#Tom McCamus

[haveyouseenthismovie-poll]

[hellyes-tommccamus]

[letterboxd-loggd]

The Sweet Hereafter (1997) Atom Egoyan

January 14th 2023

[mydarkmaterials]

[frontmezzjunkies]

Stratford Festival's Excellent New Play, "Salesman in China" is Both Daring and Profound

#frontmezzjunkies reviews: #LeannaBrodie & director #JovanniSy's expert #newplay: #sfSalesmanInChina starring #AdrianPang as legendary actor #YingRuocheng & #TomMcCamus as playwright #ArthurMiller at #StratfordFestival @stratfest #canadiantheatre

Adrian Pang 彭耀順 and Tom McCamus in Salesman in China, Stratford Festival 2024. Photography by David Hou. The Stratford Theatre Review: Brodie and Sy’s Salesman in China By Ross A door opens to the smokey arrival of a man challenging the system and himself in an attempt to create something personal and meaningful, much like this stunningly expansive play itself. A child runs by, adding a layer…

[1outofmymind]

Nostalgic.

[romaniaroxme]

A living space?

Starring: Brie Larson, Jacob Tremblay,Joan Allen, Sean Bridgers,Tom McCamus,William H.Macy Directed by: Lenny Abrahamson Genre: Drama “My room was a real way of expressing myself. It was like a little nest that I could settle into.” Chloe Sevigny Well, before I jump into the latest pick of this week, a disclaimer- the pick which has been selected by me this week is way too sensitive and can…

[byneddiedingo]

Jacob Tremblay and Brie Larson in Room (Lenny Abrahamson, 2015)

Cast: Brie Larson, Jacob Tremblay, Sean Bridgers, Wendy Crewson, Matt Gordon, Amanda Brugel, Joe Pingue, Tom McCamus, Joan Allen, William H. Macy. Screenplay: Emma Donoghue, based on her novel. Cinematography: Danny Cohen. Production design: Ethan Tobman. Film editing: Nathan Nugent. Music: Stephen Rennicks. 

As emotionally affecting as Room is, and as brilliant as the performances of Oscar-winner Brie Larson and the equally worthy Jacob Tremblay are, the film left me dissatisfied. The premise is an intriguing one: Joy (Larson) was abducted at the age of 17 by a man (Sean Bridgers) who locked her in a shed, where she gave birth to Jack (Tremblay), who has just turned 5 when the film begins. Left alone together for all this time, with only periodic visits by the captor for sex and to bring supplies, mother and son have bonded uniquely. She has allowed Jack to believe that the shed, which they call "Room," is the only reality -- even the people they see on the television set the captor has supplied are just colorful shapes; they are "TV." The sky they can see through Room's one window, a skylight, is "outer space." The only other entity Jack knows about is "Old Nick," the captor, and Joy keeps the two of them separated as much as possible, shutting Jack in the closet when the man visits. We are in Plato's Cave here, and to follow up on that fable, which is beautifully established in the first part of the film, we need an awakening to reality that is both dramatically and thematically powerful. We get a good start on that when Joy, thinking that Jack is old enough for the truth, begins to break down the myth of Room and suggest to him that there is in fact a world outside. Jack responds with something like the Kübler-Ross stages of grief: He denies what she is telling him, grows angry and depressed, but finally accepts it as truth, which then allows Joy to enlist Jack in an attempt to escape. Unfortunately, after the excitingly suspenseful escape succeeds, the film begins to disintegrate into an often sketchy and unconvincing tale of recovery, and concludes with a tenuous "happy ending." Jack, a doctor tells Joy, is still "plastic," a word that Jack overhears and indignantly rejects: He's real, not plastic. But Joy sinks into a deep depression, partly aided by the fact that the world is going to test the bonds she has formed with Jack, and by the fact that things are not what they were before her abduction. Her parents, for example, have divorced and her mother (Joan Allen) has remarried. Her father (William H. Macy) has moved far away and can't bring himself to accept Jack as his grandson. She and Jack move in with her mother, Nancy, and stepfather, Leo (Tom McCamus), but the tensions of the household grow as they are besieged by reporters, and when an interviewer awakens feelings of guilt and responsibility she has repressed, Joy attempts suicide and is hospitalized. The problem with this part of the film is that there are no easy solutions to the crisis it has created. Moreover, we don't know enough about the characters it introduces to understand their behavior: Why, for example, is it so hard for Joy's father to accept Jack as his grandson? As brilliant an actress as Joan Allen is, she doesn't quite make the loving, gentle grandmother much more than a stereotype. How much hope can we hold out for Joy's full recovery and Jack's successful integration into a world he had previously never envisioned? I haven't read Emma Donoghue's novel, so it's possible that this part of the story is better developed and the characters are more plausible on the page than they are on the screen, although Donoghue also wrote the screenplay. There is, however, a scene at the end, in which Joy and Jack return to Room, now about to be demolished, that provides a kind of closure to the film that's satisfying artistically -- if not psychologically.

[lunesalsol]

Um acidente de viação num transporte escolar, acaba por chamar à cidade um advogado - perturbado pela relação com a sua filha - para unir as famílias e garantir apoio no futuro.

O plano de acusação acaba por não ser aceite por uma das testemunhas / alunas, que ficou inclusive paraplégica no acidente, e depõe a verdade ao juíz.

Atributos do filme: A paisagem gelada

[infinitelytheheartexpands]

acts one, two, and three let’s get it:

-this talking head is giving me commendatore vibes??? also this is…not the beginning of the text

-oh apparently this is a robert lepage production! cool! i love his damnation de faust!

-podcast??? radio call-in show??? either way: love

-wait is that TOM MCCAMUS???????

-edit: it is tom mccamus

-this is literally every dudebro podcast about politics ever

-“i the great toe? why the great toe?” LMAOOOOOOOOOO

-oh that transition into the opening credits was COOL

-thank you film for giving us historical context

-green glass bank lamps: an essential part of any office

-one thing about the military is that there is a fuckton of bureaucracy

-bathhouse gay

-WAIT HOLD UP IS THAT GRAHAM ABBEY AS AUFIDIUS

-HOLY SHIT IT IS

-[redacted flirtatious thoughts about graham abbey]

-what is that out of tune music box thing lol

-this is such a cool effect with the mimed textile work with the scrim

-virgilia, internally: pls stop talking

-oh they have a kid???

-also virgilia’s dress is such a vibe

-someone: shakespeare stop giving women in this play names that start with v and end with a

shakespeare: no :)

-virgilia is 110% an introvert

-some really cool lighting here

-it’s just the little kid war playacting

-did we just skip like four scenes

-i guess we did

-so caius martius is refusing a bonus bc he wants to be paid the same as his men. okay

-annnnnnnnnnnd there it is! he’s coriolanus now!

-that pause on “i will go wash, and when my face is…fair” omg (for context: coriolanus is being played by andre sills, a Black actor)

-uh oh coriolanus is going through some shit

-and so is aufidius

-“do i really hafta keep fighting the same guy”

-“…he’s mine or i am his” …that sounds gay 👀

-podcast bros are back, but this time listening to the radio at the bar

-meninius is low key so sassy i love him

-“more of your conversation would infect my brain” LMAOOOOOOOOOOOO

-all the ladies at the bar now

-volumnia is the epitome of tough mom

-like seriously why are you so happy about your son getting wounded

-AMAZING set change

-aww they’re so cute

-okay volumnia what is that one thing

-political discussions! at the elevator

-it’s election day!

-everyone’s dream: getting to eat and drink onstage

- “i had rather have my wounds to heal again

than hear say how I got them.” …oof

-cominius: i shall lack voice *goes on for like forty lines*

-whoever just yelled “SERIOUSLY?”: lol

-dude just got a promotion

-oh buddy

-this is like the tiktok street interviews

-“how the fuck did my elder care patient get out here” maybe do your job

-oh this is such a good way of incorporating sign language!

-these two are working OVERTIME

-not sure about the decision to have them talking AT THE SAME TIME though

-i love rolly office chairs

-ooh ✨class conflict time✨

-okay you can’t talk to them like that just because they represent a different social class

-random tv crew: idk man we’re just here

-WELL THAT ESCALATED QUICKLY

-that living room is Fancey

-okay she has a point

-“mom stop tickling me”

-volumnia is going OFF

-“FIIIIIIIIIIIIIIIINE MOM”

-them yelling at each other from on and offstage lol

-“mildly” to coriolanus is like. habanero pepper

-these two guys are plotting again

-these mid-scene set changes are top notch

-menenius is trying

-didn’t your mom tell you not to do exactly this (edit: menenius brought up that exact point)

-WELL THAT ESCALATED QUICKLY (again)

-“you can’t banish me i banish you FIRST!”

-oh THIS is where that speech comes from

-annnnnnnnnnnd that’s intermission!

alright nerds let’s watch (or at least start) coriolanus

@cartridgeconverter

[1outofmymind]

Being high on Mutant X and Mason Eckhart.

:readmore:

[fridaythe13ththeseries]

Screen Shots from Friday the 13th: The Series episode The Baron’s Bride, Season One, Episode Thirteen, air date 2/20/1988

[hellyes-tommccamus]

Wider shot of that picture from Macbeth.

[grande-caps]

Mutant X 1.01 - 1.03

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[mydarkmaterials]

[quotethatfilm]

The Sweet Hereafter (1997)