#Matt Neglia

[mrs-stans]

[billornot]

I won't even write a long post about what's wrong here. This is another wonderful day for Ukrainians under shelling, bombing and contemplation of this madness. These people live in a different world, a world where russians do not commit genocide. It disgusts to me see how you glorify and kneel before russians.

In the Rostov region of russia, russian military came to a kindergarten and presented the children with a model of "liberated" Bakhmut, Ukrainian city completely destroyed by russian troops.

"The depiction of one day of the Special Military Operation" - that's what they called it.

Just another day in russia. I always say that nothing they do surprises me anymore, but they are trying.

Meanwhile, UN Secretary-General Antonio Guterres arrives at the BRICS summit in Kazan, russia.

Looks like he's having a good time in company of war criminals.

The UN calls this trip a "standard practice."

[kristenswig]

fleeing a prison sentence in Iran and then being forced to Zoom with Matt Neglia is crazy

[anothersebastianblog]

So proud of Seb!!

Matt Neglia

THE APPRENTICE does not shy away from showing audiences who Donald Trump once was and how he became the notorious scumbag he still is today. This gradual transformation is brought to life through Sebastian Stan’s eerily uncanny, surprisingly restrained & frightening portrayal of a narcissist. His rise is contrasted with the fall of his mentor, Roy Cohn: one eventually humbled by life, the other displaying total disregard for it and its rules. Strong delivers an equally compelling performance as the hotshot NYC lawyer who teaches Trump everything he knows. Shot across various film and video formats, the film avoids SNL-style parody and instead draws comparisons to Succession with its themes of loyalty, power, and betrayal, complemented by its brass-heavy dramatic music. Better than expected, though still flawed.

He never overdoes it. Barely recognizable early on, he slowly weaves it in as the film progresses and even by the end, it’s still never inauthentic

.

[steelbluehome]

"The film mostly succeeds in this monstrous true story due to the transformative and utterly compelling performances of Sebastian Stan and Jeremy Strong. Stan’s gradual transformation is entirely believable, avoiding SNL-levels of parody through his eerily uncanny, surprisingly restrained, and frightening portrayal of a total and complete narcissist. He absolutely nails Trump’s body language, speech patterns, and facial expressions, and he does this more progressively throughout the film while never once overplaying it. By the time you reach the end of the film, his version of Trump is completely unrecognizable from the person we met at the beginning of the film, not just in mind and body (courtesy of some convincing makeup work), but also in spirit."

The Next Best Picture

"THE APPRENTICE” (click for article)

May 20, 2024

By Matt Neglia

THE STORY – A dive into the underbelly of the American empire, the film charts a young Donald Trump’s ascent to power through a Faustian deal with the influential right-wing lawyer and political fixer Roy Cohn.

THE CAST – Sebastian Stan, Jeremy Strong, Maria Bakalova, Martin Donovan & Joe Pingue

THE TEAM – Ali Abbasi (Director), Jennifer Stahl & Gabriel Sherman (Writers)

THE RUNNING TIME – 120 Minutes

Making a film about former President of the United States, Donald Trump, was always going to be a hot-button topic amongst cinephiles. Such a controversial figure who is still, to this day, a very real presence in our lives and has no intentions of fading away, one would think any form of a biopic about him would want to wait a number of years, perhaps after his passing, to tell any story about him so not to garner intense reactions out of people. But perhaps that’s the goal all along. No matter what the response to filmmaker Ali Abbasi’s (“Holy Spider“) latest film is, it’s going at least get some sort of a reaction out of people. And in a way, such a reckless and blatant approach to making and releasing this film now, while both his supporters and haters are out in full force during an election year where he will be the Republican nominee once again (barring an indictment of any kind) feels right in line with the kind of person Donald Trump is and has always been, well at least after he met Roy Cohn, which is what Abbasi’s film depicts. It’s not concerned with his Presidential years in the Oval Office, but rather the early days in his real estate career, when barely anyone knew who he was and through a mentor/protege friendship, it gave birth to this Frankenstein’s monster who not only became rich and famous, but infamous.

Before he made his billions, Donald Trump (Sebastian Stan) was a young, upstart real estate mogul looking to secure a deal with the city of New York under his wealthy father, Fred Trump’s (Martin Donovan) nose, who owned The Trump Organization. After venturing into a bar one night visited by some of the most powerful, corrupt, and wealthiest individuals in the city, Trump meets hotshot American lawyer and prosecutor Roy Cohn (Jeremy Strong), a blowhard, vulgar, and offensive individual who doesn’t care about anything other than winning. Trump elicits Cohn’s help to get the feds to back off his family’s business so he can move forward with building a luxury hotel in the middle of Grand Central Station, and Cohn eventually agrees. He likes the kid and seizes the moment to take him under his wing and teach him his three key principles to winning: Rule 1: Attack. Attack. Attack. Rule 2: Admit nothing. Deny everything. And Rule 3: Claim victory and never admit defeat. This mental attitude would go on to become the blueprint for how Donald Trump would eventually grow his family’s real estate empire through the 1970s and 80s, leading to the unbreakable mindset that would one day lead him to the Presidency.

Naturally, there’s quite a bit of fear and hesitation about how Sebastian Stan would portray Trump in “The Apprentice” (the title of the film applying to Trump’s role under Cohn’s tutelage and a play off of his famous television show of the same name). Is this meant to be a comedy? A drama? Perhaps even a horror film? Abbasi’s film, surprisingly, plays everything mostly straight, giving the film “Succession” levels of Shakespearean drama (backed by some brass-heavy pieces of score which will also remind viewers of the hit HBO show) as the relationship between Trump and Cohn touches upon themes of friendship, loyalty, and betrayal. The two start off the film in totally different places, and, by the end, they swap as one eventually becomes humbled by life, and the other displays a total disregard for it and its rules based on the teachings he inherited from the other. By telling such a story, “The Apprentice” does not shy away from showing audiences what a driven but naive young Donald Trump once was but also the notorious scumbag he would grow to become.

The film mostly succeeds in this monstrous true story due to the transformative and utterly compelling performances of Sebastian Stan and Jeremy Strong. Stan’s gradual transformation is entirely believable, avoiding SNL-levels of parody through his eerily uncanny, surprisingly restrained, and frightening portrayal of a total and complete narcissist. He absolutely nails Trump’s body language, speech patterns, and facial expressions, and he does this more progressively throughout the film while never once overplaying it. By the time you reach the end of the film, his version of Trump is completely unrecognizable from the person we met at the beginning of the film, not just in mind and body (courtesy of some convincing makeup work), but also in spirit. The same goes for Strong as Cohn, who captures Cohn’s voice, slight head bob while speaking, and, more importantly, his viciousness, ruthlessness, and cruelty. The latter human qualities are particularly noteworthy for how Strong manages to pry even the slightest degree of pity for Cohn from the audience by the end after watching what a despicable human being he was earlier in his life is nothing short of fantastic acting from the Emmy Award-winning actor. Watching those almost inhuman powers transfer from one actor to the other seamlessly over the course of the two-hour runtime is the film’s best asset, as Abbasi never asks us to sympathize with Trump but instead seeks to give us a better understanding of how anyone could ever think and behave the way he does. By the time you’re done watching Abbasi’s cautionary character study, it starts to make a bit more sense.

Some will feel that none of this is new information and the film’s very act of existence is objectionable, given how much of a prevalent force Trump remains in our daily lives. While Stan and Strong’s exceptional work makes the film worth checking out, there are still numerous flaws to be found within its storytelling. The decision to shoot utilizing different video formats, such as celluloid filmstock and camcorder footage, provides a clear distinction between the time periods, accentuated by the film’s soundtrack comprising various hits from the time. Some of these needle drops feel appropriate, while one in particular during a physical assault by Trump on his former wife Ivana Trump (a sadly underused Maria Bakalova) feels completely out of place and cuts the horrifically violent act’s knees right from underneath it. Abbasi wisely avoids showcasing any and all contemporary scenes during Trump’s presidential run and eventual Presidency, but that doesn’t stop screenwriters Jennifer Stahl & Gabriel Sherman from constantly eluding to it in some heavy-handed ways. Whether it’s played for laughs or for a cheap wink at the camera to tell audiences unnecessary indicators such as, “See! That’s how he got his campaign slogan!” it never hits as hard as the drama conjured by Stan and Strong, nor the queasy feelings it produces in your stomach knowing what this power-hungry, nonsensical fraud of a businessman would later go on to do.

While Trump constantly fabricates the truth to create a scenario where he comes out ahead, Abbasi’s film is about getting as close to the truth as possible to paint a picture of a figure where he comes out not as low as possible but across as honestly as possible. That honesty is rotten to the core, and Stan’s immersive portrayal never breaks away from that truth. There is no breaking of the fourth wall to over-explain details to the audience, nor is there a sharp divide between the film’s drama and comedy, causing us to question whether we should take the film seriously or not. It’s as serious a film for our tumultuous times as any other. Although it might not be perfect, and some will rightfully question whether the timing of “The Apprentice” is justified, Stan and Strong provide awards-worthy work that will get people talking and hopefully convince them to see Trump for who he is and has always been.

[bcofl0ve]

i could listen to this kid talk for hours god love ‘em

[movies-series-revct]

The Batman - Movie Review

by Jimelito Diego

THE BATMAN (2022)

Reactions to The Batman are in, and they’re spectacular. Collider editor-in-chief Steven Weintraub called it “unlike any Batman movie you’ve seen,” fully justifying its intimidating 176-minute running time. “The 3-hour run time allows scenes to breathe,” he added. “No quick cuts. No wasted moment.” Erick Weber of Awards Ace, meanwhile, called The Batman “the most artistically stunning CBM [comic book movie] ever made.”

Matt Reeves has made THE definitive BATMAN film with THE BATMAN. Think of Se7en but set in Gotham. Robert Pattinson’s eyes are so intense & observant under the black cowl while Michael Giacchino’s score is a grand & haunting masterwork. An epic, dark & thematically rich neo-noir.

After the much-loved Christopher Nolan’s Dark Knight trilogy, it was always going to be a massive challenge to follow Christian Bale’s Bruce Wayne. Ben Affleck did a better job than he’s given credit for in Zack Snyder’s movies as an older, gruffer Caped Crusader, but perhaps was let down by Batman v Superman and certainly Joss Whedon’s cut of Justice League. He’s since been somewhat redeemed by the Snyder cut and hopefully in the upcoming multiverse caper The Flash, but in the meantime, it’s Robert Pattison’s turn as The Batman.

Erik Davis of Fandango called it a “ferocious detective drama punctuated by moments of incredibly visceral action,” while Next Best Picture editor-in-chief Matt Neglia compared it to David Fincher’s Se7en, and called it “epic, dark, and thematically rich.”

The Batman' is a refreshing adaptation, but 'handcuffed' “The Batman” has earned mixed reactions from critics. Some have praised the film as a deconstruction of the superhero genre, others found it to be a dark

[denimbex1986]

'The Barbenheimer craze is showing no signs of subsiding any time soon. While expectations that Barbie and Oppenheimer would dazzle critics and audiences alike were high, it's safe to assume that even the most attuned industry insiders couldn't have predicted how enthusiastically the world would embrace such a unique double feature. Giving movie theaters a much-needed boost, and proving that a cross-promotion marketing strategy rather than a bitter rivalry can do wonders for competing blockbusters, the movie event of the year has only just begun and will no doubt sustain its place in the cultural zeitgeist as awards season approaches.

For all its stunning success, however, the high-profile nature of Barbenheimer has raised thought-provoking questions and inspired debate regarding the relationship between media hype and historical reverence. At a time when mainstream marketing machines are increasingly dominant and influential over public perception and discourse, the line between entertainment and exploitation seems to be getting ever-thinner. And given Oppenheimer's contextual nature, particularly the world-changing events at the center of its titular protagonist's story, the sensational glitz and glam surrounding the cinematic phenomenon have struck some as unintentionally undermining the tragedies that occurred in Japan in August 1945.

Warner Bros. Has Come Under Fire for Some of its Barbenheimer Marketing

Though the idea of films cross-promoting one another isn't unheard of, the notion of films as tonally and thematically divergent as Barbie and Oppenheimer debuting together has led to a once-in-a-generation set of marketing campaigns operating simultaneously. The word "Barbenheimer" first began appearing online in April 2022. However, it was hardly intended to kick off a media firestorm but rather was meant to playfully acknowledge the upcoming double feature. Matt Neglia, editor of Next Best Picture and the man first credited with using the term, told NBC News, "It's cool statistically that I might show up as the first, but I never meant to start a hashtag or anything like that." It didn't take long for Barbenheimer to make an impression, going viral across social media platforms and rousing the interest of people around the globe. And once the pop culture event seemed to gain the momentum of a runaway train, sensible and carefully considered marketing strategies ultimately gave way to some more egregious forms of advertisement.

Shortly after the films hit theaters and became box office sensations, several tweets put out by Warner Bros. to promote Barbie were met with backlash by the studio's Japanese affiliate. One tweet in particular features Oppenheimer (Cillian Murphy) holding Barbie (Margot Robbie) atop his shoulder as an atomic mushroom cloud rages in the background. This prompted #NoBarbenheimer to trend in Japan, and the nation's Warner Bros. branch issued the following statement: "We consider it extremely regrettable that the official account of the American headquarters for the movie ‘Barbie’ reacted to the social media postings of ‘Barbenheimer’ fans. … We take this situation very seriously. We are asking the U.S. headquarters to take appropriate action. We apologize to those who were offended by this series of inconsiderate reactions."

While Barbenheimer as a pop culture phenomenon is undoubtedly unique and worthy of attention, such forms of advertisement are indeed tone-deaf gestures and a distasteful way of capitalizing on a major moment in entertainment history. According to Variety, Warner Bros. responded to the backlash with, "Warner Brothers regrets its recent insensitive social media engagement. The studio offers a sincere apology." Considering that Barbie and Oppenheimer are so stark in contrast, perhaps it was inevitable that a combination of wildly differing sensibilities would eventually miss the forest for the trees, losing sight of the bigger picture that a film like the latter is tapping into both historically and contemporarily.

'Oppenheimer's Exclusion of the Atomic Bombings Has Drawn Criticism

When Oppenheimer was announced as Christopher Nolan's next project, speculation abounded over whether the film would depict the destruction of Hiroshima and Nagasaki. After all, one may argue a film about the creation of the atomic bomb that doesn't show its devastating power would be akin to Titanic not showing the ship's sinking. But with Nolan opting for an intensely personal prism through which to experience the film's narrative, Oppenheimer leaves such a horrifying spectacle to viewers' imaginations. While the three-hour epic has received widespread acclaim for its performances, screenplay, visuals, and overall ambition, some moviegoers have questioned whether its omission of the bombings is an error on Nolan's part.

People who've voiced opposition to showing the bombings maintain that Oppenheimer's subjective point-of-view takes precedent in telling his story. According to NBC News, Nolan said that "to depart from Oppenheimer’s experience would betray the terms of the storytelling. He learned about the bombings of Hiroshima and Nagasaki on the radio — the same as the rest of the world. Everything is his experience, or my interpretation of his experience. Because as I keep reminding everyone, it’s not a documentary. It is an interpretation. That’s my job." On the other hand, critics of Nolan's decision have cited it as an example of dismissal, and even erasure, of the harrowing experiences of those impacted by the bombings. Brandon Shimoda, a Japanese-Amercian writer who oversees the Hiroshima Library, told NBC News, "Even within the realm of entertainment it's still demoralizing and making, once again, unreal the experience of Asian people. The experience and perspective of Hibakusha (survivors) needs to be centered in whatever way possible."

The decision to feature the bombings or not presents a damned-if-you-do and damned-if-you-don't conundrum from a storytelling perspective, and compelling arguments can be made for either side of the debate. While including those horrific events in Oppenheimer would have given representation and a voice to those who were killed, injured, or otherwise suffered long-term impact over generations, such inclusion could have also been perceived as gratuitous, exploitative, and an unintentional way of re-traumatizing survivors. If he'd decided to recreate the destruction of Hiroshima and Nagaski, Nolan would likely have been equally criticized, perhaps even more so, by viewers deeming such a cinematic recreation distasteful and bordering on sensational. In tackling one of the most fraught and divisive moments in global history, Oppenheimer's exclusion of the Japanese bombings was undoubtedly carefully considered on Nolan's part but wasn't intended to minimize or downplay the tremendous suffering and trauma that persists to this day.

The Barbenheimer Phenomenon Shouldn't Distract From History

As expressed in Oppenheimer's tagline, the world forever changed in August 1945. A critical turning point in the history of civilization, the unleashing of such cataclysmic power via weapons of mass destruction can never be undone, and for better or worse, humanity has to reckon with the actions taken by a handful of powerful and determined people. Though the bombing of Japan ended World War II, and such weapons miraculously haven't been used in warfare since, what happened in Hiroshima and Nagasaki is one of the ultimate cautionary tales, deserving of attention and thoughtful consideration for those who were and remain impacted. With more than 200,000 people estimated to have been killed by the end of 1945, many more succumbing to injuries and radiation sickness, and an entire generation (Hibakusha) traumatized, the horrific scale of what happened can't be stressed enough.

As all the hype and sensation surrounding Barbenheimer continues to enamor people around the world, audiences should resist the tendency to overlook or memory-hole the core tragedy at the center of Christopher Nolan's film. Instead, moviegoers should embrace Oppenheimer not just as a crowning cinematic achievement, but also as a jumping-off point to more deeply consider what led to the tragedy, how it affected generations of the Japanese population, and what kinds of troubling consequences have risen as a result. Oppenheimer certainly poses difficult and disturbing questions without supplying any easy explanations, and that's exactly why viewers would do well to keep it in perspective.'

[influencermagazineuk]

Longlegs: A New Standard in Serial Killer Horror Films

"It legitimately had me on the verge of tears in terror," shared one early viewer. Early audiences are raving about Nicolas Cage's latest film, Longlegs, calling it the best serial killer horror since The Silence of the Lambs hit theaters in 1991. Directed by Oz Perkins (Gretel & Hansel, I Am the Pretty Thing That Lives in the House), the movie is set in the 1990s and follows FBI agent Lee Harker (played by Maika Monroe) as she delves into a series of murders linked to a Satanic killer known as Longlegs (played by Cage). Oz Perkins, Public domain, via Wikimedia Commons Scheduled for release in the UK on July 12, coinciding with its wider US release, Longlegs has already garnered significant acclaim from early screenings. Matt Neglia, editor of Next Best Picture, praised the film on Twitter, describing it as "one of the best serial killer films in recent memory." He highlighted its "psychologically scarring" nature and called it a "sinister and unnerving descent into hell that will haunt your mind and soul." Another viewer confessed that the film left them "on the verge of tears in terror" and advised against watching it alone. Fans have lauded Perkins for infusing dread and terror into every frame, with Monroe delivering a hypnotic performance and Cage's portrayal expected to haunt viewers' nightmares. Audience members have reported lingering fear long after the credits rolled. One person remarked, "Saw Longlegs this morning and now I’m just supposed to… carry on with my day? It’s like Osgood Perkins saw Silence of the Lambs and thought, ‘Nah, not f***ed up enough for me.’” Cage's transformation into the killer is only hinted at in the Longlegs trailer. In an interview with Entertainment Weekly, Cage likened this approach to "driving people towards a freak show at a circus tent." He explained, "We’ve got the thing behind the curtain, and when there’s enough people gathered around, we’re going to pull the curtain." This strategy, he said, is akin to "putting a warning label on a jar of nitroglycerin." Describing his character, Cage warned, "The monster is a highly, highly dangerous substance. The way it’s moved, unveiled, deployed has to be treated very carefully. Forget about the movie theater blowing up; the whole city could blow up, nay the country, maybe even the world. He is going to change your reality. Your doors of perception are going to open, and your life is not going to be the same.” Following the intense reactions to early screenings, Perkins expressed surprise at how deeply his film has disturbed viewers. Longlegs promises to be a gripping and terrifying addition to the genre, leaving an indelible mark on those brave enough to watch. Read the full article

[firewireblog-blog]

Kingdom of The Planet of The Apes Arrives At Digital Retailers On July 9 And Blu-ray On August 27

The fate of the world is at stake when 20th Century Studios’ Kingdom of the Planet of the Apes arrives to digital retailers (Prime Video, Apple TV and Fandango at Home) on July 9 and on 4K Ultra HD, Blu-ray and DVD on August 27. Director Wes Ball’s stunning new entry into the Planet of the Apes series has been heralded by critics as “a jaw-dropping spectacle” (Matt Neglia, Next Big Picture) and…

[lesbiancosimaniehaus]

This was, by the way, Matt Neglia’s lame little Regal unlimited ad spot. Idk why I keep listening to this podcast because I can’t stand that man

[msclaritea]

Well, I guess Matt Neglia and Next Big Picture are definitely anti-Netflix and Power of The Dog. His threads are filled with snark about the picture and his 'followers' keep spamming the Dog tags with the films THEY prefer. WTF?

[no-chill-at-all]

[brian-in-finance]

View this post on Instagram

A post shared by Matt Neglia (@mattynegs)

(First photo only from joeymagidson on Instagram. All other photos from mattynegs)

Remember… the book is available from Browns Books for £50.

mattynegs is Matt Neglia from Next Best Picture

[steelbluehome]

"This gradual transformation is brought to life through Sebastian Stan’s eerily uncanny, surprisingly restrained & frightening portrayal of a narcissist"

Letterboxd

THE APPRENTICE does not shy away from showing audiences who Donald Trump once was and how he became the notorious scumbag he still is today. (click for article)

Matt Neglia

31/2 out of 4 stars

THE APPRENTICE does not shy away from showing audiences who Donald Trump once was and how he became the notorious scumbag he still is today. This gradual transformation is brought to life through Sebastian Stan’s eerily uncanny, surprisingly restrained & frightening portrayal of a narcissist. His rise is contrasted with the fall of his mentor, Roy Cohn: one eventually humbled by life, the other displaying total disregard for it and its rules. Strong delivers an equally compelling performance as the hotshot NYC lawyer who teaches Trump everything he knows. Shot across various film and video formats, the film avoids SNL-style parody and instead draws comparisons to Succession with its themes of loyalty, power, and betrayal, complemented by its brass-heavy dramatic music. Better than what I expected (and I expected the worst), though still flawed.

[thegraymanfilmeonline]

The Gray Man O Agente Oculto assistir filme Online Grátis Português

Assistir filme - https://the-gray-man-o-agente-oculto.blogspot.com/

O thriller de espionagem "The Gray Man" conta a história de uma luta entre dois assassinos de primeira linha - o mercenário Court Gentry (Ryan Gosling) e seu ex-colega da CIA Lloyd Hansen (Chris Evans), que o persegue ao redor do mundo.

Desde o lançamento do primeiro trailer de O Homem Cinzento, os fãs ficaram empolgados em testemunhar o filme repleto de ação, além de um elenco estelar, incluindo Chris Evans, Ryan Gosling, Dhanush, Rege-Jean Page e Ana de Armas na liderança. papéis. A exibição internacional do filme foi realizada recentemente e as primeiras críticas têm sugerido que é um passeio de aventura.

Dirigido por The Russo Brothers, The Gray Man segue um ex-agente da CIA em fuga que está sendo caçado por seu ex-colega. A dinâmica entre Chris Evans e Ryan Gosling foi elogiada por muitos, particularmente como visto nas promos. Além disso, quem chamou a atenção nos clipes do filme foi Dhanush, cuja impressionante cena de ação foi lançada recentemente.

The Gray Man é baseado no romance de 2009 de mesmo nome de Mark Greaney. O filme foi apontado como um dos filmes mais caros da Netflix. Antes de seu lançamento em streaming em 22 de julho, veja como os críticos reagiram a isso.

Courtney Howard, da Variety, escreveu: "#TheGrayMan tem sequências de ação implacáveis ​​e bem construídas. Batalha de inteligência, balas e músculos. Ryan Gosling e @ChrisEvans compartilham excelentes respostas (e barba desprezível!). Ana de Armas é foda e linda. as cenas são implacáveis ​​e nítidas."

Jeff Ewing, da Forbes, descreveu o filme como um "suspense de ação sólido" e escreveu: "O #TheGrayMan da Netflix é um thriller de ação sólido (o melhor do streamer até agora), com ótimas atuações de Gosling, Evans e de Armas. A luta coreografia e trabalho de dublê são excelentes, para dizer o mínimo. No geral, um vencedor."

O crítico Matt Neglia escreveu: "O HOMEM CINZENTO é um filme de ação assassino taticamente agressivo dos Irmãos Russo. Ryan Gosling traz sua habitual resistência estóica contra o charme perverso de Chris Evans. Não é tão impressionante quanto os filmes Missão: Impossível ou John Wick, mas ainda assim uma bolada de entretenimento pipoca."

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