#Michael Koskoff

[batmannotes]

Joker: Folie À Deux | Official Trailer

When you’re smiling, the whole world smiles with you. Joker: Folie À Deux – only in theaters and IMAX, October 4.

From acclaimed writer/director/producer Todd Phillips comes “Joker: Folie À Deux,” the much-anticipated follow-up to 2019’s Academy Award-winning “Joker,” which earned more than $1 billion at the global box office and remains the highest-grossing R-rated film of all time. The new film stars Joaquin Phoenix once again in his Oscar-winning dual role as Arthur Fleck/Joker, opposite Oscar winner Lady Gaga (“A Star Is Born”).

“Joker: Folie À Deux” finds Arthur Fleck institutionalized at Arkham awaiting trial for his crimes as Joker. While struggling with his dual identity, Arthur not only stumbles upon true love, but also finds the music that's always been inside him.

The film also stars Oscar nominees Brendan Gleeson (“The Banshees of Inisherin”) and Catherine Keener (“Get Out,” “Capote”), alongside Zazie Beetz, reprising her role from “Joker.”

Phillips, who was nominated for Oscars for directing, writing and producing “Joker,” directed “Joker: Folie À Deux” from a screenplay by fellow Oscar nominee Scott Silver & Phillips, based on characters from DC. The film was produced by Phillips, Oscar nominee Emma Tillinger Koskoff and Joseph Garner. Lady Gaga served as music consultant. The film’s executive producers are Michael E. Uslan, Georgia Kacandes, Silver, Mark Friedberg and Jason Ruder.

Working with Phillips behind the camera are his team from “Joker,” including Oscar-nominated director of photography Lawrence Sher, production designer Mark Friedberg, Oscar-nominated editor Jeff Groth, and composer Hildur Guđnadóttir, who won the Oscar for her work on the first film. New to the team is Oscar-nominated costume designer Arianne Phillips (“Once Upon a Time in… Hollywood,” “Don’t Worry Darling”). Ruder is the film’s executive music producer and the music supervisors are Randall Poster and George Drakoulias. Casting is by Francine Maisler (the “Dune” films, “Challengers”).

Warner Bros. Pictures Presents A Joint Effort Production, A Film by Todd Phillips, “Joker: Folie À Deux.” The film will be released worldwide by Warner Bros. Pictures, and will be only in theaters nationwide on October 4, 2024, and beginning internationally on 2 October, 2024.

[blogdemocratesjr]

Macbeth (2015) by Todd Louiso, Jacob Koskoff, Michael Lesslie

[transparentcomputertidalwave]

Randall Stuart Newman (nato il 28 novembre 1943) è un cantautore, arrangiatore, compositore e pianista americano noto per il suo stile di canto con accento del sud , le prime canzoni influenzate dall'America (spesso con testi mordaci o satirici) e varie colonne sonore di film . [5] I suoi successi come artista discografico includono " Short People " (1977), " I Love LA " (1983) e " You've Got a Friend in Me " (1995) con Lyle Lovett , mentre altri artisti si sono divertiti successo con le cover dei suoi " Mama Told Me Not to Come " (1966), " I Think It's Going to Rain Today " (1968) e " You Can Leave Your Hat On " (1972).

Nato a Los Angeles da una famiglia allargata di compositori cinematografici di Hollywood, Newman ha iniziato la sua carriera di compositore all'età di 17 anni, scrivendo successi per gruppi come i Fleetwoods , Cilla Black , Gene Pitney e Alan Price Set . Nel 1968 fece il suo debutto formale come artista solista con l'album Randy Newman , prodotto da Lenny Waronker e Van Dyke Parks . Quattro degli album senza colonna sonora di Newman sono entrati nella top 40 degli Stati Uniti: Sail Away (1972), Good Old Boys (1974), Little Criminals (1977) e Harps and Angels (2008).

Dagli anni '80 Newman ha lavorato principalmente come compositore cinematografico. Ha realizzato nove film d'animazione Disney - Pixar , inclusi tutti e quattro i film di Toy Story (1995–2019), A Bug's Life (1998), entrambi i film di Monsters, Inc. (2001, 2013) e il primo e il terzo film di Cars (2006). , 2017), nonché James e la pesca gigante (1996) e La principessa e il ranocchio (2009) della Disney. Le sue altre colonne sonore includono Cold Turkey (1971), Ragtime (1981), The Natural (1984), Awakenings (1990), Cats Don't Dance (1997), Pleasantville (1998), Meet the Parents (2000), Seabiscuit ( 2003) e Storia di un matrimonio (2019).

Newman ha ricevuto ventidue nomination agli Academy Award nelle categorie Miglior colonna sonora originale e Miglior canzone originale e ha vinto due volte in quest'ultima categoria, contribuendo a rendere i Newman la famiglia allargata degli Academy Award più nominata , con un totale di 92 nomination in varie categorie musicali. . Ha anche vinto tre Emmy , sette Grammy Awards e il Governor's Award della Recording Academy . [6] Nel 2007, è stato riconosciuto dalla Walt Disney Company come una leggenda Disney . [7] È stato inserito nella Songwriters Hall of Fame nel 2002 e nella Rock and Roll Hall of Fame nel 2013. [8]

Primi anni di vita e istruzione Newman è nato da una famiglia ebrea il 28 novembre 1943, il trentesimo compleanno di suo padre, [9] a Los Angeles . È il figlio di Adele "Dixie" ( nata Fuchs/Fox; 30 agosto 1916 - 4 ottobre 1988), segretaria, e Irving George Newman (28 novembre 1913 - 1 febbraio 1990), internista . [10] Ha vissuto a New Orleans , in Louisiana, da bambino e ha trascorso lì le estati fino all'età di 11 anni, quando la sua famiglia è tornata a Los Angeles. Il lato paterno della sua famiglia comprende i nonni Luba ( nata Koskoff) (21 luglio 1883 - 3 marzo 1954) e Michael Newman (Nemorofsky) (1874-1948), e tre zii che erano compositori di colonne sonore di film di Hollywood: Alfred Newman , Lionel Newman e Emil Newman . [11] I cugini di Newman, Thomas , Maria , David e Joey , sono anche compositori di film. Si è laureato alla University High School di Los Angeles. Ha studiato musica all'Università della California, a Los Angeles , ma ha abbandonato gli studi un semestre prima di un BA [12] Nel giugno 2021, ha finalmente completato la sua laurea alla UCLA. [13]

I genitori di Newman erano ebrei non osservanti: lo stesso Newman è ateo . [14] Ha detto che la religione o qualsiasi senso di identità religiosa era completamente assente nella sua infanzia. Per illustrarlo, ha spesso raccontato nelle interviste un episodio di antisemitismo accaduto quando era giovane: fu invitato da una compagna di classe ad accompagnarla a un cotillion nel suo country club di Los Angeles, il Riviera Country Club . [14] Accettò l'invito ma fu successivamente disinvitato dal padre della ragazza, che disse a Newman che sua figlia non avrebbe mai dovuto invitarlo perché gli ebrei non erano ammessi nel club . Newman riattaccò il telefono, poi andò a chiedere a suo padre cosa fosse un "ebreo". [14] [15] [16]

Carriera

Newman suona il pianoforte nel 1972 Cantautore Newman è un cantautore professionista da quando aveva 17 anni. Cita Ray Charles come la sua più grande influenza durante la sua infanzia, affermando: "Ho amato la musica di Charles all'eccesso". [17] Il suo primo singolo come artista fu "Golden Gridiron Boy" del 1962, pubblicato quando aveva 18 anni. [18] Il singolo fallì e Newman scelse di concentrarsi sulla scrittura di canzoni e sull'arrangiamento per diversi anni.

Uno dei primi crediti di scrittura fu "They Tell Me It's Summer", usato come lato b del singolo dei Fleetwoods del 1962, "Lovers by Night, Strangers by Day", che portò a ulteriori commissioni da parte dei Fleetwoods e anche di Pat Boone . [19] Altre prime canzoni furono registrate da Gene Pitney , Jerry Butler , Petula Clark , Dusty Springfield , Jackie DeShannon , gli O'Jays e Irma Thomas , tra gli altri. Il suo lavoro come cantautore ha avuto un successo particolare nel Regno Unito: i 40 migliori successi britannici scritti da Newman includono "I've Been Wrong Before" di Cilla Black (n. 17, 1965), "Nobody Needs Your Love" di Gene Pitney ( N. 2, 1966) e " Just One Smile " (N. 8, 1966); e " Simon Smith and the Amazing Dancing Bear " di Alan Price Set (n. 4, 1967). Price, un tastierista inglese che all'epoca stava riscuotendo un grande successo, sostenne Newman presentando sette canzoni di Randy Newman nel suo album A Price on His Head del 1967 .

A metà degli anni '60, Newman mantenne uno stretto rapporto musicale con la band Harpers Bizarre , meglio conosciuta per la loro versione di successo del 1967 della composizione di Paul Simon " The 59th Street Bridge Song (Feelin' Groovy) ". La band registrò sei composizioni di Newman, tra cui "Simon Smith" e "Happyland", durante la loro breve carriera iniziale (1967-1969).

In questo periodo Newman iniziò una lunga collaborazione professionale con l'amico d'infanzia Lenny Waronker . Waronker era stato assunto per produrre i Tikis, i Beau Brummels e i Mojo Men , tutti sotto contratto con l'etichetta indipendente di Los Angeles Autumn Records . A sua volta chiamò Newman, Leon Russell e un altro amico, il pianista/arrangiatore Van Dyke Parks , per suonare nelle sessioni di registrazione. Più tardi, nel 1966, Waronker fu assunto come manager A&R dalla Warner Bros. Records e la sua amicizia con Newman, Russell e Parks diede inizio a un circolo creativo attorno a Waronker alla Warner Bros. che divenne una delle chiavi della Warner Bros.' successivo successo come etichetta di musica rock. [20]

Negli anni '70, Newman scrisse insieme a Jake Holmes il jingle "La bevanda analcolica più originale di sempre" per Dr Pepper . [21]

Nel 2011, Newman ha approvato l'album della cantante jazz Roseanna Vitro , The Randy Newman Project ( Motéma Music , 2011). [22]

Nel 2020, Newman ha scritto una canzone intitolata "Stay Away" per sostenere le persone durante la pandemia COVID-19. La canzone può essere scaricata e il ricavato va all'Ellis Marsalis Center per sostenere i bambini svantaggiati nel 9th ​​Ward di New Orleans. [23]

Le composizioni di canzoni di Newman sono rappresentate da Downtown Music Publishing DA Wikipedia

[denimbex1986]

'…Weekly Commentary: Barbenheimer has burst into the Oscar race with Christopher Nolan’s “Oppenheimer” and Greta Gerwig’s “Barbie” finally landing in theaters with critical acclaim and a possible colossal box office haul.

Of all the movies screened up to this point this year, Nolan’s movie is one of two films that could have all the key ingredients to win the Academy Awards’ most coveted prize. It’ll be a colossal guild player (watch out for the SAG ensemble), and the regional critics could make it a darling during the precursor season. The ongoing strikes could have a ripple effect on films that are dropping in the later months since their teams won’t be able to promote them in the same way as earlier titles…

The submission deadline for general categories is Nov. 18, 2023. Preliminary shortlist voting will begin on Dec. 18, with the results announced on Dec. 21. The voting period will run from Jan. 11-16, 2024, with the official nominations announcement on Jan. 23.

The 96th Oscars will be held on Sunday, Mar. 10.

AND THE PREDICTED NOMINEES ARE: “Killers of the Flower Moon” (Apple Original Films/Paramount Pictures) Dan Friedkin, Martin Scorsese, Bradley Thomas, Daniel Lupi “Oppenheimer” (Universal Pictures) Emma Thomas, Charles Roven, Christopher Nolan “Maestro” (Netflix) Fred Berner, Bradley Cooper, Amy Durning, Emma Tillinger Koskoff, Kristie Macosko Krieger, Todd Phillips, Martin Scorsese, Steven Spielberg “The Color Purple” (Warner Bros.) Quincy Jones, Scott Sanders, Steven Spielberg, Oprah Winfrey “Past Lives” (A24) David Hinojosa, Pamela Koffler, Christine Vachon “Saltburn” (Amazon Studios) Emerald Fennell, Josey McNamara, Tom Ackerley, Margot Robbie “The Holdovers” (Focus Features) Mark Johnson, Bill Block, David Hemingson “Spider-Man: Across the Spider-Verse” (Sony Pictures) Avi Arad, Phil Lord, Christopher Miller, Amy Pascal, Christina Steinberg “May December” (Netflix) Jessica Elbaum, Will Ferrell, Grant S. Johnson, Pamela Koffler, Tyler W. Konney, Sophie Mas, Natalie Portman, Christine Vachon “The Zone of Interest” (A24) Ewa Puszczynska, James Wilson NEXT IN LINE “Dune: Part Two” (Warner Bros.) “Anatomy of a Fall” (Neon) “Poor Things” (Searchlight Pictures) “Dumb Money” (Sony Pictures) “Air” (Amazon Studios) “Bob Marley: One Love” (Paramount Pictures) “The Book of Clarence” (Sony Pictures) “Nightbitch” (Searchlight Pictures) “The Killer” (Netflix) “Barbie” (Warner Bros.) OTHER TOP-TIER POSSIBILITIES “Are You There God? It’s Me, Margaret” (Lionsgate) “Wish” (Walt Disney Pictures) “Napoleon” (Apple Original Films/Sony Pictures) “The Iron Claw” (A24) “Ferrari” (Neon) “BlackBerry” (IFC Films) “Freud’s Last Session” (Sony Pictures Classics) “Challengers” (MGM) “El Conde” (Netflix) “Priscilla” (A24) ALSO IN CONTENTION “Fair Play” (Netflix) “Foe” (Amazon Studios) “Rustin” (Netflix) “Asteroid City” (Focus Features) “Nyad” (Netflix) “A Little Prayer” (Sony Pictures Classics) “Golda” (Bleecker Street) “Next Goal Wins” (Searchlight Pictures) “Memory” (No U.S. Distribution) “Shortcomings” (Sony Pictures Classics) ALL ELIGIBLE TITLES (ALPHABETIZED BY STUDIO)** “A Haunting in Venice” (20th Century Studios) “The Bikeriders” (20th Century Studios) “Beau is Afraid” (A24) “Dream Scenario” (A24) “The Iron Claw” (A24) “Past Lives” (A24) “Priscilla” (A24) “Showing Up” (A24) “When You Finish Saving the World” (A24) “You Hurt My Feelings” (A24) “The Zone of Interest” (A24) “Air” (Amazon Studios) “The Burial” (Amazon Studios) “Cassandro” (Amazon Studios) “Foe” (Amazon Studios) “Saltburn” (Amazon Studios) “Flora and Son” (Apple Original Films) “Killers of the Flower Moon” (Apple Original Films/Paramount Pictures) “Napoleon” (Apple Original Films/Sony Pictures) “Still: A Michael J. Fox Movie” (Apple Original Films) “Across the River and Into the Trees” (Bleecker Street) “Golda” (Bleecker Street) “The Origin” (Bleecker Street) “Untitled Mike Leigh Film” (Bleecker Street) “Suzume” (Crunchyroll) “The YouTube Effect” (Drafthouse Films) “Ruby Gillman, Teenage Kraken” (DreamWorks Animation) “Trolls Band Together” (DreamWorks Animation) “Asteroid City” (Focus Features) “Drive Away Dolls” (Focus Features) “Every Body” (Focus Features) “The Holdovers” (Focus Features) “My Big Fat Greek Wedding 3” (Focus Features) “A Thousand and One” (Focus Features) “How Do You Live?” (GKids) “BlackBerry” (IFC Films) “Monica” (IFC Films) “R.M.N.” (IFC Films) “The Pot au Feu” (IFC Films) “Migration” (Illumination) “Flamin’ Hot” (Hulu/Searchlight Pictures) “The Super Mario Bros. Movie” (Illumination) “Are You There God? It’s Me, Margaret” (Lionsgate) “The Hunger Games: The Ballad of Songbirds and Snakes” (Lionsgate) “John Wick Chapter 4” (Lionsgate) “Joy Ride” (Lionsgate) “Baby Ruby” (Magnet Releasing) “Little Richard: I Am Everything” (Magnolia Pictures) “Master Gardener” (Magnolia Pictures) “The Stones and Brian Jones” (Magnolia Pictures)

“Untitled Ernest Cole Documentary” (Magnolia Pictures) “Ant-Man and the Wasp: Quanumania” (Marvel Studios) “Guardians of the Galaxy Vol. 3” (Marvel Studios) “The Marvels” (Marvel Studios) “Bottoms” (MGM/Orion) “Boys in the Boat” (MGM) “Challengers” (MGM) “Creed III” (MGM) “Landscape with Invisible Hand” (MGM) “The Nickel Boys” (MGM) “Untitled Cord Jefferson Movie” (MGM) “The Eternal Memory” (MTV Documentary Films) “The Delinquents” (Mubi) “Fallen Leaves” (Mubi) “The Settlers” (Mubi) “Unclenching the Fists” (Mubi) “Anatomy of a Fall” (Neon) “Eileen” (Neon) “How to Blow Up a Pipeline” (Neon) “La Chimera” (Neon) “Longlegs” (Neon) “Mothers’ Instinct” (Neon) “Perfect Days” (Neon) “Robot Dreams” (Neon) “Chicken Run: Dawn of the Nugget” (Netflix) “The Deepest Breath” (Netflix) “El Conde” (Netflix) “Fair Play” (Netflix) “The Killer” (Netflix) “Leave the World Behind” (Netflix) “Leo” (Netflix) “Maestro” (Netflix) “The Magician’s Elephant” (Netflix) “May December” (Netflix) “Miraculous: Ladybug & Cat Noir: The Movie” (Netflix) “The Monkey King” (Netflix) “Nimona” (Netflix) “Nyad” (Netflix) “Pain Hustlers” (Netflix) “Rebel Moon” (Netflix) “Reptile” (Netflix) “Rustin” (Netflix)

“Society of the Snow” (Netflix) “Stamped from the Beginning” (Netflix) “About Dry Grasses” (No U.S. Distribution) “Banel Et Adams” (No U.S. Distribution) “The Bastard” (No U.S. Distribution) “Black Flies” (No U.S. Distribution) “The Breaking Ice” (No U.S. Distribution) “The Burti Flower” (No U.S. Distribution) “Caste” (No U.S. Distribution) “Club Zero” (No U.S. Distribution) “Firebrand” (No U.S. Distribution) “Four Daughters” (No U.S. Distribution) “Goodbye Julia” (No U.S. Distribution) “Hopeless” (No U.S. Distribution) “How to Have Sex” (No U.S. Distribution) “If Only I Could Hibernate” (No U.S. Distribution) “Il Sol Dell’Avvenire” (No U.S. Distribution) “Jeunesse” (No U.S. Distribution) “L’Ete Dernier” (No U.S. Distribution) “Le Regne Animal” (No U.S. Distribution) “Lee” (No U.S. Distribution) “Les Meutes” (No U.S. Distribution) “Memory” (No U.S Distribution) “Monster” (No U.S. Distribution) “The Mother of All Lies” (No U.S. Distribution) “The New Boy” (No U.S. Distribution) “The Old Oak” (No U.S. Distribution) “Omen” (No U.S. Distribution) “The Passion of Dodin Bouffant” (No U.S. Distribution) “Rapito” (No U.S. Distribution) “Rein a Perdre” (No U.S. Distribution) “Rosalie” (No U.S. Distribution) “The Settlers” (No U.S. Distribution) “Simple Comme Sylvain” (No U.S. Distribution) “Terrestrial Verses” (No U.S. Distribution) “Trans Los Angeles” (No U.S. Distribution) “Untitled Diane Warren Documentary Project” (No U.S. Distribution) “Bob Marley: One Love” (Paramount Pictures) “Mission: Impossible – Dead Reckoning Part One” (Paramount Pictures) “PAW Patrol: The Mighty Movie” (Paramount Pictures) “Teenage Mutant Ninja Turtles: Mutant Mayhem” (Paramount Pictures) “Transformers: Rise of the Beasts” (Paramount Pictures) “Please Don’t Destroy This Project” (Peacock) “Elemental” (Pixar) “Camp Hideout” (Roadside Attractions) “Chevalier” (Searchlight Pictures) “Magazine Dreams” (Searchlight Pictures) “Next Goal Wins” (Searchlight Pictures) “Nightbitch” (Searchlight Pictures) “Poor Things” (Searchlight Pictures) “Strangers” (Searchlight Pictures) “Theater Camp” (Searchlight Pictures) “The Book of Clarence” (Sony Pictures) “Dumb Money” (Sony Pictures) “The Equalizer 3” (Sony Pictures) “Kraven the Hunter” (Sony Pictures) “No Hard Feelings” (Sony Pictures) “Spider-Man: Across the Spider-Verse” (Sony Pictures) “Freud’s Last Session” (Sony Pictures Classics) “A Little Prayer” (Sony Pictures Classics) “The Miracle Club” (Sony Pictures Classics) “Persian Version” (Sony Pictures Classics) “Shadya” (Sony Pictures Classics) “Shortcomings” (Sony Pictures Classics) “Teachers Lounge” (Sony Pictures Classics) “They Shot the Piano Player” (Sony Pictures Classics) “Ferrari” (Neon) “Cocaine Bear” (Universal Pictures) “The Exorcist: Believer” (Universal Pictures) “Fast X” (Universal Pictures) “M3gan” (Universal Pictures) “Oppenheimer” (Universal Pictures) “Aquaman and the Lost Kingdom” (Warner Bros.) “Barbie” (Warner Bros.) “Blue Beetle” (Warner Bros.) “The Color Purple” (Warner Bros.) “Dune: Part Two” (Warner Bros.) “The Flash” (Warner Bros.) “Wonka” (Warner Bros.) “Indiana Jones and the Dial of Destiny” (Warner Bros.) “The Little Mermaid” (Walt Disney Pictures) “Wish” (Walt Disney Pictures) ** This official list is incomplete…'

[byneddiedingo]

Michael Fassbender in Macbeth (Justin Kurzel, 2015)

Cast: Michael Fassbender, Marion Cotillard, Paddy Considine, Sean Harris, Jack Reynor, Elizabeth Debicki, David Thewlis, David Heyman, Maurice Roëves, Brian Nickels, Ross Anderson. Screenplay: Todd Louiso, Jacob Koskoff, Michael Lesslie, based on a play by William Shakespeare. Cinematography: Adam Arkapaw. Production design: Fiona Crombie. Film editing: Chris Dickens. Music: Jed Kurzel.

Translating a play from its theatrical mode into a cinematic one is never easy, but Justin Kurzel and his screenwriters, Jacob Koskoff, Michael Lesslie, and Todd Louiso, do several smart things in their adaptation of Macbeth. They open the film with a scene not in Shakespeare's play, the funeral of a small child presumably born to Macbeth (Michael Fassbender) and his Lady (Marion Cotillard), an extrapolation from Lady Macbeth's later claim that she has "given suck" to an infant. It establishes the sense of unsettling loss and grave disorientation that feeds the Macbeths' ambition. The film also scraps the witches' cauldron scene, its "double, double, toil and trouble" and "eye of newt" incantations, which can become ludicrous even in a well-done modern production, turning the witches into Halloween hags instead of the eerie prophets Shakespeare portrayed. In their place, the witches become three peasant women, one of whom has a baby in her arms, accompanied by another child. They seem indigenous, gifted with the air of prophecy attributed to those close to the land. Another problematic element of the play, the movement of Birnam Wood to Dunsinane, which can look silly on stage, with soldiers carrying branches in their hands, is resolved into something terrifying: Birnam Wood comes to Dunsinane in the form of ashes and sparks, after the forest is set fire to by the troops of Macduff (Sean Harris) and Malcolm (Jack Reynor). This also creates a hellish landscape for the final duel of Macbeth and Macduff. There are some other touches that, though cinematic, don't work quite so well. Lady Macbeth's line, "screw your courage to the sticking place," is turned into a kind of dirty joke: an encouragement for Macbeth to penetrate her sexually. The banquet scene and the appearance of Banquo's ghost (Paddy Considine) are awkwardly staged. The lady's sleepwalking scene is shorn of its witnesses, and despite Cotillard's fine performance, it becomes a disjointed monologue in which she returns to the scene of the original crime, the murder of Duncan (David Thewlis). And worst of all, I think, the fear that speaking Shakespeare's verse aloud could become "stagey," leads Kurzel to reduce much of the dialogue and soliloquies to murmurs and whispers. The "Tomorrow and tomorrow and tomorrow" speech is barely coherent when Macbeth mutters it as he hauls Lady Macbeth from her deathbed. Fassbender and Cotillard are formidable actors, but they have been done a severe disservice by not allowing them to use their voices to full effect.

[ljones41]

“MARSHALL” (2017) Review

"MARSHALL" (2017) Review I have a confession. I had no interest in seeing the recent movie, "MARSHALL", when I first heard about it. I thought it would turn out to be one of those solemn biography flicks about some "great man in history" and his struggles to become successful in his endeavors. But when I learned about the movie's plot, I changed my mind and decided to see it.

Directed by Reginald Hudlin, "MARSHALL" was about a "great man in history" - none other than the first African-American to be an Associate Justice of the U.S. Supreme Court, Thurgood Marshall. However, this film focused on his position as a defense counselor for and director of NAACP Legal Defense and Educational Fund and his role in the 1941 case of "the State of Connecticut v. Joseph Spell". Following the successful end of a case in Oklahoma in 1941, NAACP defense attorney Thurgood Marshall returns to New York City for a rest. However, his rest and reunion with his wife, Vivien "Buster" Burey, is short-lived when NAACP Director Walter Francis White sends him to Bridgeport, Connecticut to defend Joseph Spell, a chauffeur accused of rape by his white employer, Eleanor Strubing. In order to get Marshall admitted to the local bar and defend Spell, a local member of the Bridgeport NAACP office tries to recruit an insurance attorney named Sam Friedman to help. However, Friedman is more interested in keeping his distance from the controversial case, until his brother Irwin coerces him into getting involved. Judge Foster a family friend of prosecutor Lorin Willis, agrees to admit Marshall to the local bar. But he forbids Marshall from speaking during the trial. This act forces Friedman to act as Spell's lead counsel, while Marshall guides the former through the jury selection process and the actual trial. Judge Foster's refusal to allow Marshall to speak proves to be the first of several stumbling blocks in his and Friedman's efforts to defend Spell. Despite the movie's narrative, "MARSHALL" could have remained one of those stately biopics that usually ends up boring me senseless. Thanks to Reginald Hudlin's direction and the screenplay written by Michael and Jacob Koskoff, the movie proved to be a lot different. Instead, "MARSHALL" proved to be a very interesting re-creation of the 1941 controversial case in which a black man is accused of raping a white woman. Stories or real life incidents involving interracial rape - especially that of white women - have been around for decades. Stories about racism in the U.S. South have been around for a long time, as well. However, I have also noticed that in recent years, Hollywood has turned its eye upon Northern racism, especially in the Northeast. In its portrayal of the "the State of Connecticut v. Joseph Spell" case, "MARSHALL"turned out to be one of those movies that exposed Northern racism. I was also impressed by how the Koskoff brothers treated the Spell case as a legal mystery. Ironically, the movie did not begin with scenes that led to Joseph Spell's arrest. I must admit that I had expected "MARSHALL" to begin with a sequence featuring vague details of the crime. Instead, it began with Thurgood Marshall finishing a case in Oklahoma. The audience learned about the Spell case around the same time Walter White assigned him to defend Joseph Spell. This led me to realize that the entire movie was told from the viewpoint of two people - Marshall and Sam Friedman. Some have criticized the movie for including Friedman as a leading character in the film. They believed this situation robbed the Thurgood Marshall character some of his agency as the film's leading character, by having Friedman as a co-lead. Personally, I did not mind occasionally watching the film from Friedman's point-of-view. I found it interesting. And to be honest, history itself set up this situation, due to the trial's presiding judge refusing to recognize Marshall as Spell's primary attorney. However, dealing with a potentially hostile judge and a patronizing prosecutor, and being regulated to secondary attorney for the defense seemed to be a walk in the park for Marshall. He also has to deal with Bridgeport's racially hostile citizens; pressure from the N.A.A.C.P. to successfully defend Spell; and Friedman, who turned out to be a reluctant and wary co-defender, worried about how his defense of Spell would affect his practice. Marshall also has to deal with Friedman's lack of experience in criminal law. But the biggest roadblock proves to be Marshall's growing suspicion that his client is lying about the latter's relationship with the alleged victim. And I thought the movie did an excellent job keeping these aspects of the story balance, due to the Koskoffs' screenplay and Hudlin's direction. I have a minor quibble regarding the movie. Although the movie made it plain that the N.A.A.C.P. regarded Marshall's successful defense of Spell as a means to lure more donations for the agency, I believed that it ignored an even more important topic. A part of me wished that the movie had also touched upon Northern blacks' feelings of being ignored by the agency and the latter's illusion that most of American racism was focused in the South. Another reason why a "not guilty" for Spell was so important was to convey the message that confronting racism from the North and other parts of the country was just as important as confronting as Southern racism. But I get the feeling that the movie's producers, writers and director were wary of approaching, let alone exploring this topic. Considering that "MARSHALL" is not what one would consider a large budget film, I was impressed by its production values. Now I cannot say that any of the film's technical details blew my mind. Well . . . perhaps two of them did. I found Newton Thomas Sigel's cinematography colorful, sharp and lovely to look at. This seemed especially apparent in the film's exterior shots. I also enjoyed Ruth E. Carter's costume designs. Not only did I find them to be a close representation of fashion for both men and women in 1941, but they also seemed to be good representations of the major characters' economic class. As for Richard Hoover's production designs, Kara Lindstrom's set decorations and Jeff Schoen's art direction; I found satisfying, but not particularly memorable. "MARSHALL" featured solid performances from supporting cast members like Jeffrey DeMunn, John Magaro, Zanete Shadwick, Derrick Baskin, Barrett Doss, Keesha Sharp, Rozanda Sharp, and Jeremy Bobb. Jussie Smollett gave a brief, yet subtle performance as the famous poet, Langston Hughes. And Roger Guenveur Smith was effectively commanding as N.A.A.C.P. director Walter White. Dan Stevens did an excellent job in conveying the patronizing and self-privileged prosecutor Loren Willis. James Cromwell gave a very interesting performance as Judge Foster. Although Cromwell managed to convey his character's obvious bigotry, it seemed that some of his character's decisions - including a willingness to allow Marshall to act as second chair for the defense - seemed to express the latter's unwillingness to put Northern racism on display for the world to see. Kate Hudson's portrayal of the alleged victim, Eleanor Strubing struck me as effectively ambiguous. Hudson did an excellent job in conveying mixed signals over her character. I felt anger over her character's charges of rape against the defendant. Yet at the same time, I felt pity toward the character being an obvious victim of spousal abuse. Ironically, Sterling K. Brown also managed to effectively convey the ambiguity of his character, the defendant Joseph Spell. Now, one might wonder why I would regard Spell as an ambiguous character. Brown did an excellent job in expressing his character's innocence. And yet, the actor also managed to convey the air that his character was lying to Marshall on a certain level. I have seen Chadwick Boseman in three other films before "MARSHALL". And I was impressed. But I felt a lot more impressed by his portrayal of Thurgood Marshall in this film. The actor did a superb job in conveying the different aspects of Marshall's personality - his charisma, witty sense of humor, intelligence and more importantly, a slight perverse streak in his nature. Boseman was very subtle in expressing Marshall's arrogance and slight tendency of needling . . . especially with Langston Hughes and Sam Friedman. Another first-rate performance came from Josh Gad, who portrayed Friedman, the man forced to act as Spell's primary defender. I noticed that although Friedman seemed friendly with the head of Bridgeport's N.A.A.C.P. office, he seemed very wary of helping Marshall with defending Spell. I understood this. He was worried how his participation in the case would look with his own clients and Bridgeport's Jewish community. But I realized that if Friedman had truly been that racially tolerant at the time, he would not care . . . like his brother. This is why I found it very satisfying to watch Gad develop into that openly tolerant man who no longer cared about how others would regard his views on race and especially African-Americans. I would never regard "MARSHALL" as one of the best movies of 2017. To be honest, I do not believe in any "best movies of the year" list. But I enjoyed "MARSHALL" so much that in the end, it became one of my favorite movies of that year. And I can thank director Reginald Hudlin, screenwriters Jacob and Michael Koskoff and an excellent cast led by the always talented Chadwick Boseman for making this film so enjoyable and fascinating for me.

[redcarpetview]

Chadwick Boseman Stars as Thurgood Marshall in Film “Marshall”

Chadwick Boseman in MARSHALL. Photo credit:  Barry Wetcher / Distributor: Open Road Films

    By Naomi Richard

     Actor Chadwick Boseman plays the Honorable Thurgood Marshall, the first African-American Supreme Court Justice, as he battles through one of his career-defining cases in the biopic Marshall, in theaters nationwide now. Marshall, appointed to the Supreme Court in 1967, is most famous for his victory in the landmark 1954 Brown vs. Board of Education case, which desegregated public schools.

        Boseman is an established and accomplished actor, slated as the upcoming Black Panther (2018) and he played baseball great Jackie Robinson in the biopic 42. In a recent press interview, Boseman explained the journey to landing the roll as Marshall. “Every biopic that comes through my attorneys and agents are like, ‘we will read it first before it gets to you.’ Second of all I’ll be like, ‘no, no, no.’ So it took me knowing Reggie [Reginald Hudlin] and wanting to work with Reggie and Paula Wagner, a long time successful producer. She was friends with my agent…Then John Marshall [Thurgood Marshall’s son] wrote a letter saying he wanted me to play the role. Then it was a yes!”

        The biopic Marshall depicts a young Thurgood Marshall facing one of his greatest challenges while working as a lawyer for the NAACP.  Marshall travels to conservative Connecticut when wealthy socialite Eleanor Strubing (played by Kate Hudson) accuses black chauffeur Joseph Spell of sexual assault and attempted murder. He soon teams up with Sam Friedman, a local Jewish lawyer who's never handled a criminal case. Together, the two men build a defense while contending with racist and anti-Semitic views from those who deem Spell to be guilty.

         Chadwick Boseman and Josh Gad in MARSHALL. Photo credit:  Barry Wetcher / Distributor: Open Road Films             

       The screenplay, co-written by Michael and Jacob Koskoff was sold to producer Paula Wagner, who is the powerhouse behind the Mission Impossible franchise, Jack Reacher, The Last Samurai, The Eye and Vanilla Sky, to name a few. Wagner also sits on the National Board of Directors for the Producers Guild of America.

        As mentioned, the film is directed by Reginald Hudlin, movie producer of the box office sensation Django Unchained, which grossed over $400 million dollars worldwide. Other cast members include Josh Gad -- a multi-talented comedian, dancer and dramatic actor with a recent Beauty and the Beast credit -- Sterling K. Brown, Dan Stevens, James Cromwell, Keesha Sharp, Jussie Smollett and more. It Is rated PG-13 and distributed by Open Road Films.

                                                                                                                        # # #

[insanityclause]

Of note here: Two nominations for Earth at Night in Color - for Anthology Series and Best Cinematography.

Anthology Series

Earth at Night in Color Alex Williamson, Executive Producer | Apple

Generation Hustle Angie Day and Yon Motskin, Executive Producers | HBO Max

High on the Hog: How African American Cuisine Transformed America Fabienne Toback, Karis Jagger and Roger Ross Williams, Executive Producers | Netflix

How to with John Wilson Nathan Fielder, Michael Koman, Clark Reinking and John Wilson, Executive Producers | HBO

Pretend It’s a City Martin Scorsese, Fran Liebowitz, David Tedeschi, Ted Griffin, Emma Tillinger Koskoff, Joshua Porter and Margaret Bodde, Executive Producers | Netflix

Taste the Nation with Padma Lakshmi Padma Lakshmi, David Shadrack Smith and Sarina Roma, Executive Producers | Hulu

Outstanding Broadcast Cinematography

100 Foot Wave Nominees to be determined | HBO

City So Real Jackson James and Steve James | National Geographic

David Byrne’s American Utopia Ellen Kuras | HBO

Earth at Night in Color Nominees to be determined | Apple

High on the Hog: How African American Cuisine Transformed America Jerry Henry | Netflix

The award ceremony recognizing outstanding artistry and craft in nonfiction filmmaking will take place at the Museum of the Moving Image in Astoria on January 13, 2022.

[dekster184-blog]

MACBETH

Macbeth is a 2015 British-French-American war historical drama film

Based on William Shakespeare's play of the same name

Directed by Justin Kurzel

Written by Jacob Koskoff, Todd Louiso, and Michael Lesslie. 

The film stars Michael Fassbender in the title role and Marion Cotillard as Lady Macbeth.

Starring Paddy Considine, Sean Harris, Jack Reynor, Elizabeth Debicki

[milliondollarbaby87]

Marshall (2017) Review

In America in the 1940s young layer Thurgood Marshall travels across the country defending innocent African-Americans from the unjust and very biased courts. The case in Connecticut sees him work with Sam Friedman to defend Joseph Spell who has been accused of raping a wealthy white woman.

⭐️⭐️⭐️⭐️

(more…)

[envisiontv]

Marshall – Trailer Young Thurgood Marshall faces one of his greatest challenges while working as a lawyer for the NAACP.

[blogdemocratesjr]

Macbeth (2015) by Todd Louiso, Jacob Koskoff, Michael Lesslie

[masterofd1saster]

CJ court watch 22feb22

Sandy Hook

The families of nine victims of the shooting at Sandy Hook announced they have reached a $73 million settlement with Remington, the gunmaker of the AR-15 used in the 2012 school shooting.***

“[Congress was] not willing to let the gun industry off the hook for breaking a state law that was applicable to the sale and marketing of firearms,” Koskoff said.

He argued Remington did just that under the Connecticut Unfair Trade Practices Act, citing how the military-style AR-15 was marketed to vulnerable men using questions around masculinity.*** https://www.nbcconnecticut.com/news/local/sandy-hook-victims-reach-73m-settlement-with-gunmaker/2720179/'

You must be a truly vulnerable male if a 5.56mm rifle proves your masculinity. Everybody knows really men pack 7.62.

The case was

***

6th Circuit reversed a judgment for police who arrested a man with a bad potty mouth.

Michael Wood wore a shirt bearing the words “Fuck the Police” to the county fair. According to Wood, the defendant police officers ordered him to leave and escorted him from the fairgrounds because of his shirt. While leaving, Wood made his displeasure known through numerous coarse insults levied at the police and the fairground's administrator. The defendants then arrested Wood for disorderly conduct. After the charges were dismissed, Wood filed this § 1983 action against the officers, alleging false arrest and retaliation. The district court granted summary judgment to the defendants. We reverse because Wood's speech was protected by the First Amendment.***

While Wood's speech was profane, the circumstances did not create a situation where violence was likely to result. None of the officers reacted with violence or appeared to view Wood's words as “an invitation to exchange fisticuffs.” ***(speech not fighting words where there was “no showing that anyone who saw Cohen was in fact violently aroused or that appellant intended such a result”); *** (concluding that derogatory speech about Islam did not qualify as fighting words, in part, because “the average individual attending the Festival did not react with violence, and of the group made up of mostly adolescents, only a certain percentage engaged in bottle throwing when they heard the proselytizing”). “And if violence had resulted, the officers would be facing more claims than they are now.” *** We therefore conclude that the First Amendment protected Wood's speech and thus his disorderly conduct arrest lacked probable cause. This conclusion is consistent with those of other circuits to have considered similar issues. See Payne v. Pauley, 337 F.3d 767, 776 (7th Cir. 2003) (“[T]he First Amendment protects even profanity-laden speech directed at police officers. Police officers reasonably may be expected to exercise a higher degree of restraint than the average citizen and should be less likely to be provoked into misbehavior by such speech.” (citing City of Houston, 482 U.S. at 461, 107 S.Ct. 2502)); United States v. Poocha, 259 F.3d 1077, 1082 (9th Cir. 2001) (holding that yelling “fuck you” at an officer was not likely to provoke a violent response and “[c]riticism of the police, profane or otherwise, is not a crime”); Buffkins v. City of Omaha, 922 F.2d 465, 472 (8th Cir. 1990) (plaintiff's “use of the word ‘asshole’ could not reasonably have prompted a violent response from the arresting officers”).*** Wood v. Eubanks, No. 20-3599, 2022 WL 369350, at *1, *6 (6th Cir. Feb. 8, 2022)

[scottwinters714]

New Post has been published on https://comicbookheros.everythingonlinenow.com/joker-turkce-altyazili-son-fragman/

JOKER- Türkçe Altyazılı Son Fragman

Yeni fragman. #Joker yakında sinemalarda.

Başrolde Oscar adayı Joaquin Phoenix ve Oscar Ödüllü Robert De Niro’nun bulunduğu ‘Joker’ Warner Bros. Pictures ile daha önce hiç karşınıza çıkmayan orijinal bir hikaye ile dev ekranlara geliyor. Filmin yapımı ve yönetmenliği Oscar adayı Todd Phillips’e ait. Filmin diğer oyuncuları ise şöyle sıralanıyor: Zazie Beetz (“Deadpool 2”), Frances Conroy (Dizi “American Horror Story,” Hulu’s “Castle Rock”), Marc Maron (Dizi “Maron,” “GLOW”), Bill Camp (“Red Sparrow,” “Molly’s Game”), Glenn Fleshler (Dizi “Billions,” “Barry”), Shea Whigham (“First Man,” “Kong: Skull Island”), Brett Cullen (“42,” Netflix’s “Narcos”), Douglas Hodge (“Red Sparrow,” Dizi “Penny Dreadful”) ve Josh Pais ( gelecek“Motherless Brooklyn,” “Going in Style”). DC karakterlerinden esinlenilen, Phillips’in yönettiği filmin senaryosu Scott Silver (“The Fighter”) ve Phillips ile birlikte yazıldı. Filmin yapımı Phillips, Bradley Cooper ve Emma Tillinger Koskoff ile ortak bir çalışmayla gerçekleşti. Yönetici yapımcılığını ise Walter Hamada, Michael E. Uslan, Aaron L. Gilbert, Joseph Garner, Richard Baratta ve Bruce Berman üstlendi. Kamera arkası yaratıcı ekibinde görüntü yönetmeni Lawrence Sher (gelecek “Godzilla: King of the Monsters,” “The Hangover” üçlemesi ), yapım tasarımcısı Friedberg (“Selma,” “The Amazing Spider-Man 2”), editör Jeff Groth (“War Dogs,” “The Hangover Part III”) ve Oscar ödüllü kostüm tasarımcısı Mark Bridges (“Phantom Thread,” “The Artist”) bulunuyor. Warner Bros. Pictures sunumu, Village Roadshow Pictures, BRON Creative, Joint Effort Production işbilirliğiyle Todd Phillips filmi ‘Joker’ Dünya çapında Warner Bros. Pictures dağıtımıyla Ekim ayında vizyon girmesi bekleniyor.

[cuethetommo]

2018 Grammy Nominations

*this is only a reflection of those categories that Solo OT5 were nominated in (except Best New Artist, I just wanted to include it), for the full list, click here.

GENERAL FIELD

Category 1 - Record Of The Year (Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist.)

Redbone - Childish Gambino (Ludwig Goransson, producer; Donald Glover, Ludwig Goransson, Riley Mackin & Ruben Rivera, engineers/mixers; Bernie Grundman, mastering engineer)

Despacito - Luis Fonsi & Daddy Yankee Featuring Justin Bieber (Josh Gudwin, Mauricio Rengifo & Andrés Torres, producers; Josh Gudwin & Jaycen Joshua, engineers/mixers; Dave Kutch, mastering engineer)

The Story Of O.J. - JAY-Z (JAY-Z & No I.D., producers; Jimmy Douglas & Gimel "Young Guru" Keaton, engineers/mixers; Dave Kutch, mastering engineer)

HUMBLE. - Kendrick Lamar (Mike Will Made It, producer; Derek "MixedByAli" Ali, James Hunt & Matt Schaeffer, engineers/mixers; Mike Bozzi, mastering engineer)

24K Magic - Bruno Mars (Shampoo Press & Curl, producers; Serban Ghenea, John Hanes & Charles Moniz, engineers/mixers; Tom Coyne, mastering engineer)

Category 2 - Album Of The Year (Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s) credited with at least 33% playing time of the album, if other than Artist.)

"Awaken, My Love!" - Childish Gambino (Ludwig Goransson, producer; Bryan Carrigan, Donald Glover, Ludwig Goransson, Riley Mackin & Ruben Rivera, engineers/mixers; Donald Glover & Ludwig Goransson, songwriters; Bernie Grundman, mastering engineer)

4:44 - JAY-Z (JAY-Z & No I.D., producers; Jimmy Douglas & Gimel "Young Guru" Keaton, engineers/mixers; Shawn Carter & Dion Wilson, songwriters; Dave Kutch, mastering engineer)

DAMN. - Kendrick Lamar (DJ Dahi, Sounwave & Anthony Tiffith, producers; Derek "MixedByAli" Ali, James Hunt & Matt Schaeffer, engineers/mixers; K. Duckworth, D. Natche, M. Spears & A. Tiffith, songwriters; Mike Bozzi, mastering engineer)

Melodrama - Lorde (Jack Antonoff & Lorde, producers; Serban Ghenea, John Hanes & Laura Sisk, engineers/mixers; Jack Antonoff & Ella Yelich-O'Connor, songwriters; Randy Merrill, mastering engineer)

24K Magic - Bruno Mars (Shampoo Press & Curl, producers; Serban Ghenea, John Hanes & Charles Moniz, engineers/mixers; Christopher Brody Brown, James Fauntleroy, Philip Lawrence & Bruno Mars, songwriters; Tom Coyne, mastering engineer)

Category 3 - Song Of The Year (A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.)

Despacito - Ramón Ayala, Justin Bieber, Jason "Poo Bear" Boyd, Erika Ender, Luis Fonsi & Marty James Garton, songwriters (Luis Fonsi & Daddy Yankee Featuring Justin Bieber)

4:44 - Shawn Carter & Dion Wilson, songwriters (JAY-Z)

Issues - Benny Blanco, Mikkel Storleer Eriksen, Tor Erik Hermansen, Julia Michaels & Justin Drew Tranter, songwriters (Julia Michaels)

1-800-273-8255 - Alessia Caracciolo, Sir Robert Bryson Hall II, Arjun Ivatury & Khalid Robinson, songwriters (Logic Featuring Alessia Cara & Khalid)

That's What I Like - Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars)

Category 4 - Best New Artist (An artist will be considered for Best New Artist if their eligibility year release/s achieved a breakthrough into the public consciousness and notably impacted the musical landscape.)

Alessia Cara

Khalid

Lil Uzi Vert

Julia Michaels

SZA

FIELD 1 - POP

Category 5 - Best Pop Solo Performance (For new vocal or instrumental pop recordings. Singles or Tracks only.)

Love So Soft - Kelly Clarkson

Praying - Kesha

Million Reasons - Lady Gaga

What About Us - P!nk

Shape Of You - Ed Sheeran

Category 6 - Best Pop Duo/Group Performance (For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.)

Something Just Like This - The Chainsmokers & Coldplay

Despacito - Luis Fonsi & Daddy Yankee Featuring Justin Bieber

Thunder - Imagine Dragons

Feel It Still - Portugal. The Man

Stay - Zedd & Alessia Cara

FIELD 2 - DANCE/ELECTRONIC MUSIC

Category 9 - Best Dance Recording (For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.)

Bambro Koyo Ganda - Bonobo Featuring Innov Gnawa (Bonobo, producer; Bonobo, mixer)

Cola - Camelphat & Elderbrook (Mike Di Scala, Elderbrook & David Whelan, producers; Mike Di Scala, Elderbrook & David Whelan, mixers)

Andromeda - Gorillaz Featuring DRAM (Damon Albarn, Jamie Hewlett, Remi Kabaka & Anthony Khan, producers; Stephen Sedgwick, mixer)

Tonite - LCD Soundsystem (James Murphy, producer; James Murphy, mixer)

Line Of Sight - Odesza Featuring WYNNE & Mansionair (Clayton Knight & Harrison Mills, producers; Eric J Dubowsky, mixer)

FIELD 4 - ROCK

Category 12 - Best Rock Performance (For new vocal or instrumental solo, duo/group or collaborative rock recordings.)

You Want It Darker - Leonard Cohen

The Promise - Chris Cornell

Run - Foo Fighters

No Good - Kaleo

Go To War - Nothing More

Category 14 - Best Rock Song (A Songwriter(s) Award. Includes Rock, Hard Rock and Metal songs. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.)

Atlas, Rise! - James Hetfield & Lars Ulrich, songwriters (Metallica)

Blood In The Cut - JT Daly & Kristine Flaherty, songwriters (K.Flay)

Go To War - Ben Anderson, Jonny Hawkins, Will Hoffman, Daniel Oliver, David Pramik & Mark Vollelunga, songwriters (Nothing More)

Run - Foo Fighters, songwriters (Foo Fighters)

The Stage - Zachary Baker, Brian Haner, Matthew Sanders, Jonathan Seward & Brooks Wackerman, songwriters (Avenged Sevenfold)

Category 15 - Best Rock Album (For albums containing at least 51% playing time of new rock, hard rock or metal recordings.)

Emperor Of Sand - Mastodon

Hardwired...To Self-Destruct - Metallica

The Stories We Tell Ourselves - Nothing More

Villains - Queens Of The Stone Age

A Deeper Understanding - The War On Drugs

FIELD 20 - MUSIC FOR VISUAL MEDIA

Category 61 - Best Song Written For Visual Media (A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.)

City Of Stars - Justin Hurwitz, Benj Pasek & Justin Paul, songwriters (Ryan Gosling & Emma Stone)

How Far I'll Go - Lin-Manuel Miranda, songwriter (Auli'i Cravalho)

I Don't Wanna Live Forever (Fifty Shades Darker) - Jack Antonoff, Sam Dew & Taylor Swift, songwriters (ZAYN & Taylor Swift)

Never Give Up -  Sia Furler & Greg Kurstin, songwriters (Sia)

Stand Up For Something - Common & Diane Warren, songwriters (Andra Day Featuring Common)

FIELD 29 - MUSIC VIDEO/FILM

Category 83 - Best Music Video (Award to the artist, video director, and video producer.)

Up All Night - Beck (Canada, video director; Laura Serra Estorch & Oscar Romagosa, video producers)

Makeba - Jain (Lionel Hirle & Gregory Ohrel, video directors; Yodelice, video producer)

The Story Of O.J. - JAY-Z (Shawn Carter & Mark Romanek, video directors; Daniel Midgley, video producer)

Humble. - Kendrick Lamar (The Little Homies & Dave Meyers, video directors; Jason Baum, Dave Free, Jamie Rabineau, Nathan K. Scherrer & Anthony Tiffith, video producers)

1-800-273-8255 - Logic Featuring Alessia Cara & Khalid (Andy Hines, video director; Andrew Lerios, video producer)

Category 84 - Best Music Film (For concert/performance films or music documentaries. Award to the artist, video director, and video producer.)

One More Time With Feeling - Nick Cave & The Bad Seeds (Andrew Dominik, video director; Dulcie Kellett & James Wilson, video producers)

Long Strange Trip - The Grateful Dead (Amir Bar-Lev, video director; Alex Blavatnik, Ken Dornstein, Eric Eisner, Nick Koskoff & Justin Kreutzmann, video producers)

The Defiant Ones - Various Artists (Allen Hughes, video director; Sarah Anthony, Fritzi Horstman, Broderick Johnson, Gene Kirkwood, Andrew Kosove, Laura Lancaster, Michael Lombardo, Jerry Longarzo, Doug Pray & Steven Williams, video producers)

Soundbreaking - Various Artists (Maro Chermayeff & Jeff Dupre, video directors; Joshua Bennett, Julia Marchesi, Sam Pollard, Sally Rosenthal, Amy Schewel & Warren Zanes, video producers)

Two Trains Runnin' - Various Artists (Sam Pollard, video director; Benjamin Hedin, video producer)

[supportblackart]

@blackonblackbk & @IKINSIGHTS & @thebrowncrayonproject cordially invite you to an advanced movie screening of the film "Marshall" at the Weeksville Heritage Center. . Join us for an intimate viewing of the new film ahead of the October 13th release date. Watch the official trailer here. . Space is limited so register early. Tickets are FREE but required for admission. Seating is first come, first served, so plan to get there early. Doors open at 6pm and the film will start promptly at 6:30p. . Ticket includes Popcorn + Refreshments* courtesy of Kaiso Cocktail. ••• ABOUT THE MOVIE: Long before he sat on the United States Supreme Court or claimed victory in Brown v. Board of Education, Thurgood Marshall (Chadwick Boseman) was a young rabble-rousing attorney for the NAACP. The new motion picture, MARSHALL, is the true story of his greatest challenge in those early days – a fight he fought alongside attorney Sam Friedman (Josh Gad), a young lawyer with no experience in criminal law: the case of black chauffeur Joseph Spell (Sterling K. Brown), accused by his white employer, Eleanor Strubing (Kate Hudson), of sexual assault and attempted murder. . Release date: October 13, 2017 (USA) Director: Reginald Hudlin Distributed by: Open Road Films Language: English Language Screenplay: Jacob Koskoff, Michael Koskoff . *** The Weeksville Heritage Center works to celebrate and preserve the history of Weeksville, Brooklyn - one of America’s first Free Black communities. To learn more about the center’s mission and events, be sure to check out their website: http://www.weeksvillesociety.org/ . #supportblackart #filmscreening #blackart #blacketyblack #blackonblackbk #blackskin #blacknose #blacklips #blackhair #blackeverything #blacklivesmatter #alliesandchampions #wefight #weresist #wewillwin #outfittingtherevolution #deconstructtheconstruct #blaaaaacknificent #blackpower #blackpride #america #supportblackbusiness #MarshallMovie #IntrinsikImpact #IKInsights #StandUpForSomething (at Weeksville Heritage Center)