#Paul Roth

[cillirishan]

Ted the Bellhop icons | Four Rooms (1995)

"Four Rooms" headers below:

[ghoulfool]

-I’m not mad you know, you’ve made me mad

- All artists are crazy

[flammentanz]

Erich Schellow as Sherlock Holmes and Paul Edwin Roth as Dr. . Watson in "Das Beryll-Diadem"

[itsmyfriendisaac]

♍ September 27th: Loner, Paul Reubens.

[metalmusicwhore]

Bro if I ever get the chance to somehow meet any of them I’m literally gonna SOB and thank them profusely for their music because if it wasn’t for them I wouldn’t be alive rn😭❤️❤️

[raidermomma]

It's Friday, and I'm bored. Let's rank these handsome boys by most likely to make you forget you have knees.

[lobbycards]

Four Rooms, Spanish Lobby Card. 1995

[airam1quhs]

A bff’s purely appearance-based ranking of these rockstars (dw i provided more/better pictures :)

How do you think her taste is? tbh i was pretty sad about zdlr, jpj and chris 😭 but at least we all stan joan jett in this house 👏👏

[disneytva]

Ollie struggles to have the difficult conversation with his parents and reveal that he is friends with a ghost

Paul F. Tompkins (Walt Disney Animation Studios "Tangled" Franchise) guest stars as Ernie Fudderson, a paranormal message board moderator, W. Earl Brown (Lucasfilm "Star Wars: The Book of Boba Fett") returns as Lord Doom

[moorheadthanyoucanhandle]

EVERYTHING EVERY TIME ALL IN ONE PLACE

Playing wide in the multiplexes right now:

Here--A spot in a living room in an upscale eastern Pennsylvania suburb--that's the title locale of this latest from Robert Zemeckis. It's our static vantage point for, essentially, the whole movie, looking across the room through a picture window that offers a view of the big brick colonial-era house across the street. 

We see the view there before it was a living room--long, long before. As in, we see it during the extinction event that ended the Cretaceous Period, sixty million years ago. We see it as a woodland make-out spot for indigenous lovers (Dannie McCallum and Joel Oulette), and as a burial site. We see it as part of a dirt road leading up to the aforementioned historic manse, which once was occupied by William Franklin (Daniel Betts), estranged Loyalist son of Benjamin (Keith Bartlett).

After the house is built, we get glimpses of the lives of its early 20th-Century inhabitants, like an enthusiastic aviator (Gwilym Lee) whose wife (Michelle Dockery) frets about his flying. They're followed by a whimsical inventor (David Fynn) and his sexy flapper wife (Ophelia Lovibond). This guy is trying to perfect a reclining chair; his working title for it is "Relax-y-Boy." And we see the house's early 21st-Century occupants, an African-American family; Nicholas Pinnock and Nikki Amuka-Bird are the parents, and Anya Marco-Harris is the beloved housekeeper.

But the movie's main focus is the midcentury family that takes the place over after WWII: Dad (Paul Bettany), a combat veteran and a seething, disappointed functional alcoholic, his sweet, quietly unfulfilled wife (Kelly Reilly), and his oldest son (Tom Hanks), an aspiring artist. The son gets his beautiful girlfriend (Robin Wright) pregnant, so there goes both art school and her college dreams. They move in with the parents, and stay for decades.

So the movie packs in a lot of history (and prehistory), a lot of longings fulfilled and unfulfilled, and cultural references ranging from the Spanish flu to the Spanish Inquistion sketch from Monty Python. But I'll admit that when I realized we were going to be parked in one place for the whole thing--I went in not knowing this--I panicked for a moment.

I needn't have worried. Zemeckis has always been a skillful showman, and while the audacious experiment of Here is by no means an unqualified success, it certainly never bored me. The script, by Eric Roth and Zemeckis, is based on a 2014 graphic novel by Richard McGuire, and Zemeckis employs comic-book techniques like overlapping inset panels to interweave the various timelines and bounce them off each other thematically. It's an impressive and confident exercise in narrative, and it does carry a cumulative emotional punch.

There are downsides, however. The fixed point of view means that the actors tend to seem a bit far away from us a lot of the time, and when they are brought up into the foreground it somehow feels forced. Zemeckis may have been worried about this distancing too; Alan Silvestri's music, though pretty, is ladled on a bit thicker than it should be, as if to telegraph what we're supposed to be feeling.  

Much more jarringly, though, the people in Here often have an ersatz, CGI "Uncanny Valley" look to them. The leads were taken all the way back to teenaged through some sort of real-time computer tech, and while the results are tolerable, they aren't perfected in realistic terms.

It must be admitted, however, that Hanks and Wright transcend this limitation, especially Hanks. The other actors sometimes feel like cyber-phantoms, but Hanks is so vibrant that he can project his humanity right through the program. And after Apollo 13, Castaway, Captain Phillips and Sully, it's also a relief to see the poor guy stay put.

[betterdayscomin]

💙💜💙💜

[fuckyeahvanhalen86-95]

[ghoulfool]

A Paul/Vincent edit, song is Gold Dust by Duster

[flammentanz]

Erich Schellow as Sherlock Holmes and Paul Edwin Roth as Dr. . Watson in “Sechsmal Napoleon”

[chicafinal]

not to be dismissive of the advancements of motion capture technology but its wild how the animation from rise of the planet of the apes (2011) already looks dated in comparison to the 2017 movie. but rick baker's ape make-up for the 2001 movie? to me those are still real talking apes up there on the screen

[cristalconnors]

ADAPTED SCREENPLAY

Shortlisted: All of Us Strangers / Are You There God? It's Me, Margaret / Priscilla

THE NOMINEES ARE:

KILLERS OF THE FLOWER MOON, written by Eric Roth and Martin Scorsese

NA-HON-ZHIN-GA: Tomorrow we will bury this one. This Pipe Person. Our Messenger to Wah-kon-tah. It is time to bury this pipe with dignity and put away its teachings. The children outside listening, they will learn another language. They will be taught by white people. They will learn new ways and will not know our ways.

ORLANDO, MY POLITICAL BIOGRAPHY, written by Paul B. Preciado

PAUL: In your book, Orlando’s sex change happens in his sleep. I thought that if it happened to Orlando, maybe it could also happen to me. Then sleep became for me the magical realm in which the gender transition took place. Perhaps this explains why I sleep so much and so well. That’s why nights have become silent waiting rooms in which, immersed in my thoughts, I wait for the change to take place. I imagined the beds as a dreamlike, painless operating table where my lying body was re-coded. I believed sleep could act on the body like a chemical process acts on an element. I thought sleep was like freezing, or like evaporation: a process that induces a change in form but not in meaning.

POOR THINGS, written by Tony McNamara

MAX: I wondered if perhaps you were raising her to be your mistress, a dark thought unworthy of me I know. So you are not laying with her…

GOD: Spermatic ejaculation can only induce homeostasis in me if accompanied by prolonged stimulation of higher nerve centres whose pressure upon the ductless glands changes the chemistry of my blood not for a few spasmodic minutes, but for many days!

MAX: …what??

GOD: I am a eunuch and can’t fuck her. To get a sexual response from my body would take the same amount of electricity as runs North London. Besides, my paternal feelings seem to outweigh my sexual thoughts.

THE ZONE OF INTEREST, written by Jonathan Glazer

HEDWIG: They’d have to carry me out of here. This is our home! We’re living how we dreamed we would, since we were seventeen. Beyond how we dreamed! Out of the city finally. Everything we want on our doorstep. And our children strong and healthy and happy. Everything the Führer said about how we should live is exactly how we do. Drive east, lebensraum. This is our lebensraum.

AND THE CRISTAL GOES TO...

THE TASTE OF THINGS, written by Trần Anh Hùng

EUGÉNIE: How did you feel after your first bite of the Baked Alaska?

PAULINE: I almost cried.

EUGÉNIE: Why?

PAULINE: ...I don’t know.

EUGÉNIE: Have you ever cried before while eating something?

PAULINE: No.

EUGÉNIE: What do you think happened?

PAULINE: I don’t know.