#agent schill

[dingoat]

Three of Pentacles

Upright: teamwork, collaboration, building  Reversed: lack of teamwork, disorganized, group conflict

[satninroses]

Navigation:)

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——>⭐️venus (or vee!)

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——>⭐️elvis girl

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——>⭐️other socials!

|—> disc, insta, wattpad, spotify

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Love you guys! ~Vee🤍

[thenarrativefoil]

genuinely. and from the bottom of my heart. FUCK doctors.

[the-garbanzo-annex-jr]

Today, the Zionist Organization of America (ZOA) reacted to a brand-new Congressional report, “Antisemitism on College Campuses Exposed.” ZOA thanked Chairwoman Virginia Foxx (R-NC) and her U.S. House Committee on Education and the Workforce for their hard work. ZOA condemns in the strongest terms the documented examples of college administrators tolerating and promoting antisemitism by pandering to antisemitic terrorist sympathizers at the universities and disregarding the rights of Jewish and other pro-Israel students, faculty, and staff. The report can be found here.

This report was published after a year-long investigation by the U.S. House Committee on Education and the Workforce majority. It shows how antisemitism has engulfed college campuses since the massacres of October 7, 2023. ZOA knows from our previous work on campus antisemitism that the problem of indifference to antisemitism predates the atrocities committed by Islamic terrorists last year. The report documents the frequent occurrences where many college administrators intentionally prioritized the desires of woke students and faculty over the safety of Jewish and other pro-Israel students, faculty, and staff. These include the following disturbing examples:

At Northwestern, administrators put radical anti-Israel faculty in charge of negotiations with anti-Israel students supporting terrorism with the aim of appeasing them. (Pg. 9) The appeasement worked, and Provost Kathleen Hagerty approved the boycotting of an Israeli company, Sabra Hummus. (Pg. 12)

University leadership promised to hire an anti-Zionist rabbi and the Northwestern President, Michael Schill, appears to have misled Congress on the matter, which could be a crime. (Pg. 15)

At Harvard, the leadership intentionally failed to condemn the terror group Hamas in their widely criticized 10/9/23 statement about the massacre. (Pg. 34) They also refused to mention the fact that Hamas was holding hostages and refused to characterize Hamas’ actions as violent. (Pg. 35)

University administrators explicitly asked Harvard Corporation Senior Fellow Penny Pritzker not to call the antisemitic chant “From the River to the Sea” antisemitic. (Pg. 41)

At Columbia, the administration excessively disciplined Jewish students falsely accused of using ‘chemical agents’ when in fact administrators were present at the scene, and knew the charges were false. Subsequent administration statements failed to correct the false narrative used to vilify Jewish students. (Pg. 48)

11 universities utterly failed to enforce their rules and impose discipline for antisemitic conduct violations. (Pg. 58) These included Columbia, Harvard, the University of Pennsylvania, Rutgers, and UCLA.

Administrators at Columbia, Harvard, and Penn expressed hostility and contempt for congressional oversight and criticism of their record. (Pg. 114)

[x-manson-annotated]

X-Manson Annotated Chapter 5 - Part One: INFILTRATORS.

Holy shit, the final chapter. This is where I really like a lot of concepts. The Avengers make a proper appearance and everyone's favorite sapphic Carol Danvers has a shitty time. See the reblogged version for the rest of it, since Tumblr has a limit on only 30 images.

If i'm not mistaken, this places the year that Kitty is watching the documentary as 2000 whereas before it said "Present Day" or "Today" . This places Kitty and Dani at probably 23 and 26 respectively.

**Dwight Hammer, like all cops is a goddamn moron.

Paid Schill.

1999 the y ear of the raid? Xavier's psychics forcing people to confess to murders that they didn't commit?

*I'm not sure if Dolores is a reference to someone special or just a filler character.

**I don't know why the spelling of her name with the 'e'. I've looked at multiple versions of the story and that detail remains in all of them.

**ALIENS EXIST IN THE CULT AU.

Motherfucking Carol Danvers!

*I'm not totally sure if that's something Supergirl used to be like.

** Rogue. I'm not sure who the intelligence agency is, since SHIELD seems to be a known quantity in the world.

*** That isn't really a thing she's known for either.

*Carole uses that very insistent phrase "the Kree that fucked me up". In the comics, she gained her abilities from an explosion that mixed her DNA with Mahr-Vel. So, is it possible in this au the Kree intentionally experimented on her?

**Pretty green eyes convince Carole Danvers that Rogue isn't a tech. Gay as hell behavior, champ.

***Further gay behavior. Much less traumatic loss of her powers as opposed to what happened to her in the comics.

*This is referencing her lesbianism within the story. I don't know if this is Benway's potentially homophobic perspective on Carole's sexuality, or if it's meant to be a purely in-universe sense of present homophobia.

Rogue's Mom, Destiny is being a cryptic old biddy. She's present twice the story, but Mystique isn't. Maybe she died a while back after some encounter with the cult, resulting in Rogue being sent in as an agent. But, that's just my headcanon.

*See.

**Rogue gave Carole a type.

**Why didn't she decay? Because of Carole's powers?

***Destiny was able to see that Carole was going to fuck her shit up by kissing Rogue's corpse, but not that Rogue would get murdered? Like, c'mon, that's your daughter.

*I might be right.

**I'm so fucking sick of Vance taking every single incorrect lesson from his life. Of course, she was angry, Vance. She was in near-constant pain, you unbearable prick.

***Probably doesn't help that she was being cryptic about what happened.

*I still love how angry he is with American spy agencies.

*Possibly this universe's version of Freedom Force?

Xavier loaning out cult members for odd jobs?

*Sorry HOXPOX fans, Moira isn't a mutant.

**So that's where they're potentially filling up their ranks?

***My immediate thought was Gambit both because of the title and the New Orleans connection. This might also be Amahl Farouk, who has a history of employing pickpockets, but he was based in Egypt. Though, I don't want to discount him totally because of my biased headcanon.

*Tracking the cult's activity from the ground up. But, how is the cult going to all of these places constantly? How far spread are they outside of Westchester?

** Nice to know that Black Tom exists in this au. Hope he and Cain have a summer cottage together somewhere on the coast where they can grow old together, far away from any of this cult horseshit.

Spain

Morocco

Romania

Hungary

Yugoslavia

Westchester, New York.

So, Sean was likely trying to infiltrate them after making contact in Yugoslavia and then ended up being inducted into the cult, proper.

That is so goddamn scary it's unreal.

*was their a psi on the isles manipulating the local Interpol agents? Can Xavier or Cable stretch their influence that far?

*Rahne Sinclair

*I just now noticed that Terry in this story is eleven. My god. That's an especially horrifying ordeal at that age.

*if Sean was pleading, it's possible that either they didn't have him under psychic control yet (not coring him) or the distance allowed the connection to break. But who else is with Logan that's coercing Sean into action?

*She could tell almost immediately that Rahne was a mutant and not some kind of freakish dog.

The river to confuse Logan's tracking ability?

*Rahne's home in the woods.

*They don't see her transform in the dark, but she can take on a human or at least human adjacent shape. Rahne Sinclair is a saint.

First Voice, Unknown.

Second Voice, Logan.

*My first instinct was that this is Sean, but Moira would have clarified if it were. Maybe it's Cable or Piotr?

**Rahne can take on a human shape, but is functionally feral and cant understand human language.

*Logan's voice again.

**Cars everywhere. Some of them look burned. Sunfire? Is the second voice Sunfire?

*Christ alive, they massacred ten whole police officers and special forces agents.

Logan sticking around to threaten the family by leaving shreadded vehicles around? Why not murder them?

[rosecorcoranwrites]

Gotta love how half the time, the "For You" feature shows me pin-point accurate posts related to my favorite fandoms, current hobbies, and beloved aesthetics, like it's the freaking FBI agent who tracks all my online movements, while the other half of the time it shows me posts about WWE, pro-Hamas schilling, and Bucky Barnes x Reader fics. Like... How? Why? Who do you think I am????

[saintmeghanmarkle]

Megs PR: The Revolving Door just like Archewell by u/somespeculation

Meg’s PR: The Revolving Door, just like Archewell Meg seems constantly dissatisfied with her PR.She has yet to realize the problem is twofold: she’s universally disliked + over saturation.Good PR can change being disliked over time (see Camilla’s rehabbed image, but it took nearly 20 years). Over saturation means your client also needs to listen and disappear. Which is like depriving Meg of oxygen. Currently, here’s the staff with them at Invictus:https://ift.tt/nU7KMRL hired new PR in April, 2023:Keep in mind WME is her agent, not her PR.late Sept 2022: “Parted ways” with Sunshine Sachs . They were working with partner Keleigh Thomas Morgan…all the way back from their Africa tour in 2019. Note they had Royal staff and PR but Meg kept her own (plus her agent and business manager) and cut their Sussex staff out of communication. https://ift.tt/iCtPdvo 2022: confirmed their PR was “in house” . Meg assigned it to an Archewell employee, Christine Weil Schirmer.https://ift.tt/71K3u8M 2023: for a while it appeared to be Edwin Coram James. He specializes in SEO resultshttps://archive.ph/gPf1WApril 2023: her PR agency was KLM.Confirmed from that firm their PR agent as of April is Miranda Babot. She was with them at the games right now.https://ift.tt/c8BEHkP Beth Herlihy is now allegedly Meg’s assistant, but she seems to be more Harry’s since she was with him in his recent polo trip to Asia. She has been hired “freelance” since the early Megxit days and has a PR firm on the side with another former Sussex household member Claire Loughlan. (There is also discussions into their relationship with her on our sub as well. Best way is to Google Beth Herlihy Reddit and it’ll pop up the posts, or you search it internally.)https://ift.tt/AE0H9vI 2023: But VERY interesting that just a few days ago there was an article that they could be getting new PR via Schillings. That’s the law firm representing their cases that is now branching into PR for certain clients.https://ift.tt/9jqRrWN as of April, it’s Miranda Babot.But it may not be for long.Part of why it’s confusing is that Meg also has an agent (WME), they have a law firm (Schillings), and she still has a business manager and/or lawyer. Plus, there is SO MUCH turnover with Archewell staff as well. Archwell employees are also part of her PR whenever they speak to the press (eg Deyani before she quit). Meg keeps rotating PRs probably because she’s not satisfied with their work and thinks she can hire her way into likability. post link: https://ift.tt/hxy7sV4 author: somespeculation submitted: September 16, 2023 at 06:09PM via SaintMeghanMarkle on Reddit

[lalsingh228-blog]

Anti-Tack Agents Market Projected to Show Strong Growth

Advance Market Analytics added research publication document on Worldwide Anti-Tack Agents Market breaking major business segments and highlighting wider level geographies to get deep dive analysis on market data. The study is a perfect balance bridging both qualitative and quantitative information of Worldwide Anti-Tack Agents market. The study provides valuable market size data for historical (Volume** & Value) from 2018 to 2022 which is estimated and forecasted till 2028*. Some are the key & emerging players that are part of coverage and have being profiled are Croda International plc (United Kingdom), King Industries, Inc. (United States), SASCO Chemical Group, Inc. (United States), Evonik Industries AG (Germany), Polymer Solutions Group (United States), Lion Specialty Chemicals Co., Ltd (Japan), Schill + Seilacher "Struktol" GmbH (Germany), Baerlocher GmbH (Germany), Kettlitz-Chemie GmbH & Co. KG (Germany). Get free access to Sample Report in PDF Version along with Graphs and Figures @ https://www.advancemarketanalytics.com/sample-report/37200-global-anti-tack-agents-market

Anti-tacking agents are chemical compounds used in the rubber and tire industry to remove the self-adhesive property of uncured rubber during its storage. Anti-tacking agents are applied on the surface of the uncured rubbers to release or separate them after storage, which eases the handling and transportation of uncured rubber. The necessity to allow anti-tacking agents in the rubber industry arises due to space and logistics limitations.

Keep yourself up-to-date with latest market trends and changing dynamics due to COVID Impact and Economic Slowdown globally. Maintain a competitive edge by sizing up with available business opportunity in Anti-Tack Agents Market various segments and emerging territory.

Market Drivers

Increased Demand for Durable Tires Owing To Increasing Automotive Production and Sales across the Globe

Increase in Income Levels and Standard Of Living

Opportunities:

Increasing Construction Activities, Rapid Industrialization and Urbanization in Developing Countries

Challenges:

Stringent Environmental Regulations and Rising Health Concerns

Have Any Questions Regarding Global Anti-Tack Agents Market Report, Ask Our Experts@ https://www.advancemarketanalytics.com/enquiry-before-buy/37200-global-anti-tack-agents-market Analysis by Type (Stearates, Fatty Acid Esters, Fatty Acid Amides, Silicone Polymers, Others), Application (Tires, Industrial Rubber Products, Others), End-Use Industry (Automotive & Transportation, Building & Construction, Medical, Electricals & Electronics, Footwear, Others), Sales Channel (Direct Sales, Indirect Sales)

Competitive landscape highlighting important parameters that players are gaining along with the Market Development/evolution

• % Market Share, Segment Revenue, Swot Analysis for each profiled company [Croda International plc (United Kingdom), King Industries, Inc. (United States), SASCO Chemical Group, Inc. (United States), Evonik Industries AG (Germany), Polymer Solutions Group (United States), Lion Specialty Chemicals Co., Ltd (Japan), Schill + Seilacher "Struktol" GmbH (Germany), Baerlocher GmbH (Germany), Kettlitz-Chemie GmbH & Co. KG (Germany)]

• Business overview and Product/Service classification

• Product/Service Matrix [Players by Product/Service comparative analysis]

• Recent Developments (Technology advancement, Product Launch or Expansion plan, Manufacturing and R&D etc)

• Consumption, Capacity & Production by Players The regional analysis of Global Anti-Tack Agents Market is considered for the key regions such as Asia Pacific, North America, Europe, Latin America and Rest of the World. North America is the leading region across the world. Whereas, owing to rising no. of research activities in countries such as China, India, and Japan, Asia Pacific region is also expected to exhibit higher growth rate the forecast period 2023-2028. Table of Content Chapter One: Industry Overview Chapter Two: Major Segmentation (Classification, Application and etc.) Analysis Chapter Three: Production Market Analysis Chapter Four: Sales Market Analysis Chapter Five: Consumption Market Analysis Chapter Six: Production, Sales and Consumption Market Comparison Analysis Chapter Seven: Major Manufacturers Production and Sales Market Comparison Analysis Chapter Eight: Competition Analysis by Players Chapter Nine: Marketing Channel Analysis Chapter Ten: New Project Investment Feasibility Analysis Chapter Eleven: Manufacturing Cost Analysis Chapter Twelve: Industrial Chain, Sourcing Strategy and Downstream Buyers Read Executive Summary and Detailed Index of full Research Study @ https://www.advancemarketanalytics.com/reports/37200-global-anti-tack-agents-market Highlights of the Report • The future prospects of the global Anti-Tack Agents market during the forecast period 2023-2028 are given in the report. • The major developmental strategies integrated by the leading players to sustain a competitive market position in the market are included in the report. • The emerging technologies that are driving the growth of the market are highlighted in the report. • The market value of the segments that are leading the market and the sub-segments are mentioned in the report. • The report studies the leading manufacturers and other players entering the global Anti-Tack Agents market. Thanks for reading this article; you can also get individual chapter wise section or region wise report version like North America, Middle East, Africa, Europe or LATAM, Southeast Asia. Contact US : Craig Francis (PR & Marketing Manager) AMA Research & Media LLP Unit No. 429, Parsonage Road Edison, NJ New Jersey USA – 08837 Phone: +1 201 565 3262, +44 161 818 8166 sales@advancemarketanalytics.com

[homocausticus]

Major Tom e um Porsche 911

Em 2020, eu assisti o filme Atomic Blonde onde tinha uma cena onde um agente britânico dirigia um Porsche 911 na Berlim Ocidental ao som de Major Tom, do cantor alemão Peter Schilling. A música em quest��o foi tocada no segundo gol da vitória da Alemanha sobre a França por 2 a 0 no amistoso em Lyon. Uma petição online foi organizada para que Major Tom fosse tocada nos estádios durante a Eurocopa…

[dingoat]

Temperance

Upright: middle path, patience, finding meaning Reversed: extremes, excess, lack of balance

[21secondsofchristoph]

Here is a full translation of the interview featured in Max Magazine.

Original text by Andreas Wrede

This was a lot of work so PLEASE don’t post this elsewhere without credit. 

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This story with and about Christoph Waltz is a story coming full circle. A little more than 3 decades ago, a small group of editors and photojournalists, graphic artists and authors started developing the pilot for the first German issue of MAX, made possible by Dirk Manthey, the publisher from Hamburg’s Milchstraße, who knew the magazine from Italy, France and Greece. And who made me the founding-editor in chief. Three decades later, the derivative is released, thanks to publisher Max Iannucci. In 1990, Christoph Waltz was in an episode of “Der Alte”, among other things before he played the torn schlager music star Roy Black in “Du bist nicht allein – Die Roy Black Story” – but we will get to that later.

Now Christoph Waltz is an award-winning, internationally known actor, who won two Oscars for best supporting actor. That is unique for a German-speaking actor. Born in Vienna in 1956, he now lives in Los Angeles – if you want to play a role in Hollywood, literally, you must be present in Los Angeles. And during our conversation in a red, furry saloon of the legendary hotel Sacher in Vienna, he emphasizes, “Hollywood is always the goal”.  

The place is very fitting, considering Christoph Waltz grew up in Vienna, in a family that cultivated a great affinity for the work on stage for two generations. He says laconically, “You grow into a thing, you grow up with it, and thus, you acquire a familiarity early on, which you’d otherwise have to conquer with a lot more effort.” He often went to the movies from an early age on, but he spent even more time at the opera. “When I had time and had finished my homework, I enjoyed going to the opera.” Back then, a standing room ticket cost about ten Schilling, just a few cents in today’s currency. Little Christoph loved smuggling into the fascinating, secretive opera house.

Later he attended famous acting schools like the Max Reinhardt Seminar or Lee Strasberg’s Actors Studio with significantly less pleasure. “I didn’t like attending acting schools. They didn’t exactly broaden my horizon.” Christoph Waltz hardly found them inspiring. And when he received offers for movies and theater, he accepted them “instead of dealing and struggling with teachers”. He says this with few gestures and in an almost reporting tone, he has always trusted the energies inherent in him. He had his TV debut in “Der Einstand”, where he played a teenage delinquent. That was fitting, considering he continued playing roles which were different, unexpected, and specific, or roles he filled differently, unexpectedly, and specifically.

Christoph Waltz remembers his beginnings as an actor in the 70s a little wistfully. “There were still movies on TV, which were made as movies for television, as one dramatic entity.” Or when there used to be directors like the great Federico Fellini, who was “very, very specifically Italian in everything he did.” Christoph Waltz continues: “And because of this specificity he was able to reach so many people.” A phenomenon like Fellini is marked by obstinacy, nonconformity, and distinct individuality. However, some significant conditions also irritated Christoph Waltz, for instance, when he was hired for the Krzysztof-Zanussi-film “Leben für Leben” in 1991. “I wasn’t adequately informed about the conditions and backgrounds. And so, I found myself – surpsised – in front of a camera in Auschwitz.” How does one react to something like that? “Today, I would know how to react”, he stresses thoughtfully, “but today, that would be due to the self-confidence I acquired over the past years. Back then I felt: Now I’ve been hired for this film.” Alright, he adds, one grows through experience, some conflicts are worth going through. “It helps building character.”

Was the decision to play Roy Black a crystal clear one? Not at all, he responds smiling and closes his eyes for a second. “When my agent called me about it, my spontaneous reaction was: Complete humbug, and I can’t even listen to this music for three seconds.” It only became interesting for him when he learned that Roy Black originally wanted to play Rock ‘n’ Roll. Then he became interested in the tragedy of this character. And the thought that Roy Black’s wish was the desire for freedom and wildness, a wish many Germans shared, “which was inherent in the promising American machinery.” Although this freedom and wildness had always existed in Germany, lived out by people like Nietzsche, Schopenhauer, or Kandinsky.

“The film itself was great, but the marketing-weisenheimers managed to break this film. It would be a great cine film, but they advertised it as a sob story for television. Consequently, the real Roy-Black fans were disappointed, while the people who might have been interested in the movie judged: Leave me alone with this sob story twerp. Well, the weisenheimers are the weisenheimers, what can you do”, deems Christoph Waltz with a beautiful touch of Viennese sarcasm and barely noticeable risen eyebrows. One does not always have to instrumentalize the entire acting equipment with him. A few little cues are enough.

Many more films follow before someone calls from Hollywood and say he is supposed to participate in Tarantino’s Inglourious Basterds. In our interview he calls this his “Quentin-jump”, where he is at eye level with Diane Kruger, Brad Pitt and Michael Fassbender in front of the camera. “Tarantino, we mentioned this before, stands for specificity and authenticity, he has an eye for both.” Did Christoph Waltz go into this production with a lot of respect? “With great respect.” He remembers an encounter with Sylvester Groth in front of a theatre in Babelsberg. “Every Thursday, Quentin showed movies during preparation. Once, Sylvester and I stood in front of the theatre and we both said: Imagine this, now we’ve been doing this for so long and suddenly we find ourselves here.” Then we paused for a few moments and kept going: Yes, and despite everything, we’re doing what we’ve always done – what we do, because that is what we do.”

Before Tarantino’s office could call again, other international projects followed, like The Green Hornet (with Cameron Diaz, Tom Wilkinson, James Franco) or Carnage (with Jodie Foster, Kate Winslet, John C. Reilly). Then Django Unchained (with Jamie Foxx, Leonardo DiCaprio, Samuel L. Jackson). For his role in Django Unchained, Christoph Waltz wins his second Oscar for best supporting actor in 2013 and Quentin wins another one for best original screenplay. But Christoph Waltz remains humble: “The opportunities presented to someone for personal growth always come to you through other people.” Although the actor always makes a binary decision. “Yes or no. Am I going to do it or not.”

Can one also make the wrong decision? “You decide for one or the other and from that other possibilities develop, but neither is better or worse.” That was not any different for Quentin Tarantino or for his first film and its director Reinhard Schwabenitzky, who saw him in acting school. Christoph Waltz leans forward and says confidentially: “The essential chances and opportunities were those which were presented to me by another mind, by a great talent, through a vision, which came from another person.” Nothing more, nothing less.

Yes, humility is a virtue. But we do not want to conceal the fact that Christoph Waltz was the first German-speaking host on Saturday Night Live and that he received a star on the Hollywood Walk of Fame (No. 2536, 6667 Hollywood Boulevard). The quote: “And Hollywood is always the goal.” Is correct, “like others say their goal is to get into heaven.” Hollywood, heaven: “I don’t mean to compare the two goals, but the setting of these goals. Especially Hollywood has been mythologized into more than it deserves credit for.” In this respect, as a myth, it is always the goal. Please don't tell anyone Christoph Waltz is over-the-top - the opposite is the case.

During our exchange in the Sacher, I mention one of my favorite books on film. It is Peter Biskind’s Easy Riders, Raging Bulls – How the Sex-Drugs-And-Rock’n’roll Generation saved Hollywood. It says: „There is no worse career move in Hollywood than dying. Hal Ashby is now largely forgotten, because he had the misfortune to die at the end of the 80’s, but he had the most remarkable run of any ’70 director. After ‚The Landlord‘, in 1970, he made ‚Harold and Maude‘, ‚The Last Detail‘, ‚Shampoo‘, ‚Bound for Glory‘, ‚Coming Home‘ and ‚Being there‘ in 1979, before his career disappeared into the dark tunnel of post-‘70’s, Me Decade Drugs and paranoia.“

It can be assumed that this won’t happen to Christoph Waltz? “That is a good example for the mythologizing I was referring to”, he responds. “I would claim that a legend like James Dean probably wouldn’t have developed at all, had he not driven himself to death in his Porsche at such a young age. Who knows what would have become of Marilyn Monroe, had she not put an early end to her complicated life.” And parallel to Hal Ashby, there probably were thousands of directors, who would have been happy to pay their next rent – by working in their profession. It is therefor about comparativeness.

Onto another career step, the James Bond movie Spectre, in which Christoph Waltz portrays the dark Blofeld, a character, who appeared in previous Bond movies. How do we have to imagine that? One sunny day the agent comes along and says: “You’re on the list for the next Bond movie”? Christoph Waltz knows there are no rules to this, especially when it is something like James Bond. A series that has been at the peak of possibilities for more than 50 years.” The producers have a lot to lose, they have to look very closely. Not only to keep up the standard, they also want to be ahead of their time.

Was it intriguing to play this bad boy a second time? Is it about an additional nuance of expertly irony; is it about the myth that is Bond? “This was another unique opportunity for me”, says Christoph Waltz, “a unique opportunity to include myself into such an incredibly successful series.”  Now after Spectre, for the second time in No Time To Die – a title that can offer a bit of comfort in times of the world wide covid pandemic. And Christoph Waltz is in the Bond movie that will be Daniel Craig’s final Bond. “It’s his fourth Bond movie”, he counts, “the actors change but the role remains the same. Of course, the role acquires a different profile and thus, different facets.” But it remains James Bond. “And when a new actor gets the role, he has to fit into the role, not the other way around.” Once again, we will have to wait for this Bond movie. It will probably hit theatres in spring 2021.

It reminds one of Shakespeare’s Troilus and Cressida – we’ve seen it a dozen times but keep going to see it again. Nowadays you go to see the production, in the past you went to see whosit faithless. Speaking of productions: Are the demands towards a Bond director more extensive compared to other film projects? “Surely there are more things to keep an eye on compared to a low budget movie or an independent film. In productions like that, you often have to use the tools you have. In Denmark they had demands referring to this “, Christoph Waltz comments in a slightly mocking undertone. He means the group around Lars von Trier? “Precisely, they called it Dogma for fun, and the world took them seriously.” But that is part of it, right, part of the business.

Anyway, every little detail is carefully manufactured for a Bond movie.  And that takes, apart from a lot of money, a great level of expertise and many employees, which combine into a story on film. “Legions of people work on every pixel, not to mention the light and the meaning of the music.” With all this in mind, it’s understandable how appealing it is to be in a movie like No Time To Die. Christoph Waltz has a lot of praise for the director, Cary Fukanaga: “He always knew exactly what he was doing and we knew exactly, why he did this or that”. Audiences were able to see this in previous projects, like the brilliant first season of True Detective, where he directed all eight episodes.

Christoph Waltz wouldn’t be Christoph Waltz if he didn’t show his extraordinary talents in unconventional projects as well, like the show Most Dangerous Game (with Liam Hemsworth, produced for Quibi). “What interested me there? The new dramatic form, it’s a story in 16 sections, each section only eight minutes long. We’re dealing with a new form of storytelling.” Does it remind him of the continuous comics that used to be in US-newspapers a few decades ago?

“Yes, it’s connected to that – but it also reminds me of Charles Dickens, who published many of his novels as newspaper installments. In Most Dangerous Game the great story arch is not lost, the suspense is carried from one episode into the next. “That is a sleight of hand.” And for that he received an Emmy nomination, and it wouldn’t be surprising if he was to win the prestigious award one day. But he pulled off other sleight of hands in the past. Or how the New York Times says in a headline: “Christoph Waltz directing Opera, moves from Tarantino to Verdi.” Adding his old comment to this: “The full-blooded, juicy movie experience has a lot of operatic qualities. I’m not talking about the film music, but about the rhythm and color and phrasing.” After “Der Rosenkavalier” (Music: Richard Strauss, Libretto: Hugo von Hofmannsthal), which he staged at the Antwerp Opera, came Giuseppe Verdi’s “Falstaff”, his second opera there.

“I’m not a fan of the never-seen-before concept”, says Christoph Waltz. He agrees with Susan Sontag’s essay Against Interpretation – in opera, there is a fix story, and the music is the central transmitter of this story. Over-interpretations can quickly become “dangerous sliding tackles.” Waltz wants to avoid those. “I want to show what the composers and authors meant.” He stayed true to Sontag’s principle in all three of his opera productions, the third on being Beethoven’s only opera “Fidelio”.

He is self-critical enough, “to personally take the risk of failing.” What would be the alternative?

“I’m just an actor, now what do the music critics, who take themselves so seriously say? Some foam at the mouth and brawl ‘the movie-bod is interfering in the opera’.” He prefers the critics that are capable of formulating things between the lines. “When I read elsewhere, that the very thing I was trying to convey can be seen in detail, then I’m quietly happy about it.” Sadly, the live performances of Fidelio fell victim to the covid-crisis, but there was a TV-screening on ORF, which can certainly be called presentable with 11% of the market-share.  “During ‘Fidelio’ I first realized physically that music is a spatial experience.” Here fits another Waltz-quote: “Strip away anything that us unnecessary.” Ergo: Reduce the action to the interaction between the characters. That is an art he mastered to perfection in acting.”

For once, I could surprise the cleaned up, chatty, well-tempered Christoph Waltz with a little research.

In his birthyear, 1956, his fellow countryman Walter Felsenstein, founder and artistic director of the “Komische Oper” in Berlin filmed a version of “Fidelio”. To this day, it remains the only film adaptation of the opera. Probably because – so the actor quotes Felsenstein – “this opera technically is impossible to stage”, he says with aplomb, an attitude that suits him. In ballet an aplomb describes the ability to absorb a movement, the balance.

Christoph Waltz not only shoots a lot of movies, but he also enjoys reading one particular movie critic: Anthony Lane of the New Yorker. Surely one of the most sharpened critics, who outtalks someone or rubs the reader’s nose into his alleged ignorance. We start talking about Lane via a new movie by the fabulous Agnieszka Holland, “Mr. Jones” – referring to Gareth Jones, advisor to the former British Prime Minister Lloyd George. Jones uncovers that the devastating hunger crisis in the Ukraine in 1932/33 was exclusively due to Stalin’s exploiting politics. Anthony Lane writes in inimitable fashion: „Is it conceivable that Holland’s bleak, murky, and instructive film could prompt a change of heart in the current Russian establishment, or even a confession of crimes past? Not a chance.“ Greetings from Belarus.

And of course, we also talk about COVID, what does an actor do who can’t act during these times? Is he reading Robert Musil’s novel The Man Without Qualities, which has more than 1000 pages? “Oh, I’ve already attempted to read this three times. The first time, I got to page 200, the second time I got to page 400, the third time I put it away after 100 pages.” But he doesn’t fully abandon the idea of finishing it one day. “But that would really be a true accomplishment of discipline”, he underlines, allusively smiling. Less amusing is the current stagnancy in Hollywood, where Christoph Waltz lives with his wife and daughter for the most part. “It will be illuminating once things pick up again”, he ponders “will a reforming spirit take over, or will everything fall back into the old, ignorant patterns, or even cause worse?” The temporary dysfunctionality of Hollywood is comparable to a dysfunctional family, which mechanisms become especially clear during crisis. Now he visited his mother here in Vienna. I allow myself the question, “Is Vienna your home?” “Vienna is my home, home is something you can’t choose, like your parents. Everything else can become your center of living, all that is willingly moveable – but home, home cannot be changed at will.”

[imagekeepr]

Songs for Halloween Parties

Halloween parties offer the most wide open subject possibilities of any type of celebration. Halloween is the one day of the year that lets you be any living thing or dead thing, any occupation, any human or non-human and any personality type. You can be a cartoon character if you like. Since Halloween can go hundreds of different directions, the playlist will likely be a diverse list of novelty songs. The Monster Mash by Bobby Boris Pickett Rock Lobster by The B-52's Creep by Radiohead Everyday Is Halloween by Ministry Space Oddity by David Bowie Dead Man's Party by Oingo Boingo It's the End of the World As We Know it (and I Feel Fine) by R.E.M. Planet Claire by The B-52's Mad World - Tears For Fears Hell by Squirrel Nut Zippers Wicked Game by Chris Isaak Phantom of the Opera Soundtrack by Andrew Lloyd Weber Bela Lugosi's Dead by Bauhaus Werewolves of London by Warren Zevon Black Celebration by Depeche Mode Video Killed the Radio Star by The Buggles Walking On The Moon by The Police The Fly by U2 Lola by The Kinks Long Cool Woman in a Black Dress by The Hollies I Wanna Be a Cowboy by Boy Meets Girl 2000 Light Years From Home by The Rolling Stones The Munsters TV Theme Not Afraid by Eminem Kryptonite by 3 Doors Down Enter Sandman by Metallica Superstition by Stevie Wonder People Are Strange by The Doors Evil Ways by Santana 1999 by Prince Revolution 9 by The Beatles Twilight Zone TV Theme Hotel California by The Eagles Season of the Witch by Donovan Psycho Killer by Talking Heads The Devil Went Down to Georgia by Charlie Daniels Band Highway to Hell by AC/DC Devil Inside by INXS Hungry Like the Wolf by Duran Duran Thriller by Michael Jackson Super Freak by Rick James Ghostbusters by Ray Parker Jr. Le Freak by Chic Rapper's Delight by Sugar Hill Gang Girlfriend in a Coma by The Smiths Dark Lady by Cher Scary Monsters by David Bowie Bad Moon Rising by Creedence Clearwater Revival Devil Woman by Cliff Richard Riders On The Storm by The Doors Runnin' With the Devil by Van Halen Sympathy for the Devil by The Rolling Stones Crocodile Rock by Elton John Godzilla by Blue Oyster Cult Pumped Up Kicks by Foster the People Frankenstein by Edgar Winter Group Nightmare on My Street by DJ Jazzy Jeff and the Fresh Prince Time Warp from Rocky Horror Soundtrack Rapture by Blondie She Said She Said by The Beatles Wanted Dead or Alive by Jon Bon Jovi Out of Limits by The Marketts Somebody’s Watching Me by Rockwell Bad Girls by Donna Summer Black Magic Woman by Santana Welcome to the Jungle by Guns N' Roses Welcome to My Nightmare by Alice Cooper Boris the Spider by The Who Jungle Boogie by Kool & The Gang Roxanne by The Police Back in Black by AC/DC Addams Family TV Theme The Blob by The Five Blobs Smooth Criminal by Michael Jackson Take the Money and Run by Steve Miller Band Mama Told Me Not to Come by Three Dog Night Witchy Woman by The Eagles Speed Racer TV Theme Let's Go Crazy by Prince King Tut by Steve Martin Another One Bites the Dust by Queen Erotic City by Prince White Wedding by Billy Idol Hells Bells by AC/DC Fly Like an Eagle by Steve Miller Band Bad Bad Leroy Brown by Jim Croce Don't Fear the Reaper by Blue Oyster Cult Tarzan Boy by Baltimore Rocket Man by Elton John Live and Let Die by Paul McCartney & Wings Genie in a Bottle by Christina Aguilera Copacabana by Barry Manilow Black Cat by Janet Jackson You Dropped a Bomb on Me by Gap Band Zoo Station by U2 My City Was Gone by The Pretenders Eye of the Tiger by Survivor 99 Red Balloons by Nena Spirits in the Material World by The Police Monster by Fred Schneider Union of the Snake by Duran Duran They're Coming To Take Me Away Ha Ha by Napoleon XIV Rebel Rebel by David Bowie State of Shock by The Jacksons Walk Like an Egyptian by The Bangles Freakazoid by Midnight Star Low Rider by War Church of the Poison Mind by Culture Club Rebel Yell by Billy Idol Valley Girl by Frank Zappa E.T. by Katy Perry and Kanye West We Will Rock You/We Are the Champions by Queen All Along the Watchtower by Jimi Hendrix Strange Magic by Electric Light Orchestra Burning Down the House by Talking Heads Der Komissar by After The Fire Dr. Heckyll and Mr. Jive by Men at Work Taxman by The Beatles Monsters and Angels by Voice of the Beehive Clint Eastwood by Gorillaz Spiders and Snakes by Jim Stafford Secret Agent Man by Johnny Rivers 2001: A Space Odyssey (Also Sprach Zarathustra) by Deodato Star Wars Theme/Cantina Band by Meco Kung Fu Fighting by Carl Douglas Ballad of Peter Pumpkinhead by XTC You Are a Tourist by Death Cab for Cutie The Joker by Steve Miller Band Run Through the Jungle by Creedence Clearwater Revival Bette Davis Eyes by Kim Carnes Head Like a Hole by Nine Inch Nails Jerry Was a Race Car Driver by Primus Clap For the Wolfman by The Guess Who Fear of the Unknown by Siouxsie & The Banshees I Ran by A Flock of Seagulls Centerfold by J. Geils Band Black Velvet by Alannah Myles Tears of a Clown by Smokey Robinson & The Miracles, also The English Beat You Be Illin' by Run DMC Criminal by Fiona Apple Shout At The Devil by Motley Crue Weird Science by Oingo Boingo Swing The Mood by Jive Bunny and the Mix Masters Wild Thing by Tone Loc Whip It by Devo Planet Claire by The B-52's Legend of Wooley Swamp by Charlie Daniels Band Purple People Eater by Sheb Wooley The Freaks Come Out at Night by Houdini The Road To Hell by Chris Rea Billionaire by Travie McCoy featuring Bruno Mars Devil With a Blue Dress by Mitch Ryder and the Detroit Wheels Rock Me Amadeus by Falco Tubular Bells by Mike Oldfield Space Cowboy by Steve Miller Band Gypsy by Fleetwood Mac I'm Too Sexy by Right Said Fred Ring of Fire by Johnny Cash, also Social Distortion Walk the Dinosaur by Was (Not Was) Funky Cold Medina by Tone Loc The Night Chicago Died by Paper Lace N.W.O. by Ministry Paranomia by Art of Noise Birdhouse in Your Soul by They Might Be Giants If I Only Had a Brain by Lee Marvin from The Wizard of Oz Pink Panther Theme by Henry Mancini Orchestra Smuggler's Blues by Glenn Frey She Blinded Me With Science by Thomas Dolby Runnin' Down a Dream by Tom Petty Axel F by Crazy Frog (You've Got to) Fight For Your Right (To Party) by Beastie Boys In The Year 2525 by Zager and Evans Major Tom by Peter Schilling Man On The Moon by R.E.M. Happy Days Theme by Pratt & McClain Send Me an Angel by Real Life Convoy by C.W. McCall Particle Man by They Might Be Giants Pinball Wizard by The Who Fire by The Crazy World of Arthur Brown It's a Mistake by Men At Work Synchronicity II by The Police Mr. Roboto by Styx Wipeout by Surfaris Evil Woman by Electric Light Orchestra King of Pain by The Police Just a Gigolo/I Ain't Got Nobody by David Lee Roth Twilight Zone by Golden Earring Rockin' Robin by Michael Jackson Spooky by Classics IV Jungle Love by The Time A View To a Kill by Duran Duran Rain on the Scarecrow by John Mellencamp Love Potion #9 by The Searchers Cult of Personality by Living Colour The Candy Man by Sammy Davis Jr. Authority Song by John Mellencamp Rainbow Connection by Kermit the Frog The Bird by The Time Lil' Red Riding Hood by Sam the Sham & The Pharoahs Canary in a Coalmine by The Police Octopus's Garden by The Beatles Maxwell's Silver Hammer by The Beatles Puttin' On The Ritz by Taco Livin' La Vida Loca by Ricky Martin The Streak by Ray Stevens Bat Dance by Prince Theme from Greatest American Hero by Joey Scarbury Fame by David Bowie Eye In The Sky by Alan Parsons Project Devil in Disguise by Elvis Presley Mommy's Little Monster by Social Distortion Deadman's Curve by Jan & Dean Creature from the Black Lagoon by Dave Edmunds Zombie by The Cranberries The Killing Moon by Echo and the Bunnymen Haunted House by Jumpin’ Gene Simmons It's Halloween by The Shaggs Dragula by Rob Zombie Witch Queen of New Orleans by Redbone I Was A Teenage Werewolf by The Cramps Eye of the Zombie by John Fogerty Halloween by Misfits Pet Sematary by The Ramones Horror Movie by Skyhooks The Raven by Alan Parsons Project Bloodletting by Concrete Blonde Feed My Frankenstein by Alice Cooper Don't Be Afraid of the Dark by Robert Cray Hypnotized by Fleetwood Mac The Scientist by Coldplay Run For Your Life by The Beatles Dig My Grave by They Might Be Giants Waltz in Black by The Stranglers I Put a Spell on You by Screamin Jay Hawkins, Creedence Clearwater Revival Ghost Riders in the Sky by The Outlaws, Johnny Cash Ghost of Tom Joad by Rage Against the Machine, Bruce Springsteen Dead Souls by Joy Division, Nine Inch Nails Swamp Witch by Jim Stafford I'm a Goner by Matt and Kim w/ Soulja Boy & Andrew W.K. Mekong Delta - Night on a Bare Mountain Nightmare by Brainbug In the Hall of the Mountain King by Sounds Incorporated One Piece at a Time by Johnny Cash Tequila by The Champs I Had Too Much To Dream Last Night by The Electric Prunes Nasty by Janet Jackson No More Mr. Nice Guy by Alice Cooper Backstabbers by The O'Jays Pets by Porno For Pyros Danger Zone by Kenny Loggins Ghost of a Texas Ladies' Man by Concrete Blonde Dr. Tarr & Professor Feather by Alan Parsons Project To Live and Die in LA by Wang Chung Pictures of Matchstick Men by Status Quo, also Camper Van Beethoven Gypsies, Tramps and Thieves by Cher Land of Confusion by Genesis I Fought The Law by Bobby Fuller Four Naughty Girls by Samantha Fox Jimmy Olson's Blues by Spin Doctors Nightmares by Violent Femmes I Will Follow You Into the Dark by Death Cab for Cutie 42 by Coldplay Haunted House of the Century by Tangent Sunset The Warrior by Scandal Pacman Fever by Buckner & Garcia Planet Earth by Duran Duran Skeleton River by Tangent Sunset Junk Food Junkie by Larry Groce Everything Is Broken by Bob Dylan The Gambler by Kenny Rogers Shark Attack by Wailing Souls Season of the Witch by Joan Jett Superman's Song by Crash Test Dummies Brain Damage by Pink Floyd Paranoid by Black Sabbath He's a Vampire by Archie King Mad Scientist by The Zanies

[suchamiracle-does-exist]

Tom Schilling being interviewed for Goldene Kamera about his role as a Romeo agent in Der Gleiche Himmel (2017). The actor reveals why he can seduce every woman in his role.

“Weil er Alle Tricks kann.”

[transparentmanposts]

My Crazy Theory That Elvis Many not have Die in 1977

We have all heard of urban legions of how our favorite celebrity faked their own death and is alive in well in some secluded place, living now undercover. Most people want to believe their supper hero has a super power that makes them immune to death. The celebrity I am going to talk about, I was not a fan of. I was more of a Classic/Progressive Rock group listener. I did read a couple of books about Elvis written by people who were closer to him, and I read two books about his drug use problem. From the knowledge I obtained from these books, I thought for many years, the man was killed by the following: Prescription drugs, all night party binges, unhealthy indulgences, financial drain by a manager who got payed half of Elvis’s earnings. Which his manager gamble away most of his share. Closed off from the real world, and its realities. Now a life style like this, without changing tracks would surely end at the polar of the grim reaper. So being a sober mined person, I for a long time thought that in 1977 the King of Rock and Roll die, until I watched a movie entitled, Elvis meets Nixon. This movie in a reenactment of when Elvis on a whim, ran away from Grace land, without anyone knowing he had gone, or where he was headed. When Elvis get a room at a Washington D.C. hotel, trying to somehow arrange a meeting with President Nixon to get him to make him a drug enforcement agent. He takes a fight out to Los Angeles to meet his friend, Jerry Schilling. During the car ride Elvis tell his friend, he is tired of the, life of being Elvis Presley, and all its badges. While staying in Los Angeles, Jerry suggest Elvis take a stroll down town because the weather was nice. Elvis shoots down the idea, saying, you know I can’t go in public without being mobbed. He friend tell him, he won’t get mobbed, people are different out here. So when Elvis goes out on the town in Los Angeles, He discovers a cold harsh reality. The young people in 1970’s did not listen to his music, to them he was a has been. When he went into a record store and ask where he could find his records, the store clack showed him to the discount rack. So here is my theory. Once Elvis was faced with the hard cold reality that he was no longer the bigger than life super star, he once was. Also the fact He was tire of doing two show a day, to continue to support his life style, as well as being the financial provider for the Memphis Mafia members, and his vampire manager. Who would force Elvis to perform his show even when he was deathly ill. Because his manager was gambling away all his money, and most likely borrowing more money to gamble with from real mafia that own the casinos. So I believe Elvis, planned to fake his death, to get out of the death trap his life had become. I believe he knew it was only a matter of time his show in Vegas would burn out, and he would end up financially distorted. I believe he felt people were treating him as a meal ticket and not as a person who had needs. I believe Elvis and a few close trusted friends, came up with the idea of taking everything that was the Elvis Presley King of Rock and Roll image and making it into a museum, So Elvis could have the financial mean to live a quiet live under a new Identity. People say it can’t be done, the IRS would catch up with him for taxes. Not if money is received by a trusted first party, who would take care of the taxes. They in return would give money to Elvis for his financial needs. Therefor if Elvis had someone taking care of his financial matters, he could live without being part of the banking system, there for living off the grid. If I you are intrigued, watch the movie when Elvis meets Nixon. Tell if you think my theory might be possible.

Written by Stephen J. Vattimo 2/7/2020

[fromthe-point]

Winnipeg Jets Expiring Contracts 2018-19 Season

All players listed below are eligible to become either an unrestricted or a restricted free agent on July 1.

Winnipeg: Nathan Beaulieu, D Laurent Brossoit, G Ben Chiarot, D Kyle Connor, F Andrew Copp, F Kevin Hayes, F Matt Hendricks, F Bogdan Kiselevich, D Patrik Laine, F Par Lindholm, F Joe Morrow, D Tyler Myers, D Neal Pionk, D Brandon Tanev, F Jacob Trouba, D

Manitoba (AHL): Eric Comrie, G Marko Dano, F Seth Griffith, F Nicolas Kerdiles, F JC Lipon, F Nelson Nogier, D Jimmy Oligny, D Cameron Schilling, D Logan Shaw, F C.J. Suess, F

Cleveland (AHL): Alex Broadhurst, F

Jacksonville (ECHL): Ken Appleby, G

[moviepitpodcast-blog]

February Movie Releases

So how are those New Years Resolutions coming along? Kidding!

How's the cold treating you? Because it sure as hell SUCKED here in the Chicago-land area!

Anyway, we’re here for movies! February is looking like a legit month with some huge films coming out. It’s also the month that is bringing the end to a beloved franchise. So, let’s get to it!

1st

Limited Release: Arctic

A man (Mads Mikkelsen) stranded in the Arctic after an airplane crash must decide whether to remain in the relative safety of his makeshift camp or embark on a deadly trek through the unknown in hopes of making it out alive. The film is the feature film debut of Joe Penna aka Mystery Guitar Man from Youtube fame.

Miss Bala

Gloria (Gina Rodriguez) finds a power she never knew she had when she is drawn into a dangerous world of cross-border crime. Surviving will require all of her cunning, inventiveness and strength. The movie is, unbeknownst to me for some time, a remake of a Spanish film of the same name and directed by Catherine Hardwicke (Twilight, Red Riding Hood). Honestly, I don’t have a lot of interest in watching this. The trailer does nothing for me, and why I hear Gina Rodriguez is great on her show Jane the Virgin, that may not mean she’s good to lead a movie. Hey, I could be wrong, and part of me hope I am, but another thing the movie has against it is its coming out on Super Bowl weekend, and movies coming out this weekend don’t tend to do too well. Miss Bala co-stars Ismael Cruz Cordova, Matt Lauria, Thomas Dekker and Anthony Mackie.

8th

Limited Release: Everybody Knows

Laura (Penelope Cruz), a Spanish woman living in Buenos Aires, returns to her hometown outside Madrid with her two children to attend her sister’s wedding. However, the trip is upset by unexpected events that bring secrets into the open. Everybody Knows co-stars Javier Bardem.

What Men Want

A gender-swap of the 2000 Mel Gibson-led movie What Women Want, this movie has Ali (Taraji P. Henson) is boxed out by the male sports agents in her profession. However, she gains an unexpected edge over them when she develops the ability to hear their thoughts. The gender-swapping trend continues this year, and why I’m sure this movie will find its audience, What Men Wants may be one of those movies that gets lost in the shuffle for me. What Men Want co-stars Josh Brener, Max Greenfield, Aldis Hodge, Kellan Lutz, Wendi McLendon-Covey and Tracy Morgan.

The Prodigy

A mother (Taylor Schilling) concerned about her young son’s disturbing behavior thinks something supernatural may be affecting him. This one pretty much came out of nowhere, mainly because of its test screening stories. According to multiple reports, and confirmed by its director Nicholas McCarthy (The Pact), The Prodigy had to be re-edited because the movie was TOO SCARY. Apparently, test audiences missed parts of the movie because they were recovering from the scares. Reading that, and then watching the trailer, I can believe that, because I never heard of the movie until I saw the trailer – in theaters – and that last bit scared the crap out of the whole audience, including me. Needless to say, this is one to put on the Must-Watch List.

Cold Pursuit

Based on the 2014 Norwegian film In Order of Disappearance, a snowplow driver (Liam Neeson) seeks revenge against the drug dealers he thinks killed his son. Leaving the cheesy feeling of “(Don’t Fear) The Reaper” playing in the trailer, Cold Pursuit looks like it’s playing with the notion of Neeson playing the badass hero. I actually loved his delivery of the reading a lot of crime novels, so of course he’s ready to kill people. There’s also the feeling that this is a payoff of the joke in Daddy’s Home 2, but hey, seeing Neeson on the big screen beating the crap out of people? I’m in. Cold Pursuit co-stars Emmy Rossum, Tom Bateman, Laura Dern and William Forsythe.  

The LEGO Movie 2: The Second Part

It’s been five years since everything was awesome and the citizens are facing a huge new threat: LEGO DUPLO invaders from outer space, wrecking everything faster than they can rebuild. I loved the first LEGO movie, and still do. That said, the trailers for The LEGO Movie 2: The Second Part are just okay, but I want to say part of that is to hide the story of the movie, and maybe even some of the jokes. I’m still going to be sitting in a packed theater opening weekend, so yeah. The voice cast from the first returns, but new additions include Stephanie Beatriz and Tiffany Haddish.

13th

Isn’t It Romantic

Natalie (Rebel Wilson) disenchanted with love mysteriously finds herself trapped inside a romantic comedy. I kind of like the concept of this, but the trailer just doesn’t make me actually buy it.  Isn’t It Romantic co-stars Adam Devine, Liam Hemsworth, Priyanka Chopra and Jennifer Saunders.

Happy Death Day 2U

Tree (Jessica Rothe) discovers that dying over and over was surprisingly easier than the dangers that lie ahead. Listen, I was onboard the hate wagon for Happy Death Day, but then I watched it and damn I ended up actually liking it. It knew was it was and didn’t take itself too seriously. That said, when I heard about the sequel, I wasn’t too surprised, but I’d be lying if I said I wasn’t looking forward to this just a bit. Happy Death Day 2U co-stars Israel Broussard, Ruby Modine, Suraj Sharma, Rachel Matthews, Sarah Yarkin and Phi Vu.

14th

Fighting with My Family

Written and directed by Stephen Merchant, and inspired by the life of WWE superstar Paige, a former wrestler and his family make a living performing at small venues around the country while his kids dream of joining World Wrestling Entertainment. I’m actually a huge wrestling fan – and not just WWE – and knowing some of Paige’s actual story, part of me isn’t surprised it got turned into a movie. The movie itself does look pretty great, although just by seeing the trailer, it looks like they are taking some liberties already. Fighting With My Family co-stars Florence Pugh, Lena Headey, Nick Frost, Jack Lowden, Vince Vaughn and Dwayne Johnson.

Alita: Battle Angel

Co-written by James Cameron, directed by Robert Rodriguez and based on the anime of the same name; the movie is set in the future where Alita (Rosa Salazar) tries to discover the truth of what she really is, and fight to change the world. This one could easily been written off, but the recent word of mouth for the movie is pretty, and slightly surprisingly, positive. It was also suppose to come out last year, but the push back could have helped the movie. I’m also really looking forward to it. Alita: Battle Angel co-stars Christoph Waltz, Keean Johnson, Ed Skrein, Eiza Gonzalez, Lana Condor, Casper Van Dien, Mahershala Ali, Jackie Earle Haley and Jennifer Connelly.

22nd

How to Train Your Dragon: The Hidden World

When Hiccup (voiced by Jay Baruchel) discovers Toothless isn’t the only Night Fury, he must seek “The Hidden World”, a secret Dragon Utopia before a hired tyrant named Grimmel (voiced by F. Murray Abraham) finds it first. I hate myself for saying it, but I yet to watch a How to Train Your Dragon movie, despite my best efforts to watch them. So I’m a bit bummed to think I’m going to miss seeing at least one of these movies in theaters.