Available to Rent Or Buy on Blu-Ray, DVD Or Digital October 28, 2015

Total Page:16

File Type:pdf, Size:1020Kb

Available to Rent Or Buy on Blu-Ray, DVD Or Digital October 28, 2015 Available to Rent or Buy on Blu-Ray, DVD or Digital October 28, 2015 LOVE & MERCY tells the true story behind the musical visionary who challenged the sound of the 1960s. Brian Wilson in the ‘60s (Paul Dano) makes the decision to stop touring with the Beach Boys and focuses on experimenting with a new sound that would set the tone for the decade. “Pet Sounds” is one of the most innovative and influential musical albums of all time, featuring classic hits ‘God Only Knows’ and ‘Wouldn’t It Be Nice’. The 1980s Brian Wilson (John Cusack) finds the true meaning of life when he meets the woman who would turn out to be his soul mate, protector and future wife, Melinda Ledbetter (Elizabeth Banks). It is Melinda’s devotion and love that forces Brian to slowly discover what’s best about himself and how the music holds him together. Melinda brings him a third-act redemption that pulls him back into life. Media Enquiries: Nicole Vlamis (02) 8594 9036 / [email protected] Entranced by the music and love story, LOVE & MERCY takes audiences on a ICON HOME ENTERTAINMENT compelling journey into the life and mind of Brian Wilson. 34 LENNOX STREET, NEWTOWN NSW 2042 CAN: 095529641 ABN: 14095529641 “A warm tribute to the extraordinary life of Brian Wilson” – The Guardian Starring: John Cusack (Maps to the Stars, Being John Malkovich) Paul Dano (There Will Be Blood, 12 Years a Slave) Elizabeth Banks (The Hunger Games, Pitch Perfect) Paul Giamatti (Sideways, The Amazing Spider-Man 2) Format: DVD Blu-Ray Genre: Drama/True Story 116 mins + 43 120 mins + 43 Runtime: mins special mins special features features Rating: M Aspect Ratio: 1.85:1 1.85:1 Language: English Coding 4 B SRP: $39.95 $47.95 Media Enquiries: Nicole Vlamis (02) 8594 9036 / [email protected] ICON HOME ENTERTAINMENT 34 LENNOX STREET, NEWTOWN NSW 2042 CAN: 095529641 ABN: 14095529641 .
Recommended publications
  • Original Article Being John Malkovich and the Deal with the Devil in If I Were
    Identificação projetiva excessiva – Rosa Artigo original Quero ser John Malkovich e o pacto com o diabo de Se eu fosse você: destinos da identificação projetiva excessiva Antonio Marques da Rosa* Um fantoche mira-se em um espelho e não A produção artística sempre proporcionou gosta do que vê. Inicia, então, uma agitada boas oportunidades para ilustrar conceitos da dança, na qual quebra todos os objetos do psicanálise. Freud, apreciador da psicanálise cenário. Após desferir murros e pontapés de aplicada, exercitou-a magistralmente em forma descontrolada, faz algumas piruetas diversos momentos, como em 1910, com as acrobáticas, dá alguns saltos mortais de costas telas de Leonardo. Mais adiante, em 1957, e deixa-se repousar no chão, abandonado, Racker, na área da filmografia, ofereceu um amolecido, desmembrado. brilhante estudo da cena primária baseado em Assim começa a história de Craig Schwartz A janela indiscreta, de Hitchcock. Em 1994, por (John Cusack), um titereiro que se expressa ocasião de um evento científico em Gramado, através de seus bonecos. Ele é o que, na Kernberg sustentou que o cinema, na sociedade americana, convencionou-se atualidade, é o setor das artes que mais chamar de loser: alguém que não consegue ricamente expressa os conflitos humanos. progredir na carreira e vive “dando errado”. Penso que, como qualquer criação, um filme Apesar de seu inegável talento, não é está impregnado de fantasias inconscientes, reconhecido e não alcança sucesso no mundo só que não de um único criador, como uma das marionetes. Não sem razão, a cena inicial tela, mas de vários: do autor da obra original, da marionete foi batizada por ele de a “Dança do roteirista, do diretor e dos atores que nos do Desespero e da Desilusão”.
    [Show full text]
  • Subjectivity, Difference, and Proximity in Transnational Film and Literature
    UNIVERSITY OF CALIFORNIA RIVERSIDE Errancies of Desire: Subjectivity, Difference, and Proximity in Transnational Film and Literature A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature by Vartan Patrick Messier March 2011 Dissertation Committee: Dr. Marguerite Waller, Co-Chairperson Dr. Marcel Hénaff, Co-Chairperson Dr. Sabine Doran Dr. Jennifer Doyle Copyright by Vartan Patrick Messier 2011 The Dissertation of Vartan P. Messier is approved: _________________________________________________________________ _________________________________________________________________ _________________________________________________________________ Committee Co-Chairperson _________________________________________________________________ Committee Co-Chairperson University of California, Riverside ACKNOWLEDGMENTS This project has benefited considerably from the guidance and suggestions of professors and colleagues. First and foremost, Margie Waller deserves my utmost gratitude for her unwavering support and constructive criticism throughout the duration of the project. Likewise, I would like to thank Sabine Doran for her commitment and dedication, as well as her excellent mentoring, especially in the earlier stages of the process. My thanks go to Marcel Hénaff who graciously accepted to co-chair the dissertation, and whose unique insights on intellectual history proved invaluable. As well, revisions were facilitated by Jennifer Doyle’s refined critique on the ideas permeating
    [Show full text]
  • «Smile», Le Sourire Figé De Brian Wilson «Smile», Le Sourire Figé De Brian Wilson
    «SMiLE», le sourire figé de Brian Wilson «SMiLE», le sourire figé de Brian Wilson Par Matthieu Conquet — 22 mars 2020 à 18:26 A partir de ce lundi, «Libé» raconte les histoires heureuses ou tragiques de grands artistes cloîtrés. Après avoir enluminé l’hédonisme sixties , le génie des Beach Boys a mis trente - huit ans à finaliser ce qui devait être son chef - d’œuvre, entre réclusion physique ou mentale, drogues et errements. Les Beach Boys à Los Angeles vers 1967. Brian Wilson tient un miroir dans lequel se reflètent les autres membres du groupe. Photo Michael Ochs Archives. Getty Images «Je veux rester à la maison et écrire des chansons.» Dans sa singulière biographie I Am Brian Wilson, traduite en 2018 en France, le compositeur, arrangeur et producteur des Beach Boys rappelle ce moment crucial, au début de l’année 1965, où il a convaincu ses frères de partir en tournée sans lui. «Je veux rester à la maison et écrire des chansons.» Le mot «maison» reviendra dès lors toutes les deux pages, ou presque, dans le livre. Ce sont ses frères Dennis et Carl, leur cousin Mike Love, ainsi qu’Al Jardine et Bruce Johnston qui assureront l’essentiel des concerts des Beach Boys à travers le monde, quand Brian restera chez lui ou en studio pour travailler, tentant de dominer les voix qui se succèdent dans sa tête. Pour comprendre ce besoin impérieux d’isolement, il convient de revenir un petit peu en arrière. En 1964, année riche pour Brian Wilson : les Beach Boys ont enregistré quatre albums, en entier ou en partie, donné pl us de 100 concerts, ils sont enfin numéro 1 pour la première fois avec I Get Around.
    [Show full text]
  • Full Beacher
    THE TM 911 Franklin Street Weekly Newspaper Michigan City, IN 46360 Volume 31, Number 36 Thursday, September 17, 2015 Life on the Edge MManan wwithith LLocalocal TTiesies iiss RRespectedespected HHollywoodollywood SStuntmantuntman by Andrew Tallackson When Tom McComas Jr. was 14, he did something that even today, he recalls with an air of disbelief in his voice. He took his father’s prized pos- session — a BMW R60 motorcycle acquired after his service with the U.S. Marine Corps ended — out for a joyride one night without his father’s permission. He’d learned that if you stuck a nail into the ignition, the bike would start...and start it did. Being a freshman in high school, though, meant he didn’t have his license, which also meant he was riding it il- legally. The headlights weren’t work- ing either. He was chased by police, but eluded them, abandoned the mo- torcycle and made it back home. The police later called his father, inquiring if he owned a motorcycle. They’d recovered one involved in a high-speed chase. Ironically, police reported, there was no damage to the bike. The “thief” also properly parked it, leaving the kickstand in place. “That’s amazing,” his father told police. “I’ll be there in a minute.” He then addressed his family, including Tom Jr., who remembers barely be- ing able to look at him. “A thief stole my motorcycle,” he announced, “and there’s no damage to it.” It wasn’t until years later that Tom Jr. fessed up to his father, easing into the revelation with, “Remember when that guy stole your motorcycle? Uh, that was me.” Continued on Page 2 At 45, Tom McComas Jr.
    [Show full text]
  • I AM BRIAN WILSON Brian Wilson October 11Th, 2016
    I AM BRIAN WILSON Brian Wilson October 11th, 2016 OVERVIEW: As a cofounding member of The Beach Boys in the 1960s, Brian Wilson created some of the most groundbreaking and timeless music ever recorded. Derailed in the 1970s by mental illness, excessive drug use, and the shifting fortunes of the band’s popularity, Wilson came back again and again over the next few decades, surviving and ultimately thriving. In his memoir entitled I Am Brian Wilson, he details the exhilarating highs and lows of his life from his failing memory, including the sources of his creative inspiration throughout the decades. - - - - - - - - - EARLY LIFE: Brian Wilson was born on June 20th, 1942 to Audree and Murry Wilson. Growing up in Hawthorne, California, Wilson exhibited unusual musical abilities, such as being able to hum the melody from When the Caissons Go Rolling Along after only a few verses had been sung by his father before the age of one. Surprisingly, a few years later, he was discovered to have diminished hearing in his right ear. The exact cause of this hearing loss is unclear, though theories range from him simply being born partially deaf to a blow to the head from his father, or a neighborhood bully, being to blame. While Wilson’s father was a reasonable provider, he was often abusive. A minor musician and songwriter, he also encouraged his children in this field in numerous ways. At an early age, Brian was given six weeks of lessons on a toy accordion and, at seven and eight, sang solos in church with a choir.
    [Show full text]
  • Popular Culture, Film and Media Summer 2015 Instructor: Tolga
    Popular Culture, Film and Media Summer 2015 Boğaziçi University Department of Western Languages and Literatures Instructor: Tolga Yalur E-mail contact: [email protected] Assessment Method: Class participation, attendance 45% Term paper 55% Course Description: This course is designed to analyze the basic patterns and pillars of popular culture as they are used and revealed in certain examples from American and world cinemas to present to masses the basic institutions of popular culture. In method, it is essentially a film-reading course. Course Content: The meaning of “popular”, a brief history of popular culture, its main pillars and basic elements, characteristic features, paradigms, replication myth and the influence of myths like creation myths, themes and patterns. Readings of films from USA, Turkey, England, TV shows and programs, music, and art, namely; sculpture, architecture; their language and style and presentations, their artistic and political and ideological interpretations. Course Materials: Fishwick, Marshall W. Seven Pillars of Popular Culture (Westport: GreenwoodPress, 1985) Storey, John. Cultural Theory and Popular Culture: An Introduction (Longman, 2008) Supplementary Books: Baudrillard, Jean. Amerika. Çev. Yaşar Avunç (İstanbul: Ayrıntı, 1996) Somay, Bülent. Tarihin Bilinçdışı: Popüler Kültür Üzerine Denemeler (İstanbul: Metis, 2004) Eradam, Yusuf. Vanilyalı İdeoloji (İstanbul: Aykırı Yayıncılık, 2004) Güngör, Nazife (Der.). Popüler Kültür ve İktidar: Popüler Kültür Üzerine Kuramsal İncelemeler (Ankara: Vadi Yayınları, 1999) Week 1: Popular culture Screening and Discussion: Film clips and music videos: Grease (1978), Saturday Night Fever (1977), Tootsie (1982), Michael Jackson’s Thriller, Luciano Pavarotti’s Concert in Hyde Park (London, 1991) Readings: Storey, John. Ch.1 “What is popular culture?” Fishwick, Marshall W.
    [Show full text]
  • Hits the Big Screen
    April 2018 Volume 27 Issue 2 The Kelo Case Hits the Big Screen Published Bimonthly by IJ Fights to End For-Profit Prosecution in California • Victory for Free Speech at the Colorado Supreme Court the Institute for Justice IJ’s Network of Volunteer Lawyers Expands the Fight for Liberty • Victory! Mario Levels Up, Unlocks Free Speech Achievement Does the Eighth Amendment Protect Against State and Local Forfeitures? • Overcoming Hurdles, The IJ Way contents The Kelo Case 4 Hits the Big Screen 4 John E. Kramer IJ Fights to End For-Profit 6 Prosecution in California Joshua House Victory for Free Speech at the Colorado Supreme Court 8 Paul Sherman IJ’s Network of Volunteer Lawyers Expands the Fight 10 For Liberty Dana Berliner Victory! Mario Levels Up, Unlocks Free Speech 12 Achievement Robert Frommer 10 Does the Eighth Amendment Protect Against State and 14 Local Forfeitures? Sam Gedge Overcoming Hurdles, The IJ Way 16 Robert McNamara Notable Media Mentions 14 19 2 6 8 April 2018 • Volume 27 Issue 2 About the publication: Editor: Liberty & Law is Shira Rawlinson and published bimonthly John E. Kramer by the Institute for Layout & Design: Justice, which, through Laura Maurice-Apel strategic litigation, training, communication, General Information: activism and research, (703) 682-9320 advances a rule of law Donations: Ext. 233 under which individuals 12 can control their Media: Ext. 205 destinies as free and Website: www.ij.org responsible members of society. IJ litigates Email: [email protected] to secure economic Donate: liberty, educational www.ij.org/donate choice, private property rights, freedom of facebook.com/ speech and other vital instituteforjustice individual liberties, and to restore constitutional youtube.com/ limits on the power of instituteforjustice government.
    [Show full text]
  • Love and Mercy September 27 & 28, 2015
    ciné SARNIA presents Love and Mercy September 27 & 28, 2015 Please check our web site at www.cinesarnia.com for upcoming films and other information Director: Bill Pohlad Cast:: John Cusack, Paul Dano, Elizabeth Banks, Paul Giamatti Year: 2013 Runtime: 120 minute Country: USA Language: English Upcoming Films Oct. 18 & 19 : Phoenix Nov. 8 & 9: A Brilliant Young Mind Nov. 22 & 23: Infinitely Polar Bear Dec 6 & 7: Learning to Drive Love and Mercy You have to love a biopic that shakes things up. Just like Brian Wilson, the Beach Boys innovator whose gifts as singer, songwriter and producer were based on experimentation. Instead of one actor to portray Wilson, sidelined by drugs and mental illness, director Bill Pohlad gives us two, both superb in different ways. Paul Dano, who put on pounds to further the moon-faced likeness, plays Wilson during the 1960s, at the height of his artistic creativity. John Cusack, who looks distractingly unlike Wilson, plays the shaken genius during the 1980s, when he barely emerged from the pill-induced haze created by therapist Eugene Landy (a full-tilt Paul Giamatti). His rescuer is Cadillac saleswoman Melinda Ledbetter (Elizabeth Banks), who became his second wife. Does Ledbetter's consulting credit skew the film dramatically? Maybe. But the whip-smart script, by Oren Moverman and Michael Alan Lerner, neatly sidesteps cliché. So does Dino Jonsater's editing, which shuns the linear to skip between time periods until juxtaposition yields clarity. Musically, the film is a miracle, right and riveting in every detail. Just watch Wilson in the studio, coaxing musicians on "Good Vibrations" and Pet Sounds , which uses whistles, bicycle bells and barking dogs to approach what Wilson hears in his head.
    [Show full text]
  • Movie Titles List, Genre
    ALLEGHENY COLLEGE GAME ROOM MOVIE LIST SORTED BY GENRE As of December 2020 TITLE TYPE GENRE ACTION 300 DVD Action 12 Years a Slave DVD Action 2 Guns DVD Action 21 Jump Street DVD Action 28 Days Later DVD Action 3 Days to Kill DVD Action Abraham Lincoln Vampire Hunter DVD Action Accountant, The DVD Action Act of Valor DVD Action Aliens DVD Action Allegiant (The Divergent Series) DVD Action Allied DVD Action American Made DVD Action Apocalypse Now Redux DVD Action Army Of Darkness DVD Action Avatar DVD Action Avengers, The DVD Action Avengers, End Game DVD Action Aviator DVD Action Back To The Future I DVD Action Bad Boys DVD Action Bad Boys II DVD Action Batman Begins DVD Action Batman v Superman: Dawn of Justice DVD Action Black Hawk Down DVD Action Black Panther DVD Action Blood Father DVD Action Body of Lies DVD Action Boondock Saints DVD Action Bourne Identity, The DVD Action Bourne Legacy, The DVD Action Bourne Supremacy, The DVD Action Bourne Ultimatum, The DVD Action Braveheart DVD Action Brooklyn's Finest DVD Action Captain America: Civil War DVD Action Captain America: The First Avenger DVD Action Casino Royale DVD Action Catwoman DVD Action Central Intelligence DVD Action Commuter, The DVD Action Dark Knight Rises, The DVD Action Dark Knight, The DVD Action Day After Tomorrow, The DVD Action Deadpool DVD Action Die Hard DVD Action District 9 DVD Action Divergent DVD Action Doctor Strange (Marvel) DVD Action Dragon Blade DVD Action Elysium DVD Action Ender's Game DVD Action Equalizer DVD Action Equalizer 2, The DVD Action Eragon
    [Show full text]
  • 35 Years of Nominees and Winners 36
    3635 Years of Nominees and Winners 2021 Nominees (Winners in bold) BEST FEATURE JOHN CASSAVETES AWARD BEST MALE LEAD (Award given to the producer) (Award given to the best feature made for under *RIZ AHMED - Sound of Metal $500,000; award given to the writer, director, *NOMADLAND and producer) CHADWICK BOSEMAN - Ma Rainey’s Black Bottom PRODUCERS: Mollye Asher, Dan Janvey, ADARSH GOURAV - The White Tiger Frances McDormand, Peter Spears, Chloé Zhao *RESIDUE WRITER/DIRECTOR: Merawi Gerima ROB MORGAN - Bull FIRST COW PRODUCERS: Neil Kopp, Vincent Savino, THE KILLING OF TWO LOVERS STEVEN YEUN - Minari Anish Savjani WRITER/DIRECTOR/PRODUCER: Robert Machoian PRODUCERS: Scott Christopherson, BEST SUPPORTING FEMALE MA RAINEY’S BLACK BOTTOM Clayne Crawford PRODUCERS: Todd Black, Denzel Washington, *YUH-JUNG YOUN - Minari Dany Wolf LA LEYENDA NEGRA ALEXIS CHIKAEZE - Miss Juneteenth WRITER/DIRECTOR: Patricia Vidal Delgado MINARI YERI HAN - Minari PRODUCERS: Alicia Herder, Marcel Perez PRODUCERS: Dede Gardner, Jeremy Kleiner, VALERIE MAHAFFEY - French Exit Christina Oh LINGUA FRANCA WRITER/DIRECTOR/PRODUCER: Isabel Sandoval TALIA RYDER - Never Rarely Sometimes Always NEVER RARELY SOMETIMES ALWAYS PRODUCERS: Darlene Catly Malimas, Jhett Tolentino, PRODUCERS: Sara Murphy, Adele Romanski Carlo Velayo BEST SUPPORTING MALE BEST FIRST FEATURE SAINT FRANCES *PAUL RACI - Sound of Metal (Award given to the director and producer) DIRECTOR/PRODUCER: Alex Thompson COLMAN DOMINGO - Ma Rainey’s Black Bottom WRITER: Kelly O’Sullivan *SOUND OF METAL ORION LEE - First
    [Show full text]
  • Biopic - a Film Or Documentary Depicting the Life of a Real Person Or Real Events
    Biopic - a film or documentary depicting the life of a real person or real events. Shine (1996) - DVD​ - As a child piano prodigy, David Helfgott's (Geoffrey Rush) musical ambitions generate friction with his overbearing father, Peter (Armin Mueller-Stahl). When Helfgott travels to London on a musical scholarship, his career as a pianist blossoms. However, the pressures of his newfound fame, coupled with the echoes of his tumultuous childhood, conspire to bring Helfgott's latent schizophrenia boiling to the surface, and he spends years in and out of various mental institutions. Topsy Turvy (1999) - DVD​ - Set in the 1880s, the story of how, during a creative dry spell, the partnership of the legendary musical/theatrical writers Gilbert and Sullivan almost dissolves, before they turn it all around and write the Mikado. Ali (2001) - DVD and Book​ - With wit and athletic genius, with defiant rage and inner grace, Muhammad Ali forever changed the American boxing landscape. Fighting all comers, Ali took on the law, conventions, the status quo, and the war -- as well as the fists in front of him. Ali both ignited and mirrored the conflicts of his time to become one of the most admired fighters in the world. Catch me if you can (2002) - DVD and Book​ - Frank Abagnale, Jr. (Leonardo DiCaprio) worked as a doctor, a lawyer, and as a co-pilot for a major airline -- all before his 18th birthday. A master of deception, he was also a brilliant forger, whose skill gave him his first real claim to fame: At the age of 17, Frank Abagnale, Jr.
    [Show full text]
  • Postclassical Hollywood/Postmodern Subjectivity Representation In
    Postclassical Hollywood/Postmodern Subjectivity Representation in Some ‘Indie/Alternative’ Indiewood Films Jessica Murrell Thesis submitted for the Degree of Doctor of Philosophy Discipline of English Faculty of Humanities and Social Sciences University of Adelaide August 2010 Contents Abstract .................................................................................................................. iii Declaration ............................................................................................................. iv Acknowledgements.................................................................................................. v Introduction ........................................................................................................... 1 Chapter 1. Critical Concepts/Critical Contexts: Postmodernism, Hollywood, Indiewood, Subjectivity ........................................................................................12 Defining the Postmodern.....................................................................................13 Postmodernism, Cinema, Hollywood. .................................................................22 Defining Indiewood. ...........................................................................................44 Subjectivity and the Classical Hollywood Cinema...............................................52 Chapter 2. Depthlessness in American Psycho and Being John Malkovich.........61 Depthlessness, Hermeneutics, Subjectivity..........................................................63
    [Show full text]