DOCSLIB.ORG

BIG LEBOWSKI (USA, 1998) (Other Titles: Grande Lebowski)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BIG LEBOWSKI (USA, 1998) (Other Titles: Grande Lebowski) B5450 THE BIG LEBOWSKI (USA, 1998) (Other titles: Grande Lebowski) Credits: director, Joel Coen ; writers, Joel Coen, Ethan Coen Cast: Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi, David Huddleston. Summary: Comedy/mystery set in Los Angeles in the 1991. A laid-back, unemployed, ‘stuck in the 70s’ ex-hippie named Jeff ‘Dude’ Lebowski (Bridges) is drawn into investigating threats against Pasadena millionaire Jeffrey Lebowski when he is beaten up by two goons who are really after the ‘big Lebowski.’ One of Dude’s bowling buddies and advisors is Walter Sobehak (Goodman), a Vietnam veteran who can’t engage in a discussion without dragging ‘Nam into it. Adams, Thelma. [Big Lebowski] New York post (Mar 6, 1998), p. 47. [Reprinted in Film review annual 1999] Alleva, Richard. “Real actors v. real slobs” Commonweal 125/7 (Apr 10, 1998), p. 22+ [2 p.] Anderson, Soren. “Movie review: Coen fans may enjoy w-a-a-a-y weird film ‘The big Lebowski’“ News tribune [Tacoma, WA] (Mar 6, 1998), SoundLife, p. SL5. Arnold, Gary. “‘Lebowski’: Aimless bowling, kidnap plot” Washington times (Mar 6, 1998), p. C16. Arnold, William. “Offbeat ‘Big Lebowski’ a little too goofy” Seattle post-intelligencer (Mar 6, 1998), p. 27. Atkinson, Michael. “The Coen method of madness” Interview 28/3 (Mar 1998), p. 94. Baltake, Joe. “Coens stay true to small films in ‘Big Lebowski’“ Sacramento bee (Mar 6, 1998), Ticket, p. TK15. Baron, David. “‘Big Lebowski’ a fresh, Coen-style crime yarn” Times-picayune (Mar 6, 1998), Lagniappe, p. L30. Beaucage, Paul. “Le royaume des paumes” Cine-bulles 17/1 (1998), p. 38-9. Beifuss, John. “Bowling for lollers: Coens score ‘Big’ with slothful dude” Commercial appeal [Memphis, TN] (Mar 7, 1998), p. C1. Belth, Alex. “Strikes and gutters – a year with the Coen brothers” Projections n. 8 (1998), p. 183-205. Bernaers, Hugo. “The big Lebowski” Film en televisie + video n. 481 (Apr 1998), p. 11. Biancolli, Amy. “‘Lebowski’ bowls its way to a mixed score” Times union [Albany, NY] (Mar 6, 1998), p. D1. “The big Lebowski” Ekran 23/3-4 (1998), p. 47-8. “Big Lebowski, The” Film review annual 1999 Englewood, N.J. : J.S. Ozer, 1981- (p. 96-105) Blair, Iain. “Hollywood bowl: The Coen brothers move from ‘Fargo’s’ bleak landscapes to day-glo la-la land in a bowling comedy that’s right up their alley” Star tribune [Minneapolis, MN] (Mar 1, 1998), p. 1F. Britton, Bonnie. “Brother act must settle for split this time” Indianapolis star (Mar 6, 1998), p. F3. Brunner, Rob. “Various artists: The big Lebowski” Entertainment weekly n. 419-420 (Feb 20-27, 1998), p. 117. Bunke, Joan. “‘Big Lebowski’: Slive of surreal lunacy” Des Moines register (Mar 6, 1998), Today, p. 1. Butler, Robert W. “‘Lebowski’ has all the goods: Coen brothers create another quirky smash with detective farce” Kansas City star (Mar 6, 1998), p. 9. Candella, Shawn. “It’s not ‘Fargo,’ but ‘Lebowski’ definitely is the Coen brothers” Stete journal-register [Springfield, IL] (Mar 12, 1998), p. 28. Cannon, Damian. “The big Lebowski” Audience n. 202 ((Aug/Sep 1998), p. 24. Carr, Jay. “Coens have fun with ‘Lebowski’“ Boston globe (Mar 6, 1998), p. D5. Chanko, Kenneth M. “Far-out dude: In ‘The big Lebowski,’ Jeff Bridges draws on his sixties self in portraying an aging hipster who is mellow to the core” The record [Bergen County, NJ] (Mar 5, 1998), Your time, p. Y1. Cherchi Usai, Paolo. “Il grande Lebowski” Segnocinema n. 91 ((may/Jun 1998), p. 51-2. Ciment, Michel and Niogret, Hubert. “Joel et Ethan Coen” Positif n. 447 (May 1998), p. 8-11. Cling, Carol. “Through the gutter” Las Vegas review-journal (Mar 6, 1998), p. 24J. “Con te tutto diventa grottesco: ‘Il grande Lebowski’ (1998)” Castoro cinema n. 193 (Jan/Feb 1999), p. 101-13. Connors, Joanna. “New Coen film almost makes it to ‘Fargo’“ Plain dealer (Mar 6, 1998), p. 4. Dargis, Manohla. “The brothers freak: In which the Coens sing the praises of dope, bowling, loyalty and sloth” LA weekly (Mar 6, 1998), p. 33. Degoudenne, Laurence. “The big Lebowski” Grand angle n. 214 (Apr 1998), p. [9- 10] Delmont, Jim. “‘Big Lebowski’ tries too hard for laughs” Omaha world-herald (Mar 7, 1998), p. 57. Denby, David. “The big Lebowski” New York 31/10 (Mar 16, 1998), p. 55. [Reprinted in Film review annual 1999] Denerstein, Robert. “Fringe element: Dated ‘Big Lebowski’ hits and misses on the fun level” Denver Rocky Mountain news (Mar 6, 1998), p. 8D. Distelmeyer, Jan. “The big Lebowski” EPD Film 15 (mar 1998), p. 31-2. Dottorini, Daniele. “La resistenza al tempo: Gli attori mortali e il tempo sospeso” Filmcritica 48/490 (Dec 1998), p. 524-30. Dudek, Duane. “‘Lebowski’ big fun, but not a strike” Milwaukee journal sentinel (Mar 6, 1998), p. 4. Early, Emmett. The war veteran in film Jefferson, N.C. : McFarland, 2003. (p. 7, 127, 132-4, 227) Ebert, Roger. “‘Lebowski’ big on fun: Rambling plot is no flaw in Coens’ latest” Chicago sun-times (Mar 6, 1998), p. 37. Elliott, David. “The Coens roll a strike with ‘Lebowski’: Jeff Bridges plays post-’60s dopey Dude as never before” San Diego union-tribune (Mar 5, 1998), Night & day, p. 4. Erstein, Hap. “Disjointed ‘Big Lebowski’ is amusing bit pointless” Palm Beach post (Mar 6, 1998), p. 7. Esposito, Lorenzo. “Iconografia del genere” Filmcritica 48/489 (Nov 1998), p. 460- 62. Fadda, Michele. “La segatura e le carriole” Cineforum 38/374 (May 1998), p. 6-10. Fenster, Bob. “‘Lebowski’ thin on laughs, but big on LA weirdness” Arizona republic (Mar 6, 1998), Preview, p. D2. Fornara, Bruno. “Gira, rimbalza e rotola” Cineforum 38/374 (May 1998), p. 11-13. Gajan, Philippe. “La theorie du chaos” 24 images n. 91 (spring 1998), p. 40-41. Gallo, Bill. “Worth the ransom” Denver westworld (Mar 5, 1998), p. ? Gleiberman, Owen. “The big Lebowski” Entertainment weekly n. 422 (Mar 13, 1998), p. 52. _______________. “Pin heads” Entertainment weekly n. 421 (Mar 6, 1998), p. 52+ [2 p.] Gritten, David. “Cover story: The Coen mystique” Los Angeles times (Mar 5, 1998), Calendar, p. 6. Guthmann, Edward. “Weird stuff, dude: Coen brothers up to the same old shtick with crime caper ‘Big Lebowski’“ San Francisco chronicle (Mar 6, 1998), Daily datebook, p. D1. Hartl, John. “Loopy ‘Lebowski’ will charm Coen fans - but mystery will be a hit-or- miss with many others” Seattle times (Mar 6, 1998), p. G6. Henricksson, Lisa. “The big Lebowski” GQ 68/3 (Mar 1998), p. 121. Hoberman, J. “Fool’s paradise” Village voice 43/10 (Mar 10, 1998), p. 61. [Reprinted in Film review annual 1999] Holden, Stephen. “Neo-noir’s a fashion that fits only a few” New York times (Mar 8, 1998), sec. 2, p. 15. Holleman, Joe. “The Dude (Jeff Bridges) and John Goodman are right up the Coenheads’ alley” St. Louis post-dispatch (Mar 6, 1998), p. E1. ___________. “It’s a funny story” St. Louis post-dispatch (Mar 6, 1998), p. E1. Hopp, Glenn. “The big Lebowski” Magill’s cinema annual Englewood Cliffs, N.J. : Salem Press, 1982- (1999, p. 43-5) Howe, Desson. “‘Big Lebowski’: Rollin’ a strike” Washington post (Mar 6, 1998), p. N50. Janusonis, Michael. “Hey Dude, don’t make it bad: ‘The big Lebowski’ won’t bowl you over with its frenetic, but pointless plot” Providence journal-bulletin (Mar 6, 1998), p. 3E. Jewett, Dave. “‘The big Lebowski’ reaches brand new heights in quirkiness” Columbian [Vancouver, WA] (Mar 5, 1998), p. F13. Johnson, Brian D. “Gutterballs, strikes” Maclean’s 111/11 (Mar 16, 1998), p. 65+ [2 p.] Kalina, Paul. “The big Lebowski” Cinema papers n. 124 (May 1998), p. 33-4. Kauffmann, Stanley. “Cops and perpetrators” New republic 218/14 (Apr 6, 1998), p. 26+ [2 p.] Kehr, Dave. “Coen brothers’ latest is a big Letdownski comedy about druggie bowler strikes out and its tired film noir plot is a turkey” Daily news [New York] (Mar 6, 1998), p. 49. Kempley, Rita. “‘The big Lebowski’: Laughs to spare” Washington post (Mar 6, 1998), p. D1. Keogh, Jim. “‘Lebowski’ strolls loopy, funny path: Coens again show love for the absurd” Telegram & gazette [Worcester, MA] (Mar 7, 1998), p. A8. Kies, Sue. “Little color in ‘The big Lebowski’“ Telegraph herald (Apr 24, 1998), p. ? Klawans, Stuart. “Sex and bowling” Nation 266/11 (Mar 30, 1998), p. 34+ [3 p.] Kroll, Jack. “All-purpose parody” Newsweek 131/11 (Mar 16, 1998), p. 72. [Reprinted in Film review annual 1999] Lachat, Pierre. “Der nicht genommene Abschied” Filmbulletin 40/1 [215] (1998), p. 10-12. ___________. “Supergewandte Kerle beherrschen das Kino auch ohne uns” Filmbulletin 40/1 [215] (1998), p. 12-13. Larsen, Dave. “Warped drive” Dayton daily news (Mar 6, 1998), p. 4. Lidz, Franz. “Down mean alleys with John Goodman” New York times (Mar 8, 1998), sec. 2, p. 15. Lothery, Todd. “Likable, loopy ‘Lebowski’“ News and observer [Raleigh, NC] (Mar 6, 1998), What’s up, p. WUP9. Lucas, Gonzalo de. “Joel y Ethan Coen” Dirigido por 294 (Oct 2000), p. 44-62. Macor, Alison. “Light on plot, heavy on characters: Bowled under by ‘Lebowski’“ Austin American-statesman (Mar 6, 1998), p. E1. Major, Wade. “The big Lebowski” Boxoffice 134 (may 1998), p. 78. Martin, Philip. “‘The big Lebowski’: Ethos and the Coen brothers” Arkansas democrat-gazette (Mar 19, 1998), p. E1. Maslin, Janet. “Review: A bowling ball’s eye view of reality” New York times (Mar 6, 1998), sec. E, p. 31. Matthews, Jack. [Big Lebowski] Newsday (Mar 6, 1998), pt. II, p. 6. [Reprinted in Film review annual 1999] McCarthy, Todd.
Load more

Recommended publications
  • 1 Gateway 100 – Section 26 – Jewish Humor Instructor Irv Epstein
    Gateway 100 – section 26 – Jewish Humor Instructor Irv Epstein Office Hours:Tuesday, Thursday: 1:00 – 3:30 pm and by appointment. Office Telephone: 556-3098 Home Telephone: 454-7937 e-mail: [email protected] Course Rationale All instructors who teach gateway seminars are committed to the teaching of critical thinking through the writing process. We will attempt to accomplish that goal in this course through learning about Jewish humor. Our explorations will focus upon the nature and social functions of humor, the ways in which humor can be used to express religious and cultural values, and how in analyzing humor, we can gain a better understanding of issues of identity, assimilation and acceptance, issues that confront many immigrant groups. Course Goals 1. Students will develop those critical thinking skills involved in the process of argumentation that include: constructing thesis statements, analyzing premises and conclusions, evaluating evidence, and weighing completing claims. 2. Students will react to different forms of writing that represent different fields of study including oral history, social theory, the social sciences, and literature. 3. Students will through the processes of peer review and large group interaction, evaluate each other’s writing for the purposes of expediting self-improvement in the writing process. 4. Students will analyze, compare, and contrast visual images as represented in various films. 5. Students will examine the nature of laughter, definitions of the “comedic,” and will evaluate the cultural and universal characteristics of Jewish humor. 6. Students will gain an appreciation for the nature of the Jewish immigrant experience in North America, and will be able to identify values that are relevant to that experience in comedic situations.
    [Show full text]
  • The Art of Adaptation
    Ritgerð til M.A.-prófs Bókmenntir, Menning og Miðlun The Art of Adaptation The move from page to stage/screen, as seen through three films Margrét Ann Thors 301287-3139 Leiðbeinandi: Guðrún Björk Guðsteinsdóttir Janúar 2020 2 Big TAKK to ÓBS, “Óskar Helps,” for being IMDB and the (very) best 3 Abstract This paper looks at the art of adaptation, specifically the move from page to screen/stage, through the lens of three films from the early aughts: Spike Jonze’s Adaptation, Alejandro González Iñárritu’s Birdman, or The Unexpected Virtue of Ignorance, and Joel and Ethan Coen’s O Brother, Where Art Thou? The analysis identifies three main adaptation-related themes woven throughout each of these films, namely, duality/the double, artistic madness/genius, and meta- commentary on the art of adaptation. Ultimately, the paper seeks to argue that contrary to common opinion, adaptations need not be viewed as derivatives of or secondary to their source text; rather, just as in nature species shift, change, and evolve over time to better suit their environment, so too do (and should) narratives change to suit new media, cultural mores, and modes of storytelling. The analysis begins with a theoretical framing that draws on T.S. Eliot’s, Linda Hutcheon’s, Kamilla Elliott’s, and Julie Sanders’s thoughts about the art of adaptation. The framing then extends to notions of duality/the double and artistic madness/genius, both of which feature prominently in the films discussed herein. Finally, the framing concludes with a discussion of postmodernism, and the basis on which these films can be situated within the postmodern artistic landscape.
    [Show full text]
  • Hole a Remediative Approach to the Filmmaking of the Coen Brothers
    University of Dundee DOCTOR OF PHILOSOPHY Going Down the 'Wabbit' Hole A Remediative Approach to the Filmmaking of the Coen Brothers Barrie, Gregg Award date: 2020 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Gregg Barrie PhD Film Studies Thesis University of Dundee February 2021 Word Count – 99,996 Words 1 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Table of Contents Table of Figures ..................................................................................................................................... 2 Declaration ............................................................................................................................................
    [Show full text]
  • A Formalist Critique of Three Crime Films by Joel and Ethan Coen Timothy Semenza University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Honors Scholar Theses Honors Scholar Program Spring 5-6-2012 "The wicked flee when none pursueth": A Formalist Critique of Three Crime Films by Joel and Ethan Coen Timothy Semenza University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/srhonors_theses Part of the Film and Media Studies Commons Recommended Citation Semenza, Timothy, ""The wicked flee when none pursueth": A Formalist Critique of Three Crime Films by Joel and Ethan Coen" (2012). Honors Scholar Theses. 241. https://opencommons.uconn.edu/srhonors_theses/241 Semenza 1 Timothy Semenza "The wicked flee when none pursueth": A Formalist Critique of Three Crime Films by Joel and Ethan Coen Semenza 2 Timothy Semenza Professor Schlund-Vials Honors Thesis May 2012 "The wicked flee when none pursueth": A Formalist Critique of Three Crime Films by Joel and Ethan Coen Preface Choosing a topic for a long paper like this can be—and was—a daunting task. The possibilities shot up out of the ground from before me like Milton's Pandemonium from the soil of hell. Of course, this assignment ultimately turned out to be much less intimidating and filled with demons than that, but at the time, it felt as though it would be. When you're an English major like I am, your choices are simultaneously extremely numerous and severely restricted, mostly by my inability to write convincingly or sufficiently about most topics. However, after much deliberation and agonizing, I realized that something I am good at is writing about film.
    [Show full text]
  • October 18 - November 28, 2019 Your Movie! Now Serving!
    Grab a Brew with October 18 - November 28, 2019 your Movie! Now Serving! 905-545-8888 • 177 SHERMAN AVE. N., HAMILTON ,ON • WWW.PLAYHOUSECINEMA.CA WINNER Highest Award! Atwood is Back at the Playhouse! Cannes Film Festival 2019! - Palme D’or New documentary gets up close & personal Tiff -3rd Runner - Up Audience Award! with Canada’ international literary star! This black comedy thriller is rated 100% on Rotten Tomatoes. Greed and class discrimination threaten the newly formed symbiotic re- MARGARET lationship between the wealthy Park family and the destitute Kim clan. ATWOOD: A Word After a Word “HHHH, “Parasite” is unquestionably one of the best films of the year.” After a Word is Power. - Brian Tellerico Rogerebert.com ONE WEEK! Nov 8-14 Playhouse hosting AGH Screenings! ‘Scorcese’s EPIC MOB PICTURE is HEADED to a Best Picture Win at Oscars!” - Peter Travers , Rolling Stone SE LAYHOU 2! AGH at P 27! Starts Nov 2 Oct 23- OPENS Nov 29th Scarlett Johansson Laura Dern Adam Driver Descriptions below are for films playing at BEETLEJUICE THE CABINET OF DR. CALIGARI Dir.Tim Burton • USA • 1988 • 91min • Rated PG. FEAT. THE VOC HARMONIC ORCHESTRA the Playhouse Cinema from October 18 2019, Dir. Paul Downs Colaizzo • USA • 2019 • 103min • Rated STC. through to and including November 28, 2019. TIM BURTON’S HAUNTED CLASSIC “Beetlejuice, directed by Tim Burton, is a ghost story from the LIVE MUSICAL ACCOMPANIMENT • CO-PRESENTED BY AGH haunters' perspective.The drearily happy Maitlands (Alec Baldwin and Iconic German Expressionist silent horror - routinely cited as one of Geena Davis) drive into the river, come up dead, and return to their the greatest films ever made - presented with live music accompani- Admission Prices beloved, quaint house as spooks intent on despatching the hideous ment by the VOC Silent Film Harmonic, from Kitchener-Waterloo.
    [Show full text]
  • Elijah Siegler, Coen. Framing Religion in Amoral Order Baylor University Press, 2016
    Christian Wessely Elijah Siegler, Coen. Framing Religion in Amoral Order Baylor University Press, 2016 I would hardly seem the most likely candidate to review a book on the Coen brothers. I have not seen all of their films, and the ones I saw … well, either I did not understand them or they are really as shallow as I thought them to be. With one exception: I did enjoy O Brother, Where Art Thou? (2000). And I like A Serious Man (2009). So, two exceptions. And, of course, True Grit (2010) – so, all in all three exceptions1 … come to think of it, there are more that have stuck in my mind in a positive way, obfuscated by Barton Fink (1991) or Burn After Reading (2008). Therefore, I was curious wheth- er Elijah Siegler’s edited collection would change my view on the Coens. Having goog- led for existing reviews of the book that might inspire me, I discovered that none are to be found online, apart from the usual flattery in four lines on the website of Baylor University Press, mostly phrases about the unrivalled quality of Siegler’s book. Turns out I have do all the work by myself. Given that I am not familiar with some of the films used to exemplify some of this book’s theses, I will be brief on some chapters and give more space to those that deal with the films I know. FORMAL ASPECTS Baylor University Press is well established in the fields of philosophy, religion, theol- ogy, and sociology. So far, they have scarcely published in the media field, although personally I found two of their books (Sacred Space, by Douglas E.
    [Show full text]
  • The French New Wave and the New Hollywood: Le Samourai and Its American Legacy
    ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 3 (2010) 109–120 The French New Wave and the New Hollywood: Le Samourai and its American legacy Jacqui Miller Liverpool Hope University (United Kingdom) E-mail: [email protected] Abstract. The French New Wave was an essentially pan-continental cinema. It was influenced both by American gangster films and French noirs, and in turn was one of the principal influences on the New Hollywood, or Hollywood renaissance, the uniquely creative period of American filmmaking running approximately from 1967–1980. This article will examine this cultural exchange and enduring cinematic legacy taking as its central intertext Jean-Pierre Melville’s Le Samourai (1967). Some consideration will be made of its precursors such as This Gun for Hire (Frank Tuttle, 1942) and Pickpocket (Robert Bresson, 1959) but the main emphasis will be the references made to Le Samourai throughout the New Hollywood in films such as The French Connection (William Friedkin, 1971), The Conversation (Francis Ford Coppola, 1974) and American Gigolo (Paul Schrader, 1980). The article will suggest that these films should not be analyzed as isolated texts but rather as composite elements within a super-text and that cross-referential study reveals the incremental layers of resonance each film’s reciprocity brings. This thesis will be explored through recurring themes such as surveillance and alienation expressed in parallel scenes, for example the subway chases in Le Samourai and The French Connection, and the protagonist’s apartment in Le Samourai, The Conversation and American Gigolo. A recent review of a Michael Moorcock novel described his work as “so rich, each work he produces forms part of a complex echo chamber, singing beautifully into both the past and future of his own mythologies” (Warner 2009).
    [Show full text]
  • Reminder List of Productions Eligible for the 90Th Academy Awards Alien
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx.
    [Show full text]
  • Jim Thompson's Oklahoma
    Smithsonian Channel: Original Programming in HD and On D... http://www.smithsonianchannel.com/site/smithsonian/show_sou... Search The Darkest Guidebook Ever? Before Jim Thompson became the dean of American noir novelists with classics like The Killer Inside Me (soon to be a major motion picture with Kate Hudson and Casey Affleck) and The Grifters, he grew up in a place where life mirrored pulp. Born in Oklahoma in 1914, by his twenties Thompson had bounced around Oklahoma towns, worked as a West Texas oil hand, and procured booze and women to hotel guests as a bellboy. In the 1930s, as the Great Depression deepened, Thompson was struggling to avoid poverty by writing about the outlaws, bad cops and wild spaces of Oklahoma. First he wrote for the pulps – Master Detective, True Detective, and more. But when he couldn’t eke out a living for his family with the pay from those magazines, Thompson took a job writing for the tours section of the WPA guide to Oklahoma. Gradually his writing skills made him invaluable and he worked his way up to become the guide’s main editor. The result may be one of the darkest guidebooks ever. Thompson kicked off a chapter about local folklore with an account of an Oklahoman who "ran amuck on a visit to town and, in the course of a few minutes, killed a representative of each of five races." Retracing his steps with the WPA guidebook is like getting a Coen Brothers' tour of the Blood Simple or No Country for Old Men. It opens your eyes to a side of America that Thompson saw for real before he made it up.
    [Show full text]
  • Bob Iger Kevin Mayer Michael Paull Randy Freer James Pitaro Russell
    APRIL 11, 2019 Disney Speakers: Bob Iger Chairman and Chief Executive Officer Kevin Mayer Chairman, Direct-to-Consumer & International Michael Paull President, Disney Streaming Services Randy Freer Chief Executive Officer, Hulu James Pitaro Co-Chairman, Disney Media Networks Group and President, ESPN Russell Wolff Executive Vice President & General Manager, ESPN+ Uday Shankar President, The Walt Disney Company Asia Pacific and Chairman, Star & Disney India Ricky Strauss President, Content & Marketing, Disney+ Jennifer Lee Chief Creative Officer, Walt Disney Animation Studios ©Disney Disney Investor Day 2019 April 11, 2019 Disney Speakers (continued): Pete Docter Chief Creative Officer, Pixar Kevin Feige President, Marvel Studios Kathleen Kennedy President, Lucasfilm Sean Bailey President, Walt Disney Studios Motion Picture Productions Courteney Monroe President, National Geographic Global Television Networks Gary Marsh President & Chief Creative Officer, Disney Channel Agnes Chu Senior Vice President of Content, Disney+ Christine McCarthy Senior Executive Vice President and Chief Financial Officer Lowell Singer Senior Vice President, Investor Relations Page 2 Disney Investor Day 2019 April 11, 2019 PRESENTATION Lowell Singer – Senior Vice President, Investor Relations, The Walt Disney Company Good afternoon. I'm Lowell Singer, Senior Vice President of Investor Relations at THe Walt Disney Company, and it's my pleasure to welcome you to the webcast of our Disney Investor Day 2019. Over the past 1.5 years, you've Had many questions about our direct-to-consumer strategy and services. And our goal today is to answer as many of them as possible. So let me provide some details for the day. Disney's CHairman and CHief Executive Officer, Bob Iger, will start us off.
    [Show full text]
  • Bamcinématek Presents Joe Dante at the Movies, 18 Days of 40 Genre-Busting Films, Aug 5—24
    BAMcinématek presents Joe Dante at the Movies, 18 days of 40 genre-busting films, Aug 5—24 “One of the undisputed masters of modern genre cinema.” —Tom Huddleston, Time Out London Dante to appear in person at select screenings Aug 5—Aug 7 The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Jul 18, 2016/Brooklyn, NY—From Friday, August 5, through Wednesday, August 24, BAMcinématek presents Joe Dante at the Movies, a sprawling collection of Dante’s essential film and television work along with offbeat favorites hand-picked by the director. Additionally, Dante will appear in person at the August 5 screening of Gremlins (1984), August 6 screening of Matinee (1990), and the August 7 free screening of rarely seen The Movie Orgy (1968). Original and unapologetically entertaining, the films of Joe Dante both celebrate and skewer American culture. Dante got his start working for Roger Corman, and an appreciation for unpretentious, low-budget ingenuity runs throughout his films. The series kicks off with the essential box-office sensation Gremlins (1984—Aug 5, 8 & 20), with Zach Galligan and Phoebe Cates. Billy (Galligan) finds out the hard way what happens when you feed a Mogwai after midnight and mini terrors take over his all-American town. Continuing the necessary viewing is the “uninhibited and uproarious monster bash,” (Michael Sragow, New Yorker) Gremlins 2: The New Batch (1990—Aug 6 & 20). Dante’s sequel to his commercial hit plays like a spoof of the original, with occasional bursts of horror and celebrity cameos. In The Howling (1981), a news anchor finds herself the target of a shape-shifting serial killer in Dante’s take on the werewolf genre.
    [Show full text]
  • Pdf, 742.59 KB
    00:00:00 Dan McCoy Host On this episode, we discuss: Doolittle! 00:00:03 Stuart Host Why do they call him “Do little”? I think he does a lot in this movie! Wellington [Laughs.] 00:00:08 Elliott Kalan Host The—Stu, that’s exactly what I was gonna say. 00:00:11 Dan Host And it was what Audrey predicted was gonna be the gag. [Multiple people laugh.] 00:00:15 Elliott Host That is the exact thing I have written in my notes to say, Stu, for this—for this part. Ah. Two peas in a pod. 00:00:22 Music Music Light, up-tempo, electric guitar with synth instruments. 00:00:49 Dan Host Hey, everyone, and welcome to The Flop House. I’m Dan McCoy. 00:00:52 Stuart Host Oh hey there! I’m Stuart Wellington. 00:00:54 Elliott Host Top o’ the morning! Or whenever you’re listening to this—midnight? I don’t know! I’m Elliott Kalan. And Dan, who’s joining us? 00:01:01 Crosstalk Crosstalk Stuart: Yeah, Dan. Elliott: Or Stuart. 00:01:02 Dan Host Uh… 00:01:03 Elliott Host Or Dan. 00:01:04 Crosstalk Crosstalk Elliott: Or Stuart? Dan: I thought we decided on Stuart— 00:01:05 Dan Host —but I can say it. It’s—it’s David Sims, of the Blank Check podcast and he is the, uh… film reviewer for The Atlantic. And that is a—that is a big, high-toned magazine. That is, uh, that is a respected publication.
    [Show full text]