#à la snyder's run

[clownprince]

Sigh... once again thinking abt making an Arkham City batjokes fic...

[nathjonesey-75]

The Thirty-Year Itch

When I was a young boy, I used to think that even twenty years was a lifetime – thirty was a millennium. When I turned thirty, I had the sinister feeling that I would have to grow up, start behaving maturely and that my young, green and careless days would be naturally terminated as instantaneously as my twenties.

 As it happens, looking back for three decades – my thirties were possibly more enjoyable, along with the realisation that – as the meme suggests – “Don’t grow up, it’s a trap!” So, turning back the clock to the year of 1989; an unbelievably pivotal year, not only for its eventful happenings, good and bad; but for the long-term change for the world.

 Globally, we had the start of crumbling dictatorships and old regimes as the “Iron Curtain” began to flake. Romania’s overthrowing of its communist president, Nicolae Ceausescu and overhaul of the old communist republic, the smoother Velvet Revolution in Czechoslovakia and even more famously – the majestically powerful opening of the Berlin Wall, ending one of the biggest divisions of the twentieth century, starting the reuniting of what we now know as Germany.

 From the eyes of a naïve, small-town boy from Wales who had two passions – sport and music, this particular year was an eye-opening door to wowing, new worlds and understanding heartache in a cruel world. In the sporting sense, it should have been another year remembered for success and silverware for my teams Llanelli RFC and Liverpool FC. Tragically, the events in Sheffield on April 15th, 1989 would change the landscape of years to come for my Merseyside second home after the loss of ninety-six lives at Hillsborough. With only a month to go until the anniversary of that colossal tragedy, I’d only like to think of Liverpool as a city more solidified through its guts, grit and togetherness ever since.

 Not only did the injustice, corruption and governmental evil epitomise the darker days of Thatcherite Britain and its inappropriate old guard of politicians and so-called leaders; but the legacy of loss and undermanagement in football changed how sport was facilitated, law was conducted – and how Liverpool and a city and as a football club – was both seen and run. Solidarity and deep doggedness from the Justice for the 96 team is something which I have grown, supported and seen – and wholeheartedly admired from Anne Williams, Margaret Aspinall and Trevor Hicks and all of their league of big, fighting hearts. Finally, some justice was seen two years ago – but did not replace those lost.

 This would be something which also deeply personified but affected one of my first heroes, Sir Kenny Dalglish. As much as it makes me proud to see him acknowledged in being knighted for his compassionate work in the city’s communities as well as for the football club, his career as our manager was torn apart by this maelstrom, forcing him to resign less than two years later. Probably my most memorable flashback of the year was watching the horror unfold on my grandparents’ old television on that fateful day. If 1989 produced some vintage wines in the way of the aforementioned freedom around the world – this one was a poisonous drop.

 On a more positive sporting note, while this was the height of passion in old Welsh rugby days – pre-Hillsborough’s standing areas meaning you could fit way, way over capacity in each stadium; I remember sitting as a ball boy in the Scarlets matches on frosty, cold nights with what must have been around 20,000 people watching derby matches in a stadium which only held 10,800 people. Possibly the link of two happenings as a ball boy was being interviewed by a New Zealand TV crew, as I was wearing an All Blacks jersey on the side of the pitch one evening – as a precursor to their tour in October 1989. Meeting the squad – one of the best teams (even to this day) I have ever seen, the day after they beat Llanelli 11-0 the previous day. Sir John Kirwan, the towering winger signed his autograph in my little old book with “Go For It”, leaving me open-mouthed, as if I’d met a god.

 In culture, my most-watched movie (apart from Star Wars Episode 4: A New Hope) in cinemas was released in June 1989, among the most memorable of marketing campaigns I can remember as a child. Tim Burton’s Batman was something which I can honestly say – changed my life. I watched it four times in cinemas, then countless times when released on VHS later that year. The soundtrack by Prince, the score by Danny Elfman as well as the gothic darkness were elements with which I identified, more so than Spider-Man, after collecting tens of comics as a younger kid. It began a lifetime of slight obsession with the DC Comics character – which only petered out once Zac Snyder started making (and tarring) the Caped Crusader films with his green screen only style.

 Furthermore to the Prince soundtrack, as it was a world of far fewer musical genres back then; I was a Hip-Hop child. It was a time of mullets, soft rock and heavy metal along the mainstream music world – so discovering Hip-Hop in ’87 was something which kept me a bit one-eyed (or eared) as far as music went. 1989, it can be argued – was the best vintage year for the genre. Before the USA’s absurdly possessive copyright laws came into effect, we heard a year of sublime releases. Genre-expanding, sample-tastic albums, using the essence of Hip-Hop’s DJ styles – cutting pieces of tracks into new grooves were extending this brand of music method with new sub-genre styles. After years of Gangster Rap and politically charged messages from bands such as Ice-T, NWA and Public Enemy, a new wave of artists with alternate points to make had arrived, as did a segway from the underground to commercial hip-hop via some huge hits (Tone Loc, Neneh Cherry and so on).

 This week holds significance as the thirty-year anniversary of the release of one of my most influential albums. My copy of De La Soul’s “3 Feet High And Rising” became one of my school year’s most passed-around tapes. Along with this fresh piece of genius (which incidentally cost the band more money because of the samples used, than made them cash – and which they are currently battling with Tommy Boy Records for being finally released digitally), we were blessed with rap pearls such as Beastie Boys’ Paul’s Boutique, Young MC’s Stone Cold Rhymin’, Queen Latifah’s  All Hail The Queen, 3rd Bass’s The Cactus Album….the list goes on. London’s Mixmaster supreme DJ Yoda even agrees with me on this!

Agreed, as DJ Yoda mentioned, there would definitely be some degree of personal nostalgia, vis-à-vis the albums which saw your personal growth and happy memories, but also the longevity of these album releases, as well as significance at the time. Latifah’s giant step for women in hip-hop, music’s expansion to new land and social equality through the softer messages of new types of rapping, following the domination of ‘Gangsta Rap’ and political bravery in the previous few years.

 One massive encounter in connection with this brand of music – was seeing the DMC Technics DJ Mixing Championship for the first time, on the television. Despite it not becoming my selected style of mixing material years later, this is where it all started for me. Cutmaster Swift was the first non-American to win the title, but it was the imprint on my mind of analogue mixing brilliance which pushed me further into records – and what can be done with them.

 At the time of this all happening, a new wave of music had begun. One of which I may have seen snippets on Top Of The Pops via certain tracks – in fact one which is now on my wall, after it was number 1 in the charts that year. L’il Louis’s French Kiss sounded like an excuse for “rudies” in a song to a fourteen-year-old heathen sheltered lad. After listening to Ice-T and especially Public Enemy’s Fight The Power – rebellion at the time for me was listening to lots of wise uprising, occasionally violent lyrics with lots of swearing and lots of putting White American policies to the ethical sword. It was five years later I caught the club-bug - and discovered House Music properly. But in 1989, it was blowing up as a scene. The effects of raves in Britain and the USA, not to mention the early stages of the club DJ superstar was catching headlines, being targeted by police and the tabloid press – with a late-eighties revamp of punk’s rebellious anti-establishment stance via electronic music and the drug Ecstasy. It was such a big year on so many levels.

 Finally, in other news – let’s have a look at what quirky little differences or nuances our kids would be baffled by – or at least raising eyebrows towards. In 1989, Madonna released the highly-anticipated, then controversial “Like A Prayer” video (for depicting Jesus as a person of colour) via a Pepsi commercial when we only had four TV channels in Britain. Now, we anticipate when she will finally call it a day. It’s not as if the royalties dried up a few years ago, is it?

 Adverts were good. I rest my case (click on link).

https://www.youtube.com/watch?v=DYkrvoI_oVE

Mullets and Shell Suits. *twitches uncontrollably*  

 *twitches uncontrollably again as Australia – proudly – announces mullets are back*

 Dear Generations Y and Z, there is a reason these garments have not been worn for over twenty-five years. This is called ‘not being a chav or bogan’. I hope you can understand why it would be dangerous to revisit this abhorrent get-up.

To close – in 1989, Sir Tim Berners-Lee invented the World Wide Web, or what we now know as the Internet. You wouldn’t be reading this now without it.

 Cheers.

[annoyingtidalwavesalad]

The Cannonball Run 1 (1981).mp4 from Patrice De Bruyne on Vimeo.

The Cannonball Run 1 est un film américano-hongkongais réalisé par Hal Needham, sorti en 1981. L'histoire basique est d'aller le plus vite possible d'un point A à un point B en évitant les policiers embusqués et toutes les embuches imaginables... C'est une gigantesque brochette de Stars et Starlettes qui composent ce film fort distrayant : Burt Reynolds, Dom DeLuise, Victor Prinzim, Farrah Fawcett, Pamela Glover, Dean Martin, Jamie Blacke, Sammy Davis Jr., Morris Fenderbaum, Roger Moore, Seymour Goldfarb Jr, Jack Elam, George Furth, Arthur J. Foyt, Adrienne Barbeau, Marcie Thatcher, Tara Buckman, Jamie Farr, Jackie Chan, Bert Convy, Bradford Compton, Michael Hui, Terry Bradshaw, Terry Mel Tillis, Rick Aviles, Alfie Wise, Warren Berlinger, Peter Fonda, Molly Picon, Jimmy 'The Greek' Snyder, Bianca Jagger, Robert Tessier, Johnny Yune, Valerie Perrine, etc... Ce film s'inspire du Cannonball, course clandestine qui se déroula réellement aux États-Unis de 1973 à 1978, puis en Europe à partir des années 1980. Le scénariste Brock Yates, qui en était le créateur, et le réalisateur Hal Needham participèrent à l'édition 1978, avec une ambulance dotée d'un moteur V8 Chrysler de 8 litres de cylindrée développant 500 chevaux et capable de rouler à 240 km/h. C'est cette même ambulance que l'on voit dans le film. Après le tournage, elle fut revendue aux enchères par Brock Yates, qui fit don du produit de la vente à une œuvre de charité. La Ferrari 308 utilisée par Dean Martin et Sammy Davis Jr est celle du réalisateur Hal Needham. Burt Reynolds fut à l'époque cité dans le Livre Guinness des records comme l'acteur le mieux payé de tous les temps pour ce film : il toucha en effet un cachet d'un million de dollars par jour de tournage ! Le rôle de JJ McClure était à l'origine destiné à Steve McQueen et le ton du film était orienté vers l'action pure et dure. Après le décès de McQueen, le rôle échut à Burt Reynolds et le scénario fut remodelé pour évoluer vers une comédie. Le film fut produit et distribué par la Golden Harvest, compagnie dirigée par le fameux producteur hongkongais Raymond Chow. Ce dernier en a d'ailleurs profité pour faire jouer dans ce film deux de ses "poulains", à savoir Jackie Chan et Michael Hui. Le personnage d'Arthur J. Foyt ( A.J. Foyt) écologiste farouche opposant au Cannonball, est un clin d'œil du scénariste Brock Yates : Dans la réalité, le vrai A.J. Foyt est un des plus grands pilote automobile de l'histoire des États-Unis, qui remporta les 24 Heures du Mans 1967 avec Dan Gurney... puis fut le vainqueur du Cannonball 1971. En raison de la présence de Roger Moore, le film est truffé de références à James Bond, néanmoins, c'est le seul film où l'on voit Moore conduire la mythique Aston Martin DB5 de Bond, chose qu'il ne fit jamais lors de la saga. Dans la version française, Roger Moore est doublé non pas par Claude Bertrand, mais par Jean-Claude Michel, alors voix française régulière de Sean Connery et Clint Eastwood. Du reste, la version française fut largement "aménagée" par les distributeurs afin de rendre le film compréhensible aux spectateurs français : ainsi, lorsque Goofy, après que McClure lui demande s'il se prend pour le président, parle en imitant Valéry Giscard d’Estaing (dans la version originale, Goofy imite Richard Nixon) ! Ce film a fait l'objet d'une suite : Cannonball 2... en 1984, on y retrouve en grande partie les acteurs de ce premier volet.

[rigdicklucas]

Wonder Woman(2017) Spoiler Review

Zack Snyder’s latest foray into ruining the superhero genre had the potential to be something special but throws it all away for no reason at all.

By D. Lucas.

Let me tell you right away that this is not a movie you should be spending time on, let alone drive up to a theater for. It’s one of those rare occasions where the ingredients for a great film are all in there but it gets ruined by a terrible, terrible director, Zack Snyder—as if this surprises anyone anymore. If there’s a silver-lining to this CGI slugfest it’s the sliver of hope from the story by Patty Jenkins but it tries hard with little success, which is ironic since she had directed a film (2003′s Monster that won Charlize Theron her Oscar) and some interesting TV episodes. It would’ve been quite interesting to see had Warner Bros. allowed her to have a go at it. But, alas, we’re stuck with the Snyder and let’s just get this out of the way as fast as possible and get ready for that fun-superhero film coming this July. wink, wink.

There, if the director is not enough reason to skip this movie, which given his track-record shouldn’t be all that hard, then go ahead and read why the director is reason enough to skip it.

The movie begins with Diana (Gal Gadot) receiving a package in a truck with the Wayne Enterprises logo on it. Inside it is the actual photograph that we saw in Batman v Superman (Note how Zack made it so that even Wonder Woman needs a man’s help to get this photograph that is important to her). It is used to transition back to when Diana was a little girl on her paradise island, Themyscira, and how she grew up being denied training by her queen mother, Hippolyta, but was secretly trained by her general aunt, Antiope. For some stupid reason all this is intercut with a history-lesson about how Zeus made mankind and Ares corrupted them as the God of War and how Zeus again made Amazons to compensate for it which made Ares go mad and kill all the other gods. Luckily he was defeated by Zeus at the cost of his own life but not before making an ultimate sword called the Godkiller.

Gal Gadot Warner Bros.

The queen finds out about the secret training-sessions and seems upset at first but then pivots a full 180-degree and asks her sister to train Diana harder than any Amazon before. I mean, seriously? Whatever happened to sticking to established character traits? Only in a Zack Snyder film can this happen. I’m willing to bet Patty’s story had a long interlude in between but Zack decided he couldn’t wait to get to the messy fight sequences. And sure enough we get to Gal Gadot in the very next scene where she battles a couple of Amazons and then her aunt while her mother looks down from atop a hill on horseback. And sure enough it ends with a random shock-wave out of her bracelets—which we are to assume have grown along with her since the child Diana also had smaller ones on. Then Diana feels guilty for hurting her aunt and runs away only to find the crashing plane of Steve Trevor(Chris Pine).

She, of course, rescues him and a band of men breach into Themyscira who were in pursuit of Steve. The battle scene that Zack had been itching to get to is here and it plays out much like his oft-criticized sludge of slow motion and the-oh-so-important manner of shooting them. There’s a self-indulgent shot of the general Antiope grinning like a maniac as she marches into battle which could only be found in a Zack Snyder movie (another bet that Patty’s story didn’t include this).

The battle costs Antiope her life and the Amazons instead of impaling Steve right there like the warring faction that they are decide to interrogate him using some heated rope that makes you tell the truth. I couldn’t help but chuckle at the way Diana announces it as if it isn’t the most ridiculous thing ever.

Then follows the forced humor™ with Steve and Diana about man-parts and watches when out of the blue Diana just decides to betray her entire sisterhood and leave with this man who she’d known for less than a day. The feminist-front this film had been marketed on makes this move so very ironic I can’t believe Zack believed he could win over feminists like me with this. Humor™ in any superhero film not made by Marvel can only be reactionary and a cash grab.

Gal Gadot and Chris Pine Warner Bros.

And so we return to London with all of Zack Snyder’s favorite dark and drab aesthetic. You could just feel the relief he must have felt at this point! I’m surprised he didn’t cut the “It’s hideos” line by Gal which is clearly just another attempt at the Marvel-only humor™—honestly there are so many instances of such attempts that just fall flat on their face that it’s unintentionally hilarious.

The villain is obviously going to be the God of War that was weakened by Zeus in his climactic battle but his identity is supposed to be a secret. Anyone with any rational thinking capacity can figure out that it’s the dude that talks about peace at a meeting of generals! The gall of Zack Snyder is thinking it’s a well-kept secret by shamelessly inserting a red-herring in the German general Ludendorff. It is so blatant in its execution that his lackey poison-cook makes these pills for him, saying, “For you. To restore your strength.” As if we didn’t know he wasn’t a red-herring! Zack’s potential to keep assuming his audience as a pack of dumb sheep never ceases to amuse me.

Danny Huston Warner Bros.

Once Steve gathers his band of misfits and smuggles them to Belgium along with Diana, while sitting around a fire, there are some throwaway scenes masquerading as character moments that just toss out themes about the futility of war, a soldier’s PTSD, etc., which all deserve to be further expanded upon but this being a Snyder feature are left hanging like the hooked carcasses at a slaughterhouse.

Before long, Zack’s itch for another battle sequence becomes unbearable and we have our next action set piece. There’s nothing inventive or creative about this, just ticking off a list of cool-shot after cool-shot with the same tried-and-tired slow motion that even Zack should have gotten sick of by now. The most hypocritical thing about Wonder Woman here is just how easy she finds it to kill the innocent German soldiers under the influence of Ares and even finds it appropriate to dance with Steve to celebrate it later that evening. My third bet is that Patty’s story didn’t have all this killing and instead had Wonder Woman gently put out these soldiers because she truly believes only love can save the world. But Zack had to muddy it up with his 300-style brutality.

There’s an idiotic scene where one of Steve’s band just randomly find an automobile parked around which they then use to get Steve into a German party where Ludendorff will be. This is without an invitation, mind you. The damned proto-Nazis are that easy to fool in Zack’s dark and gritty universe and that brings us to when Ludendorff deploys the new gas weapon over the little town that Diana just saved by killing two dozen soldiers. It just has to be that dark, thank you very much. Unfortunately the ending only further devolved into what’s now Zack’s characteristic bad-CGI overload.

The plot-twist, like I already mentioned, comes unsurprisingly and is followed by the same bad-guy-vision-for-the-future that Zack used in Man of Steel except here Ares(David Thewlis) is a stand-in for General Zod. It is funny how this battle seems to be a polar opposite of the final battle in Man of Steel:

- Zod rips off his armor while Ares puts on one.

- Zod shows a future built over the dead remains of humanity while Ares shows … a future built on the dead remains of humanity.

- Zod is the more experienced one over Superman while … Ares is the more experienced one over Wonder Woman.

Okay, Ares is just Zod for Wonder Woman.

The sequences feel rather recycled if anyone’s seen Zack’s previous films but he expects us to oversee that because it’s a female superhero. Sorry, Zack, we’re not that stupid! When Steve Trevor sacrifices himself by flying the bio-weapon payload into the sky and shooting it, Diana gains new powers as she mourns him and simultaneously skates, mortally hurls around German soldiers, pummels Ares, and lifts a tank to crush the poison-cook, Dr. Maru, but reconsiders Maru for sequels and also because she just suffered a short-term memory loss by forgetting what Steve had told her before catching the plane. This seems to be a one-time thing though because the film doesn’t turn into Memento, or anything. She also remembers what Steve says about men not deserving to be protected but still should be, maybe and tells exactly that to Ares before she skates up to him and kills him using his own lightning bolt, so technically not murder (unlike MoS where Superman should’ve used Zod’s own hands to snap his neck like a true hero and technically not murder him. He could’ve stood up and smiled at that family he’d saved like Diana looks at the soldiers).

Wonder Woman is basically Zack’s go at making the same kind of film he always does but shrouded in the veil of Marvel humor™ and a good, straight story (thanks to Patty). But at the end of the day, Wonder Woman still can’t save itself from Zack Snyder.

Why pose big questions like why did Wonder Woman walk away from mankind when no one wants to give the answer anyway?

Bonus critiques:

-Zack’s sexual-predatory, exploitative lens makes a comeback in this shot:

-Just the general idea of scantily clad beautiful women (Amazons) being objectified at the beginning of the film and thinking it empowers them à la Sucker Punch, which suffered the additional burden of being written by Zack Snyder!

[filmcomplet-zackanyder]

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❍❍❍ TV FILM ❍❍❍ The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “”Mr Television”” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.

❍❍❍ formats and genres ❍❍❍ See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television MOVIE to have this kind of dramatic structure,[4][better source needed] while the later MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intendevd five-season run.[citvatio””&n needed] In 2007, it was reported that television was growing into a larger component of major media companies’ revenues than film.[5] Some also noted the increase in quality of some television programs. In 2007, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “”I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.

❍❍❍ Thanks for everything and have fun watching❍❍❍ Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today.

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