Roger Ebert and "The Wolverine" Chaz Ebert Chaz Considers Roger's Influence on James Mangold's "The Wolv Erine."
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Teenage Mutant Ninja Turtles 2 (2016)
TEENAGE MUTANT NINJA TURTLES 2 (2016) ● Directed by Dave Green ● Distributed by Paramount Pictures ● 112 minutes ● PG13 ● 135 million dollar budget (180 with promotion) QUICK THOUGHTS ● Phil Svitek ● Demetri Panos DEVELOPMENT ● After the 2014 film exceeded box office expectations, Paramount and Nickelodeon officially announced a sequel was greenlit, and set to be released in theatres on June 3, 2016 ○ The sequel was announced two days after Teenage Mutant Ninja Turtles (2014) was released ● They planned to incorporate Bebop, Rocksteady and Casey Jones ● Jonathan Liebesman and Brad Fuller were also interested in doing a storyline that involved Dimension X and Krang ● In December 2014, it was revealed Paramount was in early negotiations with Earth to Echo director Dave Green to helm the sequel, also revealing Jonathan Liebesman was no longer a part of the project ● Known briefly as Teenage Mutant Ninja Turtles: Half Shell, Paramount revealed in December 2015 that the title had officially been changed to Teenage Mutant Ninja Turtles: Out of the Shadows WRITING ● Josh Appelbaum and Andre Nemec, the writers of Teenage Mutant Ninja Turtles: Out of the Shadows, have inked a twoyear, firstlook feature deal with Paramount Pictures ○ The duo have become goto scribes for the studio, having worked on the Paramount franchise pic Mission: Impossible — Ghost Protocol, which earned nearly $700 million worldwide, and the initial Teenage Mutant Ninja Turtles reboot, which grossed almost $500 million. They also are -
HIGHLIGHTS April 2017 UNIVERSAL CHANNEL HIGHLIGHTS April 2017
HIGHLIGHTS April 2017 UNIVERSAL CHANNEL HIGHLIGHTS April 2017 DEUTSCHE TV-PREMIERE CHICAGO FIRE 100ste Episode Am 24. April, um 21 Uhr Herzlichen Glückwunsch Chicago Fire! werden alle drei Teams zu einem gemeinsamen Die Darsteller der mutigen Feuerwehrmänner Großeinsatz gerufen, der eine Herausforderung und -frauen zelebrieren bereits die 100ste Folge für jeden ist. und damit den Erfolg des beliebten Chicago- Fans sollten bei Herrmanns Rede in Molly´s Bar Franchise. genau zuhören, denn die Serienmacher haben Grund zum Feiern haben auch Dawson (Monica eine versteckte Danksagung untergebracht, die Raymund) und Casey (Jesse Spencer), deren sich an die gesamte Crew von Chicago Fire und gemeinsames Leben eine aufregende Wendung an alle Zuschauer richtet. nimmt. Severide (Taylor Kinney) hingegen überkommt das Gefühl, auf der Stelle zu treten und überdenkt sein bisheriges Leben. Zudem UNIVERSAL CHANNEL HIGHLIGHTS April 2017 FILMNEUSTART The Fast And The Furious: Tokyo Drift Am 9.4. um 21 Uhr Der 17-jährige Sean (Lucas Black) wird nach Tokyo geschickt, wo er weit entfernt von der Arizona-Rennfahrerszene sein soll, doch Tokyo ist ein heißes Pflaster illegaler Autorennen. Schnell findet Sean Anschluss und erlernt die Kunst des Driftens. Er tritt sein erstes Duell gegen den Driftking Takashi (Brian Tee) an, der in Verbindung mit der Yakuza steht. Tokyo Drift ist chronologisch zwischen dem 6. und dem 7. Teil der The Fast And The Furious-Reihe platziert und auch die Entfernung zu Amerika kann Dom Toretto (Vin Diesel) nicht davon abhalten in Tokyo vorbeizuschauen. FILMNEUSTART Die Unfassbaren - Now You See Me Am 30.4. um 21 Uhr Vier Super-Illusionisten (Woody Harrelson, Isla Fisher, Jesse Eisenberg und Dave Franco) rauben während ihrer Show den Tresor eines Wirtschaftsbosses (Michael Caine) aus, der auf einem anderen Kontinent lebt. -
KT 20-9-2017 .Qxp Layout 1
SUBSCRIPTION WEDNESDAY, SEPTEMBER 20, 2017 THULHIJJA 29, 1438 AH www.kuwaittimes.net Man arrested Hamza Bin Bahrain accused Lions overpower for growing Laden: Heir of stoking Giants; Stafford marijuana3 to Qaeda?6 tension11 throws16 for 2 TDs Trump warns Iran and Min 26º Max 47º High Tide N Korea’s ‘rocket man’ 10:53 Low Tide ‘America First’ president addresses United Nations 05:03 & 17:59 32 PAGES NO: 17335 150 FILS UNITED NATIONS: US President Donald Trump said yes- terday that the United States will be forced to “totally Hijri holiday destroy” North Korea unless Pyongyang backs down from its nuclear challenge, mocking North Korean leader Kim Jong Un as a “rocket man” on a suicide mis- on Thursday sion. Loud murmurs filled the green-marbled UN General Assembly hall when Trump issued his sternest Safeguarding Husseiniyas warning yet to North Korea, whose ballistic missile launches and nuclear tests have rattled the globe. KUWAIT: Ministries and all government institutions Unless North Korea backs down, he said, “We will nationwide will be closed tomorrow to mark the Hijri have no choice but to totally destroy North Korea.” New Year’s holiday, Kuwait’s Civil Service Commission “Rocket man is on a suicide mission for himself and his (CSC) announced yesterday. Meanwhile, workplaces regime,” he said. North Korea’s mission to the United of unconventional and special nature will determine Nations did not immediately respond to a request for their holidays as they see fit, a statement issued by comment on Trump’s remarks. A junior North Korean the CSC noted. -
Persistence of the Mythic Hero in American Cinema
Colloquium: A Journal of the Arts Department (ISSN 2350-1251), Volume 5, 2018 URL of the Issue: http://colloquium.bescollege.net/V5 PDF URL: http://colloquium.bescollege.net/V5/v502.pdf Tales of violence and revival: Persistence of the mythic hero in American cinema Arup Ratan Samajdar College Whole Time Lecturer, Department of Film Studies, The Bhawanipur Education Society College When James Mangold’s Logan released in 2017, it was a highly anticipated superhero film.1 While the film was all set to become a landmark in the superhero genre, as soon as it opened in theatres, fans and critics immediately noted how far removed the film was from the usual superhero fanfare and how closely it resonated with westerns. In one of the earliest reviews, Peter Travers noted, “Logan has the shape of a classic western. Shane is directly referenced in one scene and the elegiac tone of the film recalls Clint Eastwood's Oscar-winning Unforgiven”.2 While Travers might have just scratched the surface, given the limited scope and immediacy of a review, Logan shares far deeper bonds with westerns than just familiar plotlines and iconographies. To understand the structural similarities which impart the film its identity as a western, one must go back to the most fundamental facets of the genre, namely the frontier myth and the notion of the mythic hero and address one of the foremost preoccupations of westerns, idea of masculinity. American West(ern): From history to myth "When the legend becomes fact, print the legend." - The Man Who Shot Liberty Valance (John Ford, 1962) The western has not only been the most distinctive genre in the American studio system but also a quintessential American institution. -
PRODUCTION INFORMATION Michelangelo, Donatello, Leonardo, and Raphael Return to Theaters This Summer to Battle Bigger, Badder Vi
PRODUCTION INFORMATION Michelangelo, Donatello, Leonardo, and Raphael return to theaters this summer to battle bigger, badder villains, alongside April O’Neil (Megan Fox), Vern Fenwick (Will Arnett), and a newcomer: the hockey-masked vigilante Casey Jones (Stephen Amell). After supervillain Shredder (Brian Tee) escapes custody, he joins forces with mad scientist Baxter Stockman (Tyler Perry) and two dimwitted henchmen, Bebop (Gary Anthony Williams) and Rocksteady (WWE Superstar Stephen “Sheamus” Farrelly), to unleash a diabolical plan to take over the world. As the Turtles prepare to take on Shredder and his new crew, they find themselves facing an even greater evil with similar intentions: the notorious Krang. Paramount Pictures and Nickelodeon Movies present a Platinum Dunes Production , A Gama Entertainment / Mednick Production / Smithrowe Entertainment Production, Teenage Mutant Ninja Turtles: Out of the Shadows. The film is directed by Dave Green (Earth to Echo) , written by Josh Appelbaum & André Nemec (Teenage Mutant Ninja Turtles, Mission Impossible: Ghost Protocol) and produced by Michael Bay (the blockbuster Transformers franchise, Teenage Mutant Ninja Turtles), Andrew Form, Brad Fuller, Galen Walker and Scott Mednick. The executive producers are Denis L. Stewart, Grant Curtis, Eric Crown and Napoleon Smith III, André Nemec and Josh Appelbaum. The film stars Megan Fox, Will Arnett, Laura Linney, Stephen Amell, Noel Fisher, Jeremy Howard, Pete Ploszek, Alan Ritchson, and Tyler Perry. Rounding out the cast are Brian Tee, Stephen “Sheamus” Farrelly, Gary Anthony Williams, Brittany Ishibashi and Jane Wu. A NEW DIMENSION “Our story begins where the first film ends, in real life and in the movie,” says producer Andrew Form. -
Various Rules
Chapter One: Heroes......................................................................................................................................................... 1 Primary Abilities........................................................................................................................................................... 2 Secondary Abilities....................................................................................................................................................... 9 Special Abilities.......................................................................................................................................................... 10 Character Creation ...................................................................................................................................................... 11 Chapter Two: Game Mechanics...................................................................................................................................... 19 Time Scale – The Turn ............................................................................................................................................... 19 Difficulty Class........................................................................................................................................................... 19 Chapter Three: Combat................................................................................................................................................... 21 Combat Basics -
Recycling the Other: the Role of Nostalgia in Superhero Comics’ Orientalism Nao Tomabechi
Recycling the Other: The Role of Nostalgia in Superhero Comics’ Orientalism Nao Tomabechi Abstract Whiteness has been one of the core ideals in American mainstream superhero comics, but in recent years, with demands for diversity increasing, more than ever, racial minorities have leading roles in superhero comics. However, the struggle for Asians in the superhero genre is not entirely gone. The number of appearances may have increased, but stereotypes do persist. Japanese characters in superhero comics, for instance, whether they are heroes or villains, are still forced to display their Otherness, even in recent works. In this paper, by using Wolverine’s adventures set in Japan and the Japanese superhero Katana from DC Comics as examples, I argue that Asians in contemporary superhero comics are still contained within the grasps of Orientalism, and that nostalgia plays a significant role in that containment. Keywords: Orientalism, nostalgia, racism, continuity, diversity Introduction As many scholars and fans have already pointed out, whiteness has been one of the core ideals in American mainstream superhero comics.1 From DC Comics’ Superman and Batman to Marvel’s Captain America and Iron Man, the most famous and popular superheroes, as well as supervillains, have always been predominantly white. In recent years however, with increasing demands for diversity, this focus on whiteness has been highly questioned and criticized. Consequently, more than ever, racial minorities have leading roles in superhero comics. Miles Morales, the Spider-Man of Marvel’s Ultimate Universe, is a mixed-race teenager, and the African Black Panther is now extremely popular after the successful film released in 2018. -
When Deadpool 2 (
Sign in (https://www.gamespot.com/) (https://www.gamespot.com/login/) / Join (https://www.gamespot.com/signup/) (https://www.facebook.com/sharer/sharer.php? u=https://www.gamespot.com/gallery/deadpool- 2-super-duper-extended-vs-theatrical-cut- /2900-2191/) (https://twitter.com/intent/tweet?text=Deadpool 2 Super Duper Extended Vs. Theatrical Cut -- Every Change&related=&url=https://www.gamespot.com/gallery/deadpool- 2-super-duper-extended-vs-theatrical-cut-/2900-2191/) (https://share.flipboard.com/bookmarklet/popout? v=2&title=Deadpool 2 Super Duper Extended Vs. Theatrical Cut -- Every Change&url=https://www.gamespot.com/gallery/deadpool- 2-super-duper-extended-vs-theatrical-cut-/2900- 2191/&utm_source=gamespot.com&utm_medium=article- share&utm_campaign=publisher) Spider-Man Far From Home Trailer Breakdown And Easter Eggs True Detective Season 3 Theories From Episodes 1 and 2 Game Of Thrones Season 8 Release Date Trailer Breakdown (https://static.gamespot.com/uploads/scale_super/1578/15789737/3424064-deadpool2.jpg) When Deadpool 2 (https://www.gamespot.com/articles/deadpool-2-review-failing-to-break-the-fourth- wall/1100-6458947/) hit theaters, you might have assumed it would be impossible to somehow load in more dirty jokes or gratuitous violence. How wrong you were, though. While the film is certainly raunchy, perhaps even more so than the first Deadpool, there's always room for more. That's proven by the Super Duper cut of the movie, which has been released on Digital HD. This version of Deadpool 2 first debuted at San Diego Comic-Con and will arrive on Blu-ray (https://www.gamespot.com/articles/this-deadpool-2-blu-ray-comes-with-a-very-special-/1100- 6460283/) on August 21. -
Mccusker, Michael
MICHAEL MCCUSKER, ACE EDITOR FEATURES: FORD VS. FERRARI 20th Century Fox Prod: Peter Chernin, Lucas Foster, Dir: James Mangold *Win, Academy Awards 2020, Best Film Editing Jenno Topping, Alex Young *Nomination, Academy Awards 2020, Best Picture *Nomination, ACE Awards 2020, Best Edited Feature Film (Drama) *Win, BAFTA Awards 2020, Best Film Editing DEADPOOL 2 (Additional Editor) 20th Century Fox Prod: Kevin Feige, Stan Lee Dir: David Leitch *Nomination, ACE Awards 2019, Best Edited Feature Film (Comedy) THE GREATEST 20th Century Fox Prod: Peter Chernin, Larry Mark Dir: Michael Gracey SHOWMAN *Nomination, Golden Globes 2018, Best Motion Picture – Musical or Comedy THE DARK TOWER Sony Pictures Ent. Prod: Ron Howard, Brian Grazer Dir: Nikolaj Arcel LOGAN 20th Century Fox Prod: Simon Kinberg, Lauren Shuler Donner Dir: James Mangold THE GIRL ON THE TRAIN Amblin/Universal Prod: Marc Platt Dir: Tate Taylor 13 HOURS Paramount Pictures Prod: Michael Bay, Erwin Stoff Dir: Michael Bay THE FINEST HOURS (Additional Editor) Walt Disney Pictures Prod: James Whitaker, Douglas Merrifield Dir: Craig Gillespie GET ON UP Universal Pictures Prod: Peter Afterman, Brian Grazer Dir: Tate Taylor THE WOLVERINE 20th Century Fox Prod: Joseph Caracciolo Jr., Hutch Parker Dir: James Mangold THE AMAZING SPIDER MAN Columbia Pictures Prod: Avi Arad, Michael Grillo Dir: Marc Webb CAPTAIN AMERICA: THE FIRST AVENGER Marvel Studios Prod: Victoria Alonso, Kevin Feige Dir: Joe Johnston (Additional Editor) KNIGHT AND DAY 20th Century Fox Prod: Steve Pink, Joe Roth Dir: James -
War for the Planet of the Apes (2017)
WAR FOR THE PLANET OF THE APES (2017) ● Released by July 14th, 2017 ● 2 hours 20 minutes ● $150,000,000 (estimated) budget ● Matt Reeves directed ● Chernin Entertainment, TSG Entertainment ● Rated PG-13 for sequences of sci-fi violence and action, thematic elements, and some disturbing images QUICK THOUGHTS: ● Demetri Panos: ● OPINION: WITH MATT REEVES FLOURISHED STORYTELLLING, QUALITY PERFORMANCES, GRAND SCALE NARRATIVE; WAR FOR THE PLANET OF THE APES CAPS OFF A RARE TRILOGY FEAT WHERE THE MOVIES JUST GOT BETTER AS THEY WENT ALONG. REEVES NOT ONLY ABLE TO DIRECT BIG SCALE ACTION, HE COMPOSES SHOTS THAT NOT ONLY CAPTURE INTIMATE EXPRESSION BUT GRAND SCALE LANDSCAPE. SPEAKING OF EXPRESSION; MOTION CAPTURE TECHNOLOGY IS REACHING IF NOT AT ITS PEAK! I ARGUE THAT IT IS SO GOOD, IT SHOULD BE CONSIDERED A PROSTHETIC. TO TAKE THAT ONE STEP FURTHER, THE ACADEMY SHOULD NOW TAKE NOTE AND NOT BE HINDERED TO NOTICE PERFORMANCES UNDER MOTION CAPTURE. IT IS NOT UNLIKE NOMINATING JOHN HURT FROM ELEPHANT MAN OR ERIC STOLTZ FROM MASK. ANDY SERKIS PERFORMANCE HERE TRANSCENDS THE MASK. HE PLAYS CEASAR AS A LEADER WHO NOT ONLY GRAPPLES WITH THE RESPONSIBILITY OF HIS RACE BUT WITH RAMIFICATIONS OF HIS DECISIONS. HIS IS A GRIPPING PERFORMANCE, ONE OF THE BEST OF THE SUMMER. WOODY HARRELSON’S, THE COLONEL, PERFORMANCE TEETERS FROM GOING OVER THE TOP BUT HIS CHARACTER MIRRORS REAL IFE PERSONAS, WHILE ONE CAN UNDERSTAND THE COLONEL’S MOTIVIATION, HIS ACTIONS ARE NOT THOSE BOUND BY RATIONALITY AND THEREFORE SCARY. ALSO, PROPS TO AMIAH MILLER WHOSE RE-IMAGINED NOVA IS ENDEARING AND STRONG. -
Tom Cruise Biography Pdf
Tom cruise biography pdf Continue It's no secret that Tom Cruise has been struggling at the US box office for a while now. From 1992 to 2006, Cruz had a nearly unbreakable string of $100 million-plus box office hits - an unprecedented track record in modern Hollywood. (Two exceptions: R-rated erotic thriller Eyes Wide Shut and indie ensemble Magnolia.) Since 2006 Mission: Impossible III, however, Cruz seems to have come up with a terrible CJS case, i.e. Couch-Jumping Syndrome: His only film to bank more than $100 million in the U.S. was The Mission 2011: Impossible - The Ghost Protocol. The rest - Lions for Lambs, Valkyrie, Knight and Day, Rock of the Ages, and Jack Reacher - all had either disappointments or outright dips in the US. A true movie star should have a life for one franchise, but seemingly over the past seven years, The American audience has been interested only to see Cruise run, jump, and shoot like secret agent Ethan Hunt.That is, until this weekend. Cruz's sci-fi thriller Oblivion opened for $38.2 million, which is the 50-year-old's best domestic film for a film where neither Mission Impossible nor director Steven Spielberg was on the film's poster. (If you adjust for inflation, interview with vampire and firm did better.) That's doubly impressive given Friday night, much of the country stayed home to watch a live broadcast of the hunt for Boston bomber Dzokhar Tsarnaev.So does that mean Cruz finally shook off the scourge of CJS and returned to grace The American audience? It's possible. -
The Representation of Suicide in the Cinema
The Representation of Suicide in the Cinema John Saddington Submitted for the degree of PhD University of York Department of Sociology September 2010 Abstract This study examines representations of suicide in film. Based upon original research cataloguing 350 films it considers the ways in which suicide is portrayed and considers this in relation to gender conventions and cinematic traditions. The thesis is split into two sections, one which considers wider themes relating to suicide and film and a second which considers a number of exemplary films. Part I discusses the wider literature associated with scholarly approaches to the study of both suicide and gender. This is followed by quantitative analysis of the representation of suicide in films, allowing important trends to be identified, especially in relation to gender, changes over time and the method of suicide. In Part II, themes identified within the literature review and the data are explored further in relation to detailed exemplary film analyses. Six films have been chosen: Le Feu Fol/et (1963), Leaving Las Vegas (1995), The Killers (1946 and 1964), The Hustler (1961) and The Virgin Suicides (1999). These films are considered in three chapters which exemplify different ways that suicide is constructed. Chapters 4 and 5 explore the two categories that I have developed to differentiate the reasons why film characters commit suicide. These are Melancholic Suicide, which focuses on a fundamentally "internal" and often iII understood motivation, for example depression or long term illness; and Occasioned Suicide, where there is an "external" motivation for which the narrative provides apparently intelligible explanations, for instance where a character is seen to be in danger or to be suffering from feelings of guilt.