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dweemeister · 23 days ago

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2024 Movie Odyssey for-fun awards

I haven't done this in six years. Though the 2024 Movie Odyssey is complete and the 2025 Movie Odyssey is underway, I am currently working through all of the categories for the 2024 Movie Odyssey Awards (which I am aiming to post on Sunday, January 12).

Given the fact I haven't done the for-fun awards in six years, I might be a bit rusty. But here goes - honors and dishonors that don't quite fit the Movie Odyssey Awards. A reminder that each of these films were movies that I saw for the first time in their entirety last calendar year!

Best conversation: Caleb Sykes (Jamie Campbell Bower) and Hayes Ellison (Kevin Costner)’s conversation filled with veiled threats while walking up a hill, Horizon: An American Saga – Chapter 1 (2024)

No, Horizon wasn’t that great. Yes, it’s a vanity project. Yes, the 181-minute runtime while awaiting a potential three other sequels is killer. But the extended time allows you to fill in your movie with a scene where two men are ostensibly having a friendly conversation, but beneath those niceties are threats that simmer just underneath their words. Yes, Horizon is an indulgence. But there are more than a few instances of brilliant filmmaking within.

Best moment: “I Could Use a Boost”, The Wild Robot (2024)

For those of you who have seen the film, you know exactly what scene I’m talking about here. A major assist here from Kris Bowers’ spectacular score – one that I’d argue is the best for any movie released in 2024. This scene felt like an early ending for the film, didn’t it?

Best movie father: George Rose (Cary Grant), Room for One More (1952)

Grant – alongside his actual wife at the time, Betsy Drake – stars in one of the better family movies from ‘50s Hollywood. That sound you heard were a few of my tumblr followers, whose celebrity crush is Cary Grant, screaming with delight.

Best movie mother: Roz (voiced by Lupita Nyong’o), The Wild Robot (2024)

Okay, it’s won two of the first four awards. But that’s it. Keep going!

Best on-screen friendship: Grace (voiced by Sarah Snook) and Pinky (voiced by Jacki Weaver), Memoir of a Snail (2024)

The least transactional friendship I saw on screen this year. Genuine love for the other, brought to you by Adam Elliot – whose characters find a way to persevere despite their tragic backgrounds. Bugger!

Best quote: “I'm gonna give you a break. I'm gonna fix it, so you don't hear the bullets.” – Mr. Brown (Richard Conte) speaking to Joe McClure (Brian Donlevy) in The Big Combo (1955)

This quote makes far more sense and becomes far more menacing in context. Trust me. Without spoiling too much, Conte here is granting Donlevy (who devout worshippers at the church of film noir will know is a quintessential noir character actor, but is in an unusually meeker role here) what he believes to be a mercy. This scene was also shot spectacularly.

Best theatrical experience (as an audience member): The Frida Cinema’s repertory screening of The Lord of the Rings (1972)

It had been too long since I saw Ralph Bakshi’s take on LOTR (a movie I rate higher than most, but would only conditionally recommend). And in that time, I forgot how unintentionally funny the whole damn thing was. Having a sellout crowd on hand only made things that much more enjoyable.

Best theatrical experience (in my capacity as Viet Film Fest Artistic Director): High school students’ day screenings

For those not in the know, Viet Film Fest always begins its in-person screenings every year with a handful of screenings intended for high school students in the Little Saigon area in Orange County who are taking Vietnamese language courses. It’s a field trip for them, and you feel the energy pulsing through the theater on that opening morning.

Also, I almost never sit down and watch a full film/short film set through as Artistic Director. Too many things to do.

Best title (feature): Children of a Lesser God (1986)

Thanks should go to Tennyson.

Best title (short): Mom, Dad… I Want to Be a Porn Star (2024)

I mean, come on! With compliments to director Corey Cao Nguyen and his team!

Best worldbuilding: Mars Express (2023, France)

The filmmakers knew exactly what sort of world they wanted their characters to inhabit right from the get-go. And for a ninety-minute cyberpunk movie not based on any previously published material at all, their background storytelling achievement is stunning stuff.

Biggest disappointment: Perfect Days (2023, Japan)

Wim Wenders serving up a sampling of Diet Ozu! Still rated this a 7.5/10, but the Criterion-heads, Letterboxd users, and other cinephiles who are online far too much had me believe this might have been better than sliced bread (or, at the very least, could hold its own against the post-War live-action cinema that is one of my specialties). I don’t think so.

Biggest (pleasant) surprise: The ending to The Wedding Banquet (1993)

In an era where happy endings for LGBTQ+ folks were elusive, perhaps the rather balanced, believable ending to The Wedding Banquet is what we should have expected. One of the finest Asian American movies ever made, overshadowed by The Joy Luck Club (released the same year).

Biggest (unpleasant) surprise: The out-of-nowhere stabbing attack in The After (2023 short)

Well, that was some way to start the Oscar-nominated Live Action shorts last year. The murder was horrifically staged, to make things worse. David Oyelowo, despite being the lead actor, is not the reason why this movie was as terrible as it was.

Do not watch on an empty stomach: The Taste of Things (2023, France)

As was the joke shared among VFF staff through much of this year! Seriously, though, make sure to have a snack on hand or eat beforehand.

Greatest discovery (actor… and director too!): Raj Kapoor

Some of you folks will be glad to know that I sought this classic Bollywood actor out by myself this time, without anybody directly recommending him (or 1951’s Awaara).

Greatest discovery (actress): Mikey Madison

I had seen Madison on-screen before, but she was in a bit role then. She is excellent in Anora (2024), however you feel about the title character.

In most need of an IRB review (TIE): Murders in the Rue Morgue (1932) and X: The Man with the X-Ray Eyes (1963)

For those who don't know, an IRB review – broadly speaking – is an ethics review that is required when you are conducting a study involving humans.

Murders: Based on the Edgar Allan Poe short story of the same name, Bela Lugosi sports one of the most unconvincing unibrow I’ve seen in movies but gives a standout performance as a mad scientist trying to mix the blood of… actually, go watch this movie and read the short story. Ideal Halloween viewing. Lugosi making a frigging meal of his performance and his lines.

X: Dr. James Xavier’s (Ray Milland) research in this movie has bigger implications for humanity in this movie. Sure, he does all of the things you would imagine you would do if you suddenly had X-ray vision – I don’t have to spell this out to you – but good lord man where is your sense of ethics? Obligatory thank you to the now-late producer/director Roger Corman – who gave so many directors and actors their start in the ‘60s and ‘70s through his films at American International Pictures (AIP).

Honorable mention: The too-reckless dentistry on King Kong in Godzilla x Kong and whatever the hell else was going on in that movie

Kick-ass moment: Bruce Lee destroys the “No dogs or Chinese allowed” sign in Fist of Fury (1972, Hong Kong)

Apologies for the hilariously bad brownface and the bad English dub (I can’t find the original online)!

Least deserving of its praise: The Zone of Interest (2023, United Kingdom)

Jonathan Glazer’s film (which I wrote about here) utterly failed on one of the two things he set out to accomplish. First was to immerse us in the psychologies of the Auschwitz commandant, his wife, and other Nazis. Check, I think. Second was to take out as much cinematic artifice as possible in his film. That cinematography? That “score”? On this latter point, I thought Glazer utterly failed. Most folks didn’t see it that way.

Least likely to deserve my negative rating 10 years from now: Deadpool & Wolverine (2024)

I didn’t write on this film, but I gave it a 6/10 – which, on the blog, is right on the boundary between “fresh” and “rotten” (to use Rotten Tomatoes parlance). It was a more negative 6/10 from me. I’ve mentally checked out of the MCU years ago, and I personally don’t have much use for constant mean-spirited humor. But I don’t think the MCU has scraped the bottom of the barrel yet.

Least likely to deserve my positive rating 10 years from now: The Caine Mutiny Court-Martial (2023)

Though it debuted in America as TV movie, it was originally released at a film festival. So it counts. William Friedkin’s final movie is filled with fantastic performances. But the staging itself… just a tad too simple, isn’t it?

Moment in which I most wanted to look away from the screen: The crash scene, Society of the Snow (2023, Spain)

La sociedad de la nieve is about the disaster and recovery of the survivors who were on Uruguay Air Force Flight 571 (1972) – the flight was chartered by a Uruguayan rugby team. This scene, which has been cited by experts as among the most realistic airplane crash scenes ever put to film, is harrowing to watch. A technically outstanding movie, but more importantly honors the humanity of those who went through the ordeal.

Most beautiful use of nature: Sequoia National Park at the end of The Big Trail (1930)

For my non-Californian friends, just know that California is far more than deserts and beaches. The state has so much more, naturally, to offer. The ending of The Big Trail – not recommended for Western novices – takes place as the settlers end up in a valley, but the scene is set among enormous Sequoia trees I’ve had the privilege of seeing a few times in my life. The Big Trail was a rare ‘30s movie shot in widescreen (in 70mm, no less!), and the black-and-white photography of the groves of Sequoias is magnificent to behold. The light peeking through the canopies? Breathtaking.

Most inspirational water sports movie: Young Woman and the Sea (2024)

Technically, there were two films eligible here: The Boys in the Boat (2023; about the University of Washington rowing team that represented Team USA for Berlin 1936) and Young Woman and the Sea (about Gertrude “Trudy” Ederle – 1x gold, 2x bronze at Paris 1924, but the film concentrates on her becoming the first woman to swim the English Channel).

Having neglected to watch one of the official Olympic documentaries before last year’s 2024 Summer Olympics (oops), these two movies did okay to fill that void.

Most memorable delivery of a line: “That’s politicssssssss.” – Denzel Washington, Gladiator II (2024)

There was absolutely no need to hold onto that “s” for so long. But Denzel Washington, in a movie in which all of the principal actors seem to be acting in different movies each, decides to go for the overdramatic Shakespeare route. And as villain, it’s a fantastic choice.

Most memorable quote: “And you think that one year of medical school entitles you to plow through the riches of my Emersonian mind?” – Adam Driver, Megalopolis (2024)

First things first… I didn’t say “best quote”, you know! Second, I’m of the opinion that Megalopolis defies any judgment of “good” or “bad”. I appreciated this movie for its bold artistic swings that violate so many rules and the film was one of the best experiences I had in a theater all year.

Oh yeah, this comes from the same nutty scene where we get “go back to the cluuuub”. Folks, if someone says a line like this to you unironically, run away. Run far away.

Most overrated: Poor Things (2023)

This is a movie I never connected at all to. I thought Lanthimos’ film was very male gaze-y and its depiction of sex work extremely sanitized. Oh? One of the lessons is that Victorian times were extremely sexually repressed? What a revelation! Welcome to the twenty-first century! I gave Poor Things a 6/10.

Pixar’s Elemental (2023), which I gave a 5.5/10, was the other movie I considered for this because of how audiences (as opposed to critics) have reacted to this.

Most shocking moment: The coffee scene, The Big Heat (1953)

If you have never seen this movie, please DO NOT look this up. I audibly gasped in the theater when this happened (this was a repertory screening at the Frida Cinema in Santa Ana, CA), and I wasn’t the only one.

Most underrated: On Borrowed Time (1939)

I’ve got some bad news for the high fantasy lovers out there. Classic Hollywood largely didn’t bother with high fantasy. On Borrowed Time is a low fantasy based on a play of the same name. This is a fable regarding the inevitability of death. I found this film better-acted and better-written than your average classic film fan. Lionel Barrymore’s performance goes a long, long way here for me.

Most underseen: Ferdinand the Bull (1938 short)

I could list a litany of Viet Film Fest movies here. But to make things simpler, I won’t. Ferdinand the Bull is one of the most charming Disney animated shorts of its era and, at a time where the studio hadn’t animated too many humans yet, this is one of those shorts that sets an in-house style that lasts for a long, long time.

Never learns: Andy Hardy (Mickey Rooney) in Andy Hardy’s Private Secretary (1941), Life Begins for Andy Hardy (1941), and The Courtship of Andy Hardy (1942)

I’ve only seen 5/16 Andy Hardy movies (1937-1958). I’m not the biggest fan, but the movies are a fascinating time capsule into what an idealized America was imagined to be and what teenaged behavior was sort of like during the ‘30s and ‘40s. But…

Andy Andy Andy. Always spurting out some variant of “I’m a big man now, pop. I’ve seen a lot of things, and I have the wisdom to do better,” and then turning around and doing stupid shit. His over-extroversion, chasing girls, getting into trouble, getting into trouble that involves chasing girls? Oh my goodness. If the Andy Hardy series is any indication of what America is really like, it’s that America is run like a high school ASB. Appropriate, as Andy is his senior class president!

Go to college! Or actually stay together with Betsy Booth (Judy Garland) for crying out loud! With apologies to those who are #teampollybenedict (Ann Rutherford).

No femme, all fatale: Vera (Ann Savage) in Detour (1945)

I’m not saying anything about the plot to this film noir that is NOT recommended for anyone who is a noir novice. But Ann Savage – with that incredibly appropriate surname – might have played the meanest leading lady in a film noir. And she plays the part shockingly well.

Resulted in me losing my mind in a theater (in a good way): The long uncut shot in Inside the Yellow Cocoon Shell (2023, Vietnam)

In a film filled with extremely long, uncut shots, that 20+-minute uncut shot of our main character having a few conversations, hopping on a motorbike to get to the other side of town, and the camera coming in through the window during the final conversation left me astounded. I could scarcely believe what I was seeing.

This actor should have done more movies like this: Tom Hanks, News of the World (2020)

For an actor who has long been compared to Jimmy Stewart for much of his career, it was half-surprising to me that Tom Hanks had never starred in an American Western like his predecessor before. News of the World neither fully embraces the classical Western nor the revisionist Western, and an older Hanks is very well-suited to the role here. Okay, perhaps a youthful Hanks (‘80s-‘90s) would have been unsuitable for Westerns. But he’s damn well suitable now.

Way too much body hair: Chuck Norris, The Way of the Dragon (1972, Hong Kong)

What just happened?: Megalopolis

The whole thing. The audience member speaking live to Adam Driver’s character two-thirds of the way through wasn’t even in my top five weirdest things about this movie. The IMAX theater didn’t have much folks there, but the experience was amazing!

Worst moment: THAT needle drop in War Is Over! Inspired by the Music of John and Yoko (2023 short)

Yet another Beatles or Beatles-adjacent song ruined for me! I was simultaneously embarrassed for the filmmakers (who won a fucking Oscar for this anyways, largely due to heavy lobbying from Peter Jackson, Sean Ono Lennon, and many other big names) and furious. If you had a camera capturing my reaction in-theater, you would have seen my brain melt in real time.

Worst use of music: Oh, come on. You know what it is! See above!

Worst title: Godzilla x Kong: The New Empire (2024)

It’s not a good movie, but I admit to liking it. I know Warners would like to tell you that you pronounce this “Godzilla Kong”, but that sounds like two first names lumped together (thanks, Rachel). Should it be “Godzilla times Kong”? “Godzilla ex Kong” as if us kaiju fans are shipping them? To this day, that frigging “x” bothers me, alongside that generic-as-hell subtitle!

#Movie Odyssey Awards

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dalekofchaos · 4 months ago

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Things I'd change about the Halloween movies

I did a similar post and just about the DGG trilogy before. But this time I am focusing on the original timeline(but with both Thorn trilogy and H20)

Halloween

For Halloween, the only changes I’d include is I would have Paul show up and both Annie and Paul would be killed by Michael and Dr Loomis would explain to Sherriff Brackett that he warned everyone in the hospital that Michael should be kept in a maximum security facility, but was denied, so rather than blaming Loomis, Brackett would “damn” Smith’s Grove.

Halloween II

Dr Loomis’ personality stays with the original. A more calm and in control Loomis who is trying to stop Michael and cared for everyone's well being and had the look that he knew Michael was going to get up and is in control and not manic nor is he hysteric to the point where he is willing to shoot an innocent kid in a different mask and causes an accidental death. So yes Loomis would be more calm, caring and in control.

Brackett and Deputy Hunt begrudgingly agree to continue working with Loomis, after he cools down he sees that Loomis is not at fault for Michael's escape and understands "damned red tape". When everyone reaches the hospital Brackett goes down in an attempt to sacrifice himself to stop Michael.

Halloween II ends with Michael burning. But make it clear Loomis got blown out the hospital to show his survival and keep in Loomis "NO! LET IT BURN! LET IT BURN!"

Halloween 4

A better mask. Looks as advertised. Edit by JSComicArt

Michael's hands are more visibily burned

The major change is instead of the Carruthers adopting Jamie, it’s The Wallaces. Lindsey is Jamie’s step-sister and she promised Laurie that she would watch other Jamie. Tommy promised too. Now there was a script that got rejected where Tommy and Lindsey would return, the trauma that Tommy experiences makes Lindsey’s parents wary of him, but Lindsey still loves him regardless.

Kyle Richards and Brian Andrews returns to play Tommy and Lindsey

Sheriff Ben Meeker is replaced with Gary Hunt

Tommy survives Michael's attack instead of taking Brady's fate

Halloween 5

Lindsey lives and Tina dies instead

Dr Loomis is trying to save Jamie from becoming like Michael

Jamie isn't far gone. It's a struggle of her mental health and suppressing of the killer urges that Michael transferred to her.

I would keep the link between Jamie and Michael, but have her get glimpses of what he is up to after 4. She knows he’s coming back, but the stronger he gets the more inaccurate the visions are because he is controlling what she sees.

A better mask edit by Kaerus_Hellomiya

Actually use the Myers house

Michael's face isn't "Like Jamie" he looks fucking burned. Hair completely burnt off and his face is horribly disfigured Edit by AV_boogeyman

Tommy and Loomis work together to trap Michael.

Ends how it does in our universe, but with the cut scene of the Thorn cult abducting Jamie.

Halloween:The Curse of Michael Myers

Retitle it to the "Cult of Michael Myers"

Danielle Harris would return to play Jamie and Jamie is not killed off. There is no baby and no Strode family. Jamie has been held hostage by the Man In Black. The MIB is grooming Jamie to become the next Michael, but when Jamie escapes, Michael gives chase, eventually she looses Michael and she runs into Loomis.

...Already stated before but I'm saying it bluntly. Jamie is not disrespected, Danielle Harris is not fucked over. Jamie lives and most fucking importantly. No fucking incest baby or rape baby in general. What the fuck were you people thinking??? Good fucking god I hate this fucking movie

The Thorn Cult don't control Michael Myers and make him evil, they worship him because he's pure evil and to them he is the idol of Samhain.

Dr Loomis is more of a main character than what he was in the original piece of shit. When he hears that phone call, he immediately leaves and finds her in time.

Tommy and Lindsay would return and reunite with Jamie. Together Jamie, Tommy, Lindsay and Dr Loomis would work together to end Michael.

Christopher Lee plays Wynn. The part was originally written for Lee, in the script that enticed Donald Pleasance into playing Loomis one final time, Wynn is pretty much the Anti-Loomis and since Lee was originally considered to play Loomis, I thought it fitting. So what Dr Sartain was in the 2018 movie. Someone who saw what Michael was and embraced Michael’s evil and encouraged it.

Michael is on the loose and carves a brutal rampage on Haddonfield while looking for Jamie. It’s Halloween night. Michael starts killing the population of Haddonfield. However, he finds Jamie at his home. He wants to kill her and everyone there, but The Man In black compels him to bring Jamie to him.

Michael attacks. Their trap nearly works, but the Man In Black appears. Shoots everyone with tranquilizer darts and Michael abducts Jamie.

Wynn reveals himself to Loomis as The Man In Black. Wynn is the Anti-Loomis, so basically Wynn explains his role in Michael’s evil. Wynn was so captivated that for no reason, a young boy killed his sister. So when Loomis was his doctor, Wynn was his true doctor. Telling him to always hold onto the feeling he had when he killed his sister. You are not a man, you are The Shape. He taught him how to drive. He encouraged Michael’s evil and let him escape. Wynn also reveals he is a believer of Samhain. I am keeping this because it was a nice set up in Halloween II. Wynn believes that Michael is the way he is because it’s connected to Samhain (and have them pronounce it correctly). And as Loomis once put it, Wynn believes Michael is the lord of the dead.

Once again it's the struggle over Jamie's mental health and her struggle over good and evil with Dr Loomis being the one to represent her goodness while Wynn is what represents her inner darkness

Jamie finally overcomes the evil Michael and the cult inflicted on her

Loomis shoots Wynn

Wynn in his final breath tells Michael "this is the final harvest, kill them" and Michael head stomps him like he did to Sartain

there is no rhyme or reason for what Michael does. He is the boogeyman and The Shape. There is no reason as to why he kills. Michael goes on a rampage and kills EVERYONE in Smith’s Grove.

Lindsay and Tommy plant C4 all over Smith's grove

Tommy beats the shit out of Michael with a lead pipe

Michael rises up and is choking the life out of Tommy.

Jamie makes a stand. She grabs Loomis’ gun and shoots Michael in the head 6 times and grabs her old pair of scissors and stabs him repeatedly. Jamie lets loose and takes revenge on the 7 years she lost. “Die Boogeyman” is all she can utter as she takes her revenge. Loomis stops her and tells her it’s over and hugs her. As Loomis embraces her, he whispers something “your mother is alive, go to her” Jamie, Tommy and Lindsey escape. But Loomis stays behind and just tells them run and do not look back and live. Jamie pleads with Loomis to come with them. Loomis says “No, I have some business to attend to. Goodbye Jamie.” Loomis rigged Smith’s Grove with bombs and sacrifices himself. It started in Smith’s Grove with him and Michael it ends with Loomis and Michael in Smith’s Grove. "It’s over Michael.” presses the detonator and they both blow up. We would see Michael’s burning mask, and the movie ends with Tommy and Lindsey taking Jamie to see Laurie. Laurie is remorseful for not being able to take care of her daughter and before she can apologize, Jamie just embraces her mother with a hug.

Halloween H20

This would coincide with my Thorn Trilogy rewrite, so Jamie would've reunited with Laurie and Jamie got to spend a few years getting to know John and help Laurie with her trauma, while Jamie has some deep resentment for being left behind.

We would use the cut storyline of a copycat killer. Gist is this is a student that got expelled by Laurie and he's looking for revenge. He could be Charlie like in the original script. At first he just wants to scare "Ms Tate". But eventually he gets the taste for blood. The copycat is wearing the dreadful mask with visible eyes. While Michael has the mask from the opening when he kills Marion.

Jamie and Billy write letters to each other

Like Laurie, Jame practically stays away from Halloween as a holiday and will not attend the party.

Jamie gets letters from Tommy and Lindsey. "Laurie, if you're hearing this, Nurse Chambers is dead and Michael knows where you are. Run. Take Jamie and John and run." The letter to Jamie. "Jamie, I really hope you don't have to use this, but just in case" it's Jamie's old pair of Scissors. The pair she almost killed Mrs Wallace with and the pair she used to beat Michael into submission

Jamie's PTSD episode ends up ruining Laurie's date with Will and this gets Laurie's ire.

Laurie and Jamie's unloads years of resentment, abandonment issues, shared trauma, but ultimately Jamie forgives her mother. "IF he's really back, we have to kill him once and for all"

Charlie takes the mask off and apologizes to everyone "this was just supposed to be a prank, I didn't mean to take it this far…" that's when Michael comes out and kills Charlie. Everyone is on the run.

Laurie and Jamie come to the rescue

Jamie drives off with John. While Laurie goes to fight Michael.

Jamie has a change of heart and comes back.

When Laurie takes Michael's body(with it actually being Michael because fuck you) Michael has his hands around Laurie's throat and that's when Jamie rams him with the car. Jamie gets out of the car. John says "Sis, what the hell are you doing? He's dead" "No he's not." Jamie grabs her trusty pair of scissors and right when Michael does the sit up, Jamie stabs him in the fucking throat. "Hello uncle Boogeyman, did you miss me?" Jamie gets in the truck Laurie was in and John is driving Jamie's When Michael gets up, they ram both sides of him.

Jamie and John smash Michael's body with their cars, keeping him trapped and that's when Laurie cuts his head off. Laurie toss Michael's mask into the fire and the Strode family lives in peace.

#Halloween 1978 #Halloween Movies #Horror #Michael Myers #Laurie Strode #Jamie Lloyd #John Tate #Dr Sam Loomis #Lindsey Wallace #Tommy Doyle #Halloween II #Halloween 4 The Return Of Michael Myers #Halloween 5 The Revenge Of Michael Myers #Halloween Curse Of Michael Myers #Halloween H20 #The Thorn Trilogy

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goalhofer · 13 days ago

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2024 in memoriam (part 22)

Hub Reed, 87

Bishop Franziskus Eisenbach, 81

Hank Allen, 83

Larry Cannon, 77

Bishop Harris, 82

Bishop Thumma Bala, 80

Cardinal Kelvin Felix, 91

Drew Gordon, 33

Richard Bué, 44

(Ralph) Tom Bower, 86

Danny Fife, 74

(Edward) Erich Anderson, 67

Carl Cain, 89

Larry Allen; Jr., 52

Duane Klueh, 98

Janis Paige Gilbert, 101

Armando Silvestre, 98

T.J. Simers, 73

Morrie Markoff, 110

Remo Saraceni, 89

Jan Reehorst, 101

Marvin Upshaw, 77

Mike Meeker, 66

Doug Porter, 94

Rosa, 24

Ben Vautier, 88

Clyde Campbell III, 80

Milovan Tasić, 76

Dale Yakiwchuk, 65

Frank Arnold, 89

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alexlacquemanne · 26 days ago

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2024 in 12 movies (1 per months)

January

Pushover (1954) directed by Richard Quine with Fred MacMurray, Philip Carey, Kim Novak, Dorothy Malone, E.G. Marshall, Allen Nourse, James Anderson and Joe Bailey

[First Time]

February

Laura (1944) directed by Otto Preminger with Gene Tierney, Dana Andrews, Clifton Webb, Vincent Price, Judith Anderson, Dorothy Adams, Lane Chandler and Clyde Fillmore

[First Time]

March

The King's Speech (2010) directed by Tom Hooper with Colin Firth, Geoffrey Rush, Helena Bonham Carter, Guy Pearce, Michael Gambon, Timothy Spall and Jennifer Ehle

[First Time]

April

One Day (2011) directed by Lone Scherfig with Anne Hathaway, Jim Sturgess, Tom Mison, Rafe Spall, Jodie Whittaker, Romola Garai, Joséphine de La Baume and Patricia Clarkson

[First Time]

May

I Confess (1953) directed by Alfred Hitchcock with Montgomery Clift, Anne Baxter, Karl Malden, Brian Aherne, Roger Dann, Charles Andre, O.E. Hasse and Dolly Haas

[First Time]

June

Casablanca (1942) directed by Michael Curtiz with Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet and Peter Lorre

[First Time]

July

The Truman Show (1998) directed by Peter Weir with Jim Carrey, Ed Harris, Laura Linney, Noah Emmerich, Natascha McElhone, Holland Taylor and Brian Delate

[First Time]

August

Zack Snyder's Justice League (2021) directed by Zack Snyder with Ben Affleck, Gal Gadot, Ray Fisher, Jason Momoa, Ezra Miller, Henry Cavill, Amy Adams, Jeremy Irons and Diane Lane

[First Time]

September

The Mask Of Zorro (1998) directed by Martin Campbell with Antonio Banderas, Anthony Hopkins, Catherine Zeta-Jones, Stuart Wilson, Matt Letscher, Victor Rivers and L. Q. Jones

October

The Best Exotic Marigold Hotel (2011) directed by John Madden with Judi Dench, Bill Nighy, Tom Wilkinson, Maggie Smith, Celia Imrie, Dev Patel, Ronald Pickup and Diana Hardcastle

[First Time]

November

Paths of Glory (1957) directed by Stanley Kubrick with Kirk Douglas, George Macready, Ralph Meeker, Timothy Carey, Joe Turkel, Adolphe Menjou, Wayne Morris, Peter Capell and Richard Anderson

[First Time]

December

Serenity (2005) directed by Joss Whedon with Nathan Fillion, Gina Torres, Alan Tudyk, Sean Maher, Summer Glau, Morena Baccarin, Adam Baldwin, Jewel Staite, Ron Glass and Chiwetel Ejiofor

Honorable mentions :

Strangers on a Train (1951) Une affaire d'honneur (2023) Aviator (2004) Tendre Poulet (1978) Judy (2019) On a volé la cuisse de Jupiter (1980) Iron Claw (2023) Topaz (1969) Poupoupidou (2011) Air Force One (1997) Sister Act (1992) Race for Glory: Audi vs. Lancia (2024) Titanic (1997) Coup de foudre (1983) Suffragette (2015) Boléro (2024) Pride & Prejudice (2005) Absolute Power (1997) The Age of Adaline (2015) Bon Voyage (2003) Family Plot (1976) L'assassin habite au 21 (1942) Le Procès Goldman (2023) Marcello Mio (2024) Magic in the Moonlight (2014) The Mosquito Coast (1986) Ne le dis à personne (2006) A Fish Called Wanda (1988) Le Comte de Monte-Christo (2024) The French Connection (1971) Fly Me to the Moon (2024) Raoul Taburin a un secret (2018) Ali (2001) Letter from an Unknown Woman (1948) Borg/McEnroe (2017) La vérité (1960) Die Hard (1988) The Batman (2022) Cool Hand Luke (1967) Everything Everywhere All at Once (2022) A Kiss Before Dying (1956) Arabesque (1966) Bob le flambeur (1956) The Long Goodbye (1973) he Second Best Exotic Marigold Hotel (2015) L'été meurtrier (1983) Baisers volés (1968) Kay Largo (1948) The Sting (1973) Olympia (1960) Monsieur Aznavour (2024) L'Alibi (1937) L'exercice de l'Etat (2011) A Good Woman (2004) Mona Lisa Smile (2003) Le Corbeau (1943) We're No Angels (1955) Boulevard du rhum (1971) The Lord of the Rings: The War of the Rohirrim (2024) To Catch a Thief (1955) Home Alone (1990) Legend of the Lost (1957) Love Actually (2003) The Blob (1958) It's a Wonderful Life (1946) Ulisse (1954) The Polar Express (2004)

#2024 films #my top 12 #cinema #cinematography #pushover #laura #the king's speech #one day #i confess #casablanca #the truman show #snyder cut #the mask of zorro #the best exotic marigold hotel #paths of glory #serenity #films #movies of 2024 #bye 2024

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docrotten · 1 month ago

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KISS ME DEADLY (1955) – Episode 192 – Decades of Horror: The Classic Era

“Look, Mike, I like you. I like the way you handle yourself. You seem like a reasonable man. Why don’t we make a deal? What’s it worth to you to drag your considerable talents back to the gutter you crawled out of?” Wow. Where would you want him to drag himself if you didn’t like him? Join this episode’s Grue-Crew – Daphne Monary-Ernsdorff, Chad Hunt, Doc Rotten, and Jeff Mohr along with guest Bill Mulligan – as they take a deep, deep dive into Kiss Me Deadly (1955), a horror-adjacent, science-fiction film noir.

Decades of Horror: The Classic Era Episode 192 – Kiss Me Deadly (1955)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

Synopsis: A doomed female hitchhiker pulls Mike Hammer into a deadly whirlpool of intrigue, revolving around a mysterious “great whatsit.”

Directed by: Robert Aldrich

Writing Credits: A.I. Bezzerides (screenplay); Mickey Spillane (novel)

Cinematography by: Ernest Laszlo (photography by)

Produced by: Robert Aldrich (producer); Victor Saville (executive producer) (uncredited)

Selected Cast:

Ralph Meeker as Mike Hammer

Maxine Cooper as Velda Wickman

Cloris Leachman as Christina Bailey

Gaby Rodgers as Lily Carver

Wesley Addy as Lt. Pat Murphy

Albert Dekker as Dr. G.E. Soberin

Paul Stewart as Carl Evello

Nick Dennis as Nick Va Va Voom

Jack Elam as Charlie Max

Jack Lambert as Sugar Smallhouse

Mort Marshall as Ray Diker

Marian Carr as Friday (as Marion Carr)

Juano Hernandez as Eddie Yeager

Marjorie Bennett as Manager

Fortunio Bonanova as Carmen Trivago

Strother Martin as Harvey Wallace

Mady Comfort as Nightclub Singer (as Madi Comfort)

James McCallion as Horace

Jesslyn Fax as Horace’s Wife

Robert Cornthwaite as FBI Agent

James Seay as FBI Agent

Silvio Minciotti as Mover

Paul Richards as Attacker

Percy Helton as Doc Kennedy

Leigh Snowden as Cheesecake

Jerry Zinneman as Sammy

Kitty White as Club Vocalist

Ben Morris as Radio Announcer

Sam Balter as Radio Announcer (voice)

Joe Hernandez as Radio Announcer (voice)

Bing Russell as Police Detective (uncredited)

Charles Lane as Doctor (uncredited)

Eddie Beal as Sideman (uncredited)

Leonard Bremen as Man in Parked Car (uncredited)

Yvonne Doughty as Receptionist (uncredited)

John George as Popcorn Vendor (uncredited)

Art Loggins as Bartender (uncredited)

Mara McAfee as Nurse (uncredited)

Leonard Mudie as Athletic Club Clerk (uncredited)

Kiss Me Deadly (1955) might not be a certifiable horror movie, but this extraordinary film noir is certainly horror adjacent. Director Robert Aldrich, cinematographer Ernest Laszlo, and screenplay writer A. I. Bezzerides do themselves proud in this adaptation of the Mickey Spillane novel. Ralph Meeker, as antihero Mike Hammer, is supported by superb performances from a long list of recognizable character actors. Film noir — even horror adjacent science fiction film noir — is not for everyone, and indeed, the Classic Era Grue Crew are divided. Either way, Kiss Me Deadly must be seen, and there is much for the crew to discuss. Where else will you find a search for a “great whatsit?”

At the time of this writing, Kiss Me Deadly (1955) is available to stream from the Classic Sci-Fi Movie Channel and on physical media as a Blu-ray disc from Criterion.

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Next in their very flexible schedule – this one chosen by Daphne – is Earth vs. the Spider (1958), aka The Spider! Yes, it’s time for a B-I-G movie, as in Bert I. Gordon! The Grue Crew can’t wait!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at [email protected]

To each of you from each of them, “Thank you so much for watching and listening!”

Check out this episode!

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clemsfilmdiary · 1 year ago

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The Best of December 2023

Best Discovery: Eyes of Fire

Runner Up: Fanny and Alexander

Best Rewatch: Short Cuts

Close Second: Slap Shot Runners Up: The Blues Brothers, The Killing of a Chinese Bookie, Superman III, Who Framed Roger Rabbit

Most Enjoyable Fluff: No Hard Feelings

Runners Up: Broadcasting Christmas, A Dream of Christmas, Haul Out the Holly: Lit Up, Leave the World Behind, A Magical Christmas Village

Best Leading Performance: Paul Newman in Slap Shot

Runners Up: John Belushi and Dan Aykroyd in The Blues Brothers, Charles Fleischer and Bob Hoskins in Who Framed Roger Rabbit, Ben Gazzara in The Killing of a Chinese Bookie, Paul Giamatti in The Holdovers, Jennifer Lawrence in No Hard Feelings, Julianne Moore in May December, Richard Pryor and Christopher Reeve in Superman III

Best Supporting Performance (male): Jan Malmsjö in Fanny and Alexander

Runners Up: Cab Calloway and Charles Napier in The Blues Brothers, Jack Lemmon, Matthew Modine, Chris Penn and Tim Robbins in Short Cuts, Christopher Lloyd in Who Framed Roger Rabbit, Strother Martin, Michael Ontkean and Brad Sullivan in Slap Shot

Best Supporting Performance (female): Anne Archer in Short Cuts

Runners Up: Lindsay Crouse and Kathryn Walker in Slap Shot, Jennifer Jason Leigh, Julianne Moore, Annie Ross, Madeleine Stowe and Lily Tomlin in Short Cuts, Annette O'Toole, Annie Ross and Pamela Stephenson in Superman III

Most Enjoyable Ham: Meryl Streep in The Iron Lady

Runners Up: Kristin Chenoweth in 12 Men of Christmas, Marlo Thomas in A Magical Christmas Village, Cindy Williams in A Dream of Christmas

Best Mise-en-scène: Eyes of Fire

Runners Up: Fanny and Alexander, Short Cuts, Who Framed Roger Rabbit

Best Locations: The Blues Brothers (various Chicago cityscapes)

Runners Up: Eyes of Fire (wild Missouri forest and river locations), The Holdovers (wintery Massachusetts small town and campus), The Naked Spur (Colorado Rocky Mountains)

Best Score: Short Cuts (Mark Isham)

Runner Up: Eyes of Fire (Brad Fiedel)

Best Leading Hunk: Bob Hoskins in Who Framed Roger Rabbit

Runners Up: Dean Cain in Broadcasting Christmas, Ben Gazzara in The Killing of a Chinese Bookie

Best Supporting Hunk: Ralph Meeker in The Naked Spur

Runners Up: Adam Lolacher in Time for Him to Come Home for Christmas, Allan F. Nicholls in Slap Shot, Jessie Pavelka in 12 Men of Christmas

#list #best of the month

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byneddiedingo · 2 years ago

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Kirk Douglas and Adolphe Menjou in Paths of Glory (Stanley Kubrick, 1957) Cast: Kirk Douglas, Ralph Meeker, Adolphe Menjou, George Macready, Wayne Morris, Richard Anderson, Christiane Kubrick, Jerry Hausner, Peter Capell, Emile Meyer, Bert Freed,��Kem Dibbs, Timothy Carey, Fred Bell, John Stein, Harold Benedict. Screenplay: Stanley Kubrick, Calder Willingham, Jim Thompson, based on a novel by Humphrey Cobb. Cinematography: Georg Krause. Art direction: Ludwig Reiber. Film editing: Eva Kroll. Music: Gerald Fried. Kirk Douglas gives an uncharacteristically restrained performance in Paths of Glory, but the real star of the film is director Stanley Kubrick, who lends the big battle scene a kind of choreographed intensity. Kubrick had begun his career as a photographer for Look magazine and had been his own cinematographer on his early short films and his features Fear and Desire (1953) and Killer's Kiss (1955). Although the cinematographer for Paths of Glory is Georg Krause, it's easy to sense Kubrick's direction as he anticipates the battle scene's relentless motion with long takes and tracking shots in the earlier parts of the film, when the camera observes Gen. Broulard (Adolphe Menjou) persuading Gen. Mireau (George Macready) to commit his troops to the suicidal assault on the German-held "Ant Hill." We follow Broulard and Mireau as they move through the opulent French headquarters (actually the Schleissheim Palace in Bavaria), circling each other as Broulard plays on Mireau's ambition and overcomes his resistance, Then we move to the trenches, a sharp contrast in setting from the palace, where the camera tracks Mireau as he walks down the long narrow ditch, greeting soldiers in a stiff, formulaic way and berating one who is stupefied by shell shock as a coward. The tracking shot of Mireau's tour of the trenches is then repeated with Col. Dax (Douglas) in the moments before the suicidal assault on the Ant Hill, although this time the air is full of smoke and debris from the shelling. Then Dax goes over the top, blowing a shrill whistle to lead his troops, and we have long lateral tracks punctuated by explosions and falling men. Film editor Eva Kroll's work adds to the power of the sequence. If the acting and the screenplay were as convincing as the camerawork, Paths of Glory might qualify as the masterpiece that some think it is. Douglas, Menjou, and Macready are fine, and Wayne Morris and Ralph Meeker have a good scene together as members of a scouting party on the night before the battle, in which the drunkenness and cowardice of Morris's character has fatal consequences. But the scenes in which the three soldiers court-martialed for the failure of the assault face the prospect of the firing squad go on much too long, and are marred by the overacting of Timothy Carey as the "socially undesirable" Private Ferol and the miscasting of Emile Meyer, who usually played heavies, as Father Dupree. (Carey was actually fired from the film, and a double was used for some scenes.) And the film ends with a mawkish and unconvincing scene in which a captured German girl (the director's wife-to-be, Christiane Kubrick) reduces the French troops to tears with a folk song. Paths of Glory has to be described as a flawed classic.

#Paths of Glory #Stanley Kubrick #Kirk Douglas #Adolphe Menjou

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themovieblogonline · 2 years ago

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"Being Mary Tyler Moore:" Documentary Screens at SXSW 2023

Director James Adolphus, who helmed the documentary “Being Mary Tyler Moore,” was asked about his exposure to Mary Tyler Moore before he undertook to make this extraordinarily intimate 2- hour film about her life. He admitted that he had never watched any of her shows, that she was more of a figure that his mother knew about. (“I knew her from the lyric in the Weezer song.”) He then said, “It’s odd to make a film about someone you don’t know and to fall in love with someone after the fact. She felt like my cousin, my sister. She had to fight back against the patriarchy.” The documentary is an attempt to reconcile the insecure woman who looked so proud and regal with the real woman who was not that way at all. It was an attempt to show the real person beneath the veneer. With the help of many clips from “The Dick Van Dyke Show” and “The Mary Tyler Moore Show” and various interviews, it more than succeeds. One week after the 18-year-old MTM graduated from high school, she got a job portraying Happy Hotpoint in television ads. The problem was that the young Mary had married Richard Meeker in 1954, at age eighteen. She soon turned up pregnant, giving birth to her only child, Richard, and losing the Happy Hotpoint job in the process. Later in the film, we learn that Moore’s own mother would give birth to a daughter, Elizabeth, at age 40, only a few months after Richard’s birth, giving Mary a younger sister, as well as a brother, John, who was 7 years younger. There were references to Mary’s mother’s alcoholism, but they were married for more than 50 years. Her mother eventually sobered up and even took on the duties of caring for the two youngsters, Elizabeth and Richard, who were so close in age. Mary’s marriage to Meeker did not last; she would marry again, in 1962, barely a month out of her first marriage, to Grant Tinker, to whom she would remain married for 18 years. Her career, in 1959, included a stint as Sexy Sam, the faceless voice on “Richard Diamond, Private Investigator.” When she asked for a raise from her $85 per episode salary, she was fired. Enter Carl Reiner, a comic mentor who envisioned her as the character Laurie Petrie, the wife in a 1960 pilot dubbed “Head of the Family,” which eventually morphed into “The Dick Van Dyke Show.” When David Susskind suggested, in a somewhat offensive interview, that women should not work, Mary retorted, “I could waste a lot more energy sitting around chatting with other gals all day.” She became exactly what the network was horrified by: a contemporary woman. She also insisted on wearing pants, which broke new ground. (As a former junior high school teacher who insisted on wearing pants suits in 1969 at a time when they were banned, I could relate.) Throughout the documentary, we learn just how groundbreaking Mary Tyler Moore would become. This was just the beginning. In interviews, Mary referred to the period as “An unenlightened time. I believe in figuring out a way to contribute.” At the end of the 5-year run of “The Dick Van Dyke Show” Mary was a hot property who charmed men without antagonizing their wives. She had a comic flair that no less an expert than Lucille Ball recognized and applauded. She was offered a picture deal with Universal and---unusual for the time---had the right to refuse to do pictures that she did not think would benefit her image. However, in order to be given permission to star in a musical version of “Breakfast at Tiffany’s” on Broadway, Mary would give up that right of refusal. Following the Broadway bomb the show became, she would end up in films like “Change of Habit” (1969) opposite Elvis. In 1968, when she was 32, a miscarriage led to her diagnosis of a diabetes. With a blood sugar level of 700, she was fortunate to have been discovered to have the disease, which would end her life at the age of 80 in 2017. Broadway having bombed, CBS offered her her own show, and Mary and Grant Tinker, her then-husband, jumped at the chance. Tinker saw that forming their own company would be beneficial and Mary Tyler Moore Enterprises was born. Tinker ran the business and Mary Tyler Moore was the figurehead and the talent. At one time, MTM Enterprises had 6 shows on the air at once. Meanwhile, Tinker hired Jim Brooks and Allan Burns to write Mary's show, which would place Mary Tyler Moore in Minneapolis as a woman making it on her own at the age of thirty as an independent entity. I remember how groundbreaking it was for the goal to be not just to marry ASA{. but to be independent and live on one’s own. My own mother had lived the life accepted by today's women in 1927, so, for me, Mary was embodying the idea of utilizing female talent for more than just making babies and cleaning the house. Ironically, at this point, in her real-life Mary Tyler Moore had never been on her own; she had been married since she was 18 years old. The entire idea of pushing young women into marriage was covered in 1979’s “Kramer versus Kramer,” where Meryl Streep articulated this “never been on my own” status all the way to 5 Oscars. Mary Tyler Moore lived the fifties ideal of marriage after school "as soon as possible," but, personally, she remained mired in marital bliss until she was 44 years old when she and Tinker divorced and she moved to New York City. The show that Mary Tyler Moore launched, about a thirtyish woman making it on her own in the Midwest at a small TV station, was a risk. It was almost killed by a terrible time slot, until Fred Silverman took over the network, axed a lot of comedies like “Green Acres’ and moved “The Mary Tyler Moore Show” into the best time slot on television. It was, as Rosie O’Donnell termed it, “Appointment TV” and placed her show on the same night as “All in the Family” and alongside Bob Newhart’s show on Saturday nights. The rest is history, as the talented cast garnered multiple awards and still has one of the best endings of any series sitcom on television, past or present. Mary Tyler Moore won 7 Emmies, and 3 Golden Globes, and earned an Oscar nomination (for “Ordinary People”). And, as the documentary terms it, “As Mary Tyle Moore goes, so goes the nation,” which also meant welcoming the 1973 Supreme Court decision to allow women the right to decide whether or not to have an abortion. In 1980, immediately after her divorce from Tinker, Mary conquered Broadway with her performance replacing Tony-winner Tom Conti in the play “Whose Life Is It, Anyway?” Meanwhile, she described herself as “going through adolescence” in New York City, as she was said to be involved with Michael Lindsay-Hogg, the director of the play. She was socializing after years of marriage. However, she was drinking more than she should have been, and, as he noted, sometimes that could lead to belligerence on her part. She would curb this possibly inherited tendency towards alcoholism through a stint at the Betty Ford Clinic. In 1980, Mary Tyler Moore was nominated as Best Actress for her role as Beth in “Ordinary People” opposite Donald Sutherland and Timothy Hutton. Director Robert Redford said he had always been fascinated by the possibility of a dark side to MTM, who might have been brittle inside, harboring a pensiveness, anger, hurt, and confusion over such issues as her inability to connect meaningfully with her son Richard. In 1980 Richard, then aged 24, would die of a gunshot wound. The documentary says he had a gun collection, was inherently clumsy, and it was an accident. Three weeks after his death, MTM would be nominated for an Oscar as Best Actress for her role in “Ordinary People.” She would also lost her younger sister, Elizabeth, age 21, to suicide and her younger brother John would die of kidney cancer as she held his hand. Mary met Dr. Robert Levine, her third husband when he cared for her ailing mother in 1982. The line from the documentary is that “She fell in love for the first time in her life,” (which seems debatable.) However, the 14-years-younger Levine would remain her husband till the end. Her friends say that he may have kept her alive for an additional ten years, as she was hospitalized numerous times. The couple was devoted to one another and lived a bucolic life in rural Connecticut. The now 73-year-old Levine reached out to Lena Waithe (“Ready Player One,” “Master of None”) after reading an interview in “Vanity Fair,” in which she expressed an interest in doing a documentary about Mary Tyler Moore’s life. When asked about his decision to share his private film of Mary with Producer/Director/Writer Waite, Dr.Levine said, to laughter, “To have a Black queer girl from the South side of Chicago want to tell her story. Are you kidding me?” Dr. Levine was asked what surprised him after seeing the film, and he responded, “I had never seen the bridal shower footage with Betty White. It was simple and natural. She talked about me making her a tuna fish sandwich in the middle of the night. Things like that had the most impact. In life, it is the simple kindnesses that really have the most impact. The journey of her life was the journey of women in this country. As a human being, she felt the need to keep going forward. I didn’t want a derivative feeling. A new voice coming forward (Lena Waithe) was interesting to me.” Waithe added, “I wanted to give a real sense of how she was as a person." The decision to use voice-over(s) rather than the talking head documentary approach was said to be Waithe’s. The documentary is long, at 2 hours, but it is very good. I would highly recommend it if you were or are a fan of Mary Tyler Moore’s work. She helped raise over $2 billion for Juvenile Diabetes and gave many other working women a model that remains groundbreaking. Credits: Venue: SXSW Film Festival (Documentary Spotlight) Distributor: HBO Production companies: HBO Documentary Films, Fifth Season, Hillman Grad, The Mission Entertainment, Good Trouble Studios Director: James Adolphus Producers: Ben Selkow, James Adolphus, Lena Waithe, Rishi Rajani, Debra Martin Chase, Andrew C. Coles, Laura Gardner Executive producers: S. Robert Levine, Michael Bernstein, Nancy Abraham, Lisa Heller Cinematography: James Adolphus Editor: Mariah Rehmet Archival Producer: Libby Kreutz Music: Theodosia Roussos 2 hour Read the full article

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