#Gabriel Casseus

[ohmyshesintriguing]

New Jersey Drive (1995)

[lboogie1906]

Gabriel Casseus (born April 28, 1972) is an actor and screenwriter from Roosevelt, New York.

He was born in New York City and is of Haitian descent.

He was nominated for the 1995 Independent Spirit Award for Best Debut Performance in the film New Jersey Drive. He has appeared in the films Get on the Bus, Fallen, and Black Dog.

He had roles as pool-playing Freddie in Before I Self Destruct (2009), as Elliot’s cellmate in Bedazzled, and as Army Ranger Kurth in Black Hawk Down.

He has appeared on television shows including Grey’s Anatomy, CSI: Miami, CSI: NY, The Practice, Law & Order, and 24. He is a co-writer of Takers. #africanhistory365 #africanexcellence

[astarkey]

Bedazzled (2000) dir. Harold Ramis

[scenesandscreens]

Bedazzled (2000)

Director - Harold Ramis, Cinematography - Bill Pope

"Oh, I dont know, when a man says he'd give anything to have a certain woman in his life, I just assume she means something to him."

[blackcatvideo]

Black Hawk Down on Showtime

Mostly interesting because 20+ years after the events in this film I worked with the guy Eric Bana’s character is based on.  

[detafo]

Every time... EVERY GOD DAMN TIME

I watch the 2000 remake of Bedazzled, I want to make an Angel RP blog... he's such a darling.

[godardfanforever]

Taxi Driver and New Jersey Drive - Allusion and Homage

[Transcript of the narration]: 

Over the years, Taxi Driver has had and will continue to have numerous allusions and homages to it from other films. 

This is understandable considering its influence and iconography. The one from Trainspotting immediately comes to mind.   

Yet it is one of the lesser known homages to the film which remains the most indelible for this viewer. 

Two wholly different tales of angst and environment now forever connected. The Nick Gomez directed 1995 film, New Jersey Drive, contains a shot which is an Allusion and Homage to the 1976 film, Taxi Driver. Rather fitting since it was Gomez’s groundbreaking, indie debut film, Laws of Gravity, which brought unfair murmurs of him being the next Scorsese. That didn’t quite pan out for varying reasons, but Gomez has continued onto TV directing success. 

Speaking of Gomez, he was kind enough to respond to my tweet asking whether the Homage was intentional - which he confirmed it was. There are similarities and variances between the shots in each film. 

One notable aspect the films share is how they each deal with marginalized characters within a subculture. As often in Homages, there is a replication or repetition of mise-en-scène form/composition. New Jersey Drive’s shot is not an exact duplication, though. 

Both reveal mentally unstable male character's externalized frustrations upon the world. Each from their own cultural/ethnic perspectives and vexations. Both angry at the world and looking for release of that anger. 

In New Jersey Drive, off a tenement rooftop - the volatile character Midget (played by Gabriel Casseus) points a gun at a police car passing by down below, then fires the gun off in anger and amusement, startling his boys nearby. 

The scene and this shot are an Allusion and Homage to the scene/shot in Taxi Driver where Travis buys guns in the hotel from “Easy Andy”. Travis tests the gun by pointing it out the window down upon unsuspecting targets - the shot becomes a tracking/dolly shot - as Travis aims toward the moving traffic and a pair of umbrella-wielding women chatting down below. 

Both exhibit subjectivity through use of POV shots/angle as both characters level the gun. Aiming at a perceived target.  An unspoken enemy. 

The subjectivity effectively creates both identification and complicity upon the audience. Through perspective, a high angle is created for both.   

Both look downward from a building onto the streets. One variance is locale or setting (New York City and Newark, New Jersey). One is an interior, the other an exterior. Both daytime.   

Also, in Taxi Driver it is mostly one continuous shot while in New Jersey Drive the shot is intercut and juxtaposed. Notice the movement variance between Taxi Driver’s dolly/tracking compared to New Jersey Drive’s pan and juxtaposition.   imfdb.com is a useful movies firearms database offshoot of imdb. 

As you can see as noted, the types of guns, both revolvers, are different. Also as noted, there was some uncertainty and debate on the type of gun used by Midget. Another key variance is how Midget pulls the trigger (firing a live round), while Travis does not. Both guns are illegally attained. 

The Taxi Driver scene does not use music. New Jersey Drive utilizes music, OutKast "Benz or Beamer." 

[therealmrpositive]

Macabre Month 4 Part V: Tales from the Crypt Presents: Ritual (2002)

In today's review, I find the cure to what ails me in sunny Jamaica. As I attempt a #positive review of the 2002 D.V.D. tale Ritual #JenniferGrey #CraigSheffer #DanielLapaine #KristenWilson #GabrielCasseus #TimCurry #RonTaylor #ErickAvari #JohnKassir

It is impressive what a brand name can do for a film’s chances to be seen, especially for a remake of a film not many people can claim to have seen before. Audiences want familiarity, so a fusion of a familiar brand name, with a new idea can make for a happy bit of synergy. When your brand has a looser definition of continuity (or is better yet an anthology) it can be even easier to fill with…

[badmovieihave]

Bad movie I have Lockdown  2000

[lifeinthemovies-blog1]

Bedazzled (2000)

[lesterplatt]

Book your comeback - VIA Rail (DC) from Jeremy Comte on Vimeo.

Client: VIA Rail Canada Louis Levesque Philippe Normand Mia Bergman Alexandra Nasim

Agency: Cossette Executive Creative Director: Louis-Philippe Tremblay Creative Director: Gilles Legault Lead Creative Team: Adrien Heron & Ugo Martinez Art Director: Jessica Fecteau VP/ Lead business: Nadja Décarie Product Director: Nicolas Girault

Production Manager: Erica V. Themens Producer: Alexandrine Perras Strategist: Jean-Claude Kikongi

Production House: Colossale Executive producers: Alex Auray & Vlad Cojocaru Production Manager: Vlad Doclin Unit Manager: Patrick Zaloum Production Coordinator: Magali Rack

Director: Jeremy Comte 1st AD: Isabelle Brutus 2nd AD: Jonathan Jean-Pierre 3nd AD: Michel Yarmush 4th AD: Jessica Ferguson

Director of Photography: Olivier Gossot 1st AC: Mathieu Nadon 2nd AC: Charles Durand Morin Lib: Jean Francois Landry Streaming/ DIT/ VTR: Ronald Casseus DIT Assistant: Andrew Anthony Drone Operator: Guillaume Beaudoin Drone Assistant: Mark Buyra

Casting Company: Smyth casting Casting Director: Ilona Smyth Casting Director: Kelsie Winsor Protagonist: Miho Suzuki Solo Woman: Tara Sky Man reading the newspaper: Harley Sanford Father and Daughter: Jimmy Limb & Mia Ilankovan Couple: Keana graves & Tosh Wadsworth Solo Man: Qasim Khan

Gaffer: Stephane Leblanc BB Electro: Fredéric Demers Electro: Louis Etienne Hebert Racine, Eric Lapointe, Mitch Lawson, Kevin Mcmilligan, Martin Gregor Generator Operator: Yves Ouimet

Head Grip: Stéphane Klopp Best Boy Grip: Mathias Maumont Grips: Lucas Cyrus Navennec, Kim Larouche, Brendan Mclouglin, Nick Persaud, Alex Galan Techno crane Technician: Bertrand Dupuis

Art Director: Melanie Truchon Décoratrice Artistique: Chiara Fossati Prop Master: Francois locas Tech Decors, Mathieu Richard, John Goodwin SFX coordinator : Mario Dumont SFX Techs: Alain Rouiller, Gabrielle Dumont, Ben Bélanger, Mathew Synek

Styling: Skye Kelton Habilleuse: Talia Godin, Summer Ellis Make-Up Artist: Nancy Ferlatte Make-up Assistant: Gisèle Matte Hair Dresser: Darcy Langille Assistant Hair Dresser: Tracy Page

Set PA: Samy Nour PAs: Karl Raymond, Isaa Karim Abaababa, Juliette Poitras, Justine Pelletier Sanitary Coordinator: Wesley Long Sanitary Assistant: Mika Doclin Secouriste: Paul Needham Cantinier: Christian Marion Assitant Cantinier: Pablo Lugo Security: Kristen McNaule, Nick Vallière

Visual post-production: Chop Chop Films Post-production directors: Victor Ghizaru / Colin Beaudry Offline editor (DC): Jeremy Comte Coordinator: Khadija Ellouze Assistant editor: Rodlyne Mahée Jean Conform / Exports: Philippe St-Arnaud Motion designer: Gautier Spiser Online editor: Colin Beaudry Colorist: Simon Boisx

VFX: Mathematic Directeur du studio: Alexandre Pagot VFX supervisor: Thomas Nauthin Lead compositeur: Philippe Bienvenue Compositrice: Sophie Roques Compositeur: Dominique Dauphin Fx Artist: Florian Rhin Chargé de projet: Mathieu Taggart

Sound Studio & Music: Cult Nation Narration: Daniela Andrade Sound Design/ Mix: Theo Porcet Music: Mat Laf

[liuxiang]

Book your comeback - VIA Rail (DC) from Jeremy Comte on Vimeo.

Client: VIA Rail Canada Louis Levesque Philippe Normand Mia Bergman Alexandra Nasim

Agency: Cossette Executive Creative Director: Louis-Philippe Tremblay Creative Director: Gilles Legault Lead Creative Team: Adrien Heron & Ugo Martinez Art Director: Jessica Fecteau VP/ Lead business: Nadja Décarie Product Director: Nicolas Girault

Production Manager: Erica V. Themens Producer: Alexandrine Perras Strategist: Jean-Claude Kikongi

Production House: Colossale Executive producers: Alex Auray & Vlad Cojocaru Production Manager: Vlad Doclin Unit Manager: Patrick Zaloum Production Coordinator: Magali Rack

Director: Jeremy Comte 1st AD: Isabelle Brutus 2nd AD: Jonathan Jean-Pierre 3nd AD: Michel Yarmush 4th AD: Jessica Ferguson

Director of Photography: Olivier Gossot 1st AC: Mathieu Nadon 2nd AC: Charles Durand Morin Lib: Jean Francois Landry Streaming/ DIT/ VTR: Ronald Casseus DIT Assistant: Andrew Anthony Drone Operator: Guillaume Beaudoin Drone Assistant: Mark Buyra

Casting Company: Smyth casting Casting Director: Ilona Smyth Casting Director: Kelsie Winsor Protagonist: Miho Suzuki Solo Woman: Tara Sky Man reading the newspaper: Harley Sanford Father and Daughter: Jimmy Limb & Mia Ilankovan Couple: Keana graves & Tosh Wadsworth Solo Man: Qasim Khan

Gaffer: Stephane Leblanc BB Electro: Fredéric Demers Electro: Louis Etienne Hebert Racine, Eric Lapointe, Mitch Lawson, Kevin Mcmilligan, Martin Gregor Generator Operator: Yves Ouimet

Head Grip: Stéphane Klopp Best Boy Grip: Mathias Maumont Grips: Lucas Cyrus Navennec, Kim Larouche, Brendan Mclouglin, Nick Persaud, Alex Galan Techno crane Technician: Bertrand Dupuis

Art Director: Melanie Truchon Décoratrice Artistique: Chiara Fossati Prop Master: Francois locas Tech Decors, Mathieu Richard, John Goodwin SFX coordinator : Mario Dumont SFX Techs: Alain Rouiller, Gabrielle Dumont, Ben Bélanger, Mathew Synek

Styling: Skye Kelton Habilleuse: Talia Godin, Summer Ellis Make-Up Artist: Nancy Ferlatte Make-up Assistant: Gisèle Matte Hair Dresser: Darcy Langille Assistant Hair Dresser: Tracy Page

Set PA: Samy Nour PAs: Karl Raymond, Isaa Karim Abaababa, Juliette Poitras, Justine Pelletier Sanitary Coordinator: Wesley Long Sanitary Assistant: Mika Doclin Secouriste: Paul Needham Cantinier: Christian Marion Assitant Cantinier: Pablo Lugo Security: Kristen McNaule, Nick Vallière

Visual post-production: Chop Chop Films Post-production directors: Victor Ghizaru / Colin Beaudry Offline editor (DC): Jeremy Comte Coordinator: Khadija Ellouze Assistant editor: Rodlyne Mahée Jean Conform / Exports: Philippe St-Arnaud Motion designer: Gautier Spiser Online editor: Colin Beaudry Colorist: Simon Boisx

VFX: Mathematic Directeur du studio: Alexandre Pagot VFX supervisor: Thomas Nauthin Lead compositeur: Philippe Bienvenue Compositrice: Sophie Roques Compositeur: Dominique Dauphin Fx Artist: Florian Rhin Chargé de projet: Mathieu Taggart

Sound Studio & Music: Cult Nation Narration: Daniela Andrade Sound Design/ Mix: Theo Porcet Music: Mat Laf

[ljones41]

"TAKERS" (2010) Review

"TAKERS" (2010) Review Nearly eight years ago, a crime thriller about a group of bank robbers operating in Los Angeles was released to the theaters with little fanfare and a great deal of scorn. Although "TAKERS" earned over twice its budget, it barely made a dent with filmgoers. Out of curiosity, I decided to see what the lack of fuss was all about. 

In a nutshell, "TAKERS" began with a successful bank robbery committed by a team of seasoned criminals - including Gordon Cozier, John Rahway, A.J., and brothers Jake and Jesse Attica. Following the success of their heist, the five lead a life of luxury while planning their next job. Unfortunately, a former member of their team named "Ghost" is released from prison. He convinces the group to strike an armored car carrying $20 million. While the bank robbers carefully plot their strategy, a pair of L.A.P.D. police detectives named Jack Welles and Eddie Hatcher investigate their last job. Welles and Hatcher, aware of Ghost's release, finally become aware of the five robbers, and set about apprehending them. 

"TAKERS" is basically a run-of-the-mill crime drama filled with complex characters and fast-paced action sequences. The movie also unfolded a peak into the private lives of both the robbers and cops - culminating into a series of familial and romantic frustrations, betrayal, and loyalty. The screenplay written by Peter Allen, Gabriel Casseus, John Luessenhop and Avery Duff pretty much touched upon every topic one could find in a story about bank robbers - aside from the hostage situation featured in movies such as 1975's "DOG DAY AFTERNOON" and 2006's "INSIDE MAN". If I must be honest, the story structure and characterizations in "TAKERS" strongly reminded me of Michael Mann's 1995 opus, "HEAT", but with less complexity. To a certain degree. In a way, I could see why most reviewers and moviegoers failed to warm up to "TAKERS" - aside from the controversial presence of Chris Brown in the cast. It is not exactly an crime epic in compare to some of the other movies I have mentioned. Although Michael Barrett's photography struck me as colorful and glossy, there was nothing unique about it. Some of the dialogue in the film seemed wooden and unmemorable. And I could tell that some of the inexperienced actors like Tip "T.I." Harris had a little trouble handling it. One of the action sequences featured a shoot-out between the five bank robbers and Russian mobsters at Hollywood's Roosevelt Hotel. Both Barrett and director John Luessenhop tried to be ambitious by shooting most of the sequence in slow motion, while maintaining the sound effects - dialogue included - at a regular pace. Paul Haslinger's mournful score somewhat helped the sequence, but the screenwriters' insipid dialogue nearly undermined it. I realize that many might find this hard to believe, but "TAKERS" possessed virtues that managed to outweigh its flaws. One, it possessed a first-rate cast lead by the likes Idris Elba and Matt Dillon. Both actors were superb in their roles as British-born immigrant and current leader of the robbers Gordon Cozier and veteran L.A.P.D. detective Jack Welles. The movie also featured first-rate performances from Michael Ealy, Hayden Christensen, Marianne Jean-Baptiste, Jay Hernandez, Zoë Saldaña and yes, even Chris Brown. Paul Walker, Glynn Turman and Tip Harris gave solid support as well. I realize that I had been a little critical of Harris' handling of some of the dialogue, but I must admit that his portrayal of the manipulative and vindictive "Ghost" really impressed me. Aside from the Roosevelt Hotel shoot-out, "TAKERS" was filled with some outstanding action sequences, thanks to Luessenhop's direction, Barrett's photography and the editing of both Armen Minasian and Colby Parker, Jr. Some of the best sequences featured Hayden Christensen's (A.J.) encounter with a double-crossing explosive dealer and his crew; the entire heist of an armored truck in downtown Los Angeles; and a chase sequence that featured Chris Brown, Jay Hernandez and Matt Dillon. However, the one virtue that really made "TAKERS" work for me was the screenplay written by Luessenhop and three other writers. I realize that I might attract a good deal of flap of pointing this out, but the screenplay for "TAKERS" possessed one virtue that the highly regarded "HEAT" lacked - the minor plot lines featuring the some of the characters' personal lives had strong connections to the movie's main narrative. This prevented the movie's pacing from dragging at an unnecessarily long pace. Although "TAKERS" actually made a profit at the box, it was only able to do so, due to the movie's low budget. Because otherwise, one might as well call it failure. Well, failure or not, I ended up enjoying "TAKERS" . . . much to my great surprise. It may not be one of the best crime dramas ever made, but I cannot deny that I found it entertaining, suspenseful and pretty exciting.

[scenesandscreens]

Black Hawk Down (2001) Director - Ridley Scott, Cinematography - Slawomir Idziak "Nobody asks to be a hero, it just sometimes turns out that way."

[blackjesus1804]

On April 19, 1995, exactly 26 years ago, the premiere of the film "New Jersey Drive" took place. The film was directed by Nick Gomez and executive produced by Spike Lee. Cast: Sharron Corley, Donald Faison, Gabriel Casseus, Saul Stein, Heavy D and others. With a budget of $ 5 million, the film grossed just about four. This can be called a great failure. "New Jersey Drive" is a story about dark-skinned teenagers, city dwellers who steal cars, sell stolen cars or simply smash them for pleasure. For Jason and his friend, this kind of pastime has become almost a profession. But from harmless romantic adventures - one step to a real crime. The confrontation between the heroes and the local police gradually reaches its climax. Classic ⭐️ https://www.instagram.com/p/CN3D8ssgmhd/?igshid=72x1vh2oxut7

[katrinaneenie]

The Colours Blogathon is hosted by Catherine from Thoughts of All Sorts. The movies reviewed in this blogathon must have a color adjective as part of the title.  I chose black since it encompasses all the colors on a color spectrum (complete adsorption of light without reflecting any rays). To match a “black titled” movie, I wanted to review a great movie that has a multilevel of emotions and actions.  So my favorite movie with these requisites is Black Hawk Down.  As far as war movies goes, this movie is one of the best. It is directed by Ridley Scott (Alien, Gladiator, Thelma and Louise…) and produced by Jerry Buckheimer (Pirates of the Caribbean, 2003, 2006, 2007, 2011, 2017; Top Gunn (2017); Geostrom (2017) ….

https://m.youtube.com/watch?v=HU5q6td7R5o

It has an all-star cast from around the globe.  However, none of the actors are from Somalia. Just take a look at the list of these actors who play crucial roles in this film:

Josh Hartnett- USA (Eversmann)        Ewan McGregor – Scotland

Eric Bana – Australia (Hoot)      .           Tom Hardy- England (Twombly)

Tom Sizemore– USA (McKnight)          Orlando Bloom- England

William Fichtner- USA ( Sanderson)   Sam Shepard– USA (Garrison)

Ewen Brenner– Scotland (Nelson)        Kim  Coates- Canada (Wex)

Ron Eldard- USA (Durant)                      JoAn Gruffud, UK (Beales)

Jeremy Piven- USA (Wolcott)                   Jason Isaacs-English (Steele)

Gabriel Casseus- USA (Kurth)                Nicolas Coster-Waldau                                                                                         Denmark    (Gordon)

Hugh Dancy-England (Schmid)               Enrique Murciano- USA (Ruiz)

Ty Burrell- USA (Wilkinson)

If I were to name “a lead star,” it would have to be Josh Hartnett (Eversmann).  This war movie presents each soldier (actor) in equal measure because that is how  real teams of soldiers operates: everyman matters and no one gets left behind.  They each have a job to do; and, they must watch each other’s back in order to survive and make it out alive.  All the courage, fear, and frustration to accomplish this is vividly felt throughout the movie. Realistic and gritty are just two words to describe this engrossing film.

It is based on a book by journalist Mark Bowden, Black Hawk Down: A Story of Modern Warfare (1999). The book is based on an incident that happened on October 3, 1993.  Bowden wrote 29 articles for the Philadelphia Inquirer researching and interviewing soldiers who were involved in this combat.

Historical Record:

In 1991, after the overthrow of Somali dictator, Siad Barre,  civil war broke out between different clans.  These clans arbitrarily attacked civilians and committed war crimes.  These attacks interrupted food production which resulted in a famine.  Across the globe, the news displayed disturbing images of starving people, some were babies.  By 1992, the Bush administration launched “Operation Restore Hope.” The United States in joint effort with the United Nations sent troops to Somali to “destabilize the government and bring food and humanitarian aid to a starving population.”

Warlords of the rival clans intercepted the food supplies sent from other countries to feed this starving population. They distributed the food to their ever-growing armies first. Then, they sold what was left. Essentially, there is no government. At some point, demonstrations of protest began.  When Pakistani soldiers, as part of the U.N. mission, fired into a crowd of protesters, Warlord, Aidid, counter attacked  and killed 24 soldiers. At this point, the U.N. Security Council authorized “All necessary measures to apprehend those responsible.” A $25,000 bounty was placed on Aidid’s head and a manhunt began.

By October 3rd 1993, U.S. Special forces were sent to the capital, Mogadishu on a mission to capture a key lieutenants of Aidid. Using U-H-60 Black Hawk helicopters, soldiers were lowered to the ground. Once the rebel “targets” were captured, the soldiers soon learned leaving the city became near impossible due to multiple road blocks and being under constant fire.

Taskforce begins assault. (Photo credit: National Geographic Channels/Charlie Sperring)

Just as this Snafu began, an unexpected attack by Somalian forces brought two helicopters down using RPGs (Rocket Propelled Grenades).  Mobs hacked the fallen pilots to death with machetes and dragged their bodies through the streets as trophies. One pilot was captured and was released weeks later. Humvees were used to transport the dead, wounded, and any soldiers they could fit into their vehicles in order to escape the thousands of Somali militia surrounding them.  Many had to be left behind; until, another rescue effort could be made.

Even with air support to direct them out of the city, Humvees found only blockades with militia shooting guns and mortar grenades at them. What should have taken only a few hours ended up taking 15 hours. This is known as the Battle of Mogadishu and it lasted for two days. The route that was “run” by the Army Rangers and Delta Force soldiers from the helicopter crash site to the rally point is known as The Mogadishu Mile. Some of the Rangers were forced to run on foot behind the rescue convoy of Humvees leaving the city.  Each Humvee was packed with dead, dying and/or wounded soldiers. The soldiers who had to run on foot did this unprotected and were still in constant harms way.  This incident is an extremely moving segment of the movie as they run to safety.

The Movie and a few facts:

Although this movie is an excellent film, be warned there are graphic shots and violence because of the nature of the story. There is also a great deal of colorful language and some dark humor. These are typical behaviors for most men and women who work within severely stressful conditions.  However, there is no nudity for those of you who are screamish about people in the buff. If you have not seen this truly great movie, just know that it is a compelling story that will keep you on the edge of your seat.  In addition to being a bit anxious, there will be times that you will probably laugh and tear up too.

There has been much written about this film and this battle.  So, I will mention a few things that I noticed while I watched it.

Since all soldiers have similar hair cut and uniforms, the director had each character’s last name printed on the helmets; so, you could tell them apart. Printing names on helmets is not done in the “real” U.S. Army.

BLACK HAWK DOWN, Josh Hartnett, 2001 © Colombia Pictures/

The scenes with Major General Garrison (Sam Shepard) in the control room had actual Satellite images of the real battles.  Also some of the radio chatter between the Humvees, helicopters, and command was taken from actual radio transmissions made during the Battle.

Regrettably, the film Black Hawk Down did not show the role of Malaysia and Pakistan Forces in Somalia. When U.S. troops were trapped in the center of Mogadishu, it was the Seventh Frontier Force Regiment of the Pakistan Army that went in to help them get out. When it is all said and done, at least 18 American soldiers were killed and thousands of Somali were killed.  President Clinton pulled U.S. military Forces out of the country. He justified the thousands killed with this statement:

When people kill us, they should be killed in great numbers.

As a result of U.S. forces pulling out, Somali is still a war-torn country and Mogadishu is still one of the most dangerous cities in the world: a hotbed of insurgents and a hide out for terrorists. But, controversially many considered this a failed mission. This film pays tribute to the spirit of those brave young men who went into a country and culture that they knew next to nothing about and risked and loss their lives. They followed orders and remained courageous and loyal to each of their brothers in arms.

To read more posts in the colours Blogathon, please use the link below:

https://thoughtsallsorts.wordpress.com/2017/09/08/its-a-colourful-day-a-colourful-blogathon-day/

  References Links:

http://historynewsnetwork.org/article/153561

https://en.m.wikipedia.org/wiki/Black_Hawk_Down_(book)

http://www.imdb.com/title/tt0265086/

  Black Hawk Down(2001): The Colours Blogathon The Colours Blogathon is hosted by Catherine from Thoughts of All Sorts. The movies reviewed in this blogathon must have a color adjective as part of the title.