#Joel Wade-Producer

[eddie-redmayne-italian-blog]

The Untold History of Cabaret: Revived and Kicking

As Broadway welcomes the ever-evolving musical, its star, Eddie Redmayne—along with Liza Minnelli, Joel Grey, and Sam Mendes—assess its enduring power.

As director Rebecca Frecknall was rehearsing a new cast for her hit London revival of Cabaret, the actor playing Clifford Bradshaw, an American writer living in Berlin during the final days of the Weimar Republic, came onstage carrying that day’s newspaper as a prop. It happened to be Metro, the free London tabloid commuters read on their way to work. The date was February 25, 2022. When the actor said his line—“We’ve got to leave Berlin—as soon as possible. Tomorrow!”—Frecknall was caught short. She noticed the paper’s headline: “Russia Invades Ukraine.”

Cabaret, the groundbreaking 1966 Broadway musical that tackles fascism, antisemitism, abortion, World War II, and the events leading up to the Holocaust, had certainly captured the times once again.

Back in rehearsals four months later, Frecknall and the cast got word that the Supreme Court had overturned Roe v. Wade. Every time she checks up on Cabaret, “it feels like something else has happened in the world,” she told me over coffee in London in September.

A month later, as Frecknall was preparing her production of Cabaret for its Broadway premiere, something else did happen: On October 7, Hamas terrorists infiltrated Israel, killing at least 1,200 people and taking more than 240 hostages.

The revival of Cabaret—starring Eddie Redmayne as the creepy yet seductive Emcee; Gayle Rankin as the gin-swilling nightclub singer Sally Bowles; and Bebe Neuwirth as Fraulein Schneider, a landlady struggling to scrape by—opens April 21 at Manhattan’s August Wilson Theatre. It will do so in the shadow of a pogrom not seen since the Einsatzgruppen slaughtered thousands of Jews in Eastern Europe and in the shadow of a war between Israel and Hamas that continues into its fifth month, with the killing of thousands of civilians in Gaza.

Nearly 60 years after its debut, Cabaret still stings. That is its brilliance. And its tragedy.

Redmayne has been haunted by Cabaret ever since he played the Emcee in prep school. “I was staggered by the character,” he says. “The lack of definition of it, the enigma of it.” He played the part again during his first year at Cambridge at the Edinburgh Fringe Festival, where nearly 3,500 shoestring productions jostle for attention each summer. Cabaret, performed in a tiny venue that “stank,” Redmayne recalls, did well enough that the producers added an extra show. He was leering at the Kit Kat Club girls from 8 p.m. till 10 p.m. and then from 11 p.m. till two in the morning. “You’d wake up at midday. You barely see sunshine. I just became this gaunt, skeletal figure.” His parents came to see him and said, “You need vitamin D!”

In 2021, Redmayne, by then an Oscar winner for The Theory of Everything and a Tony winner for Red, was playing the Emcee again, this time in Frecknall’s West End production. His dressing room on opening night was full of flowers. There was one bouquet with a card he did not have a chance to open until intermission. It was from Joel Grey, who originated the role on Broadway and won an Oscar for his performance alongside Liza Minnelli in the 1972 movie. He welcomed the young actor “to the family,” Redmayne says. “It was an extraordinary moment for me.”

Cabaret is based on Goodbye to Berlin, the British writer Christopher Isherwood’s collection of stories and character studies set in Weimar Germany as the Nazis are clawing their way to power. Isherwood, who went to Berlin for one reason—“boys,” he wrote in his memoir Christopher and His Kind—lived in a dingy boarding house amid an array of sleazy lodgers who inspired his characters. But aside from a fleeting mention of a host at a seedy nightclub, there is no emcee in his vignettes. Nor is there an emcee in I Am a Camera, John Van Druten’s hit 1951 Broadway play adapted from Isherwood’s story “Sally Bowles” from Goodbye to Berlin.

The character, one of the most famous in Broadway history, was created by Harold Prince​​, who produced and directed the original Cabaret. “People write about Cabaret all the time,” says John Kander, who composed the show’s music and is, at 96, the last living member of that creative team. “They write about Liza. They write about Joel, and sometimes about us [Kander and lyricist Fred Ebb]. None of that really matters. It’s all Hal. Everything about this piece, even the variations that happen in different versions of it, is all because of Hal.”

In 1964, Prince produced his biggest hit: Fiddler on the Roof. In the final scene, Tevye and his family, having survived a pogrom, leave for America. There is sadness but also hope. And what of the Jews who did not leave? Cabaret would provide the tragic answer.

But Prince was after something else. Without hitting the audience over the head, he wanted to create a musical that echoed what was happening in America: young men being sent to their deaths in Vietnam; racists such as Alabama politician “Bull” Connor siccing attack dogs on civil rights marchers. In rehearsals, Prince put up Will Counts’s iconic photograph of a white student screaming at a Black student during the Little Rock crisis of 1957. “That’s our show,” he told the cast.

A bold idea he had early on was to juxtapose the lives of Isherwood’s lodgers with one of the tawdry nightclubs Isherwood had frequented. In 1951, while stationed as a soldier in Stuttgart, Germany, Prince himself had hung around such a place. Presiding over the third-rate acts was a master of ceremonies in white makeup and of indeterminate sexuality. He “unnerved me,” Prince once told me. “But I never forgot him.”

Kander had seen the same kind of character at the opening of a Marlene Dietrich concert in Europe. “An overpainted little man waddled out and said, ‘Willkommen, bienvenue, welcome,’ ” Kander recalls.

The first song Kander and Ebb wrote for the show was called “Willkommen.” They wrote 60 more songs. “Some of them were outrageous,” Kander says. “We wrote some antisemitic songs”—of which there were many in Weimar cabarets—“ ‘Good neighbor Cohen, loaned you a loan.’ We didn’t get very far with that one.”

They did write one song about antisemitism: “If You Could See Her (The Gorilla Song),” in which the Emcee dances with his lover, a gorilla in a pink tutu. At the end of the number, he turns to the audience and whispers: “If you could see her through my eyes, she wouldn’t look Jewishhh at all.” It was, they thought, the most powerful song in the score.

The working title of their musical was Welcome to Berlin. But then a woman who sold blocks of tickets to theater parties told Prince that her Jewish clients would not buy a show with “Berlin” in the title. Strolling along the beach one day, Joe Masteroff, who was writing the musical’s book, thought of two recent hits, Carnival and Camelot. Both started with a C and had three syllables. Why not call the show Cabaret?

To play the Emcee, Prince tapped his friend Joel Grey. A nightclub headliner, Grey could not break into Broadway. “The theater was very high-minded,” he once said. When Prince called him, he was playing a pirate in a third-rate musical in New York’s Jones Beach. “Hal knew I was dying,” Grey recounts over lunch in the West Village, where he lives. “I wanted to quit the business.”

At first, he struggled to create the Emcee, who did not interact with the other characters. He had numbers but “no words, no lines, no role,” Grey wrote in his memoir, Master of Ceremonies. A polished performer, he had no trouble with the songs, the dances, the antics. “But something was missing,” he says. Then he remembered a cheap comedian he’d once seen in St. Louis. The comic had told lecherous jokes, gay jokes, sexist jokes—anything to get a laugh. One day in rehearsal, Grey did everything the comedian had done “to get the audience crazy. I was all over the girls, squeezing their breasts, touching their bottoms. They were furious. I was horrible. When it was over I thought, This is the end of my career.” He disappeared backstage and cried. “And then from out of the darkness came Mr. Prince,” Grey says. “He put his hand on my shoulder and said, ‘Joely, that’s it.’ ”

Cabaret played its first performance at the Shubert Theatre in Boston in the fall of 1966. Grey stopped the show with the opening number, “Willkommen.” “The audience wouldn’t stop applauding,” Grey recalls. “I turned to the stage manager and said, ‘Should I get changed for the next scene?’ ”

The musical ran long—it was in three acts—but it got a prolonged standing ovation. As the curtain came down, Richard Seff, an agent who represented Kander and Ebb, ran into Ebb in the aisle. “It’s wonderful,” Seff said. “You’ll fix the obvious flaws.” In the middle of the night, Seff’s phone rang. It was Ebb. “You hated it!” the songwriter screamed. “You are of no help at all!”

Ebb was reeling because he’d learned Prince was going to cut the show down to two acts. Ebb collapsed in his hotel bed, Kander holding one hand, Grey the other. “You’re not dying, Fred,” Kander told him. “Hal has not wrecked our show.”

Cabaret came roaring into New York, fueled by tremendous word of mouth. But there was a problem. Some Jewish groups were furious about “If You Could See Her.” How could you equate a gorilla with a Jew? they wanted to know, missing the point entirely. They threatened to boycott the show. Prince, his eye on ticket sales, told Ebb to change the line “She wouldn’t look Jewish at all” to something less offensive: “She isn’t a meeskite at all,” using the Yiddish word for a homely person.

It is difficult to imagine the impact Cabaret had on audiences in 1966. World War II had ended only 21 years before. Many New York theatergoers had fled Europe or fought the Nazis. There were Holocaust survivors in the audience; there were people whose relatives had died in the gas chambers. Grey knew the show’s power. Some nights, dancing with the gorilla, he’d whisper “Jewish” instead of “meeskite.” The audience gasped.

Cabaret won eight Tony Awards in 1967, catapulted Grey to Broadway stardom, and ran for three years. Seff sold the movie rights for $1.5 million, a record at the time. Prince, about to begin rehearsals for Stephen Sondheim’s Company, was unavailable to direct the movie, scheduled for a 1972 release. So the producers hired the director and choreographer Bob Fosse, who needed the job because his previous movie, Sweet Charity, had been a bust.

Fosse, who saw Prince as a rival, stamped out much of what Prince had done, including Joel Grey. He wanted Ruth Gordon to play the Emcee. But Grey was a sensation, and the studio wanted him. “It’s either me or Joel,” Fosse said. When the studio opted for Grey, Fosse backed down. But he resented Grey, and relations between them were icy.

A 26-year-old Liza Minnelli, on the way to stardom herself, was cast as Sally Bowles. The handsome Michael York would play the Cliff character, whose name in the movie was changed to Brian Roberts. And supermodel Marisa Berenson (who at the time seemed to be on the cover of Vogue every other month) got the role of a Jewish department store heiress, a character Fosse took from Isherwood’s short story “The Landauers.”

Cabaret was shot on location in Munich and Berlin. “The atmosphere was extremely heavy,” Berenson recalls. “There was the whole Nazi period, and I felt very much the Berlin Wall, that darkness, that fear, all that repression.” She adored Fosse, but he kept her off balance (she was playing a young woman traumatized by what was happening around her) by whispering “obscene things in my ear. He was shaking me up.”

Minnelli, costumed by Halston for the film, found Fosse “brilliant” and “incredibly intense,” she tells Vanity Fair in a rare interview. “He used every part of me, including my scoliosis. One of my great lessons in working with Fosse was never to think that whatever he was asking couldn’t be done. If he said do it, you had to figure out how to do it. You didn’t think about how much it hurt. You just made it happen.”

Back in New York, Fosse arranged a private screening of Cabaret for Kander and Ebb. When it was over, they said nothing. “We really hated it,” Kander admits. Then they went to the opening at the Ziegfeld Theatre in New York. The audience loved it. “We realized it was a masterpiece,” Kander says, laughing. “It just wasn’t our show.”

“PAPA WAS EVEN MORE EXCITED ABOUT THE OSCAR THAN I WAS,” SAYS LIZA MINNELLI. “AND, BABY, I WAS—NO, I AM STILL—EXCITED.”

The success of the movie—with its eight Academy Awards—soon overshadowed the musical. When people thought of Cabaret, they thought of finger snaps and bowler hats. They thought of Fosse and, of course, Minnelli, who would adopt the lyric “Life is a cabaret” as her signature. Her best-actress Oscar became part of a dynasty: Her mother, Judy Garland, and father, director Vincente Minnelli, each had one of their own. “Papa was even more excited about the Oscar than I was,” she says. “And, baby, I was—no, I am still—excited.”

By 1987—in part to burnish Cabaret’s theatrical legacy—Prince decided to recreate his original production on Broadway, with Grey once again serving as the Emcee. But it had the odor of mothballs. The New York Times drama critic Frank Rich wrote that it was not, as Sally Bowles sings, “perfectly marvelous,” but “it does approach the perfectly mediocre.” Much of the show, he added, was “old-fashioned and plodding.”

In the early 1990s, Sam Mendes, then a young director running a pocket-size theater in London called the Donmar Warehouse, heard the novelist Martin Amis give a talk. Amis was writing Time’s Arrow, about a German doctor who works in a concentration camp. “I’ve already written about the Nazis and people say to me, ‘Why are you doing it again?’ ” Amis said. “And I say, what else is there?”

At the end of the day,” Mendes tells me, “the biggest question of the 20th century is, ‘How could this have happened?’ ” Mendes decided to stage Cabaret at the Donmar in 1993. Another horror was unfolding at the time: Serb paramilitaries were slaughtering Bosnian Muslims, “ethnic cleansing” on an unimaginable scale.

Mendes hit on a terrific concept for his production: He transformed his theater into a nightclub. The audience sat at little tables with red lamps. And the performers were truly seedy. He told the actors playing the Kit Kat Club girls not to shave their armpits or their legs. “Unshaved armpits—it sent shock waves around the theater,” he recalls. Since there was no room—or money—for an orchestra, the actors played the instruments. Some of them could hit the right notes.

To play the Emcee, Mendes cast Alan Cumming, a young Scottish actor whose comedy act Mendes had enjoyed. “Can you sing?” Mendes asked him. “Yeah,” Cumming said. Mendes threw ideas at him and “he was open to everything.” Just before the first preview, Mendes suggested he come out during the intermission and chat up the audience, maybe dance with a woman. Mendes, frantic before the preview, never got around to giving Cumming any more direction than that. No matter. Cumming sauntered onstage as people were settling back at their tables, picked a man out of the crowd, and started dancing with him. “Watch your hands,” he said. “I lead.”

Cumming’s Emcee was impish, fun, gleefully licentious. The audience loved him. “I have never had less to do with a great performance in one of my shows than I had to do with Alan,” Mendes says.

When Joe Masteroff came to see the show in London, Mendes was nervous. He’d taken plenty of liberties with the script. Cliff, the narrator, was now openly gay. (One night, when Cliff kissed a male lover, a man in the audience shouted, “Rubbish!”) And he made the Emcee a victim of the Nazis. In the final scene, Cumming, in a concentration camp uniform affixed with a yellow Star of David and a pink triangle, is jolted, as if he’s thrown himself onto the electrified fence at Birkenau.

“I should be really pissed with you,” Masteroff told Mendes after the show. “But it works.” Kander liked it too, though he was not happy that the actors didn’t play his score all that well. Ebb hated it. “He wanted more professionalism,” Mendes says. “And he was not wrong. There was a dangerous edge of amateurishness about it.”

The Roundabout Theatre Company brought Cabaret to New York in 1998. Rob Marshall, who would go on to direct the movie Chicago, helped Mendes give the show some Broadway gloss while retaining its grittiness. The two young directors were “challenging each other, pushing each other,” Marshall remembers, “to create something unique.”

Cumming reprised his role as the Emcee. He was on fire. Natasha Richardson, the daughter of Vanessa Redgrave and director Tony Richardson, played Sally Bowles. She was not on fire. She’d never been in a musical before, and when she sang, “There was absolutely no sound coming out,” Kander says.

“She beat herself up about her singing all the time,” Mendes adds. “There was a deep, self-critical aspect of Tash that was instilled by her dad, a brilliant man but extremely cutting.” He once said to her out of nowhere: “We’re going to have to do something about your chin, dear.” As Mendes saw it, she always felt that she could never measure up to her parents.

Kander went to work with her, and slowly a voice emerged. It was not a “polished sound,” Marshall says, but it was haunting, vulnerable. Still, Cumming was walking away with the show. At the first preview, when he took his bow, the audience roared. When Richardson took hers, they were polite. Mendes remembers going backstage and finding her “in tears.” But she persevered and through sheer force of will created a Sally Bowles that “will break your heart,” Masteroff told me the day before I saw that production in the spring of 1998. She did indeed. (Eleven years later, while learning how to ski on a bunny hill on Mont Tremblant, she fell down. She died of a head injury two days later.)

The revival of Cabaret won four Tony Awards, including one for Richardson as best actress in a musical. It ran nearly 2,400 performances at the Roundabout’s Studio 54 and was revived again in 2014. And the money, money, money, as the song goes, poured in. Once Masteroff, having already filed his taxes at the end of a lucrative Cabaret year, went to the mailbox and opened a royalty check for $60,000. “What the hell am I supposed to do with this?” he snapped.

Rebecca Frecknall grew up on Mendes’s Donmar Warehouse production of Cabaret. The BBC filmed it, and when it aired, her father videotaped it. She watched it “religiously.” But when she came to direct her production, she had to put Mendes’s version out of her mind.

Mendes turned his little theater into a nightclub. Frecknall, working with the brilliant set and costume designer Tom Scutt, has upped the game. They have transformed the entire theater into a Weimar cabaret. You stand in line at the stage door, waiting, you hope, to be let in. Once inside, you’re served drinks while the Kit Kat Club girls dance and flirt with you. The show’s logo is a geometric eye. Scutt sprinkles the motif throughout his sets and costumes. “It’s all part of the voyeurism,” Scutt explains. “The sense of always being watched, always watching—responsibility, culpability, implication, blame.”

REDMAYNE’S EMCEE IS STILL SEXY AND SEDUCTIVE, BUT AS THE SHOW GOES ON HE BECOMES A PUPPET MASTER MANIPULATING THE OTHER CHARACTERS, SOMETIMES TO THEIR DOOM.

Mendes’s Cabaret, like Fosse’s, had a black-and-white aesthetic—black fishnet stockings, black leather coats, a white face for the Emcee. Frecknall and Scutt begin their show with bright colors, which slowly fade to gray as the walls close in on the characters. “Color and individuality—to grayness and homogeneity,” Frecknall says.

As the first woman to direct a major production of Cabaret, Frecknall has focused attention on the Kit Kat Club girls—Rosie, Fritzie, Frenchie, Lulu, and Texas. “Often what I’ve seen in other productions is this homogenized group of pretty, white, skinny girls in their underwear,” she insists. Her Kit Kat Club girls are multiethnic. Some are transgender. Through performances and costumes, they are no longer appendages of the Emcee but vivid characters in their own right.

Her boldest stroke has been to reinvent the Emcee. She and Redmayne have turned him into a force of malevolence. He is still sexy and seductive, but as the show goes on, he becomes a skeletal puppet master manipulating the other characters to, in many cases, their doom. If Cumming’s Emcee was, in the end, a Holocaust victim, Redmayne’s is, in Frecknall’s words, “a perpetrator.”

Unwrapping a grilled cheese sandwich in his enormous Upper West Side townhouse, Kander says that his husband had recently asked him a pointed question: “Did it ever occur to you that all of you guys who created Cabaret were Jewish?”

“Not really,” Kander replied. “We were just trying to put on a show.” Or, as Masteroff once said: “It was a job.”

It’s a “job” that has endured. The producers of the Broadway revival certainly have faith in the show’s staying power. They’ve spent $25 million on the production, a big chunk of it going to reconfigure the August Wilson Theatre into the Kit Kat Club. Audience members will enter through an alleyway, be given a glass of schnapps, and can then enjoy a preshow drink at a variety of lounges designed by Scutt: The Pineapple Room, Red Bar, Green Bar, and Vault Bar. The show will be performed in the round, tables and chairs ringing the stage. And they’ll be able to enjoy a bottle (or two) of top-flight Champagne throughout the performance.

This revival is certainly the most lavish Cabaret in a long time. But there have been hundreds of other, less heralded productions over the years, with more on the way. A few months before Russia invaded Ukraine, Cabaret was running in Moscow. Last December, Concord Theatricals, which licenses the show, authorized a production at the Molodyy Theatre in Kyiv. And a request is in for a production in Israel, the first since the show was produced in Tel Aviv in 2014.

“The interesting thing about the piece is that it seems to change with the times,” Kander says. “Nothing about it seems to be written in stone except its narrative and its implications.”

And whenever someone tells him the show is more relevant than ever, Kander shakes his head and says, “I know. And isn’t that awful?”′

You can also listen the entire article here !!

https://www.vanityfair.com/style/cabaret-revival

I know it's a very long article , but very interesting!!

[evelynhenare1]

TLOU FINALE SPOILERS

I’m wading into the hellscape that is the “Is Joel Right in the TLOU Finale” discourse as someone who hasn’t played the games so I’m basing this off the show entirely (I do plan to play the games so no game spoilers.)

I’ve seen a lot of people argue that the Firefly’s cure wouldn’t have worked or that they couldn’t have produced it but imho that argument completely misses the point.

Joel in that episode never once questions if the cure would work, he doesn’t care. The effectiveness of potential cure played literally zero role in his decision making. He could have been provided 100% certainty that the cure would work completely and the apocalypse would end and he would have made the exact same decision as we saw him make.

In my view he did what he did knowing he was dooming the world but it was worth it to save Ellie.

And before you get me wrong, I completely understand where Joel was coming from!! I just think the potential effectiveness of the Firefly’s cure is irrelevant to ethical discussions of Joel’s actions.

[heavenboy09]

Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊 To A Very Talented & Outstanding Actress Of Acting

Born On March 20th, 1968

She was born in Conyers, Georgia, the daughter of Marguerite "Dee Dee" (née Catledge), a homemaker, and Charles Edwin Hunter, a part-time sporting goods company representative and farmer with a 250 acre farm. She is the youngest of six children. Her parents encouraged her talent at an early age, and her first acting part was as Helen Keller in a fifth-grade play. She is unable to hear with her left ear due to a childhood case of the mumps. The condition sometimes leads to complications at work, and some movie scenes have to be altered from the script for her to use her right ear. She is irreligious. She began acting at Rockdale County High School in the early 1970s, performing in local productions of Oklahoma, Man of La Mancha, and Fiddler on the Roof. She earned a degree in drama from Carnegie Mellon University in Pittsburgh, and for a while performed in the theater scene there, playing ingenue roles at City Theater, then named the City Players.

She is an American actress. She won the Academy Award for Best Actress for her performance as Ada McGrath in the 1993 drama film The Piano. She earned three additional Academy Award nominations for Broadcast News (1987), The Firm (1993), and Thirteen (2003). She won two Primetime Emmy Awards for Outstanding Lead Actress in a Limited Series or Movie for the television films Roe vs. Wade (1989) and The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom (1993). She also starred in the TNT drama series Saving Grace (2007–2010).

Her other film roles include Raising Arizona (1987), Home for the Holidays (1995), O Brother, Where Art Thou? (2000), The Incredibles (2004), Batman v Superman: Dawn of Justice (2016), and The Big Sick (2017), the latter of which earned her a Screen Actors Guild Award nomination for Outstanding Performance by a Female Actor in a Supporting Role.

She made her film debut in the 1981 slasher movie The Burning. After moving to Los Angeles in 1982, She appeared in TV movies before being cast in a supporting role in 1984's Swing Shift. That year, she had her first collaboration with the writing-directing-producing team of brothers Ethan Coen and Joel Coen, in Blood Simple, making an uncredited appearance as a voice on an answering-machine recording. More film and television work followed until 1987, when she earned a starring role in the Coens' Raising Arizona and was nominated for an Academy Award for her performance in Broadcast News, after which She became a critically acclaimed star.

Please Wish This Outstanding Actress Of The South A Very Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊

The 1 & The Only

MS. HOLLY PATRICIA HUNTER

HAPPY 65TH BIRTHDAY 🎂 🥳 🎉 🎈 🎁 🎊 TO YOU MS. HUNTER  & Here's To Many More Years To Come

[ulkaralakbarova]

A teenage girl is raised underground by a robot “Mother”, designed to repopulate the earth following an extinction event. But their unique bond is threatened when an inexplicable stranger arrives with alarming news. Credits: TheMovieDb. Film Cast: Daughter: Clara Rugaard Mother (voice): Rose Byrne Woman: Hilary Swank Mother: Luke Hawker Child: Tahlia Sturzaker Infant: Maddie Lenton Toddler: Hazel Sandery Toddler: Summer Lenton Brother: Jacob Nolan Teacher (uncredited): Tracy Britton Film Crew: Story: Grant Sputore Art Direction: Todd Smythe Second Unit First Assistant Director: Kelvin Munro Executive Producer: Philip Wade Producer: Timothy White Production Design: Hugh Bateup Co-Producer: Anna Vincent Editor: Sean Lahiff Costume Design: Mariot Kerr Casting: Nikki Barrett Art Direction: Adam Wheatley Set Decoration: Lisa Brennan Line Producer: Julie Byrne Executive Producer: John Wade Executive Producer: Paris Kasidokostas Latsis Executive Producer: Jean-Luc De Fanti Executive Producer: Terry Dougas Story: Michael Lloyd Green Executive Producer: Bryce Menzies Prop Maker: Marco Wuest Unit Publicist: Mark McGowan Second Assistant Director: Sophie Calver Second Assistant Director: Shannon Crotty Driver: Isabelle Scott Location Manager: Jesse Goninon Costume Supervisor: Olivia Iacobelli Production Accountant: Elspeth Baird Driver: Nadia Samson Sound Recordist: Des Kenneally Stunts: Mike Duncan Digital Intermediate: Marty Pepper Animatronics Designer: Zoilo Abad Set Production Assistant: Michael Barba Production Coordinator: Carly Maple Stunt Coordinator: Steve McQuillan Script Supervisor: Mojgan Khadem First Assistant Editor: Regg Skwarko Boom Operator: Corrin Ellingford Boom Operator: Nick Steele Dialect Coach: Jenny Kent First Assistant Director: Travis Kalendra Director of Photography: Steve Annis Stunts: Jennifer Bichard Stunts: Daisy Fryer Stunt Double: Marlee Barber VFX Supervisor: Jonathan Dearing Original Music Composer: Antony Partos Original Music Composer: Dan Luscombe Casting Associate: Natalie Wall Casting Assistant: Claudia Allison Set Designer: Kate Rawlins Set Designer: Alice Wong Set Designer: Prue Parsons Hair Designer: Tracy Phillpot Makeup & Hair: Karen Gower Armorer: John Coory Still Photographer: Ian Routledge Still Photographer: Matt Nettheim Sound Designer: Tom Heuzenroeder Sound Designer: Duncan Campbell Sound Re-Recording Mixer: Pete Smith Foley Artist: Adrian Medhurst Foley Recordist: Ryan Squires Music Supervisor: Bernard Galbally Second Assistant “B” Camera: Joel Brown Steadicam Operator: Glenn Clayton First Assistant “B” Camera: Cameron Dunn Second Assistant “A” Camera: Samuel Fraser Drone Pilot: Ryan Haste Focus Puller: Russell Marrett Focus Puller: Sarah McDonald Second Unit Cinematographer: Ross Metcalf Grip: Leigh Nemeth Drone Operator: Sam Peacocke Steadicam Operator: Ulric Raymond Key Grip: Matt Richardson Gaffer: Andrew Robertson First Assistant “B” Camera: Geoff Skilbeck Second Assistant “A” Camera: Sam Steinle Grip: Matan Tatarko First Assistant “A” Camera: Samuel Vines Focus Puller: James Ward Miller First Assistant “A” Camera: Jules Wurm Movie Reviews: SWITCH.: As technology edges closer to our bodies, and the notion of genetic engineering and artificially intelligent drones begin to feel less outlandish, these age-old questions on the ethics and impact of science take on a more urgent dimension. ‘I Am Mother’ explores them with intelligence and style. Not only is it by far the best science fiction film to emerge from among the multitude of Netflix Originals, but cult gem status surely beckons. – Jake Watt Read Jake’s full article… https://www.maketheswitch.com.au/article/review-i-am-mother-finally-a-great-netflix-sci-fi-film Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews. Gimly: Bottle-episode sci-fi films have treated me pretty well in the past. _I Am Mother_ is not the greatest example of such a thing, but it is a fair one. Props in particular when it comes to the titular Mother, who absolute...

[nwdsc]

(▶︎ Tableau | The Oriellesから)

Tableau by The Orielles

The Orielles return with ‘Tableau’, their truly extraordinary third album. Released on October 7th. The Orielles have created their first genuinely contemporary record - an experimental double album self-produced in collaboration with producer Joel Anthony Patchett (King Krule, Tim Burgess). In doing so, the Orielles have utilised holistic jazz practices, oblique 21st century electronica, experimental 1960s tape loop methods, otherworldly AutoTuned vocal sounds, the downer dub of Burial, Sonic Youth’s focus on improvisation and feedback, and Brian Eno’s legendary Oblique Strategy cards. Tableau is a double black vinyl release. The bandcamp vinyl edition will include a fanzine designed by The Orielles and Ben Thompson. Featuring photos by Neelam Khan Vela. • At the end of 2020, the Orielles - vocalist and bassist Esmé Hand-Halford, drummer Sidonie Hand-Halford and guitarist Henry Carlyle-Wade - regrouped to rehearse in Manchester, the city that the band have made their home across the last five years. When all of the band’s live dates to promote their second album were scrapped due to the pandemic, the group instead spent 2020 creating La Vita Olistica, a high-concept art film directed and written by the Hand-Halford sisters which they toured in cinemas across the following year. “When we’ve talked about being influenced by film, people think we mean directors but it’s not that at all” explains Esmé, “it’s about trying to make those ebbs, and flows, and creating tension.” Ideas from scoring that film was beginning to filter into the band’s rehearsals - this would be the beginning of a series of creative breakthroughs that would result in Tableau. One such breakthrough came when the Orielles were booked to host a monthly show on Soho Radio. Broadcasts quickly became impromptu research and development sessions for the ideas that would feed into the album. “Doing that monthly meant we had a reason to meet up, once a month in lockdown for work” says Henry, “and bring two hours of music between us which we’d play, discuss, hold physically and share.” “We’ve all felt a bit dissatisfied with modern music before” explains Esmé, “then we discovered we were looking in the wrong places.” “We switched from playing a lot of old stuff” nods Henry, “and now we’re all buying stuff direct from labels’ websites. We’re tapped into contemporary shit now.” A further breakthrough came whilst remixing another band’s track in a studio in Goyt, on the edge of Stockport. This became the Goyt method, a central idea behind Tableau. “To Goyt it” explains Sidonie, “that’s getting all these pieces and rearranging them. We had vocal melodies and ideas that we’d then run through and sample, and play them on sample pads. We were being editors, really.” Where the band had previously only gone into the studio once songs had been tightly crafted at the demo stage, the Orielles began to consider new practices in line with the modern sound they were aspiring to. No demo’s. Heavy improvisation. And no producer - only the band collaborating with friend and producer Joel Anthony Patchett. “I came up alongside them, engineering on their first two records and each record became more collaborative” explains Patchett, “and we grew closer when they moved to Manchester. It felt super natural working together in a scenario where they wanted a creative level playing fielding. I think that’s a great way to make an album.” That album would be mostly recorded across Summer 2021 holed away in the Sussex coastal town of Eastbourne. Its recording is a story of experimentation, improvisation and a band discovering how to create an entirely new sonic palette. In one instance, to create a state of almost total improvisation, Patchett blindfolded the band and asked them to pick up an instrument that they would not ordinarily use. “We didn’t know who had picked up what” explains Esmé, “Henry went onto the fretless bass, I was on piano and Sid was on the Wurlitzer, which Joel was echoing live but we couldn’t hear that.” That became the exploratory, even mournful track Transmission. In line with contemporary dance music and the sour, other-worldly vocal production of acts like FKA Twigs and Burial, the band began experimenting heavily with treating Esmé’s vocals (just listen to the outro on the remarkable, near 8 minute Beam.) Likewise, Sidonie’s drums transformed from previously having been recorded as an acoustic instrument to simply another sound to be electronically treated, often sped up to something closer to jungle or UK Garage. As well as the adoption of contemporary 21st century production, the Orielles used concepts from the world of art and minimalism in creating Tableau. Sidonie had researched the graphic scoring method of Pulitzer Prize nominated trumpeter and composer Wadada Leo Smith. “It’s like automatic writing but with drawing” Sidonie explains, “he’d show them to players and they’d just play that, just playing the imagery. We did a similar thing for the modular synth that’s on Beam. We drew Joel a graphic score to follow, showing where we thought the ebbs and flows should go.” The band also utliised Oblique Strategies - the playing cards designed to aide creativity created by Brian Eno and artist Peter Schmidt in the early 1970s. “We’d been speaking about wanting to use them for ages, and then we found a set of cards at the studio in Eastbourne” explains Sidonie, “before each song, we’d pick out a card and that would be our motif for playing that take.” On another occasion, when a brush broke suddenly during a drum take, Sidonie began playing the snare with her fingers - something she had seen legendary soul drummer Bernard Purdie do. This speaks to an album that’s fixated on chance, automatic processes and alternate methods of editing. The result is a double album that rewards serious immersion, as complex as it is diverse. Initially, there might appear to be little that links the Sonic Youth dirge of Television with the spectral, beatless Some Day Later. Or tracks like Hornflower Remembered and The Room, which carry the influence of the 21st century dance the band have been devouring, with the challenging extended song suite that makes up the album’s A-side. Further listening, however, reveals recurring motifs and sonic ideas that bind the album’s sixteen tracks together closely. Perhaps the most succinct explanation of the album’s aims is in the standout Darekened Corners. A repeated organ motif circling around a dense Yo La Tengo guitar groove, the track was inspired by Esmé visiting a 2021 Berlin retrospective of American photographer Lee Friedlander. What if, thought Esmé, a photograph was speaking to its maker? “The exhibition had these monuments, and it was photographs and the photographer speaking to each other” explains Esmé, “and that felt quite apt for this album.” As such, all three of the band take vocals on the track for the first time, representing different aspects of the photograph in dialogue. Another first would be the band using strings on the album, inviting the Northern Session Collective - led by celebrated violinist Isobella Baker, who worked with Patchett on scoring the strings. At the end of those sessions, when the collective had recorded all the tracks scheduled for the record, the band asked the players to improvise over a song they had not previously heard - The Improvisation, reflecting the working methods that had produced that track. “We said we’re not going to judge, just listen and react to it” remembers Sidonie. “They said they’d worked with big pop artists” says Esmé, “but that was one of the most spiritual and exciting things they’d ever done.” Though Tableau is likely to challenge preconceptions, this is something the band suggest they have been doing for quite some time anyway. “All through our whole career we’ve had to prove ourselves so, so much” explains Henry. “You can’t disconnect the age and the gender thing either” adds Esmé, “People belittle your age because they see women in the band. Whereas lad bands, if they’re eighteen it’s apparently exactly what people want to see.” Being from a small town in West Yorkshire may have added to that also, but Sidonie counters that “being from Halifax has also been a blessing, it’s kept our egos in check.” Perhaps more than any of this, though, Tableau is also simply the product of the unique telepathy between three singular musicians that have grown in symbiosis for over a decade now - simply the three of them in a room. “As creators, for the fact we’ve produced it ourselves, it feels like a starting point” suggests Esmé, “even though everything that’s going previously has counted, this now feels like Ground Zero.” For the future, now, it’s all gates open. クレジット2022年10月7日リリース

[downtownstudio]

(Joel Wade-Producer)

[kassandras-one-braincell]

Abby Anderson x GN!Reader - Please Don’t Leave Me

Bad Things Happen Bingo prompt: Please Don’t Leave Me (I’m creative with my titles)

Can be found on AO3 here.

Setting: before Abby leaves to go golfing. Abby and the reader are in an established relationship.

Warning: angst angst angst, excessive usage of the f-bomb and discussions of murder.

(Y/N) replacer safe.

Word count: 1846

Fuck, she’s really doing this.

Every day since Isaac had granted the Salt Lake Crew leave to hunt down Joel Miller, you tried to bargain with Abby, tried to make her see some sense. That killing him won’t take away any of the pain she feels. The grief. The gaping hole in her heart. But she’d always brush you off, distancing herself from you, suppressing her emotions with bicep curls and crunches as per habit.

Each passing hour, a nail was hammered into the coffin of the woman you love. And this morning is the final nail.

The quaint apartment you call home is filled with a cacophony of rustling and pleas as Abby shovels supplies into her backpack, preparing for her hunt. In her mind, Joel’s death warrant is signed, the execution nigh. And God are you desperate, trying to drill some semblance of reality into her stubborn mind one last time before she embarks on a journey she’ll only regret.

“Abby, please just listen to me for one minute—”

“I need to do this.” She heads to your small shared closet, refusing to look at you from your position by the bed. You frantically try to intercept her path, knowing full well she’s much, much stronger and can reposition you with ease. But it’s worth a try.

“This isn’t going to solve anything,” you implore, clutching the wood.

“Move, (Y/N).”

“Abby, this isn’t going to bring him back. You know that.”

“Move.” Her tone is exasperated, utterly focused on packing her shit and promptly leaving. Your heart sinks to your stomach.

“That girl in the hospital. The immune one. She must have been like a daughter to him for Joel to kill a group of innocent people for her,” you plead, feet firmly planted on the floor. Searching for her eyes, those blue irises alight with a maelstrom of hateful determination. They meet yours. “Killing him will just put her through all of this.”

Abby reaches for the closet door and slowly pulls it open, acknowledging your reluctance to move, deciding to disregard it. The wood begins to dig into your back and you’re forced to step aside. “This isn’t going to end, Abby. You fucking know this.” As she folds some spare clothes and places them in her backpack, you fall gracelessly to the bed, needing to sit down. Bile climbs up your oesophagus. Shit, where was her sense of fucking empathy?

“Abby…” Once again, she doesn’t so much as spare you a glance, folding the garments in robotic fashion. “Abby, you said she was a kid. A kid.”

The final shirt is stuffed haphazardly into the bag. She grits her teeth and turns to you. “He killed dozens of Fireflies, (Y/N). Dozens. And that’s all we fucking know of. There could be hundreds of others because he’s a stone cold killer.” Her face flushes with anger, no remnants of the woman you know left behind. “No one person is worth that many fucking lives.”

You let out a breathy laugh in sheer disbelief. “But it’s not about them, is it? Not to you.” The words escaped you in a hiss, one that didn’t go unnoticed. “Never fuckin’ has been.”

Abby rolls her eyes and grabs her maps from the coffee table, iron fist crumpling the papers beyond legibility. “There could have been a cure. A fucking cure to all this.”

On the surface, her words are rational. One life for a cure that would save millions was a worthy sacrifice, that you would be foolish to deny. But the odds of developing this cure were slim, and the girl would have likely died in vain. You knew this. Abby knew this. Jerry knew this.

With a shaky breath, you cradle your arms, never before having felt the urge to cage yourself around Abby. Fingers firmly gripping at your elbows, you let the cards fold. Unadulterated truth.

“You’re in denial, Abigail.”

A tut. “Don’t you fucking ‘Abigail’ me.” Her previous efforts to maintain a steady tone have been vanquished, anger seeping into each progressing word.

She’s gone.

And it’s this precise revelation that fills your eyes with oceans. Throat closing up, nose burning with the urge to spill over, you attempt – attempt – to articulate yourself, to no avail. Seconds later, rivulets trickle from your eyes to your cheeks, and you find yourself sniffling like some stupid kid… No, not a kid. A grieving adult, bereaved by the loss of a lover. Because the other figure in the room is but a husk of the radiant soul you fell for.

“All…” You pause to inhale, deeply: a futile effort to regulate your breathing, to lay rest to the turmoil suffocating your ability to fucking think. “All that’s going to happen is… You’re going to have to—” Hiccupping, you close your eyes, praying no more tears would fall. “To live with the guilt of orphaning a kid.”

Sentence finally out, you surrender to your sorrows, allowing them to wrack your chest with sobs and heaves until it gets too much, salt freely spilling from the floodgates. You can’t…you won’t bring yourself to look at Abby – the machine in her place, one programmed to kill and kill alone.

It’s wholly terrifying.

Distress flickers in her eyes, her frown slackening for a fraction of a second at the sound of your despair. “No one is forcing you to come,” she puts plainly, as if that has anything to do with the issue at hand.

“You know this – isn’t about that. Fuck, even Owen knows this…this is a bad idea.” Too dejected to cry. Too dejected to battle the hitched breaths you take trying to force out the words.

Words that fall upon deaf ears. “That’s not what Owen told me.” She slots a Swiss army knife into her cargo pants’ pocket, headed with a canteen in hand towards the kitchenette. “He was there, (Y/N). He agreed that Joel needs to die.”

“Because he’s fucking scared of you!” We all are, nearly breaks free from your lips, but that’s not what Abby needs to hear right now. Nothing that will push her away. Further away. The reigns you have on your lover are fraying, leaving you grasping at nought but strings. Frenzied, you attempt a softer, less concrete approach. “Baby, it isn’t normal to be so…hellbent on revenge like this.”

Silence. The delicate trickle of water sounds from the faucet as Abby fills her canteen. Then, a sigh, one of frustration as opposed to defeat. “If you think calling me ‘baby’ is going to erase four motherfucking years of grief, you are sorely mistaken. You’re smarter than that.”

Patience thinning, you stand up, wading through strewn supplies across the apartment floor towards the kitchenette. “Four years and you still haven’t given yourself time to mourn properly,” you reason, deliberately obstructing her path out of the kitchen with your body again. “Maybe if you had you’d see some fucking sense.”

God, that was a mistake. Shit, shit, shit shit shit the last thing you want to do is piss her off, not with her mind in such a volatile state, devoid of all logic.

“I appreciate you’ve lived a fucking sheltered life since the outbreak,” she seethed. What?

“That’s not true—”

“And you have no fucking idea what it’s like to have someone ripped away from you like that.” Volume rising, words a mantra fuelled by detest. “And you know, maybe, just fucking maybe, this’ll be my one chance to put an end to this shit!” The fist not clutching her backpack clenches. And for the first time ever while alone in her company, you flinch.

“He fucking deserves this, (Y/N)! If I can show him a fraction of the pain he caused me—”

“Abby, you’re scaring me,” you whimper, closing in on yourself. Genuinely afraid she’d raise her hand towards you.

Had you a mirror, you’d know truly how perturbed you look in this very moment. Streamlines drying on your cheeks, eyes reddening and puffy from crying, wide with fear like a doe face-to-face with a moving car. Body subconsciously making itself smaller, reducing its surface area, reducing the likelihood for any incoming swings to hit.

She lowers her guard, colour returning to her knuckles as she unravelled her fist. Knitted brows returning to their natural place above her eyes, mouth parted as the horror of her behaviour settles in.

“You know I would never hurt you, right?” Even her previously stern voice cracks at this.

It takes tremendous willpower to not fall back as she takes a tentative step towards you.

Drying your eyes with your sleeves – her sleeves…you forgot you’re wearing her old sweater, the notion sour on your tongue – you break your mutual gaze. “You’re not you right now,” you whisper, not trusting your larynx to produce anything above a mouse’s squeak. “This isn’t the Abby I know.”

For the first time this morning, a sentiment other than bloodlust registers in her face. Hurt.

Either unable or unwilling to respond, Abby recommences her packing in solemn silence.

Shit, you have three, perchance five minutes at best to dissuade your girlfriend from leaving and doing something that will haunt her for all eternity. Yet all you can do is brace yourself against the wall and allow a second tsunami of tears to wash over you, pangs of anguish striking your heart. “Abby—”

“I’m going, (Y/N).” Firm, with a shred less conviction, but firm enough.

A violent sob tears through you as you beg, beg, the vessel of the woman you adore, “Please don’t leave me.”

For a fleeting moment, your heart stops as she hesitates in her tracks. A flicker of hope seizes your mind, that perhaps she has reconsidered, that finally some logic has entered her train of thought.

It all crashes down when she reaches for the spare rifle ammunition by the front door.

“Fuck, Abby—”

“I’ll be gone a month at most.”

Hail-Mary.

Hail-Mary.

Please.

Chest shuddering with each sob that wracks through you, you utter through violently trembling lips and hiccups, “You’re so – fucking blinded – by your hatred – right now – that you can’t – fuck, see – this will – kill you—”

The gravity of the situation threatens to make your knees buckle.

Abby plucks her jacket from the coat hanger and wades over to your crippled stance by the kitchen. A hand brushes your salt-slicked cheek as a lock of hair is swept out of your line of sight. “I love you,” she whispers in pained honesty.

“Abby…” You try to take her hand, to ground her, to remind her of the life she’s leaving behind on her relentless pursuit of this warped sense of justice.

“Goodbye, (Y/N).” She squeezes your palm and lets go, zipping up her pack as the front door to the apartment creaks open and slams shut.

Death is a word that isn’t used lightly, especially not after an epidemic takes the world by storm. But part of your spirit certainly died the moment that door closed behind her.

(I’ll leave it up to you whether she has a change of heart or leaves and scores a few hits above par.)

[brokehorrorfan]

Blu-ray Review: House of Wax (2005)

The year is 2005. Yet another horror remake - a trend that's dominating Hollywood - hits theaters with a music video/commercial director making his first feature at the helm. Not only does it share little in common with the original film, but it more closely resembles an unrelated horror movie. The nail in the coffin is the casting of a notorious socialite in a prominent role. It's not difficult to see why horror fans were prepared to hate House of Wax upon its initial release. And many did indeed dislike it, but the passage of time has allowed for reassessment. I'm pleased to tell you that it's better than you remember.

House of Wax was Dark Castle Entertainment's fifth production, returning them to their remake roots that launched them with House on Haunted Hill and Thirteen Ghosts (before branching into original horrors with Ghost Ship and Gothika). The script, written by Chad & Carey Hayes (The Conjuring, The Reaping), maintains only a kernel of the 1953 original’s concept - itself a remake of 1933's Mystery of the Wax Museum - and, in fact, plays more like a Tourist Trap redux. At 113 minutes, it's also far longer than it needs to be with a first act that seems to last an eternity. Yet, for all its perceived faults, director Jaume Collet-Serra (Orphan, Non-Stop) delivers an enjoyable slasher flick that makes good on the wax motif.

The plot follows a group of friends - heroine Carly (Elisha Cuthbert, 24), her rebellious brother Nick (Chad Michael Murray, One Tree Hill), her boyfriend Wade (Jared Padalecki, Supernatural), her best friend Paige (Paris Hilton, The Simple Life), Paige's jock boyfriend Blake (Robert Ri'chard, Coach Carter), and Nick's goofy lackey Dalton (Jon Abrahams, Scary Movie) - on a road trip to Baton Rouge for a big college football game. A camp-out in the woods ends in a spat with a local and one of their cars being sabotaged. Stranded in a virtual ghost town stopped in time - were the main attraction was once a wax museum - they meet a mechanic, Bo (Brian Van Holt, Cougar Town), who offers to fix their car. One by one, the friends soon fall victim to Bo's murderous twin brother, Vincent (Van Holt in a dual role), who wears a wax mask to hide his disfigured face.

Cuthbert is strong yet vulnerable as the final girl. Van Holt is impressive in both parts; sinister as Bo and channeling Leatherface's brute intimidation as Vincent. Murray's character arc is obvious from the start, but he embodies it well enough. Hilton was obvious stunt casting - one character carries around a camcorder, seemingly for the sole purpose of alluding to the actresses' real-life sex tape - and she lacks charisma on screen. Despite their best efforts, the other co-stars are all one-note. Not only is the cast populated by hot, young stars from hit TV shows, but the soundtrack is also a time capsule of 2005; it kicks off with Deftones and concludes with My Chemical Romance over the end credits.

Arriving in the era of Saw, The Texas Chainsaw Massacre, The Hills Have Eyes, Wolf Creek, and Hostel, it's no surprise that House of Wax has a mean-spirited streak. Despite several gnarly set pieces, however, it's not as "gritty" as many of its contemporaries; perhaps it's the embracing of the slasher formula, but there's a knowing wink of fun to the proceedings. This is best exemplified by the memorable finale set in the titular locale as it melts to the ground. Collet-Serra and cinematographer Stephen F. Windon's (Furious 7, Star Trek Beyond) sleek visuals certainly don’t hurt.

The aesthetic can be fully appreciated via the new 2K scan of the interpositive and 5.1 DTS-HD Master Audio for Scream Factory's Collector's Edition Blu-ray. The special features aren't particularly substantial, as there is no new input from Collet-Serra, the Hayes brothers, or the producers, but the disc boasts four fresh interviews. The main draw is hearing from Hilton, who takes pride in her death scene, from the lifecast of her head to the cruel "See Paris Die" marketing angle. Ri’chard recalls working with Hilton at the height of her fame, including the paparazzi that followed her. Makeup effects artist Jason Baird reminisces about his work on the film, earning him the unique "wax body supervisor" credit. Composer John Ottman (The Usual Suspects, X-Men: Days of Future Past) discusses recording the score with an orchestra in an old church and finding the musical themes.

Archival extras are also included, the highlight of which is 26 minutes of B-roll and bloopers with split-screen video commentary by Cuthbert, Hilton, Murray, and Padalecki. Filmed shortly before the movie's release, the cast members display a lively rapport while watching along together. Two featurettes - Wax On, about creating the town in the middle of Australia, and The House Built on Wax, focusing on the visual and special effects - feature input from Collet-Serra, producer Joel Silver (Die Hard, The Matrix) of Dark Castle Entertainment, and other crew members. Additional special features include a brief promotional video from Silver; an alternate cold open in which a young woman's (Emma Lung) car breaks down and she is killed; EPK interviews with Cuthbert, Murray, Van Holt, Hilton, Padalecki, Abrahams, Collet-Serra, Silver, and producer Susan Downey (Iron Man 2, Sherlock Holmes); a gag reel; and the theatrical trailer.

House of Wax is available now on Blu-ray via Scream Factory.

[sutrala]

(LifeSiteNews) – Pro-life American actor John Schneider of “Dukes of Hazzard” fame blasted what he called the hypocrisy of known anti-gun actor Alec Baldwin, who last week while filming a movie accidentally shot and killed the film’s cinematographer with a firearm.

“I’m not going to make a pro-abortion film, I would never make a pro-abortion film. So why on God’s green earth would Alec Baldwin make a pro-gun film, or a film that glorifies guns in any way? I’m a firm believer in the Second Amendment. I am a deputy sheriff; I have guns and I will travel. But I would not make a film or be part of a film that at its core expressed views and opinions that I am at odds with, in my soul,” Schneider said in a video posted to his YouTube page on October 26.

On October 21, while shooting the western-themed movie “Rust” in New Mexico, Baldwin discharged a firearm with a live round in the direction of cinematographer Halyna Hutchins while filming. She died as a result of the incident, which also injured director Joel Souza.

Baldwin, a Democrat, is known for his anti-gun views and has made it a point to go after legal gun owners. In 2018, he joined the celebrity No Rifle Association (NoRA), a group whose goal is to target the National Rifle Association (NRA).

“Let’s remember that in this scenario, Alec wrote, co-wrote, produced, executive produced, but his company is the production company of Note, and starred in this film that apparently glorifies guns,” Schneider said of Baldwin.

Schneider then blasted Baldwin as an “uneducated, gun-toting Second Amendment enemy.”

“If that’s not the very definition of hypocrisy, I don’t know what is. This event, I refuse to call it an accident because gross criminal negligence, I don’t believe should be classified as an accident, could have and should have been avoided,” Schneider said.

“We should not be hearing anything about this because it should never have occurred, especially at the hand of an uneducated, gun-toting Second Amendment enemy. Consider that. Give me an answer, give me your opinion. I’d appreciate it. Thank you.”

The Santa Fe County sheriff is now investigating the shooting incident but has said that the film’s armorer, Hannah Gutierrez Reed, and assistant director David Halls are the main focus of the investigation.

Last week, Baldwin wrote that he was “fully cooperating with the police investigation” regarding the incident that killed Hutchins, and that he was shocked with “sadness regarding the tragic accident.”

The film “Rust” seems to have been plagued by many issues surrounding its production. Indeed, accidental discharges of firearms appeared to have happened on set before the fateful October 21 incident that killed Hutchins.

Gutierrez Reed blamed rushed conditions on the set of what was a low-budget film for the accident, according to Fox News.

Gutierrez Reed also said that she disputes a claim that live rounds were used for target practice.

Schneider is best known for playing “Bo Duke” in the 1980s hit TV series “The Dukes of Hazard.”

He became an active Christian in the 1980s and since that time has been outspokenly pro-life, having starred in and made himself many pro-family and pro-life films.

Schneider played U.S. Supreme Court Justice Byron White in the recent film Roe v. Wade. White along with Justice William Rehnquist were the only two justices to dissent with the 1973 ruling that legalized the killing of the unborn in the United States.

[marvelsagentsofshieldtv]

Agents of S.H.I.E.L.D. Cast and Crew thank you for the Past SEVEN years

Agent Phil Coulson - Clark Gregg

Agent Melinda May - Ming-Na

Skye/Daisy Johnson - Chloe Bennet

Agent Leo Fitz - Iain De Caestecker

Agent Jemma Simmons - Elizabeth Henstridge

Agent Alphonso "Mack" Mackenzie - Henry Simmons

Agent Elena Rodriguez - Natalie Cordova-Buckley

Holden Radcliffe - John Hannah

Agent Grant Ward - Brett Dalton

Agent Lance Hunter - Nick Blood

Agent Bobbi Morse - Adrianne Palicki

Lincoln Campbell - Luke Mitchell

Agent Piper - Briana Venskus

GHOSTRIDER / Robbie Reyes - Gabriel Luna

Patriot / The Director / Jeffrey Mace - Jason O'Mara

Calvin Johnson / The Doctor - Kyle MacLachlan

The Superior / Anton Ivanov - Zach McGowan

Hope MacKenzie - Jordan Rivera

Gabe Reyes - James Henrie

Vin-Tak - Eddie McClintock

Agent Davis - Max Osinski

Agent Anderson - Alexander Wraith

Burrows - Patrick Cavanaugh

Ellen Nadeer - Parminder Nagra

Mr Giyera - Mark Dacascos

Rosalind Price - Constance Zimmer

Luther Banks - Andrew Howard

Lash - Matthew Willig

Jiaying Johnson - Dichen Lachman

Gordon - Jamie Harris

Robert Gonzales - Edward James Olmos

Kara - Maya Stojan

Agent Weaver - Christine Adams

Agent Oliver - Mark Allan Stewart

Agent Antoine Triplett- BJ Britt

Danial Whitehall - Reed Diamond

Graviton/Colonel Glenn Talbot - Adrian Pasdar

Deathlok / Mike Peterson - J. August Richards

Ian Quinn - David Conrad

Raina - Ruth Negga

Ruby Hale - Dove Cameron

Werner von Strucker - Spencer Treat Clark

Polly Hinton - Lola Glaudini

Agent Tomas Calderon - Kirk Acevedo

Toad - T.J. Alvarado

Qovas - Peter Mensah

Agent Jasper Sitwell - Maximiliano Hernandez

Agent Flix Blake - Titus Welliver

Agent Victoria Hand - Saffron Burrows

Doctor J. Streiten - Ron Glass

Lash/Doctor Andrew Garner- Blair Underwood

General Rick Stoner - Patrick Warburton

Gabe - James Henrie

Isabelle Hartley - Lucy Lawless

Agent Shaw - Charles Halford

Zav - Kaleti Williams

Agent Phelps - Anthony D. Washington

Zack Bynum - Bryan Keith

Diego - Carlos Rivera Marchand

Agent Kim - Chen Tang

Sunil Bakshi - Simon Kassianides

Carl Creel - Brian Patrick Wade

Kara Palamas / Agent 33 - Maya Stojan

Alisha Whitley - Alicia Vela-Bailey

Joey Gutierrez - Juan Pablo Raba

R. Giyera - Mark Dacascos

Hellfire / J.T. James - Axle Whitehead

Nathaniel Malick - Joel Dabney Courtney

Madame Hydra / Aida "Ophelia" - Mallory Jansen

Lucy Bauer - Lilli Birdsell

Elias "Eli" Morrow - José Zúñiga

Enoch Coltrane - Joel Stoffer

Tess - Eve Harlow

Kasius - Dominic Rains

Grill - Pruitt Taylor Vince

Flint - Coy Stewart

Hale - Catherine Dent

Ruby Hale - Dove Cameron

Marcus Benson - Barry Shabaka Henley

Keller - Lucas Bryant

Jaco - Winston James Francis

Snowflake - Brooke Williams

Pax - Matt O'Leary

Malachi - Christopher James Baker

Izel - Karolina Wydra

Wilfred "Freddy" Malick - Darren Barnet

Luke - Luke Baines

Sibyl - Tamara Taylor

Kora - Dianne Doan

Sequoia - Maurissa Tancharoen Whedon

Special Guest Stars

Eric / Sam / Billy Koenig - Patton Oswalt

Gideon Malick - Powers Boothe

The Clairvoyant / Agent John Garrett - Bill Paxton

Agent Peggy Carter - Hayley Atwell

Dum Dum Dugan - Neal McDonough

Agent Maira Hill - Cobie Smulders

Nick Fury - Samuel L. Jackson

Sif - Jaimie Alexander

STAN LEE

Director / Writer Joss Whedon

Director / Writer Jed Whedon

Producer / Writer Maurissa Tancharoen Whedon

[mst3kproject]

Night of the Ghouls

Night of the Ghouls is a film with a troubled history.  It was intended as the sequel to Bride of the Monster, and it includes some familiar faces such as Paul Marco as Officer Kelton and Tor Johnson returning as Lobo.  Apparently Ed Wood shot it and sent it to be developed, but the people at the lab (perhaps wisely) wouldn’t let him pick it up until he’d paid for it in full.  He couldn’t afford that, so it just sat there accruing late fees until producer Wade Williams came across it and decided to release it on video in 1984.  I don’t know why, but it seems oddly fitting that a lost Ed Wood movie should be rescued by a guy who is almost, but not quite, Deadpool.

Lieutenant Bradford is forced to cancel a date so he can investigate renewed weird goings-on at the Old House on Willows Lake. Somebody seems to have rebuilt the place after lightning burned it down and destroyed Dr. Vornoff’s monsters, and the new old house is haunted by two ghosts; a woman a torn white gown, and another in a crown and black veil.  When Bradford arrives, he meets Dr. Acula (subtle), psychic for hire.  If you’ve lost a loved one, he’ll get you back in touch – for a price, of course!  Bradford thinks it smells like a con, and he’s right… mostly.  Not all of Acula’s ghosts are fake, and they’re not happy about being used for a scheme, either!

While all this goes on indoors, outside Officer Kelton is cowering in his car and shooting at ghosts.  I think this is supposed to be comic relief, but it is neither.

Night of the Ghouls gets off to a pretty slow start.  It begins with a series of confusing events involving an elderly couple’s ghostly encounter and the beginning of the police investigation into it.  Bradford and the chief have one of those uniquely Ed Wood conversations in which there are a lot of words but very little information actually reaches the audience.  Once Bradford, still in his tuxedo, heads out to the New Old House, things pick up quite nicely.

I’m not entirely sure how this works, because stuff goes on happening very slowly.  The stupid séance Acula holds in his basement lasts forever.  Bradford sneaks off to look around the house and finds nothing of any importance, while Kelton tries desperately to summon help and nobody at the police station believes him.  The direction remains quite dull, mostly just static shots of people talking to each other.  It ought to be boring, but it’s not.

Partly this is because each scene is full of little events that are actually pretty funny.  The séance in particular is a real hoot, with a trumpet floating in the air and a guy in a bedsheet dancing around to bizarre sound effects.  The living people sit down the left side of the table, across from a line of skeletons in wigs that are never explained. Bradford opens a door and finds a mysterious woman who smiles creepily and beckons to him – he flees, and we never find out what that was all about, either.

Mostly, however, what saves the movie is the fact that there is a story going on, and once it gets started it’s a very straightforward one.  Acula is presenting himself as a psychic in a haunted house.  We quickly learn that he’s actually a shyster and the ‘white lady’ is his girlfriend Sheila in a gown and makeup.  The ghost of a woman’s husband appears, advising her to re-marry – her new boyfriend, who wants her money, has paid Acula to make it happen. We know who the good guys are and why, and we know who the bad guys are and why, and we’re eager to see how it all plays out.

The ending is a surprise, but unusually for an Ed Wood movie you don’t see it coming.  I had noticed that the ‘black lady’, the ghost in the crown and veil, had never been mentioned by Acula – Kelton shoots at her with no effect, and Sheila is afraid of her.  All the signs point to her being a real ghost who isn’t happy with people intruding on her eternal unrest.  Surely Acula is going to end up like the inevitable kissing teenagers at the beginning of the film, strangled and left in the woods.

But that’s not what happens.  The ghosts of the people Acula has been pretending to summon appear instead, and lock him in a coffin to suffocate in revenge for him using their names to bilk their living relatives!  And you know what?  It works.

In The Screaming Skull, Marion’s ghost appearing at the end came out of nowhere, and while it was nice to see her speak for herself, we’re kind of expecting it to be just another trick. So far, all the ghostliness in this movie has been fake, so why should a real ghost suddenly intrude?  In Night of the Ghouls, we have seen a real ghost, one who is obviously different from Acula’s fake ones, so the vengeful spirits at the end aren’t completely out of left field.  And like Marion, these ghosts have a reason to be angry at their target.  They’ve been used, the living have suffered, and they’re mad about it.  It’s also nicely ironic that Acula, who doesn’t actually believe in ghosts, is killed by them.

Which is not to say that the ‘black lady’ doesn’t get her moment, too.  If she never did anything in the end, I’d have been annoyed, but she gets to take care of Sheila.  Having spent half the film terrified of ghosts, Sheila ends up becoming one. It’s not quite as satisfying as Acula’s death but it still works pretty well.

There’s other surprisingly good stuff going on here, too.  For an Ed Wood movie, Night of the Ghouls makes some admirable attempts at continuity. The story doesn’t really have anything to do with Bride of the Monster, but it clearly positions itself in the same world a few years later.  They account for the fact that the house burned down in Bride of the Monster by explaining that Acula had it rebuilt, and half of Lobo’s face is scarred from that fire.  Bradford spends so much time thinking about his prior investigation and comparing what he sees now to what he saw then, we almost forget he wasn’t actually in the previous movie.  The reason Acula set up shop where he did is because the thing with Dr. Vornoff and his monsters means the location comes with pre-existing spoop.

The effects are not good, but there’s nothing nearly as pathetic as the lifeless rubber octopus from Bride of the Monster, and in a way the badness works to the movie’s advantage.  The floating instruments and sheet-clad specters in Acula’s séance are supposed to look fake, because they are.  The two ghosts, the black and white ladies, actually look kind of spooky, but we cannot tell until we’re told which of them is real and which is fake, so that’s a nice way of keeping us hanging.  The ‘storm’ effects are standard for the period.

Honestly, the worst thing in Night of the Ghouls isn’t any of the usual Ed Wood suspects.  The actors are pretty bad but the only obnoxiously terrible one is Paul Marco as Kelton.  There’s nothing to compare to the bizarre scene with the captain and his bird from Bride of the Monster or the pie pan saucers from Plan Nine from Outer Space.  Once we’re through the opening scene, the dialogue is mostly free of blinding idiocy.  No, the worst thing in Night of the Ghouls is the narrator.

We’ve been through a number of movies together that have a deep and portentous fifties man voice trying to clarify (or, in the case of Beast of Yucca Flats, obfuscate) the events.  Night of the Ghouls goes a step further and actually introduces us to the man telling the story, and he, too, is a familiar face – it’s Criswell!

You’ve met Criswell if you’ve ever seen Plan 9 from Outer Space, which opened with him sitting at a desk giving a rambling speech about how future events like these will affect you in the future (Joel sent this up with the ‘KTLA Predicts!’ sketch in War of the Colossal Beast).  Night of the Ghouls is the same idea, but even more so.  Criswell is introduced not behind a table, but sitting up from lying in a coffin, and his nonsensical speech goes on in intermittent voiceovers throughout the movie.  It’s not quite as incoherent as The Beast of Yucca Flats but at times it comes damned close.  Elsewhere we get Bradford’s inner monologue, which is another step up the relevance scale… but still not quite there.

Ed Wood made several movies about how crime doesn’t pay, and Night of the Ghouls can definitely be considered one of those. It is also, however, a film about respect, not just for the living but for the dead.  Acula does not respect the living, as he tells them lies and cheats them of their money.  He also does not respect the dead, putting words in their mouths and using them as tools in his scheme.  At the end, both groups are closing in on him.  He believes he has outwitted the living, the policemen and his victims, but at the last moment it is the dead who take their bloody revenge.

I had a pretty good time watching Night of the Ghouls.  Each of Ed Wood’s movies is rather charming in its own idiosyncratic way, but this is the one that probably comes closest to being good.  It doesn’t quite make it, of course, but the effects are as good as they need to be and the story mostly makes sense, and for an Ed Wood film that’s high praise.  As a bonus, it’s the rare sequel that you can understand without having had to see the original first!

[rambunctious-tampon]

Photo gallery: Photo gallery: Pilgrimage sites of the fans: The stars rest here

We will then send you a link with your password. By using FILMSTARTS you consent to the use of cookies. We will deliver as soon as the article is available. In the near future, humanity will be carried away by a slowly spreading virus that will turn its victims into carnivorous zombies within six months. In Maggie, Arnold Schwarzenegger has to take care of his daughter infected with a zombie virus.

Actionfreunde quick overview

The celebrities have their trip to Australia royally paid for by RTL and the production company ITV. This time there is no “Hasta la right here vista, baby ”And no“ I'll be back ”. Because this is perhaps the first attempt to deliver Schwarzenegger's real spectacle. We use cookies to improve your shopping experience. If you continue browsing our site, you accept the cookie policy. Mel Gibson made a guest appearance in this comedy produced by his "Lethal Weapon" buddy Joel Silver. The main roles, however, are played by Billy Crystal and Robin Williams, both of whom are potential fathers of a young boy who wants to bring him back to his mother. And Wade realizes that he has to let his daughter go. The screenplay for the film by John Scott 3 made it onto the Black List in 2011 - a list of Hollywood's best, unproduced screenplays. More drive would take the film in a different direction. After all, Maggie is ultimately not about the dead and intestines running around, but about a father's unconditional love for his daughter and vice versa. If a Alamy account is assigned, you will receive an email with instructions on how to reset your password. It's summer vacation right now, you're sitting around the campfire and trying to play normalcy, an innocent get-together. But the conversation drifts again and again to the epidemic, to bitten classmates and with Maggie and her ex-boyfriend there are two in the group who share the fatal fate, even if nobody dares to speak out - only when the two are among themselves , talk about it more openly. Only after this meeting do the emotions burst out of Maggie's best friend. In addition to visual elegance and stylishly placed gags, "The Last Stand" captivates with non-stop action and uncompromising hardness. In addition to Schwarzenegger, Johnny Knoxville ("Jackass"), Jaimie Alexander ("Thor"), Forest Whitaker ("The Last King of Scotland"), Eduardo Noriega ("Transsiberian"), Peter Stormare ("Constantine") and Rodrigo Santoro ("300" ) involved in merciless hunting. The item is currently not in stock, but can be ordered. For the 47th time, the evening newspaper honors the cultural highlights of the past twelve months with the AZ stars of the year. The prizes will be awarded at the beginning of February at a festival in the Lustspielhaus. Enter the email address associated with your login.

[theprocrastinatingalien]

Superhero Movie News Roundup - New Mutants, Black Widow, Morbius and The Suicide Squad.

Hey Earthlings!  Back with a quick round up of recent superhero movie news.   So without obstacle, let's get stuck in.

NEW MUTANTS

This film, set in the X-MEN universe, has had something of a rocky road to get to the big screen... and that road keeps getting rockier. It was due in cinemas back in early 2018, pushed back to early 2019, and then a further knockback to later in the year.  It's also doubtful it'll even get to the 'big screen', possibly settling down on streaming channel instead. Before it can get that landing, there'll be some reshoots, with the plan to add a new character to the movie.

So here's the news... those reshoots haven't happened yet, in fact there doesn't even seem to be a plan for them.  What's making it harder is getting the existing cast back together, with word on the street being Anya Taylor-Joy has no interest in returning to set, having not had the best time the first around.   This might just be speculation, of course, but it doesn't seem like the planned August release will happen.  With Disney buying Fox, it'll be interesting to see how this movie fits into the grand scheme of things.

Personally, I feel that Marvel will draw a line across the X-MEN universe as we know it, wiping the slate (almost) clean for the mutants to enter the MCU. What's the 'almost'?  Deadpool.  The very nature of the character means Wade Wilson (and actor Ryan Reynolds) could enter the shared universe without a recast.   These NEW MUTANTS though, might be done before they've started.

MORBIUS

Over at Sony, following their first release in the Spiderverse - that doesn't actually involve Spider-Man - VENOM, pace is picking up at the next entry... MORBIUS, the Living Vampire.  Actor Jared Leto was confirmed to play the title character, and now we have a few more names to add. 

Adria Arjona has been added as Martine Bancroft, Morbius' fiancé. Former Time Lord, Matt Smith has signed up as Loxias Crown and most recently we have news that Jared Harris and Tyrese Gibson have joined the cast in unknown roles.

I'm not sure what I think of Sony's shared Marvel Universe. I didn't mind VENOM though, and I will certainly give MORBIUS a go, especially with the likes of Smith and Harris added to the mix.   The question is, does this mean those actors now can't appear in the MCU itself?

BLACK WIDOW

This week sees the release of the 21st MCU entry, CAPTAIN MARVEL, and then it really is just a short wait (less than two months) before the mega-event AVENGERS: ENDGAME. What comes after the phase three finale?  Well, phase four (or whatever it's going to be called) starts with SPIDER-MAN: FAR FROM HOME, but really after that very little is known.

2020 was obviously meant to kick of with GUARDIANS OF THE GALAXY VOL 3, but then James Gunn got the boot from Disney, and the project hurtled into limbo.  Word is Gunn's script will still be used and all the cast are onboard... there's just no director right now.  We also have rumblings that THE ETERNALS will fall in 2020, which would make sense considering one of the characters will be Thanos' bro Starfox… but right now all the interest is on BLACK WIDOW.

Scarlett Johansson's debut was way back in 2010, in IRON MAN 2, and could be seen as the leading lady of the MCU, with appearances in CAPTAIN AMERICA: THE WINTER SOLDIER, CAPTAIN AMERICA: CIVIL WAR and all four AVENGERS movies.  The fact we know this movie is coming doesn't spoil anything for the character in ENDGAME, as word is the film will take us through Natasha Romanoff's past, watching her train and go on missions as an assassin.

With a director (Cate Shortland) and writers in place, it's now time to look a potential casting - other than Johansson - and ignoring the rumours that either Jeremy Renner's Hawkeye or Sebastian Stan's Winter Soldier could play a part in the movie - we now know that producers are looking for a female character, as close to 'Black Widow' type as possible to play second lead.

What's interesting here is we've got a rumour on who the front runner is for this character. Whilst Alice Englert, Dar Zuzovsky and Florence Pugh are supposedly up for the part, the name that leads the pack is... Emma Watson?  Yep, it looks like HARRY POTTER'S Hermione Granger could be joining the MCU as a kick-ass assassin. 

Not sure what I think of that, but I'll take it over the ridiculous rumour that Daniel Radcliffe could play Wolverine (luckily, just a joke the actor started)… but Watson isn't someone I'd have thought of.  Still, I have faith in Marvel and their choices, so if she does indeed sign on, I'll assume she's the best person for the job.

THE SUICIDE SQUAD.

I've already mentioned James Gunn being given the push from Disney, now unable to complete his GOTG trilogy.  Warner Brothers have welcomed him with open arms though, and he's be drafted in to roll out the Suicide Squad for another adventure.  As we know though, the DCEU is all over the place.  Ben Affleck is no longer Batman (can we please dispel those rumours that Robert Pattinson is taking on the cowl?!), and Amy Adams thinks she's done as Lois Lane.  Well, now we have another actor out of the mix... Will Smith will not be returning as Deadshot.  

It's a bit of a shame really, as I thought he was one of the best bits in the first film, right behind Margot Robbie's Harley Quinn - but scheduling conflicts mean Smith has bowed out... and we already have a new actor stepping into his shoes... Idris Elba.

I'm a big Elba fan, and whilst I'd rather the continuity of Smith's return, if we have to have a replacement, I'm more than happy with Elba's casting.  It sounds like Gunn is doing something of a soft reboot, rather than a direct sequel, bringing in a new batch of characters, Robbie will be back as Harley, and I should imagine (but don't know for certain) Joel Kinnaman will be returning as Rick Flagg. I'm looking forward to seeing Elba join Robbie in Gunn's take on volatile group... but I do have a big question... will The Joker be back?  If so, will it still be Jared Leto?  I mean, considering we've got a JOKER film starring Joaquin Phoenix coming, surely they can't do a recast and gives a third actor portraying the killer clown? Time will tell on that one.

That's it for now.  I'm watching CAPTAIN MARVEL on Saturday.  Fingers crossed it's a good one!

[findasongblog]

Find a #singersongwriter song

Joel Porter - Fabled Edwinton

From the recently released Hiraeth EP, recommended listenig!

Hiraeth – (n.) a homesickness for a home to which you cannot return, a home which maybe never was; the nostalgia, the yearning, the grief for the lost places of your past.

Through the exploration of the word “Hiraeth”, Joel Porter’s sophomore album became a project born from a sudden and acute awareness of life’s cyclical patterns... and the realization that the subjects featured in these patterns are, regardless of their immeasurable worth, destined to be claimed as dust. Written shortly after his engagement to his wife, and recorded (with producer Eric Hillman – Foreign Fields) immediately following the death of his grandfather, the “Hiraeth EP” features the excitement, beauty, and newness that life brings but also carries the weight, longing, nostalgia, and earnest desire we have to connect with the beauty of our pasts.

The “Hiraeth EP” documents Porter’s navigation through times of growth and the letting go of the good things that have come and gone, his graceful acceptance of change, and finally a peace in awaiting what is yet to come and the wading into the unknown. It is littered with nods to both the environment of his home and the moments and people he shared that home with. It is an ode to places remembered so vividly, but untouchable… To his family, friends, heritage, and home in North Dakota. It is an acknowledgement of the beauty of the temporary, and an untethering of the faint glimpses and idols of the past that only continue to exist in the mind.

[ulkaralakbarova]

All Eyez on Me chronicles the life and legacy of Tupac Shakur, including his rise to superstardom as a hip-hop artist, actor, poet and activist, as well as his imprisonment and prolific, controversial time at Death Row Records. Against insurmountable odds, Tupac rose to become a cultural icon whose career and persona both continue to grow long after his passing. Credits: TheMovieDb. Film Cast: Tupac Shakur: Demetrius Shipp Jr. Afeni Shakur: Danai Gurira Jada Pinkett: Kat Graham Biggie Smalls: Jamal Woolard Suge Knight: Dominic L. Santana Kidada Jones: Annie Ilonzeh Leila Steinberg: Lauren Cohan Hatian Jack: Cory Hardrict Faith Evans: Grace Gibson Street Entrepreneur: DeSean Jackson Ted Field: Brandon Sauve Tom Whalley: Josh Ventura Daz: Azad Arnaud Big B: Sean Baker Dr. Dre: Harold “House” Moore Queen Latifah: Khadija Copeland Aunt Linda: Chanel Young Shock G.: Chris Clarke Money B.: Money-B Ronnie: Hamid-Reza Benjamin Thompson Legs: DeRay Davis Black C.O.: Bruce Davis Atron: Keith D. Robinson Attorney: Gary Weeks Snoop Dogg: Jarrett Ellis Floyd: Clifton Powell Set: Rayven Symone Ferrell Scott Whitwell: Scott Hunter Ray Luv (uncredited): Johnell Young Treach (uncredited): Rayan Lawrence Mall Patron (uncredited): Sheril Rodgers Film Crew: Costume Design: Francine Jamison-Tanchuck Director: Benny Boom Screenplay: Jeremy Haft Screenplay: Eddie Gonzalez Producer: L.T. Hutton Producer: David Robinson Producer: James G. Robinson Screenplay: Steven Bagatourian Art Department Coordinator: Shauna Williams Assistant Art Director: Shawn D. Bronson Key Makeup Artist: Patrice Coleman Music: John Paesano Tattooist: Dennis Dago Ceelo Key Makeup Artist: Mi Young Casting: Michelle Wade Byrd Hair Department Head: Taylor Knight Art Direction: John Richardson Construction Coordinator: Wally Mikowlski Casting Associate: Lavonna Cupid Tailor: Carl Ulysses Bowen Production Design: Derek R. Hill Editor: Joel Cox Key Hair Stylist: Charles Gregory Ross Casting: Winsome Sinclair Key Hair Stylist: Vincent Gideon Property Master: Ian Roylance Researcher: Deborah Ricketts Director of Photography: Peter Menzies Jr. Casting: Andrea Craven Set Decoration: Merissa Lombardo Costume Supervisor: Tom Bronson Set Costumer: Korii Young Assistant Costume Designer: Jennifer Leigh-Scott Costume Supervisor: K. Drew Fuller Casting: Mary Vernieu Key Costumer: Heather Sease Key Costumer: Earl Tanchuck Makeup Department Head: Carol Rasheed Movie Reviews: Gimly: In terms of perspective, it’s pretty much exactly what I was afraid _Straight Outta Compton_ would be. As a movie itself though, it’s a disjointed, cheap-looking, paint by numbers biopic that did not manage overcome its niche at all… Fuck that kid looks the part though. _Final rating:★½: – Boring/disappointing. Avoid where possible._

[downtownstudio]

REMEMBER Official Music Video from Bluehousemedia on Vimeo.

Remember is Jordan Flippo's second release of her debut Ep. Written by Sharla Ember & produced by Joel Wade for BlueHouse Media.