywood heavyweights: Catherine Tate. Not only was she the only female tapped as the potential heir to Michael Scott's throne, but she was also the only relative unknown (especially compared against the likes of James Spader, Ray Romano, Jim Carrey and Ricky Gervais). Now it appears we know why she was included. THR reports that if "producers have their way," Tate will be the new boss on The Office next fall. The only problem? Tate has a prior commitment in England to star in the stage version of Much Ado About Nothing; whether or not a deal can be worked out remains to be seen. Even if Tate is cast, don't expect the series to become a distaff version of the original version of The Office. Major cast members (and movie stars) Rainn Wilson, Ed Helms and Craig Robinson will be in the mix for boss, as well as more storylines. Though John Krasinski does not seem slated for upper management, it's likely the new plots will also revolve around him as well. The Office season finale airs on Thursday night at 9 p.m.; producers aren't expected to announce a replacement for Carell until later this summer. [via THR]

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Fri, Feb 21 - 11:22 am ET Chelsea Handler’s Response To Being Minimized As A Woman Deserves A Slow Clap Share a Tip If you’ve read any of my pieces on her in the past, you know that I’m not the biggest fan of Chelsea Handler, but I’m gonna forget all that for a minute and start a slow clap for her, because she just really impressed me. On Sunday, Chelsea was referenced in a piece by Bill Carter for The New York Times in which he discussed Jimmy Fallon‘s rise to The Tonight Show and the ongoing race in late night to score younger viewers. And when I say she was referenced, I should be more clear — her name appeared alongside other hosts jockeying for youthful viewership like but it appeared thusly: Even with potent competition for younger viewers all over cable, from the likes of Jon Stewart and Stephen Colbert on Comedy Central and Mr. O’Brien on TBS, the host NBC is clearly most concerned about is Mr. Kimmel, who is 46. (The only female host in late-night is Chelsea Handler, 38, on E!) In a string of other names listed in a normal fashion, Chelsea’s was relegated to inside a set of parentheses, with a pointed mention of her gender. And without an explanation for why that choice would’ve been made, Chelsea couldn’t help but wonder (rightly, I think), if it was because she’s a woman. And here’s where I have to really admire Chelsea: she said something about it, via an op-ed in The Huffington Post this morning. There are a lot of people — myself possibly included, although I hope not — who would probably have tried to talk themselves down from feeling any sort of way about a grammatical slight like that. After all, it doesn’t inherently change the quality of her show or the fact that Chelsea Lately has been on the air for six and a half years; it’s simply a matter of perception. But altering perceptions is the crucial first step toward any type of real change, and I think that’s exactly what Chelsea is driving at by drawing attention to to a seemingly-innocuous set of parentheses. “I wanted to confirm what a parenthetical suggests, so I looked up the definition. The first few definitions that came up were: incidental, subordinate in significance, minor or casual.” Maybe you still think it’s not a big deal, but it’s important to be aware that in a conversation about late night, Chelsea is far from insignificant. As she points out: “Depending upon whose research you look at, I share the distinction of having the youngest average viewership with Colbert, The Daily Showand Conan. So from a purely statistical standpoint how, in this paragraph, could I only be mentioned as an aside?” She’s very clear that you don’t have to like her show, but you do have to acknowledge it. No matter how dumb or tone deaf or hurtful you (or I) might think it is on occasion, you included her in a list of her peers because her viewership numbers require it. The statistics themselves place Chelsea in the same category with the names you already listed, Bill Carter, so it’s not up to you to suggest her contributions to the field are parenthetical. And before anyone gets loud about Chelsea demanding special treatment because of her gender, she has a measured, appropriate response to that as well: “And just as I don’t want to be inconsequential in any late-night discourse, I also don’t want to be singled-out and lauded merely because I am successful “for a woman.” I only want to be acknowledged for having worked hard to build an equally significant audience and fan base to those of my peers. I believe the success of any woman should never be qualified by her gender.” I couldn’t agree more. I may not be on board with her treatment of Amanda Bynes‘ mental health issues or her exploitation of the tenuous relationship between Khloe Kardashian and Kris Jenner, but I can’t argue with Chelsea’s right to be judged on her impressive accomplishments instead of being sidelined by something as irrelevant as her gender. She may not have earned my appreciation, but she’s certainly earned my grudging respect and admiration. (Photo: FayesVision / WENN.com) Related Topics: Celebrities Entertainment • Chelsea Handler • Chelsea Lately • feminism elle I would definitely never hold up Chelsea Handler as a paragon of feminism but in this case she’s right and I give her respect for calling that out. Kelly17 She’s very much a feminist. I wasn’t trying to say she wasn’t, just that she’s not my feminist idol, my go to celeb. You’re right I’m sure I could have worded it better. I’ll just add that I find myself unable to reconcile her particular style of feminism. She’s not someone I would’ve expected to speak out, is how I feel about it. And I’m so glad she did, like I said! Lindsey Conklin She’s not my favorite, but I really appreciate what she said. “I believe the success of any woman should never be qualified by her gender.” –indeed I’d take that even further — the success of any person should not be qualified by gender. Crusty Socks (#howdarehim)!!! I sense sarcasm nearby, but I can’t determine its source. The way I read the statement, what was added parenthetically is that only one late-night host is female. That fact belonged in parentheses because it wasn’t the point of the paragraph or the article, which was about the various hosts’ popularity with young viewers. The author was adding, in effect, “incidentally, all but one of these hosts is male” – which was probably intended to point out the disparity, not indicate that Handler, as a female, doesn’t really count. I saw nothing in the remainder of the article to indicate otherwise. That’s what I thought too, but now that I think about it, it is interesting that the author would place that in parenthases. I don’t see why this wouldn’t have fit just as easily as its own sentence. The sentence belongs in parentheses because it’s a digression from the subject of the paragraph. The author of the piece could explain what he meant to say, but it doesn’t look like anybody asked him. Actually, you’re right. I change my argument. It doesn’t belong there at all. (Oh, and by the way, I’m female.) He should not have to explain it again. As he is paid to write and should have put out something clear and valuable. I have no idea what he is saying, and where or not she belongs on the list. On the other hand is it bad that he points out her gender? (He did it in a weird way though ) Feminist articles always do this, “there are only 2 women but 20 men, ” etc Actually, I think his meaning is clear enough. His comment is similar to those in articles which would say things like, “The U.S. Supreme Court (which still has only one female member)…” – and those were clearly not meant to suggest the lone female Justice was somehow subordinate, just outnumbered. You might think it’s silly or pointless to mention that all but one late-night TV host is male, but mentioning it is not a slam against Chelsea Handler. I see you point, but why add it at all then? Either she does belong in that list or she doesn’t. It seems like he felt obligated to add her name because she also has a popular late-night program, but didn’t feel that she belonged with the rest of the people listed. And as she pointed out, I have no idea why that would be, aside from her gender. Properly speaking, she wasn’t part of the group of people that was being discussed. The paragraph was listing the most serious competitors for late-night viewers, and may not have considered Handler’s popularity at the same level as Jon Stewart’s or Jimmy Kimmel’s. So, she could have been left out entirely. But Mr. Carter added a reference to the fact that only one show in this category, Chelsea Handler’s, was hosted by a woman. It was not directly relevant to the topic at hand, just an incidental comment, which is why it was placed in parentheses. Check your Cliff Notes; parentheses are used to set off incidental information. He might have skipped the parentheses and instead said something like, “By the way, have you ever noticed that only one of these hosts, Chelsea Handler, is female?” But he didn’t have to say “by the way” or “if you’ll excuse the digression,” because the parentheses took care of that. So why did he mention it? Again, someone could ask Mr. Carter, but I’ll suggest one possible reason. The same kind of comment is often included – frequently in parentheses – when talking about other professions which have very few female members. An article about a branch of government will sometimes throw in a similar aside about the fact that only one or two members are women. That’s not usually meant to dismiss the women politicians or suggest they are inferior, but to draw attention to the fact that so few people in this position are female. That’s what the comment sounds like to me. I kind of took this more to mean E! was insignificant…..since E! is not what (anyone?) thinks of when they think “late night talk show wars” type news – but good for her for standing up for herself anyway. Pingback: Chelsea Handler Stands Up For Herself In The Most Amazing Way | Most Searched Ever()

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Cumberland News Now> Cape Breton comes to Cannes Laura Jean Grant, The Cape Breton Post Prince Charles and his wife Camilla are in Anne’s land. Market continues to prosper at Dayle’s Clara Bacon fund to support lifelong learning Tidnish Bridge gallery celebrating five years Dog show a hit at Amherst Stadium Pugwash high school students hold peace march and sit-in on May 22 CFL players teach about football and life “Relative Happiness,” a feature film based on the 2005 novel of the same name by Lesley Crewe, will have its world premiere at the prestigious Cannes Film Festival in France. It's part of Perspective Canada-Cannes, a Telefilm Canada initiative that showcases recent Canadian films at Cannes. "It's unbelievable," said Crewe, at her home in Homeville. "Here's this little film that's based on the book that I wrote in my basement and now it's over in France, so anything can happen." The author behind several best-selling novels, Crewe said that in the process of writing a book the characters she develops become like friends — and in the case of "Relative Happiness" it's been exciting to see the story of those friends told in a new way. "It was beautiful that they were in a book and people enjoyed it, but now somebody else has taken them and now I can see them and it sort of validates what I do and what I did with that first story," she said. "It's a pleasure to see these characters brought to life in another medium." Crewe, who co-wrote the screenplay for the film, said she's pleased the filmmakers behind "Relative Happiness" were able to capture the spirit of her story as well as the Cape Breton setting of the book. "That's what I think I'm so happy with — it looks like it's authentic Maritime. The story is universal but you can really tell that this is in our part of the world," she said. Crewe, who also makes a cameo in the film as a partygoer, visited the set of "Relative Happiness" during filming last year in Hubbards, N.S. "It was just exciting to see all these people that I'd made up just wandering around, and people working on this film, employing a lot of people," she said. Produced by Wreckhouse Productions and Lady Hammond Entertainment, the film is directed by Newfoundland filmmaker Deanne Foley and stars Australian actress Melissa Bergland in the lead role of Lexie, a plus-sized, 30-year-old owner of a bed and breakfast who is convinced she’ll fulfill her dream of a perfect romance when Mr. Right lands on her doorstep. "The instant I saw (Bergland) I knew that she was perfect because she isn't the stereotypical Hollywood star. She's normal and that's what we needed for that character," said Crewe. The Cannes Film Festival got underway May 14 and runs until May 25. "Relative Happiness" screens today — one of 16 Canadian films to be showcased as part of Perspective Canada-Cannes. "They're not being judged, they're just being shown, but it's an amazing opportunity because you have like 10,000 movie buyers and people in the industry that get to see it," said Crewe. Following its premiere, "Relative Happiness" is expected to make the rounds of Canadian and international film festival circuits this fall. It is due to be officially released next year. Often asked if having her book turned into a film is a dream come true, Crewe said that in all honesty she never dreamed that big. "This is way more than I ever, ever expected," she said. "It's really very exciting. This book has given me a lot of exciting moments over the years. I'm just really proud." Perspective Canada-Cannes, Telefilm Canada Geographic location: Cannes, Cape Breton, France Homeville Hubbards Newfoundland Hollywood Melissa Bergland and Jonathan Sousa in a scene from "Relative Happiness," a film based on the book by Cape Breton author Lesley Crewe.

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Home / Movies / Batman / News 'Dark Knight Rises' won't be cluttered, says writer Jonathan NolanBy Christian Tobin Wednesday, Jul 4 2012, 00:59 BST The Dark Knight Rises writer Jonathan Nolan has dismissed concerns that the film's story will be "cluttered".Director Christopher Nolan's brother was responding to claims that the upcoming movie may suffer from having to accommodate a host of new characters such as Bane (Tom Hardy) and Catwoman (Anne Hathaway), as well as returning faces like Commissioner Gordon (Gary Oldman) and Batman himself (Christian Bale). © Rex Features / Startraks Photo Noting previous comic book films Watchmen, Spider-Man 3, The League of Extraordinary Gentlemen and Iron Man 2, Sci Fi magazine asked Jonathan if he was worried the story would be too packed, to which he replied: "Oh, I don't believe in any of that s**t!"Everybody is always looking for excuses as to why something worked and why something didn't work. Even The Dark Knight has three villains in it, or six, depending on how you're counting them."It is just a question of whether you can pull it off. That's what it comes down to. I think a narrative is only as cluttered as you let it be."There are as many good films with half a dozen villains as there are bad ones. And I think that is a sort of facile thing to seize on as an explanation for, 'This is why this worked, and this is why this didn't work'."Some of these things work because they're good, and some of these don't work because they're not. And I think if anyone had a formula for what makes one good, I would be very happy if they shared it with us, you know?" © Warner Bros. Christopher previously revealed that he was initially nervous about including Catwoman in the film, but Jonathan convinced him the character could fit into the tone of the series.The Dark Knight Rises, which has been rated 12A in the UK and PG-13 in the US, will be 164 minutes long, making it the longest Batman movie yet.The Dark Knight Rises opens on July 20.Watch Cillian Murphy discuss his rumoured appearance in The Dark Knight Rises with Digital Spy below: JJ Abrams' Westworld adaptation picked up for full season by HBOInterstellar's Jonathan Nolan adapting Isaac Asimov's Foundation for HBOWhy Interstellar had to be filmed on IMAX: 'There's nothing else like it'Interstellar review: Christopher Nolan's most emotional film yet ★★★★ More: Movies, Comics, Batman, Jonathan Nolan, Christopher Nolan, Tom Hardy, Anne Hathaway, Christian Bale, Gary OldmanPrevious: Andre 3000 to cover The Beatles, Muddy Waters in Jimi Hendrix biopicNext: Sharon Stone to join mother-daughter film 'Mother's Day' JJ Abrams' Westworld ordered by HBO Nolan adapting sci-fi Foundation for HBO Why Interstellar had to be filmed on IMAX Interstellar review ★★★★ Interstellar debuts new TV spot Nolans deny part in DC movie universe Person of Interest coming to Netflix New documentary looks at US TV showrunners Watch the new trailer for Interstellar Interstellar is Nolan's longest film yet

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New Radio Times The new edition of the Radio Times has been published in the UK, and features a foldout cover for Torchwood: Children of Earth. The magazine includes a four-page article on the five-part story, including a "script-to-screen" section.There is also an interview with John Barrowman, in which he criticises the BBC for cutting the series to five episodes following its move to BBC1.Barrowman said: "We were the most successful show on BBC3, ever. We moved to BBC2 because the ratings were so good, the ratings were great again and we were beating shows that had been on BBC2 for a long time. The decision was made to go to BBC1, and then we were cut. From 13 episodes down to five."The five episodes, the miniseries as I call it, are incredible, I have no doubt about that, but personally, I felt like we were being punished. Other shows move from BBC3 and 2 to 1, and they don't get cut. So why are we? It felt like every time we moved we had to prove ourselves."A BBC spokesman has denied Torchwood was being "punished", saying they wanted to create an "event" to launch the show on BBC1, with the new series stripped across one week.Radio Times editor Gill Hudson:"They are faced with their fiercest threat to date – one which throws the future of Torchwood and the entire human race spiralling into danger. Do they stand a chance of saving mankind?" Even if you've never seen Torchwood in your life, the brief description from its official website should at least make it clear that Last of the Summer Wine this is not."But it will be a new experience for die-hard fans, too: as well as moving to primetime BBC1 from BBC2, it's also switched from the usual 13-part weekly format to five parts to be run on consecutive nights."It's a trick that's been used to good effect before – last year's Criminal Justice and the recent Occupation, for example – and it's something we can expect more of. As increasing numbers of us watch what we like, when we like, 'event TV' will be needed to ensure we keep having compelling reasons to tune in on particular nights.Not that Torchwood star John Barrowman is entirely happy. Find out why – and what it takes to produce a a drama like this – on page 14." Chuck Foster

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Dragonslayer (US - DVD R1) Chris Gould checks out this fantasy film from way back in the hazy days of the 80s I don't know how many of you have read any of my previous reviews, but if you have you might know that I'm a tad on the nostalgic side. Since the advent of DVD I've made it my mission to track down every childhood favourite possible, from classics such as Star Wars and Ghostbusters, to lesser known films such as Krull and Starchaser: The Legend of Orin. 1981’s Dragonslayer was one of the last titles on my list, so I was excited to be given the opportunity to review this Paramount Home Entertainment release. Feature Set in a long-forgotten age of magic, Dragonslayer sees a horrifying, fire-breathing dragon—Vermithrax Pejorative—terrorising the British countryside. The only hope of stopping the beast rests with an aging sorcerer named Ulrich (Sir Ralph Richardson), but when he is unexpectedly killed the task falls to his young apprentice, Galen (Peter MacNicol of Ghostbusters II and Ally McBeal fame). Galen makes the long and arduous trip to the kingdom of Urland, where he learns of a barbaric lottery that routinely offers up female virgins to appease the beast (unless, of course, you happen to be the King’s daughter and therefore exempt). Seeking to put an end to the creature’s foul reign, a cocky Galen uses the power of his old master’s enchanted amulet to entomb Vermithrax in its lair. But, as is often the case when brash apprentices try to deal with situations beyond their abilities, Galen fails in his initial attempt to kill the dragon and his actions lead to terrible reprisals that will have far-reaching consequences for all… Dragonslayer is a relatively entertaining sword and sorcery adventure that lacks the big name talent required to take advantage of the material. In particular, I feel that the central roles of Galen and Valerian definitely required stronger actors. It not that the performances are particularly bad, just, well, ordinary. Still, there are strong performances elsewhere (Sir Ralph Richardson for example) and the go-motion effects used to render Vermithrax still hold up well when compared to today’s computerised efforts. In fact, aside from a few obvious blue screen moments, the dragon looks more realistic than most recent CGI attempts at bringing mythical creatures to life. What really surprised me was just how violent the film is, especially considering that Disney is behind the whole thing. I found it refreshing to watch a film with a more adult approach to the fantasy genre, and Dragonslayer is reminiscent of Krull when it comes to depicting graphic, often disturbing imagery (there are even a couple of brief ‘nudie’ shots as well). To be honest it’s nothing that’s likely to upset the average well-adjusted child, but the sight of a baby dragon gnawing the foot off of a corpse is going to shock your grandmother and probably isn’t suitable for toddlers either. Video Dragonslayer arrives in its theatrical ratio of 2.35:1 and is enhanced for 16:9 displays. The first thing that struck me was the cleanliness of the print, considering the film was originally released in 1981. I did spot the occasional nick or piece of dirt here and there, but the transfer still compares very favourably with a number of much newer releases. Colour rendition is particularly noteworthy, contrast remains reasonably consistent throughout, and while blacks aren't as inky as they could be, shadow delineation is good. To be fair the ‘greyish’ blacks could have much to do with the manner in which the film was photographed (using completely natural light, at least if the IMDb is to be believed). I’m actually struggling to think of any significant faults with the transfer. Ok, so it's a little soft and grainy when compared to modern film-to-DVD releases, but all-in-all it's a very capable effort. Audio Paramount provides a choice between Dolby Digital 5.1 and Dolby Digital 2.0 Surround. I opted for the 5.1 option hoping for an immersive experience, but alas this was not to be. Surround action comes almost exclusively in the shape of the score—which is suitably ominous whenever the dragon is present—but there are a number of totally missed opportunities to use the rears to draw the viewer into the heart of the action. Examples include the dragon flying overhead—or not, as is the case here—and the creature’s fiery breath. Although the inconsistent use of the surround channels is disappointing, I don’t want to sound completely negative as the track actually does a reasonable job of things on the whole. Dialogue is crisp and clear, there is little to no distortion and there’s a bit of oomph at the low end when needed. It’s not great, but it could have been a lot worse. Extras Well this is easy—zilch, nothing, nada; not even a trailer. It’s a real shame, as I’d have liked to learn more about the go-motion process used to bring Vermithrax to life, the set design, casting decisions and so on. A commentary by some of the cast and crew wouldn’t have gone amiss either. Bad Paramount, bad… Overall While this is yet another bare-bones release from Paramount, it does feature a surprisingly impressive visual transfer that is ably supported by a solid, if ultimately uninspiring Dolby Digital 5.1 track. Those of you looking for little more Lord of the Rings style entertainment might like to check it out, but while the low price makes it a no-brainer purchase for fans in search of a trip down memory lane, the decision to buy sight-unseen will surely rest on your affinity for the genre. However, as mentioned earlier in the review, the film's PG rating is somewhat misleading. There are several scenes of graphic violence that I wouldn’t feel comfortable allowing particularly young children to watch unsupervised, if at all, which is something worth bearing in mind. Krull (UK - DVD R2) TRON: Collector's Edition (US - DVD R1) Dolby Digital 5.1 English, Dolby Digital 2.0 Surround English Matthew Robbins Peter MacNicol, Ralph Richardson, Caitlin Clarke, John Hallam, Peter Eyre, Albert Salmi, Sydney Bromley, Chloe Salaman, Emrys James, Roger Kemp, Ian McDiarmid Back-up Plan, The Emmanuelle in Soho Red Dawn (2012) St. Elmo's Fire

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Will a Sundance Director's Mother Be the Next Vice President of the United States? By Bryce J. Renninger Last week at the Green Party's 2012 National Convention, Cheri Honkala, the founder of the local Pennsylvania group Kensington Welfare Rights Union and the Poor People's Economic Human Rights Campaign, was announced as presidential candidate Jill Stein's running mate in the 2012 election. Jill Stein for President Cheri Honkala Honkala also happens to be the mother of Mark Webber, the director of Sundance 2012 dramatic feature "The End of Love." Webber had a busy year at this year's Sundance; he also acted in Michael Mohan's "Save the Date" and Jamie Travis' "For a Good Time, Call...." Honkala raised Webber in Philadelphia as a homeless single mother. As a 2000 Salon profile of Honkala noted, Webber donated much of his early film earnings to his mother's causes. In an interview with Comedy Central's Indecision blog, Honkala said of her famous son: [Big Hollywood is] just gonna be jumping on the bandwagon. No longer is money going to go to Romney or Obama. My poor son, Mark Webber, will have the burden of making sure it all comes this way. Really, though, I have taken a lot of pointers from him. He's let me know I shouldn't believe anything anybody writes about me, except Comedy Central. Last year, Honkala was the Green Party candidate for Sherriff of Philadelphia, for which she ran on a "no evictions" platform. She received 6.6% of the votes. News, Mark Webber

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Photo courtesy of Mark Reay CONTACT Email: [email protected] or Phone: 718.768.6452 from 10 am to 6pm THE NEW YORK ACTING COACH (TM)LARKIN MALLOY "THE BRAND NAME IN ACTING COACHES": Backstage Acting Teacher and Private Coach to Actors of All Ages Good things are happening-I will be shooting a SAG feature this Spring and won't be teaching at CnC, but I will be continuing my quite successful (See Blog) individual coaching and scene work. 2 of my private acting students have gotten parts in stage plays, 1 has a new TV series in it�s final stages of production (A program in which I am also Associate Producer) and another student has landed a Contract role on a L.A/ series. Due to the success of my teaching, I�ve also adjusted my rates of payment to make it more available to a greater number of acting students, please contact me for details at 718-768-6452 or [email protected] Visit my Blog here to see actor's feedback from my last class. If you are serious in pursuing a career as a performer-or dying to find out if you have what it takes, now is the time to go for it! Larkin is private coach to many rising young stars and has studied with some of the finest teachers in the world as well as being one of the most successful actors of his generation (see Bio below). After teaching classes for a number of years, I will now also be focusing on what actors tell me they are looking for most-working one on one as a private coach and "Actor's Diagnostician". Dancers, musicians, all other other Performing Artists continue to train throughout their careers and actors should be no different if they hope to achieve success. As Performance Consultant at CBS my job was to get actors (some of whom had been hired largely on the basis of their looks) to feel confident that they could hold their own and perform at a professional level in front of millions of people every day. I have sat in on hundreds of auditions and screen tests and know what casting directors and agents are looking for from the actor; largely through lack of confidence I've seen how actors have sabotaged themselves through fear of taking risks and making strong choices - this can make all the difference between getting the job and hearing "NEXT!" This aspect of our craft is rarely, if ever, worked on in acting classes or with coaches. Open slots are available for private coaching at my Park Slope, Brooklyn studio (20 minutes from Times Square), or in a Midtown studio. If the performer wishes to focus on "audition technique", I provide a scene from a script, the actor has a chance to read it over and then we work on it together. the actor will learn to: • Prepare creatively for the audition • Explore the creation of a compelling character in a few pages of script • Learn the "dos" and "don'ts" of the screen test • Turn a "cold reading" into a "HOT" one • Make bold choices in preparation. • Build confidence so that every audition is consistently the best it can be Or, if the actor has a monologue or a scene for auditioning purposes, we can work to make it the best it can be. This process creates the actual real-world situation actors face when they have been called in to see a casting director for Film or TV and when interviewing with an agent. The difference, of course, is that instead of hearing "Thanks for coming in today, goodbye" from the Casting Director, we work together to determine how the reading would be perceived and what we need to work on to make it truly stand out. If the actor is looking to achieve success in TV Episodics, we work on the art of creating and maintaining a character in the ongoing process of defining and mastering the craft. The actor will learn how to bring the skills they have learned to the highly artificial and technical world of working before the camera. For the beginning actor, we work to establish the basics of character development, gaining confidence, analyzing a script and developing technique. In all modesty, I am really good at this and my background is unique in that I have been successful in many areas in this business for thirty years. My fee for each session is still the same $75 I've charged for the last 15 years (my accountant thinks I'm an idiot), but I love working with actors and I know many actors don't have much cash. I look forward to hearing from you and if you have any further questions, contact me here. Larkin's Bio:After directing at NBC-TV's "Another World" Larkin became the on-site acting coach at CBS-TV's "As the World Turns" for 7 years. Nine of his actors at "ATWT" were nominated for Best Acting Emmys during this time. The Executive Producer trusted him to work with the actors on the show from the time they got the scripts, through rehearsals up to taping while watching from the control room and consulting with the director and working individually with the actor. This job required quickly determining what can help an actor tell the story and how best to get that performance. He taught the on-camera acting class at the Weist-Barron School, is on the faculty of The New York Conservatory for the Dramatic Arts as well as teaching the Intermediate and Master Acting classes during the inaugural year at Greystone Studios. He has been selected to study with some of with the most renowned teachers in the world including Anatoly Efros at Moscow's Tangaka Theatre (Stanislavsky Method),Wynn Handman's Master Acting Program, Ron Daniels of the Royal Shakespeare Company, John Stix (Meisner), Gene Lasko, etc. Larkin started working as a professional actor in 1974 on the New York stage where he was a founding member of the off-off-Broadway company ATA. After playing starring roles at the Arena Stage in Washington, the Goodman Theater in Chicago, he did a season of classics at the famed Guthrie Theatre in Minneapolis. Returning to New York, he played at the Manhattan Theater Club, while his day job was creating the role of Sky Whitney on ABC's "Edge of Night", a role that earned him an Emmy nomination as "Outstanding Actor". Four years later, as "Edge" was winding down, he was asked to join the cast of CBS's "Guiding Light" to create the role of Kyle Sampson working opposite multi Emmy winning actress Kim Zimmer (playing Sky during the day and Kyle in the evening). Two years later, he came to star opposite Susan Lucci on ABC's "All My Children" where he played the role for which he is best known, Travis Montgomery. After a year as Clay on ABC's "Loving", he returned to his first love, the stage, working in regional theater across the US, returning to reprise Travis from time to time as well as teaching acting and coaching actors privately. He has appeared on network episodic series and feature films, narrated for "National Geographic" TV, is the announcer at "As the World Turns" and can be seen and heard in many commercial TV and radio spots.

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Features ‘All My Sons’ premieres ‘All My Sons’ premieres kmcalpin •March 5, 2013Features Liberty’s cast depicts subtle themes in a play dedicated to veterans A storm rolled across the stage of Liberty University’s Tower Theater opening night March 1 as the cast prepared to reveal a story riddled with tragic themes. Truth — The play demonstrates the consequences of dishonesty. Photo credit: Ruth Bibby According to Neal Brasher, the play’s director, “All My Sons” is a naturalistic play set in the mid-20th century. The play follows the story of a post-World War II family who deals with the loss of Larry Keller, who is supposedly missing in action. Kate Keller, the mother of Larry and Chris Keller, struggles through daily life without Larry and with the realization that his previous love has transferred her feelings to Chris. “The first act is all about covering up those issues and putting on a smile, but in the second and third act, things start getting churned up,” Witney Tatum, who played Kate Keller, said. Joe Keller, the father of Larry, supposedly produced faulty parts for WWII fighter planes — causing the death of many men. The play leaves the audience unsure about the truth of this until the performance’s conclusion. “Jesus talked about loving your neighbor as yourself,” Brasher said. “The moral of this play is about human beings all being responsible to each other — that we belong to each other.” According to Brasher, the symbolic actions and lighting effects used in the play are expressionistic. Many of the cast members often refer to a fallen tree displayed on set. The tree holds hidden value, according to Brasher. “Right after WWII, a lot of families would plant trees in honor of fallen family members,” Caleb Towns, who played Chris Keller, said. “The fact that it fell down on this day, and everything was coming out, that’s Larry in the show. If we reference that tree, we’re thinking about my brother, their son, their lover. He’s still a very real part of the show.” The nine-member cast of Liberty students depicts mature themes throughout their performance. According to Tatum, each attending audience’s reaction is different and provides the cast with a fresh start. “I’m really hoping that our work and Brasher’s insight … will result in something that is truthful and relatable to people who have experienced something like this,” Tatum said. Some audience members may not sympathize with the feeling of such a tragic family occurrence, but according to Towns, many values can be taken away from this production. “This is obviously a grand view scale of what dishonesty can do,” Towns said. “In small ways, this is what it does every time.” According to Brasher, each production demands approximately 70 hours of preparation from the cast. “Probably the most gratifying thing is to see the progression of the actors, especially because this is a theater education program,” Brasher said. “We have some very good actors in this cast.” Tatum said that she is excited to see the reaction that people like her grandfather, a Korean War veteran, will have to the show. “People who grew up in that time period, I’m excited to see their reactions,” Tatum said. Brasher has included a note in the program, dedicating the performance to the veterans of World War II and all the members of the armed forces. According to Brasher, that is a message that the cast and crew of “All My Sons” wants to clearly depict. “All My Sons” will be performed six times, concluding with a performance March 5 at 7:30 p.m. theater. Bookmark. Irish American month kicks off Master’s Inn offers free fun Leave a Reply Cancel reply

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Rate The MovieStar Wars: Episode VIIArticles(141)Photos(12)Videos(36)DirectorJ.J. AbramsProducerKathleen KennedyWriter(s)Michael ArndtGenreSci-FiCast Adam Driver as Unknown Andy Serkis as Unknown Anthony Daniels as C-3PO Carrie Fisher as Princess Leia (Rumored) Daisy Ridley as Unknown Domhnall Gleeson as Unknown Harrison Ford as Han Solo (Rumored) John Boyega as Unknown Kenny Baker as R2-D2 Mark Hamill as Luke Skywalker (Rumored) Max Von Sydow as Unknown Oscar Isaac as Unknown Peter Mayhew as Chewbacca Distributed byDisneyRelease DateDec 18, 2015LocationsLanguage Like us in Facebook Follow us in Google+ See More Movie News The Latest Scoop on "Star Wars: Episode VII" Movie Description(Click Here To Hide)The Iconic space opera franchise Star Wars will return with a new episode after the purchase of Lucasfilm by Disney. Rumors of directors, writers and actors are abundant, but one thing is for sure, there isn't a movie with more excitement and anticipation that the new Star Wars. FB Photo Credit: Walt Disney Studios Motion Pictures November 21st, 2013 The Latest Scoop on "Star Wars: Episode VII" Most of the news regarding "Star Wars: Episode VII" in recent months has been mostly speculation about potential casting calls and whether director J.J. Abrams was about to abandon ship. All these rumors were unsubstantiated, but recent weeks have brought some concrete news to light that has changed the project completely. The biggest piece of news is that original screenwriter Michael Arndt is no longer involved with the project. He is said to have been a huge fan of the Star Wars universe growing up. He had previously worked with Disney as the writer of "Toy Story 3," for which he earned an Oscar nomination. His script for the indie favorite "Little Miss Sunshine" already won him one Oscar. No reason was given for Arndt's abrupt departure. Not only is Abrams not jumping ship as previously rumored, he is also taking over screenwriting duties along with Lawrence Kasdan. Abrams is largely known as a director, but he is also a screenwriter; he penned the scripts for "Super 8" and "Mission: Impossible III," to name just a few of his credits. The legendary Kasdan had a hand in writing "The Empire Strikes Back," which is largely considered the best of all six Star Wars films to date. He was also a writer for "Return of the Jedi" and "Raiders of the Lost Ark," which means he has plenty of experience working with Harrison Ford, who played Han Solo and Indiana Jones in those two films respectively. Speaking of Ford, he is still remaining tight-lipped about whether or not he will be involved in the project. He has been making the talk show and promotional rounds recently to promote his new sci-fi flick "Ender's Game," and in nearly every interview, he has been asked about whether he will be returning as the scruffy-looking nerf herder in the planned trilogy of sequels. He hasn't given much away, but with filming due to start next spring in London's Pinewood Studios, the world will likely soon know his status on the film one way or another. There is some news on two potential new characters, though. Recently, Disney has released the character descriptions for two parts in a future film as part of a casting search. The first is the part of a teenage girl who has learned how to take care of herself because she lost her parents at a young age. She is street smart and uses her sense of humor to diffuse situations. The casting call is for any actress of any ethnicity who can play a teen about seventeen years old. The other character is named Thomas, and he grew up without a father figure in his life. He doesn't always have a lot of self confidence, but he steps up when the situation warrants it. The casting call asks for men between nineteen and twenty-three years of age with an athletic build and a handsome face. Considering the names of past Star Wars characters, most observers feel that the names Rachel and Thomas will not be the names of the characters in the film. The last piece of news about "Star Wars: Episode VII" is that it finally has an official release date. When Disney bought the franchise rights from creator George Lucas last fall, they announced the film would be coming in 2015, but no month or date was given. On November 7, the official Star Wars website published a press release with the official date—Dec. 18, 2015. This is a big departure from the usual release date of other films in the franchise, which was usually in May. With the recent news of Abrams and Kasdan rewriting the script, many felt that Disney might push the film back until sometime in 2016, but company executives didn't want to do that. Instead, the film will go from the expected spring date to the holidays, which may actually position it for greater success. The summer season, which generally begins in May, is usually very crowded with other big budget films with a sci-fi or fantasy focus. By releasing the film in December, Disney also ensures that "Star Wars: Episode VII" will not compete with "Avengers: Age of Ultron," a superhero film that is slated for a May 1, 2015 release. Since Disney owns both Marvel and Star Wars, it just makes good business sense for the two films not to compete for the same audience. Now both films can stand on their own to net what will likely be billions of dollars worldwide. Tags: Star Wars: Episode VIIYou Might Also Like... "Star Wars Episode VIII" to be filmed at Pinewood Studios Star Wars 7 titled "Star Wars: The Force Awakens" George Lucas blasts 'unimaginative' movie studios Warwick Davis cast in 'Star Wars: Episode VII'

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Jack the Giant Slayer Movie Reviews Jack the Giant Slayer Genre: SciFi/FantasyAction/Adventure Rating: (PG-13) User reviews on Jack the Giant Slayer I was a little surprised by this movie, pleasantly surprised. I expected very little of this version of the fairy tale read in pre-school. Instead, the special effects were pretty good, without vast amounts of blood splashed everywhere. The acting was very good by the principals, and the wistfulness was in the right spots. The love story lost itself in there somewhere, so the ending was a tiny bit predictable, but acceptable. Certainly worth seeing, but was, like most movies now, about a half hour too long. I thought the film was alright, it was a bit uneven and I wish it was more consistent. It is definitely visually superb film and I thought that the story was good and unique in a way and some of the scenes worked extremely well, however other scenes did not and the unevenness of the film was a tad tiring. I liked the tone of the film, it was clever and romantic without being snarky or gooey. I also thought that the lead actors did a great job and the supporting actors definitely helped them to shine. Overall, the film was a bit underwhelming but I think the film is amazing visually and it has a good tone, therefore I recommend seeing it in the theaters. I have to say that I did not expect to like this film, my friend really wanted to see it because she is way into all of those fantasy films like Lord of the rings and harry Potter, however i am not a fan of those films but I still liked this one. First of all, the film was spectacular visually, the world that was created definitely impressed me and entertained me, I think this film will definitely be nominated for best special effects or at least it should be. I thought the story was interesting and the cast was great and overall the film was very entertaining and definitely worth seeing on the big screen. Like my kids, I really like fairy tales so this was one I definitely had on my must-watch list. I also have a soft spot for Nicholas Hoult ever since I first saw him as the adorable little boy opposite Hugh Grant in the classic "About A Boy". I wish that all child actors grew up to be as successful and handsome and talented as he is...but I digress, ha! This movie was a treat for the whole family and I would even recommend it to anyone who has kids aged 10 and older. Some of the scenes are kind of scary, but it isn't any more violent than Peter Jackson's "The Hobbit" which I thought was pretty family friendly. On the whole, my kids enjoyed the movie and I enjoyed it alongside them as well. I would go back and may even venture to see it in 3D as they have been begging me for a good while now. The CGI is terriffic and eye popping. I would recommend it to anyone who loves the movies. Everyone knows the story of Jack and the Beanstalk. Poor farmboy trades in his last valuable possession (a cow, in most retellings) for a handful of magic beans. He is chastised by his family for the stupidity of his trade until he plants the beans, a magic beanstalk grows into the sky, and there he meets a vicious giant who smells his blood and wants to eat him. You know the ending. The story has been reimagined with mainstream Hollywood gusto as Jack and the Giant Slayer, featuring Nicholas Hoult as the eponymous hero (Hoult seems to be everywhere these days). Since it is a Hollywood action fantasy, it is heavy on the spectacle and a little light on story, which means that it seems to want to be like Snow White and the Huntsman or the recent godawful reimagining of Hansel and Gretel. Still, it’s pretty darn fun once you forgive all the escapism, which may be easier to do if you’re a fan of fantasy and action hybrids (which I admittedly am). The story tells of Jack the poor farmhand who accidentally stumbles into an alternate world where giants have been at war for ages and the presence of a human reignites their ferocious bloodlust. The supporting players (Ian McShane, Bill Nighy, Eleanor Tomlinson) all play together well enough opposite Hoult as their standard issue royal parts, but it is Ewan McGregor as the King’s loyal knight who steals the show with a wistful and courageous performance. One of the better popcorn flicks of late, to be sure. Write a review for Jack the Giant Slayer

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20 Fun Facts About The Exorcist On Its 40th Birthday • Thursday, December 26, 2013 at 6:00 PM • 0 Tweet Has it really been 40 years? Yes, the movie The Exorcist was released the day after Christmas in 1973. I can imagine that really brought people back down to earth after a jolly holiday. To celebrate the anniversary of the movie that brought horror to a new level, mental_floss has posted a list of fun facts about The Exorcist. Here's a taste:3. THE NAME OF THE DEMON IS PAZUZU.Though it’s never stated in the film, the demon that takes possession of Regan MacNeil has a name: Pazuzu, which is taken from the name of the king of the demons in Assyrian and Babylonian mythology. 4. MERCEDES MCCAMBRIDGE PROVIDED THE VOICE OF THE DEMON.The woman Orson Welles once dubbed “the world’s greatest living radio actress” was hired to provide the voice for Linda Blair’s most demonic moments, a decision that became the source of much controversy when McCambridge was not credited for her performance. Some say that this decision was solely McCambridge’s, who claimed that she didn’t want to take away from Blair’s performance, then later changed her mind. Under the threat of legal action, her name was quickly added to the credits.She deserved the credit -you'll find out what she did to make her voice sound like a demon when you read the rest of the movie trivia list at mental_floss. PREV Tags: The Exorcist, Movie Trivia 19 Fascinating Facts About The Exorcist The Exorcist As An 80s Sitcom Test Footage from The Exorcist The Exorcist Amigurumi To Kill A Mockingbird / Exorcist Mash Up Painting by Dave MacDowell 4 Strange Cases of Demonic Possession "20 Fun Facts About The Exorcist On Its 40th Birthday"

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Photo by: Claire Bilderback What happens when food has the starring role in film? You might leave the theater with timpano on the brain. By Leslie Bilderback A few weeks ago, while flipping channels in search of something to watch with my daughter (desperate to avoid yet another episode of Glee — I can only take so much), I came across one of my favorite movies: Big Night. I used to show it to my culinary students on the last day of class, while I took them aside one at a time to discuss their grades. (A good movie softens the blow.) To my delight, my daughter really liked it. If you haven’t seen it, Big Night (1996) is the story of two Italian brothers trying to save their New Jersey restaurant with one big dinner and Louis Prima as the guest of honor. (Once I explained that Louis Prima was the voice of King Louis in The Jungle Book, she liked it even more.) My kids and I don’t always agree on movies. As a kid, I adored the The Love Bug and Dr. Doolittle, but once the new versions arrived, my beloved (superior) classics never stood a chance. How they could prefer Lindsay Lohan to Buddy Hackett is beyond my comprehension. Ever since Big Night, we have had timpano on the brain. This is the large baked pasta dish, shaped like a kettle drum, layered with all sorts of incredible things and wrapped in sheets of pasta. It is the pièce de résistance of the film, but in the 15 years since its release, I have yet to see one on an actual table. (For a while I thought it was an urban myth, like the chupacabra or alligators in the sewer.) I’ve heard that restaurants were serving it when the film came out, which wouldn’t surprise me. Whenever food plays a supporting role on the big screen, it inevitably makes its way into the marketplace. In fact, it’s not uncommon for a movie to spark nationwide food trends. Remember Fried Green Tomatoes? After that movie came out in 1991, fried green tomatoes were on every menu, from trendy hipster joints to greasy spoons. Author Fannie Flagg claimed she remembered the Depression-era dish from her Southern childhood at the Irondale Café (which inspired her fictional Whistle Stop Café). But fried green tomatoes were actually a rare sight in the South until the 1990s. Not only that, it looks like they sprang from a Northern Jewish tradition. (I beg your pardon, suh!) The earliest written recipe was found in a Midwestern Jewish cookbook from the 19th century. The recipe appears in newspapers in the early 20th century, but only in the North. It seems that fried green tomatoes were common from Massachusetts to Nebraska, a region with a short growing season and a need to use the fruits before the frost set in. The first mention of fried green tomatoes in the South appeared in an Alabama paper in 1944. It was a syndicated article about the U.S. Department of Agriculture’s new mandate to prescribe nutritious breakfasts of “shortcake, baked beans and fried green tomatoes.” The Irondale (a.k.a. Whistle Stop) was in Alabama, so I suppose that could explain Flagg’s recollection. Today the café fries up 60 to 70 pounds of green tomatoes a day for tourists looking to recapture the magic of spousal abuse and the repressed homosexuality of the 1930s. Red velvet cake, too, found new life after its movie debut. The 1989 chick flick Steel Magnolias features a red velvet groom’s cake shaped like an armadillo. (It’s also known as the “roadkill cake” because once it has been cut, the red interior takes on new significance. ) I hesitate to bake this ubiquitous cake for fear of being labeled “trendy,” but just to be clear, I got my recipe in 1976 (I was just a tot!) from a Southern gal, handwritten on an index card, with ingredients that included “oleo.” An authentic red velvet cake is made the old-fashioned way, with vinegar and baking soda, which create the carbon dioxide reaction that leavens the cake. (Think pâpier-maché volcano). This acid-alkaline reaction also deepens the color of the cocoa to a devilish red-brown (that’s how chocolate devil’s food cake got its name). Although both the Canadian department store Eaton’s and the Waldorf-Astoria hotel in New York claim the cake’s origin, it is likely that one cook simply wanted her devil’s food cake more devilish and added food color. As recently as the 1960s, newspapers were still calling it “red devil’s cake.” Babette’s Feast, a 1987 Danish film abo

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LONDON SPRING PREVIEW 2014: Miss Saigon, Fatal Attraction, Dirty Rotten Scoundrels and Shakespeare Turns 450 Eileen Atkins Looking ahead to the 2014 spring theatre season in London and the U.K., a new candle-lit theatre is christened, Shakespeare turns 450, Gillian Anderson in Streetcar, Angela Lansbury back in the West End for the first time in nearly 40 years, plus productions of Fatal Attraction, Dirty Rotten Scoundrels, Miss Saigon and a new adaptation of The Full Monty. A New Theatre and Old Plays The year may have ended disastrously in the West End with the partial collapse of a ceiling at the Apollo, a 112-year-old Edwardian theatre that left over 80 theatregoers injured (seven of them seriously). But 2014 begins more happily with the opening of a brand-new indoor Jacobean theatre within the complex of Shakespeare's Globe on the South Bank that will turn the building into a year-round theatrical producer. The Sam Wanamaker Theatre – named in honor of the Globe's American actor-founder – will seat 340 people with two tiers of galleried seating and a pit seating area, predominantly lit by candles. Its inaugural production will see Globe artistic director Dominic Dromgoole directing Gemma Arterton -- who made her professional stage debut at the Globe in 2007 -- in the title role of John Webster's The Duchess of Malfi (from Jan. 9). Also in the opening season there will be a new production of The Knight of the Burning Pestle (from Feb. 20) and a solo show about Ellen Terry, performed by Eileen Atkins (from Jan. 12). Looking ahead to the summer months in the main Globe auditorium, the 2014 season will draw together two momentous anniversaries: the 450th anniversary of Shakespeare's birth and the centenary of the First World War, with a season of four Shakespeares and four new plays being presented under the umbrella title Arms and the Man. There will be new productions of Antony & Cleopatra, Julius Caesar and The Comedy of Errors, plus a revisiting of a 2006 staging of Titus Andronicus; and new plays by Howard Brenton, David Eldridge, Richard Bean and Simon Armitage. Meanwhile at London's other main summer outdoor theatre, the Open Air Theatre, Regent's Park, the season will include new productions of Arthur Miller's All My Sons (from May 15), Hobson's Choice (from June 12), Porgy and Bess (from July 17) and the return of last year's hit production of To Kill a Mockingbird (from Aug. 28, prior to a national tour), as well as daytime performances of a production of Twelfth Night produced specifically for audiences of six and over (from June 21). Advertisement Elsewhere around town, there's more Arthur Miller at the Young Vic, where Dutch director Ivo van Hove will stage A View From the Bridge (from April 4). Also at the Young Vic, Juliet Stevenson will star in Beckett's Happy Days (from Jan. 23), Peter Brook and Marie-Hélène Estienne will return with The Valley of Astonishment (from June 20, a new piece exploring the mysteries of the human brain), Benedict Andrews will direct Gillian Anderson as Blanche DuBois in A Streetcar Named Desire (summer 2014, dates to be confirmed) and Katie Mitchell will direct Chekhov's The Cherry Orchard (from Oct. 10, in a new version by playwright Simon Stephens). There's more Chekhov – in Russian – when Moscow's Moccbeta State Academic Theatre brings Andrei Konchalovsky's productions of Chekhov's Uncle Vanya and Three Sisters (to Wyndham's from April 23).

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PLAYBILL ON OPENING NIGHT: A Streetcar Named Desire; The Kowalskis Don't Live Here Anymore Blair Underwood; guests Michael C. Hall, Tonya Pinkins and Richard Thomas Meet the first-nighters at the Broadway opening of A Streetcar Named Desire starring Blair Underwood and Nicole Ari Parker. * It means "white woods, like an orchard in spring — you can remember it by that, if you care to," but on April 22 A Streetcar Named Desire pulled into the Broadhurst with Broadway's first African-American Blanche DuBois. She was in a state of contained disarray, confused, disoriented, needing directions. "I'm looking for my sister, Stella DuBois," she says to a kind stranger. "I mean, Mrs. Stanley — " "That's the party," the stranger shot back, cutting "Kowalski" off at the pass and leaving Tennessee Williams' classic play free for its first multi-racial rendition. Nicole Ari Parker is the faded Southern belle of the occasion, more on the cusp of decline than over-the-hill, teetering fragilely, but with a not entirely extinct sense of style. Anybody who's been up for the NAACP Image Award seven times running for her role on Showtime's "Soul Food" knows how to keep it together. "Blanche is usually cast much more mature," she allowed. "It's a dream come true, for real. It's not just a bumper sticker. Dreams do come true. I would love to tell young actors and actresses: 'Don't give up.' I waited 20 years for this phone call." Advertisement All too aware of the eight Blanches who beat her to Broadway, she took pride in being the first of her race to play the part. "It's a personal feeling of gratitude and humility, just to be a part of history, but, at the end of the day, when you do Tennessee, race is the last thing you think about. The play demands you take a journey that's universal to being a human being. And, yes, I am an African-American woman who is making her debut as Blanche on Broadway after 65 years of this play being in existence, but what I really wanted to do was find the best way to serve this material. There was no interest to change it or distort it or make a political point. It was about restoring this play to its glory. The music of the French Quarter, the heat of the French Quarter, the possibility of being French Creole — nothing was out of sorts." At a recent Wednesday matinee, something was certainly out of sorts. No sooner had she strolled into her new home-away-from home than she accidentally laid claim to it. The front door, much traumatized by Stanley's slamming exits and entrances, refused to open, not for sister Stella (Daphne Rubin-Vega) and not even for the testy lord of the manor (Blair Underwood). Parker had Rubin-Vega walk through the [invisible] wall of Eugene Lee's wrought-iron, open-air set. Then, struggling to keep the theatrical magic alive, she opened a window for Stanley to walk through. Talk about "meeting cute"! A regular handyman around the house, Stanley removed his T-shirt (to some audible swoons) and tied it to both sides of the door knob to prevent other catastrophes. The actors blithely plowed through all of the above. View the Entire Photo Gallery Nicole Ari Parker and Daphne Rubin-Vega Photo by Joseph Marzullo/WENN Parker can now laugh about that stage malfunction: "The beauty of the theatre is that real life has to happen in real time, and we have to deal with it," she said. "We were all on our toes, and the audience was so generous and really supported us through that snafu. Who said it? 'There's no distraction, only potential inspiration.'" Underwood has always had three great roles on his bucket list — Hamlet, Stanley and Walter Lee in A Raisin in the Sun— and now, finally, there's movement on that front: "I always thought I wouldn't necessarily have an opportunity to play Stanley Kowalski, he being Polish and all, but the fact that [lead producer] Stephen Byrd has been able to secure the rights to this production, as he did with Cat on a Hot Tin Roof, made it a possibility. When I even thought there might be a possibility to do it, I jumped at the chance." He has the hormone count for Stanley down pat, but rarely have we seen a meaner one. The actor has no problem at justifying his character's brutality. "Look what Blanche is doing to Stanley, look what she's doing to his life," he pointed out. "I'm a parent of three kids, and anybody who has children knows when that first child enters your life, a whole sense of nesting and protecting enters the picture. "That's part of Stanley's dynamic, too. We don't talk a lot about it, but he has a child that's coming, and that whole Napoleonic code thing is serious business for him. If Belle Reve and the family insurance policies are going to help him provide for his family — he's a blue collar kind of guy — then he's going to go for it. For that to be taken away from him makes no sense at all, and he's hopping mad about that." Did he think the marriage would last long after Blanche's cruel exit? It didn't in the movie, thanks to the censors of the time (1952). "In the movie, the ending was such a big issue with the Breen Office," Underwood remembered. "At the end Stella leaves him because they felt Stanley had to be punished. It's not in the play. That's not what Tennessee Williams wrote. Personally, I think the marriage would have lasted. It's highly dysfunctional, but, like many dysfunctional marriages, I think it would last."

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Sun TV Show Zee Tamil TV Show Polimer TV show Vijay TV Serial Zeetamil Serial Polimer TV Serial Live FM Live Thanthi TV Live Lotus News Balakumaran Indira Soundarrajan Jaisakthi Kanchana Jayathilagar Manimala Megala Chitravel Ramanichandran Uma Balakumar H Movie Index, Movies, Tamil Dubbed Share this post Hard Target Tamil Dubbed Hard Target movie, Hard Target Tamil Dubbed movie, Hard Target movie online, Hard Target Tamil Dubbed movie online, Tamil Dubbed movie online, online Tamil Dubbed movie, Tamil Dubbed movies, Hard Target Tamil Dubbed movie DVD, Hard Target high quality movie online, free Hard Target is a 1993 American action film directed by Chinese director John Woo. The film stars Jean-Claude Van Damme as Chance Boudreaux, an out of work Cajun merchant seaman who saves the young woman Natasha Binder (Yancy Butler) from a gang of thugs in New Orleans. Chance learns that Binder is searching for her missing father (Chuck Pfarrer), and agrees to aid Binder in her search. Boudreaux and Binder soon learn that Binder’s father has died at the hands of wealthy sportsman Emil Fouchon who hunts homeless men as a form of recreation. Directed by John Woo Produced by James JacksSean DanielDaryl KassSam Raimi Written by Chuck Pfarrer Starring Jean-Claude Van DammeLance HenriksenYancy ButlerArnold VoslooWilford Brimley Music by Graeme Revell Cinematography Russell Carpenter Editing by Bob Murawski Distributed by Universal Pictures Release date(s) United States:August 20, 1993 (1993-08-20) Running time 97 min. Country United States Hard Target was the John Woo’s first American film and was also the first film made in Hollywood by a Chinese director. Universal Pictures was nervous on having Woo direct a feature, and sent in director Sam Raimi to look over the film’s production and to take Woo’s place as director if he were to fail. Woo went through several scripts finding mostly martial arts films which he wasn’t interested in. After deciding on Chuck Pfarrer’s script for Hard Target, Woo wanted to have actor Kurt Russell in the lead role but found Russell too busy with other projects. Woo then went with Universal Studios initial choice of having Jean-Claude Van Damme star. Woo got along with Van Damme during filming and raised the amount of action in the film as he knew that Van Damme was up for it. After 65 days of filming in New Orleans, John Woo had trouble with the Motion Picture Association of America to secure the R rating that Universal Pictures wanted. Woo made dozens of cuts to the film until the MPAA allowed it an R rating. On its initial release, Hard Target was a financial success but received poor reviews film critics. Critics found Hard Target to have good action scenes but noted the weak script and poor quality acting from Jean-Claude Van Damme. Name(required): E-Mail(required): Copyright © 2014 RAJTAMIL. All Rights Reserved.

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Follow us on: GHOSTBUSTERS Ever since the day I purchased my first Laserdisc player, I wanted to own the best possible version of GHOSTBUSTERS. Back then, I would venture into my favorite Laserdisc shop once a week and ask if they heard any news about a Letterboxed version of GHOSTBUSTERS. Of course, the question got tiresome after a couple of years, but a Letterboxed GHOSTBUSTERS finally appeared under the auspices of The Criterion Collection. When I purchased my DVD player, again I couldn't wait for to own the best possible version of GHOSTBUSTERS. However, this time around I thought that the wait wouldn’t be quite so long, since Columbia TriStar's early advertising materials indicated that GHOSTBUSTERS would be released on DVD very soon. Now even though GHOSTBUSTERS was "promised" for DVD, the "official" announcement took almost as long to materialize as that first Letterboxed Laserdisc. Well, I am happy to say GHOSTBUSTERS has finally appeared on DVD and the disc is well worth the wait. For the six people out there who never saw GHOSTBUSTERS, let me describe the plot of this supernatural comedy. Three University professors who specialize in parapsychology are forced into the private sector when the school cuts off their funding and throws them out into the street. Using the knowledge they've gained doing their paranormal research, doctors Venkman (Bill Murray), Stantz (Dan Aykroyd) and Spengler (Harold Ramis) set themselves up in business as the Ghostbusters. At first, this trio of ghost exterminators finds business slow. Then suddenly, Manhattan Island is besieged by supernatural activity, with the Ghostbusters reaping the benefits of countless hauntings. With the level of ghostly activity is well beyond the Ghostbusters' wildest dreams, the scientists soon discover the true cause of the paranormal occurrences on the doorstep of their first client. It seems that Dana Barrett (Sigourney Weaver) lives in the building that the Ghostbusters deem "spook central" because of its unique properties to channel supernatural energy. The building becomes the doorway to doomsday, when an ancient demonic force crosses over into our realm. As the situation in New York City grows progressively worse, it is up to the Ghostbusters to save not only Dana, but also the rest of the world from Armageddon. On the surface, the plot of GHOSTBUSTERS sounds dark and scary. However, the screenplay by Dan Aykroyd and Harold Ramis takes a tongue-in-cheek approach that keeps everything light and very funny. Bill Murray is utterly hilarious as the scientist with the personality of a flimflam man. Aykroyd and Ramis get their share of laughs, however Aykroyd has a number of moments in the film that rival Murray’s for their hilarity. Rick Moranis also gets some big laughs as Louis Tully, the nebbish accountant that live across the hall from Dana Barrett. The cast of GHOSTBUSTERS also features Annie Potts, William Atherton, Ernie Hudson and David Margulies. Columbia TriStar Home Video has made GHOSTBUSTERS available on DVD in a great looking wide screen presentation that includes the 16:9 anamorphic enhancement. The source material used for the transfer is very clean, with few noticeable blemishes and little apparent film grain. GHOSTBUSTERS has been framed in its original 2.35:1 theatrical aspect ratio and is as sharp and detailed as the film is ever likely to be on NTSC video. The transfer is somewhat softer looking than a brand new film, but that is the nature of 15-year-old film stocks and not a weakness in the transfer. Actually, the superior nature of the transfer brings out the shortcomings in the film’s optical special effects, which are evidenced in the visible garbage mattes around a number of the ghosts and other inserted objects. Color reproduction offers natural looking flesh tones, although saturation seems a bit subdued. Blacks are deep black and the image has reasonably good contrast. Digital compression artifacts are concealed by the use of dual layer technology and first rate DVD authoring. GHOSTBUSTERS has been upgraded to a Dolby Digital 5.1 channel soundtrack for this release. The new mix fully displays its mid-eighties heritage, with its limited use of the surround channels providing some ambience and occasional effects. Since the surround channels are used sparingly, the soundtrack lacks the enveloping effect one would find in new film. There is a strong forward soundstage with good channel separation and cleanly reproduced dialogue. Bass reproduction is pretty good, and Elmer Bernstein’s score (as well as the other music) sounds far better than it has in the past. Subtitles are provided on the DVD in English. Columbia TriStar Home Video has pulled out all the stops to make GHOSTBUSTERS a terrific collector's edition DVD. The interactive menus contain animation, music, sound effects and full motion video. There is a really cool 3-D interface that I thought to be fun and something that could be exploited on many other titles. Of course, the menus provide the standard scene selection feature, but more importantly, one uses the menus to access the disc's impressive array supplements. First and foremost GHOSTBUSTERS offers an inventive "live" video commentary with silhouetted version of director Ivan Reitman, associate producer Joe Medjuck and writer/star Harold Ramis. The commentary is presented in the style of MYSTERY SCIENCE THEATER 3000, with the participants appearing in front of the image as though they were sitting in front of the viewer in a movie theater. Yes, the silhouettes move and point at the screen- that's why they call it a "live" video commentary. Since the silhouettes are a function of the subtitle feature, they can be switched off to allow one to listen to the commentary with an unobstructed view of the film. The commentary itself is a whole lot of fun and filled with choice tidbits making it a "must listen" for fans. Other supplements include two featurettes; one from the original release and one newly prepared for this DVD. Unfortunately, the new one omits interviews with Bill Murray, Sigourney Weaver and Rick Moranis. However, the DVD does include storyboards with a split scene comparison, production photos, conceptual drawings, deleted scenes, a documentary with the special effects team, special effects before and after, theatrical trailers, production notes (via the subtitle function) and DVD-ROM specific features. The only thing that isn't included on the DVD is the music video for the hit song GHOSTBUSTERS by Ray Parker Jr.. GHOSTBUSTERS is still a whole lot of fun and you can't go wrong with this feature rich DVD. Absolutely recommended. Buy Posters at AllPosters.com DVD reviews are Copyright � 1999 THE CINEMA LASER and may not be copied or reprinted without the written consent of the publisher. THE CINEMA LASER is written, edited and published by Derek M. Germano. RSS Feed & Share Links

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TicketsNow > Theater Tickets > Musicals Tickets > Matilda the Musical Tickets Matilda the Musical Tickets Matilda the Musical is set to take Broadway by storm! The story of Matilda that filled book pages and the silver screen flows seamlessly into the musical that is enchanting audiences of all ages! Purchase your Matilda the Musical theater tickets now! Shubert Performing Arts Center Orpheum Theatre-San Francisco Matilda the Musical Theater Tickets The classic Roald Dahl book "Matilda" has been a staple in the lives of many young children since it was published in 1988, and the film adaptation has filled much the same role in the years since its release. The famous tale of a super-smart child has made its way to the stage, and Matilda the Musical tickets offer fans the chance to see a unique take on the popular story. There was considerable interest to bring Matilda to the stage in 2009, and it wasn't long before the wheels were set in motion. By 2010, the show had made its debut in England, and not soon after there were talks of it heading across the pond to Broadway. Premiering in the states in 2013, the musical is sure to enchant audiences of all ages. Anybody who has read the book or seen the movie is certainly familiar with the story. The play follows the life of young Matilda Wormwood, a gifted child who is often overlooked by her ignorant family and authoritarian school administrators. As she realizes her book smarts, it becomes more apparent she has powers other than the ability to read at high level. The reception of Matilda the Musical has been about as warm as one could expect. In 2011, it took home a number of Olivier Awards including trophies for Best New Musical.

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Date Dead in 3 Days 2 (2008)Although an improvement over the first, it's still not much better or different than what genre vets have already seen. The first half plays out like a mystery, why the 2nd is every bit as clich&eacute;d and... N/A The Horde (2009)The film gives us some cool characters and scenes, but lacks the creativity and atmosphere that it could've had. With a non-existent story, pacing issues in the mid-mark and a poor ending, the movie's only... N/A Rare Exports: A Christmas Tale (2010)Though it never reaches its full potential, Rare Exports still remains an entertainingly lurid little Christmas treat thanks to its great production value and fresh take on the ever popular evil Santa subgenre that should... N/A Cold Prey 3 (2010)Cold Prey 3 isn't necessary a bad film, in fact, as a standalone it's a pretty decent backwoods slasher. However, when compared to the previous movies it just falls flat, and in many ways. Not recommended unless... N/A Troll Hunter (2010)More of a fantasy-comedy, Troll Hunter proved to be a fun and intriguing ride from start to finish; offering an original premise and some great CG and creative look for these large creatures. Fans of the "found footage... N/A Vampires (2010)This is a film that you'll have to like from the start, because if you can't get into it early on then you'll probably end up spending a majority of the movie checking the running time and wondering when it... N/A Julia's Eyes (2010)Julia's Eyes isn't a bad film, but it definitely could have been a better addition to the genre had it kept the pace and intriguing storyline of the first half. Unfortunately, in the second half much of the mystery... N/A Saint (2010)Saint is a surprisingly fun and enjoyable slasher that doesn't shy away from the gore and mayhem, but due to some bad decisions (not using the Bishop enough) and delivering an even worse climax, the film falls short in... N/A The Pack (2010)The Pack is a decent flick that attempts to modify a tired sub-genre and although it stumbles along the way due to some pacing issues, comes out above your normal effort. It's a mixed bag for me, but if you don't... N/A Sector 7 (2011)Sector 7 is yet another failed attempt at recreating the success of The Host, and instead, giving us a SyFy-esque creature feature in terms of story and effects. Despite all that, the movie kept my interest for the most part... N/A Juan of the Dead (2011)Juan of the Dead turned out to be a surprisingly fun flick thanks to comedy that works and its creative way it approached the zombie apocalypse. Worth a look. N/A P.O.V. - A Cursed Film (2012)Though the film doesn't necessarily offer anything too original, there are some creepy and interesting aspects that make it stand out a bit more than the norm. Of course it does suffer from some pacing issues and... N/A Game of Werewolves (2011)This is a fun werewolf pic that doesn't take itself too seriously and delivers some entertaining old school mayhem. The most positive aspect being the practical and classic look of the werewolves themselves, which is a... N/A Sleep Tight (2011)While giving us a creepy performance from the lead antagonist and some seriously tense scenes throughout, Sleep Tight really shines in the horrifying sense of how it forces us to question how safe we really are in our normal... N/A Phobia 2 (2009)Fans of Asian horror or anthologies in general should definitely give this a look. Thanks to all the creative stories, it works as both a creepy watch and an entertaining parody. N/A Dead Snow 2: Red vs. Dead (2014)Not only is Dead Snow 2 a major improvement over its predecessor in every aspect, but it's also one of more entertaining and creative zombie films I've seen in years. A high 7-rating from me; check this baby out! N/A LATEST VIDEOS

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Safety Not Guaranteed Director Colin Trevorrow to Helm Jurassic Park 4 Theater Review: Christopher Durang’s Vanya and Sonia and Masha and Spike obits David Edelstein on the Spirit of the Boston Phoenix By David Edelstein The closing of the Boston Phoenix should hit me hard — it was my first professional gig as a film (and theater) critic, and I stayed nearly three years in the early eighties, before decamping for the Village Voice. I was thrilled every minute of my time there. No hyperbole: every minute. Naively or not, I felt it was everything I’d ever dreamed of in a place of work —loose, quirky, but with a sense of mission. A mandate to be smarter, more idiosyncratic, fearless. But I haven’t read it in years, even though it continued to publish many gifted writers. I think I stopped because it didn’t seem “special” anymore, because alternative journalism doesn’t mean what it did back then. Most journalism — almost everything on the Internet — is “alternative.” We won, and the Phoenix, I guess, finally lost. As Boston After Dark, it rode in on the counterculture, when the Times was the “Gray Lady” and the Boston Globe often viewed (perhaps unjustly) as a repository of conventional wisdom. You could write long in the Phoenix. You could write “fuck” in the Phoenix. You could make fun of the Globe and the Times. The enterprise, admittedly, was hardly pure. It had been taken over by a former writer named Stephen Mindich — at which point many of the original staff quit and set up a rival publication called The Real Paper. That story was colorfully fictionalized in Joan Micklin Silver’s film Between the Lines, which I saw in the theater three times while writing for the Harvard Crimson — then also imbued with a lefty-counterculture spirit and a lot of roguish individualists. I loved the onscreen cynicism of John Heard’s investigative reporter and the flakiness of Jeff Goldblum as the celebrity rock critic and the cast that included Lindsay Crouse, Jill Eikenberry, and Bruno Kirby. But I didn’t get a job at The Real Paper. It was the Phoenix that was looking for a third-string theater critic and later a fourth-string film critic. I made $35 a review. I was in heaven. The lowly freelancers had little contact with Mindich, who once told an editor who complimented his sweater that it “cost more than you make in a week.” Mindich also worked diligently and successfully to keep the writers from unionizing. There were rumors — never proven — that he helped drive The Real Paper out of business. But he let us all write what we wanted, for which I am still grateful. There wasn't a single hack at the Phoenix when I was there — no one who didn’t care deeply about his or her prose. My first editors, Carolyn Clay (theater) and Stephen Schiff (film) still rank among the best I've ever had. The Phoenix (and Real Paper) had been a place for critics like Janet Maslin and David Denby and Jon Landau to shine. Lloyd Schwartz was and is brilliant on classical music. Charlie Pierce — now a superlative political blogger for Esquire — was there, along with writers I deeply admire such as Gail Caldwell, Caroline Knapp, Laura Jacobs, Michael Sragow, Scott Rosenberg, Josh Kornbluth. I’m forgetting many others, but not my colleague on the film desk, Owen Gleiberman, who was among the most generous and convivial I’ve ever known. We’d go out and see movies and come back breathlessly to report. The people at the top of the masthead weren’t friendly, but we — or at least I — didn’t need them because the Phoenix let me find my own voice. I could try anything and see if it would fly. Ads — including Personals — paid for a lot of what we did, but for the most part the writers didn’t have to deal with that side. (For the most part: a rapacious theater-chain poobah now and then made his feelings known.) Although I write now for a mainstream magazine, I think I’m still an “alternative” journalist — largely thanks to the spirit of the Phoenix and the memory of people whose work I still cherish. When a few years back the Voice was bought out by the New Times syndicate and began shedding long-time writers and editors it sent a message to the world. You couldn’t do what you wanted to do in “alternative” journalism anymore. You had to behave. Sure, it made for less self-indulgence (and shorter pieces). But it made — ironically — alternative journalism seem less alternative than blogs, in which writers could think of themselves as cult figures and often be correct rather than grandiose. Without that sense of danger — and at a time when readers don’t need Personals or listings in print form — the Boston Phoenix didn’t have a reason for being. No, that’s wrong. Good writing and reporting is always its own reason for being. Its being just didn’t have the same urgency. It wasn’t what I remember — and no doubt romanticize: a beacon. This post has been revised since first publication. obits, Photo-Illustration: Photos: Corbis; The Boston Phoenix

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Italian special effects master Rambaldi dies at 86 Friday - 8/10/2012, 4:24pm ET By COLLEEN BARRY Associated Press MILAN (AP) - Carlo Rambaldi, a special effects master and three-time Oscar winner known as the father of "E.T.: The Extra-Terrestrial," died Friday in southern Italy after a long illness, Italian news media reported. He was 86. Rambaldi won visual effects Oscars for Steven Spielberg's 1982 blockbuster, Ridley Scott's film `'Alien" in 1979, and John Guillermin's `'King Kong" in 1976. "Carlo Rambaldi was E.T.'s Geppetto," said Spielberg, referring to the fictional character who created Pinocchio. " All of us who marveled and wondered at his craft and artistry are deeply saddened by the news of his passing." Rambaldi worked on more than 30 films, but was best known for his work on E.T., for which he created three robots, two costumes worn by actors in the scenes when E.T. walked, and gloves for the hands. Rambaldi, a wizard of a discipline known as mechatronics _ which combines disciplines including mechanical, electronic and system design engineering _ did not hide a disdain for computerized effects. `'Digital costs around eight times as much as mechatronics," Rambaldi was quoted by the Rome daily La Repubblica as having once said. `'E.T. cost a million dollars and we created it in three months. If we wanted to do the same thing with computers, it would take at least 200 people a minimum of five months." Rambaldi was born in 1925 in the northern Italian region of Emilia-Romagna and graduated from the Academy of Fine Arts in Bologna in 1951. While he dreamed of becoming an artist, he was drawn into the world of cinema when he was asked to create a dragon for a low-budget science fiction movie in 1956. He moved to Rome and found work in television before his first big success, the 1975 Italian horror film `'Deep Red." He drew the attention of Dino De Laurentiis, who brought him to Hollywood to work on `'King Kong." Italian director Pupi Avati described Rambaldi as `'a child who loved to play and make his toys. A child who dreams of making a theme park of all his characters," the news agency ANSA reported. The pair worked together on a 1975 film. `'In those years, Rambaldi was the only craftsman capable of creating, as he did, a fig tree 12 meters high that he carried to the center of Ferrara with a huge truck, a fig tree that was to change color with the seasons, and also shed its leaves." Rambaldi had been living for about a decade in the Calabrian city of Lamezia Terme, where he died.

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The Coolest Site You Should Have Heard Of By Now… "old" BFB Home Video Title of the Week: JAWS (1975) on Blu-ray review and infoBy Mark WaltersPublished: August 14, 2012Posted in: Home Video, NewsComments [1]Digg it!Facebook Tweet It’s almost hard to believe JAWS came out in 1975, especially after seeing the amazing new transfer on the Blu-ray being released this week – you can order it online HERE Often labeled as the first official blockbuster summer movie, the Steve Spielberg classic was definitely not an easy film to make. The cast and crew encountered hardships almost the entire time, primarily with the mechanical shark named “Bruce”, which hardly worked at all. But I’m getting ahead of myself. The true beauty of this release is the clarity of the utterly amazing transfer and painstaking restoration of the print. JAWS will almost look like it was shot yesterday when you watch it, with the town of Amity (in actuality Martha’s Vineyard) popping with brilliant colors. The blood is more red than ever, and even the underwater moments look crystal clear. The process of cleaning up the original negative was not an easy one, with experts going in and removing scratches (in some cases) from individual frames. In fact, it’s such a stunning restoration, one can’t help but wonder why certain films from the last 10 to 20 years don’t look nearly as good these days. The DTS-HD Master Audio soundtrack is immaculately clean as well (which is impressive since the original soundtrack did not have the benefits of today’s sound technology, and was essentially recreated), which shouldn’t come as a surprise considering the care taken with all other aspects of this release – let’s just say John Williams never sounded better. All of the previous bonus features from the 2-disc 30th Anniversary DVD release are included here, so you won’t miss out on anything by upgrading this time around – big thanks to Universal for that. But the real treat of this highly-anticipated release is the inclusion of the new feature-length documentary THE SHARK IS STILL WORKING, which is perhaps one of the most in-depth behind-the-scenes features ever produced for a film. You’ll also see some footage on the restoration process, which details just how much work went into this beauty. Click on image to see it full-size. If you’re on the fence as to whether or not this Blu-ray is worth picking up, I’ll just say the new documentary alone is terrific, and well worth the cost of upgrading to the latest release. You can see examples of the work that went into the restoration above, but to see it for yourself in your home theater is the ultimate treat. Universal is putting out some great home video releases for their 100th Anniversary, but this may be the title to beat for 2012. Academy Award Winner Steven Spielberg’s Iconic Summer Classic Comes to Blu-Ray for the First Time Ever, Digitally Remastered & Fully Restored in Honor of Universal’s 100th Anniversary Celebration on august 14th, own the blu-ray combo pack with dvd, digital copy, ultraviolet & over 4 hours of bonus features including an all-new documentary “the shark is still working” JAWS – the landmark motion picture that still makes audiences afraid to go in the water – comes to Blu-rayTM for the first time ever on August 14th, 2012. Featuring an all-new, digitally remastered and fully restored picture, as well as 7.1 surround sound, the JAWS Blu-rayTM Combo Pack with DVD, Digital Copy and UltraVioletTM gives fans the ultimate way to watch the breathtaking and terrifying action-thriller. One of the most influential motion pictures of all time and nominated for a Best Picture Academy Award®, JAWS stars Oscar® winner Richard Dreyfuss and Oscar® nominees Roy Scheider and Robert Shaw. Produced by legendary filmmakers Richard D. Zanuck and David Brown, the film earned an Oscar® for composer John Williams’ instantly recognizable minimalist score, as well as Oscars® for Best Editing and Best Sound. When it was first released in 1975, JAWS smashed box-office records and became the highest-grossing film of its era, earning Spielberg a reputation as a Hollywood visionary. Today, it remains one of the highest-grossing films in motion-picture history and is largely considered the film that launched the summer blockbuster. JAWS is one of 13 classic Universal films to be digitally remastered and fully restored from 35mm original film elements as part of Universal’s ongoing 100th Anniversary celebration. The JAWS restoration began with researching and evaluating the existing film elements to determine the best means to restore the film. Over the course of several months, skilled technicians at Universal Studios Digital Services meticulously balanced color, removed dirt and scratches, and repaired any damage to the film elements shot by shot and frame by frame. Following the picture restoration, Universal Studios Sound team up-mixed the iconic JAWS soundtrack to DTS-HD Master 7.1, optimizing the sound on the Blu-rayTM for the latest home theater technology. The entire restoration process was conducted in conjunction with Steven Spielberg and Amblin Entertainment’s post-production team to ensure the integrity of Spielberg’s original vision remained intact. “JAWS holds a unique place, not just in Universal Pictures’ history, but in global pop culture,” said Craig Kornblau, President of Universal Studios Home Entertainment. “It is only fitting that this phenomenal film should be given the extensive restoration needed to ensure that long-time fans as well as newcomers can enjoy this unforgettable cinematic achievement for generations to come.” The JAWS Blu-ray™ Combo Pack is available in collectible Universal 100thAnniversary packaging for a limited time. The Combo Pack also contains a Digital Copy of the film for a limited time, compatible with iTunes®, iPad®, iPhone®, iPod™ touch, Android or online retail partners, as well as an UltraViolet™ copy. UltraViolet is the revolutionary new way for consumers to collect movies and TV shows in the cloud to download and stream instantly to computers, tablets and smartphones. Consumers can now truly enjoy their movies anytime, anywhere on the platform of their choice. Blu-ray™ Bonus Features: · The Shark is Still Working: The Impact & Legacy of JAWS: All-new feature-length documentary featuring never-before-seen footage and interviews with cast and crew including Steven Spielberg, Richard Dreyfuss and Roy Scheider. · JAWS: The Restoration: An all-new, in-depth look at the intricate process of restoring the movie. · The Making of JAWS: A two-hour documentary featuring interviews with key cast and crew. · From the Set: An insider’s look at life on the set of JAWS, featuring an interview with Steven Spielberg. · Deleted Scenes & Outtakes · JAWS Archives: Take a peek inside the JAWS archives, including storyboards, production photos and marketing materials, as well as a special segment on the JAWS phenomenon. · Original Theatrical Trailer · UltraViolet™: The revolutionary new way for consumers to collect movies and TV shows, store them in the cloud, and download and stream instantly to computers, tablets and smartphones. Currently available in the United States only. · Digital Copy: Viewers can redeem a digital version of the full-length movie from a choice of retail partners to watch on an array of electronic and portable devices. · pocket BLU™ App: The popular free pocket BLU™ app for smartphones is now even better with newly updated versions for iPad®, Android™ tablets, PC and Macintosh computers, with features made especially to take advantage of the devices’ larger screens and high resolution displays. Advanced Remote Control: A sleek, elegant new way to operate your Blu-ray™ player. Users can navigate through menus, playback and BD-Live™functions with ease. Video Timeline: Users can easily bring up the video timeline, allowing them to instantly access any point in the film. Mobile-To-Go: Users can unlock a selection of bonus content with their Blu-ray™ discs to save to their device or to stream from anywhere there is a Wi-Fi network, enabling them to enjoy content on the go, anytime, anywhere. Browse Titles: Users will have access to a complete list of pocket BLU™-enabled titles available and coming to Blu-ray™. They can view free previews and see what additional content is available to unlock on their device. Keyboard: Entering data is fast and easy with your device’s intuitive keyboard. · BD-LIVE™: Access the BD-Live™ Center through your Internet-connected player to access the latest trailers, exclusive content and more! DVD Bonus Features: · Spotlight on Location: The Making of JAWS: Highlights from the full-length documentary featuring interviews with key cast and crew. Directed by Academy Award® winner Steven Spielberg, Jaws set the standard for edge-of-your seat suspense quickly becoming a cultural phenomenon and forever changing the movie industry. When the seaside community of Amity finds itself under attack by a dangerous great white shark, the town’s chief of police (Roy Scheider), a young marine biologist (Richard Dreyfuss) and a grizzled shark hunter (Robert Shaw) embark on a desperate quest to destroy the beast before it strikes again. Featuring an unforgettable score that evokes pure terror, Jaws remains one of the most influential and gripping adventures in motion picture history. CAST & FILMMAKERS Cast: Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary, Murray Hamilton Directed By: Steven Spielberg Produced By: Richard D. Zanuck and David Brown Music By: John Williams Based on Novel By: Peter Benchley Screenplay By: Peter Benchley and Carl Gottlieb Director of Photography: Bill Butler Production Design By: Joseph Alves Jr. Editor: Verna Fields Copyright: 2012 Universal Studios. All Rights Reserved. Selection Numbers: 61121167 (US); 61121267 (Canada) Running Time: 2 Hours 4 Minutes Layers: BD-50 Aspect Ratio: Widescreen 2.35:1 Technical Info: English DTS-HD Master Audio 7.1/DTS Digital Surround 2.0 Mono and Dolby Digital 2.0, Spanish and French DTS Digital Surround 5.1 Subtitles: English SDH, French and Spanish Layers: Dual Layer Aspect Ratio: Anamorphic Screen 2.35:1 Technical Info: English Dolby Digital 5.1 and 2.0 Mono, Spanish and French Dolby Digital 5.1 In honor of its Centennial anniversary, Universal Pictures proudly salutes 100years of unforgettable films that have entertained audiences and touched the hearts of millions around the globe. In celebration of our first 100 years,Universal Studios Home Entertainment is proud to present a selection of ourmany beloved movies as part of an extensive year-long program that underscores the studio’s rich cinematic history and indelible cultural impact. Universal Studios Home Entertainment is a unit of Universal Pictures, a division of Universal Studios. Universal Studios is apart of NBC Universal, one of the world’s leading media and entertainment companies in the development, production, and marketing of entertainment, news, and information to a global audience. Formed in May 2004 through the combining of NBC and Vivendi Universal Entertainment, NBC Universal owns and operates the No. 1 television network, the fastest-growing Spanish-language network, a valuable portfolio of news and entertainment networks, a premier motion picture company, significant television production operations, a leading televisionstations group, and world-renowned theme parks. NBC Universal is 80%-owned by General Electric, with 20% controlled by Vivendi Universal. Be Sociable, Share! Tweet Comments [1]Digg it!Facebook Born and raised in Dallas, Mark has been a movie critic since 1994, with reviews featured in print, radio and National TV. In 2001 he started the Entertainment section of the Herorealm website, where he contributed film reviews and celebrity interviews until 2004. After three years of service there, he started Bigfanboy.com, which has become one of the Dallas film community's leading information websites. Bigfanboy hosts several movie screenings in the Texas area, and works closely with film and TV studios and promotional partners to host exciting events and contests. The site also features a variety of rare celebrity and filmmaker interviews, and Bigfanboy.com regularly covers the film festival circuit as well. In addition to Hollywood reporting, Mark has worked for many years as an advertising and sci-fi/comic book artist. Clients have included Lucasfilm Ltd., Topps Trading Cards, The Dallas Mavericks and The Dallas Stars. He currently catalogs rare comic books and movie memorabilia for Heritage Auctions, and runs the Dallas Comic Con and Sci-Fi Expo conventions, but remains an avid moviegoer and cinema buff. 1 Comment StickStickly Posted August 18, 2012 at 8:45 PM I can really appreciate a film that’s been beautifully restored. A couple of years ago I was reading somewhere that there are thousands of movies that have been lost forever because they weren’t played. Restoration would have solved that issue and I’m glad that Jaws got the royal treatment for Universal’s 100th Anniversary. I decided to get Blockbuster @ Home because I couldn’t find this movie for rent anywhere and I wanted to wait for a great re-release of the film. Since I work at Dish I knew that it offered movies, TV shows and games but when I saw that Jaws was available I was ecstatic. Yes, I am a true lover of the movie! Jaws should be arriving shortly in the mail and when it does, I’ll sit back and watch this great movie come to life all over again. XHTML: You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong> Cancel Reply WP-SpamFree by Pole Position Marketing If you need to e-mail us… Join us on FACEBOOK On this week’s BIGFANBOY LIVECAST… Amazon.com deals on home video titles Amazon.com Widgets Follow our TWITTER updates Tweets by @bigfanboy Celebs show love for Bigfanboy.com Bigfanboy.com YOUTUBE interviews Latest Interviews CONSTANTINE interviews with Matt Ryan, Charles Halford, Harold Perrineau & Angélica Celaya THE ORIGINALS interviews: Joseph Morgan, Charles Davis, Danielle Campbell & Leah Pipes JOHN WICK red carpet interviews – Keanu Reeves, Adrianne Palicki and directors Chad Stahelski & David Leitch at Fantastic Fest 2014 THE HOUSES OCTOBER BUILT interviews with cast & director – a cool take on horror GOTHAM interview with Erin Richards – on playing Barbara Kean, growing up loving Batman DFW QUICK honors Bigfanboy.com’s Mark W. Blogroll Dallas Comic Con & Sci-Fi Expo Mungle Show Peter Rallis' MOVIE BUZZ (YouTube) Rebelscum.com Red Carpet Crash hi-res one-sheet Release Day Round-Up theatrical poster theatrical posters Looking to buy some movie posters? Click here to buy movie posters! Copyright 2004 to Present - BigFanBoy.com. All Rights Reserved.

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Welcome to Britflicks, a site dedicated to supporting the British film industry. Here you will find all the latest British film news, releases, trailers and interviews as well as some great competitions prizes. HomeBritish FilmsBritish ActorsNewsReviewsBlogsInterviewsCompetitionsTrailersUpcoming ReleasesDVDsOn Demand Review of On The Ropes Our Rating: Tweet British Film Review: On The Ropes Whenever watching films I sometimes suffer from what is called pre-film prejudices. Unfortunately a lot of low budget films are badly shot and may have been better suited as a short, this is largely because the writing doesn’t seem to hold for the required 72 mins +. Also in particular, films such as On The Ropes, that are starring, written and directed by the same person are usually done so out of a lack of experience and therefor add to the poor quality. Despite these initial worries, I managed to sit through On the Ropes not once, but three times. And this wasn’t due to a lack of understanding or because it is so bad that it’s a struggle to find the positives. Surprisingly, the film is actually a lot of fun. On The Ropes tells the story of a documentary film maker covering the goings on of a ‘proper fighting gym’. Little does he know that events will unfold rather differently when his attention is drawn to a rival gym with a unique fighting style, owned by a self-professed karate expert. The film follows a host of very interesting main characters demonstrating, without the need for spoon-feeding, a detailed look at the relationships that they share with each other. There may not be an obvious category to put On The Ropes into, but it’s really just a great film that tips its hat to documentaries, dramas and the egos of those that are part of reality TV. Both lead actors Mark Noyce and Ben Shockley are very convincing in their roles. This is probably the first time that Shockley has had a role which has allowed him to push his potential, although this is mostly through the skills of Noyce and co-director Hamdy Taha. Having mentioned previously that films that are starring, written and directed by the same person are usually a no no, with On The Ropes this is not the case. The direction of both the live venues and the actors is seamless and the interruptions by the ‘documentary team’ are not jarring but skilfully done and the film is shot well enough to be able to concentrate on the story and characters fully. Unconventionally, the review of On The Ropes would not benefit from giving away anything else of the plot, rather, it would be best viewed in its full glory with little knowledge. Like most films of this sized budget, On The Ropes may not get the recognition or the audience it deserves, but should readers have the opportunity to watch the DVD or catch it On Demand then go for it, as it comes highly recommended. Zachary Cooke www.thefilmfactory.org Your Reviews: Copy the word "Britflicks" into the box Back to On The Ropes Copyright © Britflicks ltd - John Baker | Website Design - Kai Motta | Website Developer - Christian Abbott

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1585 Hancock Street, Quincy, Kincaide Theatre, Quincy Theatre Flagship Cinemas Quincy Adams Theatre Art Theatre This was a theater in downtown Quincy, on the present site of the Quincy Fair Mall and the former site of the Sears department store. Built sometime before 1919, it was a vaudeville venue, then became a movie theater sometime in the 1930’s. The theater was converted to retail use in 1952 and was demolished in 1959. In May 1988 the eight-screen Flagship Cinemas Quincy was built on the site. This too has since closed in December 2006. Ron Newman After Boston banned Eugene O'Neill’s play Strange Interlude in 1929, the play opened instead at the Quincy Theatre. Here’s a Quincy Patriot Ledger article about it, and a picture of the front cover of the theatre program. I’m not sure if the theater was converted to a Sears once it closed, but it was converted to a department store of some type. My point of reference is an article in the Quincy Patriot Ledger that states that the theater closed in 1952, was converted to a department store, and demolished in 1959. It’s possible Sears constructed the new building. Sears lasted until the early 1980’s, until they moved to the South Shore Plaza. I want to say that the Quincy Fair is a newer building from the mid-80’s, but I’m not sure. It could have been heavily renovated. I’ll check around. Check that, it may be the old Sears after all. I went by today, and it sure looks like the side of the building and the structures on the roof are pre-1980’s. The Flagship Cinema and Quincy Fair Mall are not totally new buildings, but very heavily modified from existing structures which housed the Sears store. Partly on the site was the Kincaide-Quincy-Capitol Theatre. The Kincaide was built by the owner of Kincaide’s Furniture. It was a vaudeville house with about 1350 seats and had one balcony. It opened in 1912, and was the leading theatre in Quincy until the Strand was built. The stage door, painted dark green, was down the alley on the left side; it had a little wood weather shelter around it. There was a row of dressing rooms along the back wall of the stage. The facade was a pale cream stucco, and the rear stage wall was painted white. There was a faded sign on the rear stage wall which said something like “Quincy Theatre – Vaudeville and Photo Plays”. This large painted sign was there to the very end, easily read by anyone in the parking lots (now Parkingway, to the rear. The name was changed in 1926 to Quincy Theatre. Milton Berle and Billy DeWolf performed there. Well, actually, Billy Dewolfe worked there as an usher. There was no organ but instead there was a piano and a violinist in the pit. Eugene O'Neil’s play “Strange Interlude”, fresh from a long B'Way run, was booked into the Hollis Street Th. (near the Wang) for a Sept 1929 opening, and was “Banned in Boston”, so it went into the Quincy, and was a big hit, played 4 weeks instead of 2. The New Haven RR ran a special theatre special from South Station to Quincy which carried both the theatre goers and the cast! The name was changed to Capitol Th. in 1944. I went there countless times. It had no A.C., so it closed summers. It closed in the early-summer of 1950, and then never reopened in the Fall. The last performance that I know of occured on Sunday May 20, 1951, when a touring company of “Snow White” played on stage, after appearing the previous day at the RKO Boston. The theatre was closed up— I do NOT recall that any sort of business used it. It was demolished in April 1962. The seagulls which used to love to perch on top of the Capitol’s stagehouse, had to find someplace else to sit! If you have access to files of the Quincy Patriot-Ledger: Sept 25 1952 has a long article about the Capitol, with a current facade photo, but it gives the impression that the house had just closed when in fact it had been closed for some time. The April 5, 1962 issue has a demolition photo taken from the balcony toward the stage just after demo began. The April 30 1962 issue has a very long article about the Capitol and other Quincy theatres. BoxOfficeBill Many thanks for your posts here, and on the Woolaston Theater page. Yes, last Dec. 30 and Jan. 1-3 on the Wollaston page I raised questions about Quincy’s theaters based on a heated memory from fifty-five years ago. Now it would be great to start a page for each of Quincy’s Lincoln (originally Casino), Strand, and Art theaters you’ve uncovered for us. I’ll go out of my way, meanwhile, to get my hands on the Patriot-Ledger of 30 April 1960. I just created a page for the Lincoln Theatre a few minutes ago! The Art Theatre is listed under its original name , Alhambra. The Strand is also listed under “Strand”. There is also a page already for the Adams Theatre, plus a page for the Quincy Theatre, under that name, rather than the later name of Capitol Th. I believe mb848 created most, or all of these pages. In addition to the Patriot-Ledger article of April 30, 1962, visit the Quincy Theatre page for the dates of 2 other P-L articles, both about the Capitol Th. I think that there are files of Quincy P-L newspaper at the Thomas Crane library in Quincy. Happy reading to all ! I just stumbled across an old Quincy postcard on Ebay that shows part of the Capitol/Quincy theater. The photo postcard looks like it dates from circa 1960 or so, and the theater looks to be boarded up with a “for sale” sign on it. Ron must be correct that this theater was vacant before it was demolished, and not used for retail prior to Sears being built on this site. Yes, I am correct ! I would bet on it! The Capitol was not used for anything after it closed, and remained unoccupied for many years prior to being demolished in the spring of 1962. As the Kincaide Theatre, the Capitol was on a long list of MA theaters and halls receiving state licenses for the year ending Oct. 31, 1914. It’s condition was Good. Other theaters in Quincy on this list were the Auditorium Theatre and the Quincy Music Hall, plus some social/fraternal halls.

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"TREY ANASTASIO, A HARDBODY, AN ILLUMIRINGER AND ME" I don't even know where to start with this one... I guess the show would be a good enough place as any (long entry warning). Okay, here goes... Hands On A Hard Body! If you haven't already heard of the show... you will, it's an adaptation of the 1997 documentary of the same name. 10 strangers somewhere in Texas join a competition to win a 4 wheel drive truck. All they need to do if keep their hands on the truck longer than any of the other people in the competition. Sounds simple enough, right? Well, Trey Anastasio (composer, guitar extraordinaire, front man of the rock group Phish) and Amanda Green (accomplished Broadway musical composer) teamed up to do a Broadway musical version of the same story. In the end what we are left with is a piece of Americana that has something for everyone... a family musical full of emotion, social / political force and most of all GREAT MUSIC and PERFORMANCES! In short... I highly suggest picking up tickets to see the show. If you like Trey's work or Phish... or if you just feel like seeing a great musical, you will not be disappointed. So as the story continues.. I was lucky enough to be one of those in attendance with Mr. Anastasio for it's first preview performance Saturday, February 13th. As many of you who follow my work already know, and many more probably don't... I have been working on a concept pedal called the ILLUMIRINGER for almost a year now. The idea for the pedal came to me while watching Trey wave has guitar around in a Jedi master sort of fashion (something he does once and a while for special moments). I thought it would be great if an effect could be designed the would allow Trey (or another performer) to actually manipulate their guitar sound by waving objects over it, or changing the lighting at the show. Since crazy lights and wild sounds are no strangers to the Phish show experience, it seemed like something worth doing. Keep in mind, the idea was never to try to change Trey's amazing and somewhat legendary guitar tone. This pedal was inspired by the weirder moments of Phish (the moments which have always been my personal favorites. see this and this and this... NOT THIS! After months of different versions, additions and subtractions... I finally finished a pedal I was happy with... happy enough to give to the man who inspired it. And the time to do it had come! So, just having finished the first prototype of the new pedal I decide I am going to build Trey's pedal. It's the Thursday evening before the show, and I start etching the PCB for the board while sketching out ideas for the graphic. I should also mention that I decided to add a volume knob and make changes to the distortion section of the pedal AFTER etching the circuit board, my point... this thing was stylized to the last second of construction. So much so I didn't even have a chance to record a demo video of it (as I normally would). I did however record a demo of it's VERY CLOSE Star Wars themed relative, the ILLUMIRINGER V1.4. I wanted it to be as perfect as possible for Trey, (as I am with all my pieces and customers actually) after all it's TREY! Happy with my final piece, and excited to even have a minor chance of giving it to him... we set out to see the BIG SHOW! As I already said, the show was amazing. I never really had the intentions to try to give him the pedal during the show, after all this was HIS big night. Seeing the show, and being there to support Trey were the first and most important thing here... giving him the pedal was secondary and could only happen if the right moment were to arise. Running up to someone when they are with family and friends.. enjoying a show isn't my style at all. With something as big to me like this pedal, it just wouldn't be the right mix of vibes. Well, here I was.. show over.. pedal still in hand and being rushed out of the theatre by the ushers. I should mention here that I am not a big Broadway show guy, seen a few here and there... but my culture in NYC comes more from a classical upbringing (coincidentally the few times I had the pleasure of talking to Trey in the middle 90's this was the topic of our conversations, counterpoint, composition etc). I was not aware of this "wait for the crew to come out the backstage door and have them sign your playbill" phenomenon... I am told it is customary of sorts. WELL, clearly this was to be my chance to give Trey his new pedal! One by one all of the SERIOUSLY TALENTED cast and crew filed out of the Brooks Atkinson Theatre backstage door. It seemed there were a lot of people waiting for Trey to come out at first, but many had walked off, got cold or fell for the "If you are waiting for Trey, he was the first one out" (lol)... so there really weren't many people left out there. I showed the new pedal to the folks waiting outside the door with me and explained the situation, because of this (and that they were super cool people) I was allowed to take first position for when he came out to give it to him and couple of private minutes to explain how it worked. Well, the moment came and that's exactly what happened. Trey walked out with Amanda Green and I met him with a smile and presented him with the ILLUMIRINGER. Trey's first response was a cheerful but inquisitive "Oh wow, what do we have here?" As I explained what the pedal did, his interest became more and more intense and his appreciation for the gift (and the effort the went into created it for him) was ever so clear, and quite honestly moving for most who witnessed it. He continued to ask "How far of a range can I get from the motion sensor?" Which I explained is pretty much endless when used with a downward facing light source (and also explained how Chris CK5 could also come into play). Trey seemed honored and touched by the whole thing, posed for pictures, signed autographs and even did some Jedi style pantomime for Amanda and others who were not familiar with such antics. A great moment in time, a PERFECT ENDING to a perfect night (and even longer guitar pedal mission). That brings me to my last point in this MASSIVE rant, what is the future for the ILLUMIRINGER now that Trey has the pedal? Well, to be honest this project wasn't designed for any large scale commercial success, I don't think that was ever really the intention. That most certainly WAS NOT the intention of giving Trey the pedal.. couldn't be further from the case actually. Truth of the matter is, it's not a pedal that every guitar player could really use (like say a distortion, or reverb etc). I had no idea folks were taking pictures when it went down, and only made a very quick mention of it on a message board before THIS was published on the LiveMusicBlog... and things kinda blew up a bit from there. I planned on mentioning it right here on my site, and letting that be the end of it... I had no intention to turn Trey's gift from me into a media circus to sell ILLUMIRINGER pedals. This pedal was designed around some pretty strange concert moments taken from my mental archive of 21 plus years of seeing Phish and being a fan of Mr. Anastasio... it's not something I would expect to be every guitar players cup of tea. That being said, I have other pedals on the horizon I think A LOT of guitar players will be into... probably best to let this one end here for the most part. Not that I won't work with the circuit I designed anymore and build on it as I have... I will. Just, I wouldn't wait around for the Trey Anastasio ILLUMIRINGER Pedal to come out... because its not. I guess that leaves only one thing left to answer... everyone wants to know if I think Trey will use the pedal ever solo, with Phish or in the studio. With a Summer Tour just announced I suppose that's a fair question, the answer is.... I have no idea. I will probably only make it to the Jones Beach show this tour (too busy in the shop for much else), maybe he will bust it out there. lol Hey, of course I would love to see it come out at least for a 30 second piece of madness, one of the very pieces of madness that inspired it's creation. Phish is a very circular sharing of creative energy, pure energy itself and turning it back into creative energy... over and over again. That being said, I can see it finding a use eventually. Guess we will have to wait and see. To conclude, what a dream come true this has been... just the thought of Trey plugging in and exploring a piece I created, which was inspired by him in the first place THRILLS ME. If it gets played out live or not, guess it doesn't really matter... it doesn't matter... it doesn't matter. ;)

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The Morning After: Can't Live With Your Design, Can't Live Without It By James Poniewozik @poniewozikNov. 06, 20080 Share Last night, Top Design wrapped up its second season; no spoilers here, because it’s still sitting on my Tivo, but I thought I’d open the doors to anyone who wants to discuss. Up to this point, I thought the second season had been better than the first, picking a more memorable cast—including Eddie, the worst ambassador for the Martha Stewart brand since, well, Martha Stewart—and making better use of its judges. But it’s still not in my top tier of Bravo luxury-lifestyle shows. One series that is, Top Chef, returns next week—to New York City, where God intended it to be. Does either of these shows measure up to Project Runway in your eyes? For its own sake, Bravo had better hope so.

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HITC Lifestyle on Facebook HITC Lifestyle on Google + HITC Lifestyle on Twitter The western never died – it just went undergroundThe Guardian4 years agoThe Guardian4 years ago True Grit is going great guns at the American box office, making it the Coen brothers' highest-grossing movie ever. Some might see this as a sign that the western is making a comeback. But, honestly, I don't think it ever really went away.Observers have been predicting the genre's demise for a hundred years; Edward Buscombe, in The BFI Companion to the western, quotes a trade reviewer who in 1911 dismissed it as "a gold mine that had been worked to the limit". But by 1953 westerns were making up more than a quarter of Hollywood's output, and much of television's, too; my generation was weaned on The Lone Ranger, Gunsmoke and Rawhide.In the 1960s, that figure went into a slump from which it never recovered, though there were still landmark oaters such as The Wild Bunch or Unforgiven. But the dramatic emphasis changed from righteous armed struggles against lawlessness, might is right and the triumph of civilisation over savagery, to psychological portraits of outlaws or gunslingers, revisionist studies of the hero's role in the modern world, acknowledgements that Native Americans were people, too, and allegories of Vietnam.But if the number of westerns fell, the genre never really disappeared – it just went underground. Just as westerns were a peculiarly American variation on old-world tales of mythological heroes or wandering knights, so, from the 1970s onwards, the cowboys, gunslingers and bounty hunters of yore passed the baton to cops and detectives, hitmen and astronauts. Henceforth the western disguised itself as the road movie, the action film or science fiction. Clint Eastwood and Don Siegel bridged the gap with Coogan's Bluff, while John Carpenter's Assault on Precinct 13 was a modern urban reworking of Rio Bravo. Many of Carpenter's other films, like those of Walter Hill, are westerns in all but name.Sci-fi films such as Westworld, Outland or Battle Beyond the Stars barely bother to disguise their western roots, but, essentially, any movie in which the characters pass through hostile territory or rid the community of its bad guys is cleaving to the western tradition, whether it's Arnold Schwarzenegger in Central America, Bruce Willis or Eddie Murphy in LA, or Mel Gibson and Danny Glover skipping the paperwork real cops would need to tackle in favour of the latterday equivalent of galloping around on horseback and yelling "Yeehaw!"This sort of genre slippage allowed westerns to move with the times. In science fiction, for example, Native Americans could be replaced by unstoppable killer robots or invading extra-terrestrials, with no need to worry about political correctness (unless we're talking about Jar-Jar Binks, or deliberate allegories such as District 9).These days, you can spot the influence of the western in everything from The Expendables to There Will Be Blood to Predators. Avatar is pure "Cowboys and Indians". Even Lotso, the strawberry-scented bear in Toy Story 3, is a successor to Burl Ives in The Big Country, or one of Anthony Mann's monstrous patriarchs. But if there's one genre that hews to western convention more than any other, it's movies about comic-book heroes.The comic-book hero, like the cowboy, has a distinctive costume and behavioural code. His weaponry and mode of transport are fetishised. He often has a sidekick (Kato = Tonto). His stories climax in an OK Corral-type showdown against the villain. And the female characters are as marginal as in any western; the function of Mary Jane Watson or Rachel Dawes is essentially to be rescued.The one big difference is that comic-book hero stories are almost always urban, with gothic cityscapes taking the place of Monument Valley or the Tabernas desert, but their topography is just as recognisable as that of John Ford's wide-open spaces. And superhero movies are already following the western pattern of moving from popular escapism into the darker, more introspective territory of The Dark Knight or Watchmen.The western never went away. Now it's everywhere you look.This article was written by Anne Billson, for The Guardian on Thursday 3rd February 2011 22.29 Europe/London guardian.co.uk © Guardian News and Media Limited 2010 The GuardianMore articles from The Guardian@guardianLatest news, sport, business, comment, analysis and reviews from the Guardian, the world's leading liberal voice.

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Eighties teen classic Weird Science to get the remake treatment Caroline Westbrook for Metro.co.ukFriday 19 Apr 2013 1:36 pm Weird Science was originally released in 1985 (Picture: Universal) The 1980s teen favourite Weird Science is set to get a 21st Century remake, courtesy of the people who updated TV show 21 Jump Street. According to reports Universal, who produced the original, will release the new version, with Jump Street’s Michael Bacall working on the script and blockbuster stalwart Joel Silver producing. No director or cast has yet been attached to the remake – but there is speculation that the film could be a more ‘grown-up’, grittier comedy than the 1985 original. Weird Science originally starred Anthony Michael Hall and Ilan Mitchell-Smith as a pair of geeky teenagers who use computer technology to create their dream woman. However they are unprepared for the ensuing chaos when their creation – played by model Kelly LeBrock – unexpectedly comes to life. Although the film was not the most well-received of Hughes’ teen movies, it was still a box office hit both in the US and UK. It also provided early screen roles for Bill Paxton and Robert Downey Jr – the latter making a brief appearance as a high school bully. The film also spawned a spin-off TV series, which ran from 1994-1998. Since Weird Science Hall has split his career between big and small screen, with roles in the likes of The Dead Zone and Community on TV as well as films including All About The Benjamins and The Dark Knight. Mitchell-Smith has since quit acting and now works as a professor in California. John Hughes – who made a string of 80s teen classics, including The Breakfast Club, Pretty In Pink and Ferris Bueller’s Day Off – died in 2009. MoreJohn Hughes It's Batman vs Darth Vader in the ultimate showdownWhy you should never joke about characters dying in The Hunger GamesSponsored13 questions that go through everyone's head when they have a massageEXCLUSIVE: Angelina vows to fix long Oscar wait with Unbroken

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Illeana Douglas talks about new Web series 'Sparhusen' (featuring Keanu Reeves) Kate Ward on Oct 7, 2009 at 6:00AM Comments 2 Illeana Douglas and the Web go together about as well as the Swedish and meatballs. After all, the quirky actress has found a following online with her IKEA-set comedy series, Easy to Assemble, which starts its second season on My Damn Channel today. (Douglas plays a fictional version of herself who, fed up with showbiz, decides to work in an IKEA store.) And that’s not all: The actress is hard at work producing a spin-off Web series, Sparhusen, which follows a Swedish band that plays music for the big box store. Not only have we snagged a sneak peek of the series (premiering Oct. 8 — see exclusive video clip after the jump), but also a few minutes with its creator. Taking a break from her busy schedule, Douglas talks Assemble, her famous co-stars, and, of course, meatballs. Related First Look: See Full Coverage How did you come up with the idea? I was always obsessed with supermarkets and I had written a show about going to work in a celebrity supermarket, because in L.A., a lot of celebrities go to supermarkets. And I thought [of] a funny concept: What if I went to work at a supermarket owned by a former Bollywood actor, but all these other actors already worked there? And it was this supermarket of the stars? And [I would play] a character based on myself. It’s based on a short movie [2004’s Supermarket] that I’d done with Jeff Goldblum. So it’s a concept that I’ve been always had been toying around with – this idea of somebody, me, that wants to be an artist, but doesn’t like the showbiz aspect of it. And wanted to create a character like Larry David where I could express these things. So this had been on your mind for quite some time. I started out as a stand-up comic. People would always say to me, “Have you ever tried doing stand-up?” And I would say, “It’s funny you say that,” because I started out as a stand-up and then I became an actor. I’m not sure how. Now that I’ve gotten older, I [don’t] like the scene of stand-up, but I always felt I had funny views that I could express. So I was trying to find a way à la Ricky Gervais or Larry David to transfer them, [and] because I live in Hollywood and I’m an actress, I thought that would be a funny realm to talk about. And then for a number of years I was trying to get pilots, not just like this, [but] a number of pilots. They weren’t getting on the air, and I was getting really frustrated by that, because people would stop me on the street and say, “When are you going to be on TV?” And then this thing called the Web came along. And I thought, “Well, this would be an interesting concept. What if you could get a brand?” I started out with different companies, like, “Wouldn’t it be funny if I was working at your company?” And nobody really got it or thought it was funny. But then I got a call from IKEA saying, “Would you be interested in writing little 30-second things for us?” And I thought that would be something fun and cool to do. It started out as little dance numbers, lovers looking for bedding, and stuff like that. I’ve always been fascinated by shopping. There is something inherently funny about IKEA. Yeah. It’s such a fish-out-of-water experience. It’s got this Wizard of Oz quality. And then, when I heard IKEA [was interested], I thought, “Okay, now it has to be IKEA.” The ideas started organically pouring out of me. It was a complete experiment last year, and I threw everything into it that I possibly could. I got all my friends help me out and support me. And we did this thing, and it kind of took off, and we got our second season, and now we really feel like we’ve hit our stride this year, with a great story and a storyline. How is it different working on the Web? I’m trying to bring all my independent film cred to the web. It’s got to go beyond the little cat with a laser. It’s got to be a cinematic experience. Very, very soon, you’ll be able to watch [a web series] on your TV. On Demand will be looking at a site and say, “You know what? We like to carry that site On Demand.” That’s how I see it happening. With there basically being two types of entertainment in the sense that you have your traditional TV, and you have your pay channels, and then I think the third venue will be the Internet. [It’s] not so much as of a joke anymore. [It’s like] hey, if I take a pay cut, I’ll be able to do something I’ve been trying to do for years. Some of your famous friends, like Justine Bateman and Ed Begley Jr., appear on the series. How did you reel them in? I’ve been doing this for so long. And so I either know the people, or I’ve worked with them, or I’ve done a movie with them, or they’ve been at my house. I also have a list of people who are my really good friends that I’m like, “You’ve got to come on!” I’ve always been a huge movie fan myself, and when I’m meeting people as a writer, I just think, “God, I’d love to work with that person.” Or as an actor, I guess I see people that are so talented, and think they’ve been boxed in a certain way, and I want to show people how funny they are. I think everybody has that experience, where you meet someone, you’re like, “He’s the funniest guy I’ve ever met. Why isn’t he a huge star?” Is there anyone you’re trying to court for the show? I can say one person, who is James Woods, a good friend of mine. And he sings a mean version of “You Can’t Always Get What You Want,” and is a person of immense talent. But he is very, very funny. One of the funniest people I’ve ever met. And now the web series has a spin-off, Sparhusen, which follows a faux Swedish band. It’s about this Swedish band, [the idea] goes back from being very influenced when we were doing the show, and wanting to write music. My friends Rob Mailhouse and Todd Spahr, who are also actors in the show, are musicians, and so I gave Rob the opportunity to come up with the music for the show the first year, and we started playing around with it, and [making] Swedish music. We were trying to create a Swedish pop sensibility. Sparhusen has had their ups and downs over the years. They’ve been in many plane crashes, but they’ve survived and they’re together. Swedish pop is hot right now. I know. It’s really strange. All of a sudden. Rob and Todd came up with the name and we just started talking in this Swedish accent. I guess also because we’re dealing with a lot of Swedes with IKEA. We just spent thousands of hours writing songs. I just thought it would be an interesting concept that all the songs were sort of Swedish. When you’re in IKEA, everything is Swedish. So why wouldn’t there also be only Swedish music piped in? But the band has an album coming out, The Best of Sparhusen. You film in an actual IKEA. Do you get free meatballs? I’m a vegetarian! They were kind enough to make for me vegetarian meatballs. So everything we’re doing has been with IKEA, [and we] lucked out that we’ve all become friends. It’s been a real playground for all of us. We’re constantly inspired by things that happen to them, or their philosophy, and it influences a lot of the work. Photo Credit: mydamnchannel.com Tags:Exclusive First LookMusic + Comedy = Good Thing?Tech Comments (2 total) Page: Erlend Fri 10/09/09 4:51 PM The website is here: http://easytoassembleseries.com For those over 40, I would also check out http://www.40andbitter.tv. Justine is really bitter. Reply CoffeeAddict Thu 10/15/09 5:10 PM On the link above I voted for Justine to win Co-Worker of the Year. I think there should be more shows that let viewers choose the outcome!

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The Fifth Estate Reviews, Interviews & More DVD and Blu-ray Picks for January 28 - February 3 Published January 28th, 2014 by Damon Houx Lots of new releases this week, though most are late fall titles that didn’t click with audiences. But there’s some good titles in this mix. Box Office Roundup: 'Gravity' Retains Top Spot While 'Fifth Estate' Tanks Published October 20th, 2013 by Damon Houx So Gravity held strong yet again, making an impressive $30 Million over the weekend, with Captain Phillips right behind it. Whereas this week's new releases were DOA, with The Fifth Estate managing less than two million over the three day. Ouch. The Fifth Estate: Movie Review by Krystal Clark Who is Julian Assange? The Fifth Estate tries to answer part of that question using Benedict Cumberbatch. The British actor plays the founder of the website that's become a thorn in the government's side. Director Bill Condon takes us into the organization that puts entire nations under fire, including the mighty U.S. of A. Box Office Predictions: Crazy 'Carrie' Challenges 'Gravity by Damon Houx This weekend should test the staying (and grossing) power of Gravity, as it's been on top for two weeks. It seems unlikely that it will be able to defeat Bad Grandpa when that hits theaters next weekend, but this weekend, with Carrie, Escape Plan and The Fifth... Oscar Scuttlebutt: 'The Fifth Estate' and the Films That Whiff by Damon Houx There are certain things to expect every Oscar season. The films that become the front runner early on that people haven't seen yet (which this year could be The Wolf of Wall Street or American Hustle) which sometimes deliver and sometimes don't, the sneaky films that manage to stick around (which could be Lee Daniels' The... 1:1 Interview: Director Bill Condon on 'The Fifth Estate,' Benedict... by Krystal Clark The wait is nearly over. The much-talked about WikiLeaks movie, The Fifth Estate is opening this week. ScreenCrave recently spoke with director Bill Condon about the film that shines a light on the controversial site's origins. It also gives us an inside look at its eccentric founder Julian Assange thanks to British actor Benedict Cumberbatch. Condon reveals why it... The 10 Most Anticipated Films Of Fall 2013 by Laura Frances If you were a little let down by the movies that were released this summer, you are not alone. Between the box office bombs and horrible comedies (here's looking at you Grown Ups 2), 2013 has been somewhat of a disappointment in regards to movies, especially when compared to last year, which was filled to the brim with greatness. But 2013 isn't over, and you'll be surprised to know... 'Star Wars Episode 7': Rumors Of Benedict Cumberbatch Joining The Cast Run... Published September 9th, 2013 by Melissa Molina This little bit of rumor-centric news shouldn't come off as surprising to anybody. Benedict Cumberbatch, a man who's received international fame for a variety of his roles including the latest film Star Trek Into Darkness, now has to address a countless number of questions asking the same thing: will he play a character in J.J. Abrams' Star Wars: Episode 7? 'The Fifth Estate' Trailer: Benedict Cumberbatch Take On Julian Assange... Published July 17th, 2013 by Laura Frances WikiLeaks founder Julian Assange may be locked inside the Ecuadorian Embassy in London, but he still remains one of the most popular whistleblowers of our time. Case in point, DreamWorks' The Fifth Estate, an upcoming film that chronicles the early days of the infamous website, and also the relationship between Assange and colleague Daniel... Recent Posts

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Misha B: Hitting a Home Run X Factor star talks to YV about bouncing back from the ITV1 show, working with Missy Elliott and touring with Nicki Minaj Written by Dionne Grant 30/10/2012 11:00 AM SHE CAPTURED our hearts the minute she stepped on the X Factor stage and delivered one of the most memorable auditions the ITV1 show had ever seen. Misha B, a petite, confident, yet coy, Mancunian, belted out a show-stopping rendition of Aretha Franklin’s Respect to celebrity judges Gary Barlow, Kelly Rowland, Tulisa and Louis with the ease and grace of a pro. A star had been born, and we all knew it. But her journey on the show wasn’t as smooth as we all thought it might be. She unfairly faced criticism from some judges who claimed that her ‘backstage antics’ could jeopardise her place in the show; a comment, which rocked the star, her subsequent performances and audience support. Fast-forward 12 months and this public rigmarole seems like nothing but a distant memory. The 20-year-old, who is now London-based, boasts a critically acclaimed mixtape, a top 20 single, a highly-anticipated debut album in the making and a best newcomer MOBO award nomination to boot. She laughs modestly when I list her tremendous achievements thus far. “My journey has been the best [since leaving the show],” the singer tells me. “And I think that’s even an understatement. I can’t believe it. God is so good, I can’t complain. I’m now working on my album, I had a song that was in the top 20 and along with that, [my first single] Home Run is still being played in America on BET. It’s my dream to have anything on there.” We catch up on the day the video for her second single, the emotionally charged ballad Do You Think of Me, is released. The mention of the video’s content, which follows the life of a father who falls into a life of alcoholism and his subsequent quest to rekindle a relationship with his estranged daughter, is a sobering one. “It’s quite a personal video. At the time I was thinking, ‘how am I going to have a song that says what I want to say in the right way?’” Misha was left in the care of her aunt and ‘biggest inspiration’ when she was a baby. Following the singer’s stint on the popular TV show, her estranged birth mother made contact with the press. However, despite such parallels, Misha, who co-wrote the song, says it has more of a “general appeal that everyone can relate to.” She says: “When I was thinking about the treatment, I wanted to put myself in everybody else’s shoes. Whenever anybody listens to that song, I get so many people say, ‘it reminds me of my grandma that passed away’ or ‘it reminds me of my ex.’ Now seeing the video it has so many different things that people can relate to. I really wanted to convey that with the video.” She promises that her album will be a solid body of work encompassing a range of emotions, musical styles and personal experiences encountered throughout her journey. It may also feature an appearance from hip-hop star Missy Elliott who has made no secret of her desire to work with the singer. “Well, I can’t say much, but we’re hoping to get something done for the album,” this is all Misha will tell me about a possible collaboration with the US rapper many likened her to throughout her X Factor journey. She is, however, more vocal about recent news that she will support Nicki Minaj in concert later this year. “With the Nicki Minaj tour, I didn’t even know this was going to be an opportunity. I’m just very blessed and grateful right now. At first I thought my management were pulling my leg, but when I saw the email, it confirmed it. And then Nicki tweeted about it,” she explains. Adding: “I’m ready to share the stage with her. I’m nervous because it’s an arena tour and Nicki’s one of the hottest stars in the world right now. I’m very excited.” And also well prepared. The starlet reveals that she is receiving tips and pointers from her former X Factor mentor and singer, Kelly Rowland who remains in contact. When talk moves to the future, she pauses: “You never know what God has in store or what is next. I’m just very blessed and grateful for right now.” Do You Think of Me is released on Nov 4 through Relentless Records Posted on: 30/10/2012 11:00 AM Facebook Comments Cleo Sol: Star on the rise The sun’s still shining for Labrinth Sway: Little Derek's doing OK! Ny: It's her time Viewed TodayCommentsRead 1. Music: Janet Jackson remembers Whitney 2. Music: 'Rihanna is too busy for a man' 3. Music: Soul singer Fontella Bass dies, aged 72 4. Music: Warner Music to give platform to African stars in Europe 5. Music: Reliving their youth 6. Music: 60 Seconds with Mistajam 7. Music: Maxi Priest: 'Reggae needs to be more like hip-hop’ 8. Music: Naturally 7 to headline 'Celebration of Life' concert 9. Music: Bow Wow engaged to girlfriend of six months 10. Music: New Justin Timberlake album misses chart top spot

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Ekta knows tricks of the trade: Tusshar Kapoor Actor Tusshar Kapoor is impressed with his sister Ekta Kapoor’s business sense, and says she has understood the tactics of survival in the industry after years of hard work. “Ekta has learnt the tricks of the trade, but there is a lot of hard work too which she put in all these years. She has come to a stage where now she knows she has got a good team and now she can go ahead. One takes time to understand a business,” Tusshar told IANS. The 35-year-old agrees that after churning out films like “Kyaa Kool Hai Hum” and “The Dirty Picture”, his home production Balaji Motion Pictures has become popular for its bold films. He feels proud such films have been a hit with the masses. “A lot of our films have been bold and they have done as well. There is a way to mix commercial and art and that is what Ekta has learnt to do,” he said. Tusshar plans to follow his si

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Dame Shirley Bassey to Make First Appearance on OSCAR Telecast 85th ACADEMY AWARDS, ABC Dame Shirley Bassey will make a special appearance on the Oscars, show producers Craig Zadan and Neil Meron announced today."We are thrilled to welcome the legendary Dame Shirley Bassey to our Oscar show," said Craig Zadan and Neil Meron. "Her association with film music is world renowned and we are proud that she will be making her first Oscar appearance on our telecast." Bassey is this year celebrating her very own "Diamond Jubilee" with a career spanning over six decades. She has recorded over 44 albums, sold over 135 million records and has sold out concert halls around the world. In June 2012, she was one of a number of esteemed artists, including Elton John, Paul McCartney and Annie Lennox, who performed at the Queen's Diamond Jubilee Concert. In the United States, Bassey is best known for recording the theme songs for the James Bond films "Goldfinger," "Diamonds Are Forever" and "Moonraker."Bassey joins a Stellar list of previously announced Oscar performers including Adele, Norah Jones and Barbra Streisand; and presenters including "The Avengers" cast members Robert Downey Jr., Samuel L. Jackson, Chris Evans, Jeremy Renner and Mark Ruffalo; returning 2011 Oscar winners Jean Dujardin, Christopher Plummer, Octavia Spencer and Meryl Streep; co-stars Mark Wahlberg and Ted; and, special guest appearances including Joseph Gordon-Levitt, Daniel Radcliffe, Channing Tatum and Charlize Theron.Oscars for outstanding film achievements of 2012 will be presented on Oscar Sunday, February 24, at the Dolby Theatre at Hollywood & Highland Center, and will be hosted by Seth MacFarlane live on the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries worldwide. For more information go to Oscar.com or download the official Oscars app. Related LinksABC Takes Adults 18-49 in November Sweeps, Excluding SportsNovember 25, 2014Scoop: THE VIEW on ABC - Week of December 1, 2014 by TV Scoop - November 25, 2014CBS Wins in Viewers for Eighth Time in Nine WeeksNovember 25, 2014Scoop: THE CHEW - Week of 12/1 on ABC by TV Scoop - November 25, 2014NBC Wins Third Consecutive November Sweep in Key DemoNovember 25, 2014

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2014-49/2830/en_head.json.gz/11454

CGW Store Bookstore Issue: Volume: 24 Issue: 7 (July 2001) Staying Tooned By Barbara RobertsonAt first glance, the animated feature Atlantis: The Lost Empire looks like a traditional cel animation from Disney. As those who have seen the movie can attest, however, this film breaks with the past in a number of interesting ways. For example, there are no song and dance numbers and no cute talking animals. But what most moviegoers won't know is that even though the film looks like cel animation, it has more 3D elements in more shots than any "traditional" animation created at Disney Feature Animation before it.Set around 1914, Atlantis follows the adventures of a scholarly linguist and cartographer named Milo who joins an expedition bent on finding the lost kingdom of Atlantis. Also along for the ride are an intriguing and often hilarious assortment of other explorers: a cunning, square-jawed commander and his femme fatale lieutenant, a wry chain-smoking woman "of a certain age" who is the team's world-weary communications officer, a spunky Latina mechanic, a crusty chuck wagon cook, an eccentric geologist nicknamed the "mole," a wisecracking demolitions expert, and a fast-talking medic. Produced by Don Hahn and directed by Kirk Wise and Gary Trousdale, the trio also responsible for Disney's Beauty and the Beast (1991) and The Hunchback of Notre Dame (1996), Atlantis opened in the US on June 15. With this film, Disney's classic fairy-tale journey to fantasyland has been replaced with a wild ride to adventure land, and as befits a tale hell-bent for 20,000 leagues under the sea, the design is bold and edgy. In most Disney animations, flat-shaded characters perform over lush, painterly backgrounds. By contrast, both the backgrounds and characters in Atlantis were created in the same flat, graphic style. "From the original concept, we wanted this big action-adventure movie to look like a comic book," says Trousdale.

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