#billymagnussen

[etcemais]

Com a D23 acontecendo neste fim de semana, a Disney segue liberando diversas noticias para os fãs. Uma dessas noticias foi o primeiro visual oficial de Stitch para o live-action de Lilo & Stitch.

Anunciada em 2018, o live-action vem ganhado cada vez mais espaço no coração dos fãs, principalmente após fotos vazadas do set mostrarem como seria o visual de Stitch.

Na D23 não só vimos oficialmente o visual do experimento 626, como também ganhamos uma previsão de estreia! Segundo o anuncio, o filme estreia no verão americano em 2025, que ocorre entre os meses de junho a agosto. Um novo nome é adicionado no elenco do live-action de Lilo & Stitch. Dessa vez, Courtney B. Vance é anunciado como o famoso Cobra Bubbles, ou Agente Bubbles.

O elenco ainda conta com a jovem atriz novata havaiana Maia Kealoha como Lilo, Sydney Agudong como Nani, Kahiau Machado como David Kawena, Jolene Purdy como uma agente social, Courtney B. Vance como Cobra Bubbles, fora Billy Magnussen e Zach Galifianakis que não tiveram os seus papéis revelados.

Lançada em 2002, a animação é ambientada no Havaí e acompanha uma menina chamada Lilo, que se vê isolada das demais garotas da sua idade e em constantes brigas com sua irmã mais velha. Um dia, ela faz um novo melhor amigo quando encontra Stitch: uma criatura alienígena criada para ser uma máquina de destruição.

Juntos, eles precisam escapar de outros extraterrestres que vão a Terra em busca de Stitch, ao mesmo tempo que tentam fingir normalidade para não assustar todo mundo em sua pequena cidade no Havaí.

O projeto ainda conta com Dan Lin e Jonathan Eirich na produção, Ryan Halprin como produtor executivo e Dean Fleischer Camp na direção.

Anteriormente o projeto era esperado para estrear apenas no Disney+, mas agora chegará aos cinemas em 2025.

[film-book]

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Film Review: ROAD HOUSE (2024): Jake Gyllenhaal Takes Charge in a Crackling Action Picture That Starts Strong but then Goes Buck Wild https://film-book.com/film-review-road-house-2024-jake-gyllenhaal-takes-charge-in-a-crackling-action-picture-that-starts-strong-but-then-goes-buck-wild/?feed_id=127525&_unique_id=65fe494e85724

[wherever-i-look-blog]

Lift (2024) – Movie Review http://tinyurl.com/ylpdv5zx

[dailychaceccrawford]

“Idle hands are the devil’s playground.” @theboystv star @chacecrawford joins friend and fellow actor @billymagnussen to discuss the meteoric rise of @gossipgirl, adjusting to a changing Hollywood, and finding balance in his latest role as a sex-crazed superhero

[d-criss-news]

nina: one for the books. what a great group. gorgeous souls got together to celebrate @whitespace_____ . epic trip. so proud of @ shaunwhite 🤍

Thank you to everyone for making it out to Aspen to support.

@ finneas @ claudiasulewski @ steveaoki @ billymagnussen @paulwesley @nataliekuckenburg @ darrencriss @miavoncriss @get_rude @ domifletcher @ nikkiwhatnikkiwho @jjthomas_ @tobymiller @notyourpublicist @milesvt @lucasnathan

[movienized-com]

Road House

Road House (2024) #DougLiman #JakeGyllenhaal #DanielaMelchior #BillyMagnussen #JessicaWilliams #ConorMcGregor Mehr auf:

Jahr: 2024 (März) Genre: Action / Thriller Regie: Doug Liman Hauptrollen: Jake Gyllenhaal, Daniela Melchior, Billy Magnussen, Jessica Williams, Darren Barnet, Conor McGregor, J. D. Pardo, Arturo Castro, Joaquim de Almeida, Gbemisola Ikumelo, Lukas Gage, Hannah Love Lanier, Travis Van Winkle, B. K. Cannon, Dominique Columbus, Beau Knapp, Bob Menery… Filmbeschreibung: Der nach dem Ende seiner…

[khany82]

#roadhouse #jakegyllenhaal #jakegyllenhaalfans #fyp #foryourpage #thesuicidesquad #suicidesquad #lucasgage #connermcgregor #ufc #boxing #ufcfighting #billymagnussen #ratcatcher2 #mysterio #spiderman #amazonprime #roadhouse2024 #roadhousemovie #donniedarko #brokebackmountain #nightcrawler #meetingcelebrities #celebrities #autograph #singature #signing #meetingfans #danielamelchior

[anamonteiro29]

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Mackenzie Mauzy & Billy Magnussen

Sonnet 108

The Sonnet Project

March 14 , 2015

#mackenziemauzy #billymagnussen #sonnet108 #thesonnetproject #newyork

[almasgeeks]

Se parte de un mundo ideal y acompaña a Aladdin y Jasmine en nuevas aventuras. #Aladdin en cines en mayo. #Disney #GuyRitchie #AlanTudyk #MenaMassoud #NaomiScott #WillSmith #BillyMagnussen #MarwanKenzari #fantasy #family #adventure #Panamá #pty #Panama (en Panama City, Panama) https://www.instagram.com/p/BwCljG1h2YM/?utm_source=ig_tumblr_share&igshid=152soq9ac14mk

[etcemais]

Um novo nome é adicionado no elenco do live-action de Lilo & Stitch. Dessa vez, Courtney B. Vance é anunciado como o famoso Cobra Bubbles, ou Agente Bubbles.

Lembrando que além de Courtney B. Vance, o elenco ainda conta com a jovem atriz novata havaiana Maia Kealoha, que dará vida a Lilo, Sydney Agudong, que será a Nani, Kahiau Machado que será David Kawena, Jolene Purdy como uma agente social, fora Billy Magnussen e Zach Galifianakis que não tiveram os seus papéis revelados. Mesmo sendo um live-action, é natural que sigam os passos de Rei Leão e que Stich seja feito em CGI.

O live-action da animação lançada em 2002, é ambientado no Havaí e acompanha uma menina chamada Lilo, que se vê isolada das demais garotas da sua idade e em constantes brigas com sua irmã mais velha. Um dia, ela faz um novo melhor amigo quando encontra Stitch: uma criatura alienígena criada para ser uma máquina de destruição.

Juntos, eles precisam escapar de outros extraterrestres que vão a Terra em busca de Stitch, ao mesmo tempo que tentam fingir normalidade para não assustar todo mundo em sua pequena cidade no Havaí.

O projeto ainda conta com Dan Lin e Jonathan Eirich na produção, Ryan Halprin como produtor executivo e Dean Fleischer Camp na direção.

O live-action de Lilo & Stich ainda não tem data de estreia, mas é previsto para estrear exclusivamente no Disney+.

[film-book]

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Film Review: LIFT (2024) - Kevin Hart's Unconvincing Attempt as an Action Star https://film-book.com/film-review-lift-2024-kevin-harts-unconvincing-attempt-as-an-action-star/?feed_id=117344&_unique_id=65bb20e895345

[patrickxiong]

@flauntmagazine @muihai @morganvickery "I've been hustling for years. It's just that now, people are noticing." @billymagnussen ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Magnussen of Netflix's 'Maniac' and the film 'Game Night' featured in #TheTransienceIssue. Read the story on Flaunt.com and order the mag! Link in bio ⠀⠀⠀⠀⠀⠀⠀⠀⠀ SALVATORE FERRAGAMO @ferragamo coat, TODD SNYDER @toddsnyderny shirt, LEVIS MADE & CRAFTED @levismadeandcrafted jeans, and BRITT BOLTON JEWELRY @brittboltonjewelry necklace. Billy Magnussen @billymagnussen Photographed by Patrick Xiong @patrick_xiong Styled by Kristine Souza @kristinesouza Hair by Jessica Oritz @jessica_o_ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ #FlauntMagazine #Flaunt #BillyMagnussen #ferragamo #salvatoreferragamo #toddSnyder #levis (at Lower East Side) https://www.instagram.com/p/Bp5TnrEneGp/?utm_source=ig_tumblr_share&igshid=1hw5l9ixo7uvz

[cinemaleumas]

Última película de Daniel Craig como Bond, James Bond. Te esperamos hoy a las 9 pm para hablar del agente 007 No time to die debate/opinión https://youtu.be/PxtSRreha9s @cineartee @zprimefilms #NoTimeToDie #JamesBond #DanielCraig #RamiMalek #LéaSeydoux #LashanaLynch #RalphFiennes #BenWhishaw #NaomieHarris #RoryKinnear #JeffreyWright #BillyMagnussen #ChristophWaltz #DavidDencik #AnaDeArmas #LyutsiferSafin #Madeleine #Paloma #Nomi #CaryJojiFukunaga #HansZimmer #PhoebeWallerBridge #UniversalPictures #MetroGoldwynMayer #007NoTimeToDie #NoTimeToDie007 #SinTiempoParaMorir #007JamesBond #007 #JamesBond007 (en Queretaro) https://www.instagram.com/p/CU_XG9zM8xe/?utm_medium=tumblr

[doomonfilm]

Review : The Many Saints of Newark (2021)

From the moment that The Many Saints of Newark was announced as a scheduled production, the internet kicked its standard practice of extreme mixed feelings into full gear.  As the first piece of connected media to follow the mammoth, culture-shifting property that was David Chase’s HBO series The Sopranos, the weight of expectations and fan fulfillment were immediately present.  The film’s position as an origin story promised to fill in some of the mysterious and legendary referential gaps that The Sopranos made itself famous for, and the casting of Michael Gandolfini to fill the shoes of his deceased father’s iconic portrayal of Tony Soprano hung even more expectation on the project.  After two trailer releases that stirred the mixed feelings even more, the wait (and weight of anticipation) finally ceased with the HBOMax and theatrical release of the film.

The initial reviews and internet feedback pegged the film as underwhelming for the most part, and for my money’s worth, my guess is that many people were expecting the film to be nothing more than a glorified rewind that walks us up to the realms of The Sopranos that we are familiar with.  While the film manages to do this to an extent (which I will speak more upon soon), what really drives this film home is the focus on historical conflicts between the Italian and Black communities along the East Coast.  As entertaining as The Sopranos was as a series, it cannot be denied that they were honest about the racist tendencies of the beloved characters, and seeing the well known struggles of both communities (albeit for polar opposite reasons) that existed in the 1960s and 1970s through the lens of The Sopranos serves the purpose of driving home why characters like Tony, Paulie, Christopher and so on could be so casual in their racist summations, which in turn led to infamous moments of problematic quotes and shortsighted actions.  Many people are panning the thinness of the film’s narrative, but it seems as if they missed the point that the spine of the film is history itself (which is validated through tie-ins of real figures such as The Last Poets or Frank Lucas), and seeing as we’ve heard about most everything we’ve seen before, the film feels much more as if its purpose is to set the table rather than feed you sustenance.   

That being said, the film is not shy about fan service, and as someone who has seen The Sopranos in its entirety nearly ten times, I feel more than happy to have taken part in the self-indulgence.  Be it the nail-on-the-head impersonations of characters like Livia, Sylvio and Junior, the presence of iconic catchphrases that stayed with the characters that exist in both properties, or even the outright portrayal of legendary happenings, the references work on multiple levels that will likely please less skeptical fans, be they hardcore or casual.  As mentioned before, the explorations of race are meant to provide clarity to why the people in The Sopranos act and feel the way they do, but it certainly doesn’t stop there, as ideas of morality, violence, economic advantages and disadvantages, familial love and support, nationalist pride and organized crime all get proper focus and attention as well.

One of the immediate focuses from the moment each trailer dropped was the odd look chosen, specifically the somewhat elementary and expressionless color-timing... maybe the aesthetic choice was purposeful in an attempt to mirror the coldness and lack of empathy within the world of The Sopranos, but ultimately, I allowed myself to not be distracted by it.  Many other elements provided avenues for connection, particularly those that locked in lore fulfillment like giving us the chance to know Dickie Moltisanti, or getting to know Johnny Soprano a bit better.  The music choices for the film stand out, particularly the choices that cater toward the Black side of the narrative, as it gives both the chart-topping soul and the revolutionary music opportunities to shine at appropriate times.  The cinematography is consistently strong, living up to the cinematic expectations one would set for a movie connected to a TV show that pushed the boundaries of cable cinematography.  The production value for the action beats, particularly the riot scenes, was surprisingly strong, and I found myself sincerely impressed by it. 

The Many Saints of Newark leaned heavily into its choice to make the film a true ensemble cast piece, and I think this was the right choice, as we get a large smattering of entertaining performances that stand tall in the shadows of the characters we love from the series, be it from stories or actual experiences.  Though we never met Dickie Moltisanti, we heard enough about him to form a vision of him, and Alessandro Nivola jumps headlong into the shell provided, embodying all of the pride, romanticism and uncheckable passion the Moltisantis are known for.  Standing in opposition to him is the equally driven and strong-willed Leslie Odom Jr., who embraces his outsider role in the realm of The Sopranos while using it as an opportunity to make an impression via his calm, calculating and intimidating presence.  Jon Bernthal brings the bigger than life presence needed to portray Johnny Soprano, while also having the penchant for a burst of violence coded into his face and physicality that reads as truly fear-inducing.  Vera Farminga is given the tall order of portraying Livia, but she brings new shades of motherly love and understanding that were absent in the TV series, largely due to the age that Livia was as a character by the time of the series.  Corey Stoll finds that magic harmony between humor and  pride-driven shortcomings that fuels Junior Soprano, which is rare to do without turning in a satirical performance.  I could go on and on about the cast, so rather than turn my musings on them into a full-fledged novel, I will point out that Michael Gandolfini, Ray Liotta, Billy Magnussen, Michela DeRossi, Joey Diaz and everyone else lock in and show out.

I will probably be one of the few to step out on a limb and embrace The Many Saints of Newark for what it is rather than pan it, but I am also self-aware enough to understand that the amount of time I have devoted into the series would inherently put me in a position to love the project.  That being said, the film did genuine surprise me in many ways, and while I thought I had a clear understanding of what it would be, I found myself wrong without being upset.  In the end, this film will probably not satisfy those with a certain level of familiarity to The Sopranos, it will likely bring the curious and unfamiliar over into the fold of viewership for the series, and for diehards like myself, it will give us more to fawn over and speculate about (especially Chris Moltisanti’s possible confirmation that Tony survived the end of the series).  If you’re curious, check it out... if you’ve already programmed yourself to be disappointed, give it a week or so... regardless, be ready for a swerve, and stick with the ride until it’s over.

[gogetbart]

The reason the bird goes out on a limb is she has the confidence she can fly. #fly #billymagnussen #gogetbart #MyMomentToSucceed #successeducator #BetweenMyStageLife

[homeplanetreviews]

Game Night (2018) Review by: Tristan Bunn

It’s not very often that a movie genuinely surprises me, but Game Night was one of them. The comedy genre is one in which I feel like we have really been lacking in quality material. There are a lot of okay comedies and a lot of poor comedies that get released every year, but there aren’t many great ones. Game Night stands out in recent memory not only for being incredibly funny, but for being really well directed. I’m not just saying it’s well directed for a comedy, it’s well directed in general and it really gave life to this film.

The premise here is simple: A kidnapping game turns real and gives way to wild antics. However, Game Night never gives in to its ridiculousness. Instead, it embraces it and even goes down paths you wouldn’t expect. I was laughing 5 minutes into it, but I was worried that they were going to beat a dead horse with the premise. They keep the film fresh and funny for the entire runtime. It also flows incredibly well. There’s never a dull moment and never a gap in laughs. The writing is so clever and satirical toward the mystery genre. That really is the best thing about Game Night: it’s self aware. The screenplay keeps every character unique, even the side characters. Each person has different motives and are focussed on different things, which keeps the interactions between them endlessly entertaining.

The performances are all really funny, but Rachel McAdams owned her role. You could tell she was having so much fun with this movie and her comedic timing and skills within the genre shined bright. She’s mostly alongside Jason Bateman for the whole runtime and he’s hilarious as usual. Lamorne Morris’ character has a great running gag and his delivery is spot on with every line. I loved him in this movie, even if it is a small part. There’s also an actor that pops up in the third act that had me holding my side from laughing so hard. It was so great to see this guy show up, but it’s even better to see how much fun he’s having here. That’s what’s so wonderful about this film: it’s so much fun! We don’t get a great deal of movies that are just a fun time at the theater. Luckily, we have Game Night.

As I mentioned, John Francis Daley and Jonathan Goldstein do a tremendous job directing this film. I really hope they direct more films and even branch into different genres because it is obvious that they understand how to work the camera and a cast. Directing is more than just the camera and what you see. It’s a lot of behind the scenes work that not everyone can view on the screen. With that said, it’s obvious that they knew how to pull this cast and crew together and were able to convey their vision to everyone, that being the main job of the director.  Most comedies have a pretty simple shot structure. For a scene involving two people, it’s a shot - reverse shot, and repeat situation. Anything involving a car pans left to right. People run and the camera pans left to right or cuts after a few second to follow them up the street. There’s not always inventive camera work in the genre and this is where Game Night stands above all the rest. The shots are inventive and the visual medium is used for jokes as well. People forget that you don’t have to just get laughs through dialogue, you can use the camera, and it’s done beautifully here. There’s even a sequence shot to look like one long take that took me by surprise. It’s creative things like that sequence that kept this film hilarious and entertaining the whole time.

This isn’t a film that settles. It was obvious that the directors and everyone involved actually looked for opportunities to be creative and the film excels because of it. I also want to note that Cliff Martinez provides a really good score. He’s a composer working today that I’ve come to really like through his work with Refn, so it was cool to hear work from him in a comedy. Don’t sleep on this one because it’s actually worth your time. The film doesn’t think you’re stupid and deliver you stupid comedy because it thinks that’s what you want...it is inventive, it is well directed and performed, and most importantly, it’s really funny. I loved this film and I hope more people check it out.

Grade: A