Alice in Wonderland Movie Review
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
SHOOT Magazine March/April 2019 Issue
March/April 2019 March/April Chat Room 4 The Road To Emmy Preview Hot Locations 10 4 Spring 2019 DIR Adam McKay Lauren Greenfield Chat Room 18 ECT online.com Series SHOOT ORS Matthew Heineman 8 Ramaa Mosley www. Up-and-Coming Directors 19 Floyd Russ Ridley Scott Spike Jonze Cinematographers & Cameras 22 Top Ten VFX & Animation Chart 26 Top Ten Music Tracks Chart 28 TO GET CONNECTED THE FURTHEST REACHES OF YOUR IMAGINATION ARE CLOSER THAN YOU THINK. With versatile landscapes, experienced film crews and incentivized tax breaks, the only limit to filming in the U.S. Virgin Islands is your imagination. Enjoy up to a 29% tax rebate and up to a 17% transferable tax credit when you film in the USVI. For more opportunities in St.Croix, St. John and St. Thomas, call 340.774.8784 ext. 2243. filmusvi.com DOWNLOAD THE FILM USVI APP: © 2019 U.S. Virgin Islands Department of Tourism USVI19037_9x10.875_SHOOT.indd 1 3/22/19 4:09 PM AGENCY: JWT/Atlanta SPECS: 4C Page Bleed PUB: SHOOT Magazine CLIENT: USVI TRIM: 9” x 10.875” DATE: March/April, 2019 AD#: USVI19037 BLEED: 9.25” x 11.125” HEAD: “The Furthest Reaches of LIVE: 8.5” x 10.375” your Imagination...” Perspectives The Leading Publication For Film, TV & Commercial Production and Post March/April 2019 spot.com.mentary By Robert Goldrich Volume 60 • Number 2 www.SHOOTonline.com EDITORIAL Publisher & Editorial Director Serious Comedy Roberta Griefer 203.227.1699 ext. 701 [email protected] Editor Robert Goldrich Our Up-and-Coming known for its humorous chops, and hope- her feature film, Late Night. -
Annie Beauchamp Production Designer
ANNIE BEAUCHAMP PRODUCTION DESIGNER FILM & TELEVISION DAYS OF ABANDONMENT Director: Maggie Betts Production Company: HBO SWAN SONG Director: Benjamin Cleary Production Company: Apple & Anonymous Content PENGUIN BLOOM Director: Glendyn Ivin Production Company: Pacific Standard ON BECOMING A GOD IN CENTRAL FLORIDA Director: Charlie McDowell Production Company: Smokehouse Pictures & Showtime BLACK MIRROR Director: Various Production Company: Netflix RICHARD SAYS GOODBYE Director: Wayne Roberts Production Company: IM Global TOP OF THE LAKE: CHINA GIRL Director: Jane Campion Production Company: See-Saw Films & Transmission Films Nominated, Best Director, BAFTA Awards (2018) Official Selection, Cannes Film Festival (2017) LUX ARTISTS | 1 THE YELLOW BIRDS Director: Alexandre Moors Production Company: Strong Mining & Supply Co. Official Selection, Sundance Film Festival (2017) MADLY Director: Mia Wasikowska Production Company: Cowboy Films & MTV SEPTEMBERS OF SHIRAZ Director: Wayne Blair Production Company: Millennium Films & Eclectic Pictures Official Selection, Toronto Film Festival (2015) THE DEVIL’S PLAYGROUND (Mini-series) Director: Rachel Ward & Tony Kravitz Production Company: Matchbox Pictures Winner, Best Mini Series or Short Run Series, Australian Academy Cinema Television Arts Awards (2015) Nominated, Best Production Design, Australian Academy Cinema Television Arts Awards (2015) THE TURNING: LONG CLEAR VIEW Director: Mia Wasikowska Production Company: Arena Media Official Selection, London Film Festival (2014) Official Selection, Berlin -
Makers: Women in Hollywood
WOMEN IN HOLLYWOOD OVERVIEW: MAKERS: Women In Hollywood showcases the women of showbiz, from the earliest pioneers to present-day power players, as they influence the creation of one of the country’s biggest commodities: entertainment. In the silent movie era of Hollywood, women wrote, directed and produced, plus there were over twenty independent film companies run by women. That changed when Hollywood became a profitable industry. The absence of women behind the camera affected the women who appeared in front of the lens. Because men controlled the content, they created female characters based on classic archetypes: the good girl and the fallen woman, the virgin and the whore. The women’s movement helped loosen some barriers in Hollywood. A few women, like 20th century Fox President Sherry Lansing, were able to rise to the top. Especially in television, where the financial stakes were lower and advertisers eager to court female viewers, strong female characters began to emerge. Premium cable channels like HBO and Showtime allowed edgy shows like Sex in the City and Girls , which dealt frankly with sex from a woman’s perspective, to thrive. One way women were able to gain clout was to use their stardom to become producers, like Jane Fonda, who had a breakout hit when she produced 9 to 5 . But despite the fact that 9 to 5 was a smash hit that appealed to broad audiences, it was still viewed as a “chick flick”. In Hollywood, movies like Bridesmaids and The Hunger Games , with strong female characters at their center and strong women behind the scenes, have indisputably proven that women centered content can be big at the box office. -
Production Notes
A Film by John Madden Production Notes Synopsis Even the best secret agents carry a debt from a past mission. Rachel Singer must now face up to hers… Filmed on location in Tel Aviv, the U.K., and Budapest, the espionage thriller The Debt is directed by Academy Award nominee John Madden (Shakespeare in Love). The screenplay, by Matthew Vaughn & Jane Goldman and Peter Straughan, is adapted from the 2007 Israeli film Ha-Hov [The Debt]. At the 2011 Beaune International Thriller Film Festival, The Debt was honoured with the Special Police [Jury] Prize. The story begins in 1997, as shocking news reaches retired Mossad secret agents Rachel (played by Academy Award winner Helen Mirren) and Stephan (two-time Academy Award nominee Tom Wilkinson) about their former colleague David (Ciarán Hinds of the upcoming Tinker, Tailor, Soldier, Spy). All three have been venerated for decades by Israel because of the secret mission that they embarked on for their country back in 1965-1966, when the trio (portrayed, respectively, by Jessica Chastain [The Tree of Life, The Help], Marton Csokas [The Lord of the Rings, Dream House], and Sam Worthington [Avatar, Clash of the Titans]) tracked down Nazi war criminal Dieter Vogel (Jesper Christensen of Casino Royale and Quantum of Solace), the feared Surgeon of Birkenau, in East Berlin. While Rachel found herself grappling with romantic feelings during the mission, the net around Vogel was tightened by using her as bait. At great risk, and at considerable personal cost, the team’s mission was accomplished – or was it? The suspense builds in and across two different time periods, with startling action and surprising revelations that compel Rachel to take matters into her own hands. -
Crimson Peak
1 Crimson Peak Reviewed by Garry Victor Hill Directed by Guillermo Del Toro. Produced by Guillermo Del Toro, Thomas Tull, Callum Greene and Jon Tashi. Executive Producers: Jillian Share & Maguy R. Cohen. Production Design by Thomas E. Saunders. Screenplay by Guillermo Del Toro & Mathew Robbins. Photography by Dan Laustsen. Editing by Bernat Vilplana. Music by Fernando Velázquez. A Universal Pictures Production. Original Release: October 2015. MA rating. Length: 119 minutes. Rating 85% All pictures are taken from the public domain or Wikimedia 2 Cast Edith Cushing: Mia Wasikowska Lucille Sharpe: Jessica Chastain Thomas Sharpe: Tom Huddleston Doctor Alan McMichael: Charlie Hunnam Carter Cushing: Jim Beaver Ogilvie: Jonathan Hyde Mrs McMichael: Leslie Hope Ferguson: Bruce Clay Eunice: Emily Coutts Young Edith: Sofia Wells Finlay: Alec Stockwell Coroner: Bill Lake Reverend: Sean Hewitt Review Crimson Peak is a superior horror film; more of a chiller than a thriller - until the last thirty minutes, then it unleashes thrills and horrors galore. Those last thirty minutes are made all the more effective by the suspenseful build-up. Until then the narrative segments the chilling suspense with brief moments of horror. These not only warn; they tantalise about the mystery on the way to the revealing climax. 3 Almost any viewer will either work out what that mystery, or at the least, aspects of it, long before the naïve heroine Edith Cushing does. Originality is not the film’s strength. Naïve, isolated, inexperienced, young women have been going to dark sinister, isolated, aristocratic houses (and staying there!) since at least 1847, when Jane Eyre was published. -
Music by ALAN MENKEN Lyrics by HOWARD ASHMAN & TIM RICE
JUL. 26 - AUG. 6, 2021 Music by Lyrics by Book by ALAN HOWARD ASHMAN LINDA MENKEN & TIM RICE WOOLVERTON Originally Directed by Rob Roth Originally Produced by Disney eatrical Productions Beauty and the Beast Jr. is presented through special arrangement with Music eatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com SCENES & MUSICAL NUMBERS CAST OF CHARACTERS Prologue: A Castle Belle.............................................BRONWYN ANDREOLI Prologue Maurice..........................................................IULI PETERS Beast.....................................................CAMERON WARD Scene 1: e Village Gaston......................................................AMMON PEREZ Belle LeFou...........................................BRAEDON REYNOLDS Lumiere....................................................DANNY KENNY Scene 2: e Forest Cogsworth...................................................JADEN WILLIS Mrs. Potts..........................................MARIELLE SUTTON Scene 3: e Castle Babette..................................................BENZLEY TINNEY Scene 4: Belle’s Cottage Meadow Madame De Le Grande Bouche......................HANNAH EVANS Chip........................................................AVRI DAVIDSON Belle (Reprise) Silly Girl 1 (Soprano)..................................LAURA JACOBS Scene 5: e Castle Silly Girl 2 (2nd Soprano).........................BRIANNA ORME Silly Girl 3 (Alto)................................JOCELYN OSMOND Home (Tag) Narrator / -
Download Study Guide
BEHIND THE CURTAIN A CREATIVE & THEATRICAL STUDY GUIDE FOR TEACHERS MUSIC BY ALAN MENKEN LYRICS BY HOWARD ASHMAN & TIM RICE BOOK BY LINDA WOOLVERTON DIRECTED BY NANCY SCHAEFFER Disney’s BEAUTY AND THE BEAST JR is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. MTIShow.com RECOMMENDED FOR AGES 5 AND UP SEPTEMBER 22 - OCTOBER 27, 2019 PUBLIC SHOWS OCTOBER 11 - OCTOBER 25, 2019 STUDENT MATINEE As part of DCT’s mission to integrate the arts into classroom academics, the Behind the Curtain Resource Guide is intended to provide helpful information for the teacher and students to use before and after attending a performance. The activities presented in this guide are suggested to stimulate lively responses and multi-sensory explorations of concepts in order to use the theatrical event as a vehicle for cross-cultural and language arts learning. Please use our suggestions as springboards to lead your students into meaningful, dynamic learning; extending the dramatic experience of the play. Dallas Children’s Theater BEHIND THE CURTAIN A Creative & Theatrical Resource Guide for Teachers DCT Executive Artistic Director .....................................Robyn Flatt Resource Guide Editor ......................................................Jessica Colaw Play ..........................................................................................Disney’s BEAUTY AND THE BEAST Music by ...............................................................................Alan Menken Lyrics by ................................................................................Howard Ashman & Tim Rice Book by ................................................................................Linda Woolverton DALLAS CHILDREN’S THEATER, one of the top five family theaters in the nation, serves over 250,000 young people and their families from 197 zip codes, 101 cities and 89 counties and 27 states each year through its main stage productions, touring, educational programming and outreach activities. -
A Feminist Perspective “Belle Is a Feminist,” Said Beauty and The
A Feminist Perspective “Belle is a feminist,” said Beauty and the Beast’s screenwriter and book writer Linda Woolverton in a 1990 interview. “I wanted a woman of the ’90s, someone who wanted to do something other than wait for her prince to come." Twenty-five years after Disney introduced Belle to the world, debates still flare online and in numerous scholarly papers as to whether she’s a positive role model for girls. In a town that only praises her looks and scorns her intellect, Belle decisively remains true to her principles. But though Belle reads books, her favorite involves Prince Charming. Professor June Cummins of the National Center for the Study of Children’s Literature writes, “The trait that makes Belle different, more intelligent, and more ‘liberated’ than previous Disney heroines is that she likes to read books about Disney heroines.” Later, however, when she concludes that the Beast is “no Prince Charming,” she shares another one of her favorites, a tale that better reflects her determination: young King Arthur pulling the sword from the stone. Dissatisfied with her life, Belle doesn’t look for love as a solution, deftly rebuffing the bullying attention of Gaston. And while being held prisoner in a cursed castle isn’t the “adventure in the great wide somewhere” she dreamt about, Belle responds to a crisis admirably. She takes brave action to protect her father, who is weak and childlike, and she repeatedly defies her captor. That the Beast is Belle’s captor delivers the story’s most troubling message, summed up succinctly by freelance film critic Scott Mendelson: “I’ve long joked that I was able to ruin Disney’s Beauty and the Beast for others merely by uttering two words: Stockholm Syndrome.” Woolverton counters by viewing Belle in context, part of a continuum that has led to the heroines of Frozen and The Hunger Games, or to Disney’s 2010 Alice in Wonderland, which made Woolverton the first woman to get sole writing credit on a billion dollar movie. -
Study Guide Prepared by Jeri Hammond and Ann Sorvari
Disney’s Beauty and the Beast a Wheelock Family Theatre Study Guide prepared by Jeri Hammond and Ann Sorvari 200 Riverway │ Boston, MA 02215-4176 box office: 617.879.2300 │ www.wheelockfamilytheatre.org Be Our Guest at Wheelock Family Theatre’s Production of Disney’s Beauty and the Beast The story of Beauty and the Beast brings to Wheelock Family Theatre audiences a spunky, intellectually curious heroine in Belle. She is admirable from the first for her loyalty to her eccentric father, her love of reading (even though it brands her as “different”), and her refusal to accept a proposal of marriage from an arrogant and boastful nobleman. Over the course of the play, she learns that love sometimes comes from the least likely and least romantic of sources, that the surface is not the whole truth, and that home is where the heart is. Her Beast learns that love cannot be forced, that love means freeing, not caging, your beloved, and that true power comes from giving it away. These two are surrounded by an entertaining collection of characters—some comic, some caring, some evil, some beastly, some silly—who add spice to the central story and help underscore the overall message about the unselfish generosity of love. Welcome to the heartwarming world of this wonderful tale! On Your Way to the Theatre… Beauty and the Beast is a story with which many, or even all, students are likely to be familiar, especially in the Disney animated film version, which is the basis for the WFT production. Some students may be curious to see how a live stage production will deal with Lumiere, Mrs. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
Gender, Class and Ethnicity in the Disney Princesses Series – Kirsten Malfroid 1
Universiteit Gent Faculteit Letteren en Wijsbegeerte Gender, Class, and Ethnicity in the Disney Princesses Series Kirsten Malfroid Promotor: Masterproef ingediend met het oog op het behalen van de graad van Dr. Katrien De Moor Master in de Vergelijkende Moderne Letterkunde Academiejaar 2008 - 2009 ii ACKNOWLEDGEMENTS Real heroes and heroines stay in anonymity, but I would still like to extend some words of thankfulness to my family and friends, who “simply” were there with ceaseless support. I would also like to thank the Walt Disney Company, for releasing the movies that became my current material for analysis; my parents, for once taking me to the theater to see them; and Prof. dr. Àngels Carabí Ribera, who teaches at the University of Barcelona, for introducing me to “a whole new world” of gender studies to analyze them. In addition, Sebastian Loll deserves special mention for pointing to Donald Duck‟s collision with fascism, while Kasper Malfroid has spared me the desperation of trying to subdue Microsoft Office. But most of all, I am indebted to my promoter, dr. Katrien De Moor, who guided me with excellent advice and encouraging words until the end. Ghent, augustus 2009 iii TABLE OF CONTENTS Acknowledgements ...................................................................................................... ii Table of Contents ........................................................................................................ iii I. Introduction ......................................................................................................... -
Only Lovers Left Alive
ONLY LOVERS LEFT ALIVE A Film by Jim Jarmusch Official Selection Cannes Film Festival 2013 Toronto International Film Festival 2013 New York Film Festival 2013 123 mins East Coast Publicity West Coast Publicity Distributor Springer Associates PR Block Korenbrot Sony Pictures Classics Gary Springer Rebecca Fisher Carmelo Pirrone 1501 Broadway, Suite 506 6100 Wilshire Blvd., Ste 170 Alison Farber New York, NY 10036 Los Angeles, CA 90048 550 Madison Ave 212-354-4660 tel 323-634-7001 tel New York, NY 10022 [email protected] 323-634-7030 fax 212-833-8833 tel 212-833-8844 fax 1 SYNOPSIS Set against the romantic desolation of Detroit and Tangier, an underground musician, deeply depressed by the direction of human activities, reunites with his resilient and enigmatic lover. Their love story has already endured several centuries at least, but their debauched idyll is soon disrupted by her wild and uncontrollable younger sister. Can these wise but fragile outsiders continue to survive as the modern world collapses around them? 2 CREDITS CAST Adam TOM HIDDLESTON Eve TILDA SWINTON Ava MIA WASIKOWSKA Marlowe JOHN HURT Ian ANTON YELCHIN Dr. Watson JEFFREY WRIGHT FILMMAKERS Written & Directed by Jim Jarmusch Produced by Jeremy Thomas, Reinhard Brundig Director of Photography Yorick Le Saux Production Designer Marco Bittner Rosser Costume Designer Bina Daigeler Editor Affonso Goncalves Music Jozef Van Wissem 3 Director’s Statement ONLY LOVERS LEFT ALIVE is an unconventional love story between a man and a woman, Adam and Eve. (My script was partially inspired by the last book published by Mark Twain: The Diaries of Adam and Eve -- though no direct reference to the book is made other than the character’s names.) These two lovers are archetypal outsiders, classic bohemians, extremely intelligent and sophisticated -- yet still in full possession of their animal instincts.