#david scheunemann

[nofatclips]

Atomic Blonde (David Leitch, 2017)

[awardseason]

27th Annual Art Directors Guild Awards — Film Winners

Period Feature Film “All Quiet on the Western Front” (Production Designer: Christian M. Goldbeck) “Babylon” (Production Designer: Florencia Martin) — WINNER “Elvis” (Production Designers: Catherine Martin, Karen Murphy “The Fabelmans” (Production Designer: Rick Carter) “White Noise” (Production Designer: Jess Gonchor)

Fantasy Feature Film “Avatar: The Way of Water” (Production Designers: Dylan Cole, Ben Procter) “The Batman” (Production Designer: James Chinlund) “Black Panther: Wakanda Forever” (Production Designer: Hannah Beachler) “Everything Everywhere All at Once” (Production Designer: Jason Kisvarday) — WINNER “Nope” (Production Designer: Ruth De Jong)

Contemporary Feature Film “Bardo, False Chronicle of a Handful of Truths” (Production Designer: Eugenio Caballero) “Bullet Train” (Production Designer: David Scheunemann) “Glass Onion: A Knives Out Mystery” (Production Designer: Rick Heinrichs) — WINNER “Tár” (Production Designer: Marco Bittner Rosser) “Top Gun: Maverick” (Production Designer: Jeremy Hindle)

Animated Feature Film “Guillermo del Toro’s Pinocchio” (Production Designers: Guy Davis, Curt Enderle) — WINNER “Lightyear” (Production Designer: Tim Evatt) “Marcel the Shell with Shoes On” (Production Designer: Liz Toonkel) “Puss In Boots: The Last Wish” (Production Designer: Nate Wragg) “Turning Red” (Production Designer: Rona Liu)

Cinematic Imagery Award Baz Luhrmann & Catherine Martin, “Elvis”

William Cameron Menzies Award Guillermo del Toro, “Guillermo del Toro’s Pinocchio”

Lifetime Achievement Award Michael Denering, Luis G. Hoyos, Lilly Kilvert, Janet Kusnick

[cjp-film]

Set Décor Magazine

Summer 2018

Film Decor Feature: Deadpool 2

Production Designer: David Scheunemann

Set Decorator: Sandy Walker

Key words: Comic book, Stylised, Pop culture

Themes: Loss, Angst, Isolation, Separation from society, Time travel

Genres: Dark Comedy, Sci fi, Action

Notes on Production design: As this was a sequel, a lot of the locations were the same as the first film so the sets could be reused alongside props and important items. They kept in mind that the set can’t be too distracting and take away the attention from the actor. However the colour palette for the loft apartment was very colourful but it fit in with the themes of the film and the personality of the character. They put themselves in the shoes of the character and set his living area how someone like Deadpool would. This does include some Easter eggs.

I like the thought put into the futuristic apartment. The juxtaposition of the technology and the organic furniture represents himself as a half human half robot being.

The article outlines a moment from the production where the director requested another prop the day before a particular set was to be shot. I think its interesting how quickly something can be put together, especially on such short notice, and still look like it belongs. So much could have gone wrong!

It also talks about the effort that went into creating a bar back room from scratch. It was a location made for a character who deals weapons and electronics so very specific in style. It was dismantled and re created when needing to be reshot.

The article really proves how much time and effort it takes to decorate a set in accordance with characters, themes and genres. Each detail is important to how the film looks, whether it is relevant to the story or not.

[awardseasonblog]

Annunciate le #nomination degli attesi Art Directors Guild Awards (#ADG), i riconoscimenti con cui annualmente il sindacato degli scenografi sceglie le migliori prestazioni professionali in ambito cinematografico e televisivo. I loro verdetti sono considerati un tassello chiave nelle dinamiche dell’Awards Season, perché consentono di prevedere il successivo vincitore agli Oscar nella categoria miglior scenografia. PERIOD FEATURE FILM “All Quiet on the Western Front” (Production Designer: Christian M. Goldbeck) “Babylon” (Production Designer: Florencia Martin) “Elvis” (Production Designers: Catherine Martin, Karen Murphy “The Fabelmans” (Production Designer: Rick Carter) “White Noise” (Production Designer: Jess Gonchor) FANTASY FEATURE FILM “Avatar: The Way of Water” (Production Designers: Dylan Cole, Ben Procter) “The Batman” (Production Designer: James Chinlund) “Black Panther: Wakanda Forever” (Production Designer: Hannah Beachler) “Everything Everywhere All at Once” (Production Designer: Jason Kisvarday) “Nope” (Production Designer: Ruth De Jong) CONTEMPORARY FEATURE FILM “Bardo, False Chronicle of a Handful of Truths” (Production Designer: Eugenio Caballero) “Bullet Train” (Production Designer: David Scheunemann) “Glass Onion: A Knives Out Mystery” (Production Designer: Rick Heinrichs) “Tár” (Production Designer: Marco Bittner Rosser) “Top Gun: Maverick” (Production Designer: Jeremy Hindle) ANIMATED FEATURE FILM “Guillermo del Toro’s Pinocchio” (Production Designers: Guy Davis, Curt Enderle) “Lightyear” (Production Designer: Tim Evatt) “Marcel the Shell with Shoes On” (Production Designer: Liz Toonkel) “Puss In Boots: The Last Wish” (Production Designer: Nate Wragg) “Turning Red” (Production Designer: Rona Liu ) #BestProductionDesign #MigliorScenografia #Awards #Movies #StagionedeiPremi #AwardsRace #OscarsRace #RoadtoOscar https://www.instagram.com/p/CnMsnkkMd6Y/?igshid=NGJjMDIxMWI=

[sesiondemadrugada]

Deadpool 2 (David Leitch, 2018).

[mellowyknox]

"Atomic Blonde” Trailer

Director: David Leitch Cinematographer: Jonathan Sela Editor: Elísabet Ronaldsdóttir Production Designer: David Scheunemann

Post: Chimney Berlin

Cast: Charlize Theron, James McAvoy, John Goodman, Til Schweiger, Eddie Marsan, Sofia Boutella, Toby Jones

Based: Antony Johnston’s Graphic Novel “The Coldest City“

Screens:

Year: 2017

[ryanmeft]

Atomic Blonde Movie Review

Atomic Blonde may not be able to juggle a plot that a rational human can follow, but it's more than a John Wick clone with estrogen, too. It has stylish action. It has a great cast. It has some creative tools with which to tell that incomprehensible story. It has an anti-heroine whose love interest is a woman, and whose naked body (or bodysuit, as it may be) is allowed to be shown in a decidedly unsexy, scarred-up state. It could have learned one lesson from the John Wick movies---keep the plot simple, stupid---but it has enough flash to make up for that.

Based on a comic with the much cooler name "The Coldest City", it takes place mostly in Berlin in November of 1989, as a rather famous wall is only days from coming down. Lorraine (Charlize Theron) is an MI6 agent who has to recover a stolen list of identities of undercover operatives. She teams up with a hedonistic agent named Percival (James McAvoy), who takes everything he does to excess; he's like all hard rocker cliches rolled into one. Lorraine is more of a professional, though she had a relationship with the agent who was killed in order to get the list of names (Sam Hargrave). She also meets a green-around-the-gills French agent played by Sofia Boutella, a watchmaker who hides secrets in his products (Til Schweiger), and a Stasi defector who has memorized the list (Eddie Marsan). Lorraine's handlers (Toby Jones and John Goodman) are mostly seen in modern day sequences as Lorraine explains why her mission went FUBAR.

I couldn't really make heads or tails out of who these people were or why some of them mattered. Boutella is there to provide Lorraine, who seems to be bisexual, a love interest, but Lorraine approaches their rather steamy sex scene more like an animal pouncing, and the character seems to only serve the role of someone very quick to jump into bed. How would she be viewed if her lover had been James Bond? Marsan's defector has memorized the list, but it's unclear why he would do so, seeing as it only puts him in danger. He's in the movie to be the motivation for some of the excellent fight scenes. It's almost impossible to get a bead on McAvoy; he's completely out for himself, but it seems he could have been more effective at being selfish if he were less of a showboat about it. The ending makes no sense at all.

Never mind. None of this stuff is in the movie to make sense; it's there to add flash. Director David Leitch, a veteran stuntman who has previously served as uncredited co-director and producer, respectively, on the two John Wick movies, nails this element completely. Every time a fight breaks out, you know it's going to be a good one, on par with the bravura sequences from the Wick movies. There's a carefully choreographed sequence involving a fire hose in an abandoned apartment, a brutal fight scene between Theron and a bleached-blonde assassin, and a breathless car chase throughout the streets of Berlin. The movie's ultimate showdown, which doesn't take place at the end, is made up of 40 different shots but appears seamless.

There are more measured sequences, as well, such as when a protest is used to try and get Marsan's character to the other side of the wall. Through it all, Theron is beaten, bloodied and generally made to get the crap kicked out of her. This is notable because, even in movies where the heroine would naturally look like a bad day in hell after everything she's been through, directors still prefer to leave her looking sexy, something they don't feel the need for with men. Theron's nudity in the film is not meant to be titillating. One of the first shots we see of her looks like she's been thrown into a few too many walls, and that few seconds establishes her as a bad-ass.

In fact, the production is a starring number all around. Cindy Evans dresses Theron in threads that accentuate every inch of her 5 feet ten inches, but in a way that reminds you this character can kill you straight dead. David Scheunemann's production team creates an end-of-the Cold-War Berlin that feels frozen and forbidding, the sort of places where all the buildings are gray, all the streets are snow covered and spies could be anywhere. Tyler Bates, responsible for the Guardians of the Galaxy soundtrack, stitches 80's songs and covers of 80's songs through the action.

Atomic Blonde is an audacious action production that whiffs almost entirely on plot by making things way too complex, but everything else is an adrenaline shot to the face, and Theron creates a female action hero that addresses most of my common complaints about female action heroes. The film's middling box office so far makes a franchise seem unlikely, but it's one of the few new action movies that deserves one.

Verdict: Highly Recommended

Note: I don’t use stars but here are my possible verdicts. I suppose you could consider each one as adding a star.

Must-See Highly Recommended Recommended Average Not Recommended Avoid like the Plague

You can follow Ryan's reviews on Facebook here:

https://www.facebook.com/ryanmeftmovies/

Or his very infrequent tweets here:

https://twitter.com/RyanmEft

All images are property of the people what own the movie.

[bite-management-blog]

Deadpool is back! Check out this great short film for Deadpool 2 by our Production Designer David Scheunemann.

production company: Donners´ Company

[dizimex]

Shaw And Hobbs (2019) izle

https://dizimex.net/show-and-hobbs-2019-turkce-izle/

Yıl: 2019 Orjinal Adı Shaw And Hobbs 2019 Filmi izle Türkçe Dublaj Tür: Aksiyon, Macera Ülke: İngiltere , ABD Yönetmen: David Litch Senaryo: Chris Morgan , Drew Pierce , Gary Scott Thompson Üretici: Hiram Garcia , Dwayne Johnson , Chris Morgan Operatör: Jonathan Sela Besteci: Tyler Bates Sanatçı: David Scheunemann , David Allday , Will Kubro Aktörler: Dwayne Johnson , Jason State , İdris Elba , Vanessa Kirby , Helen Mirren , Asa Gonzalez , Eddie Marsan , Eliana Sua , Cliff Curtis , Lori Peleniz Tuisano Kalite: TS Çeviri: Çoğaltılmış Süre: 02:08:57 Film Arama Değerlendirmesi: 6.8 (3.727) IMDb Değerlendirmesi: 7.2 (8,075) Luke Hobbs, Amerikan seçkin bir özel ajanıdır, rahat spor kıyafetleri, büyük pikapları ve sağlıklı beslenmeyi sever. Deckard Shaw - Eski bir istihbarat subayı olan İngiliz dostum pahalı kıyafetleri, spor arabaları ve uzun bacaklı güzellikleri tercih ediyor. Bu ikisi birbirinden nefret ediyor. Fakat eğer biri ailelerini tehdit ederse, bir şey yapmaya hazırdır. Takım olarak çalışmak için bile.

[thecraggus]

Deadpool 2 (2018) Review

Deadpool 2 (2018) doesn't just break the fourth wall, it demolishes it. #Review

Although I’m a little disappointed that they didn’t just stick with “Untitled Deadpool Sequel” as the official title, “Deadpool 2” brings the Merc with the mouth back, and he’s bolder than ever as he looks to avoid the pitfalls of the ‘difficult second album’.

When Wade Wilson (Ryan Reynolds)’s cavalier attitude ends up costing him everything he cares about, it sends him into a downward spiral of…

[kristenswig]

Best Production Design 2017

Winner:

Blade Runner 2049 - Dennis Gassner

Nominees:

Atomic Blonde - David Scheunemann A Cure for Wellness - Eve Stewart Get Out - Rusty Smith mother! - Gabriel Messina Wonderstruck - Mark Friedberg

[littlemovieposters]

2021 Home Viewing #106: The Man with the Gray Elevated Hair. (dir. Jason S., 2017) [29m 40s]

My travels through every bonus feature on every home-video version of every Twin Peaks release that I can access is currently in an irritating rut. On the 2017 revival season’s initial home-video release, there are upwards of half a dozen short features directed by one Jason Scheunemann, who insists on being credited as Jason S., and every title card is the same photo of a man whom I presume to be this Jason. His IMDB page states that he was David Lynch’s assistant on Mulholland Drive, and he has credits for other David Lynch-related short documentary features. Lynch obviously loves this guy. What really irks me, though, is every one of these featurettes I am watching is narrated by a guy obviously selected by Scheunemann because he sounds like Werner Herzog. Scheunemann has this guy read “poetic” ramblings that sound precisely like what silly college kids hanging around trying to imitate Werner Herzog would come up with. Of course, “the man with the grey elevated hair” is David Lynch; oh, wouldn’t it be so funny to hear Werner Herzog say that? This is a joke that gets old after ten seconds, but it is clear that Jason S. doesn’t mean it as a joke. He passes it off like it’s true poetry to have a man with a thick accent intone curiously worded, often inscrutable phrases, as if half his viewers can’t tell he stole this shtick from Werner Herzog. Knowing that I have hours more of this nonsense to sit through makes things very irritating indeed.

I digress, but this is the second wholesale theft I’ve seen in the past week or so; Tyler Taormina’s abominable film Ham on Rye does a similar thing multiple times. Even if I can’t prove he stole his flim’s title from Charles Bukowski’s autobiographical novel Ham on Rye, which, like Taormina’s film has nothing to do with a sandwich, I would bet $100 on it. (Of course, like all these self-styled cleverness merchants, Taormina is ready with an argument against all comers: one of the many pointless scenes that contribute nothing to the film involves a man grabbing a sandwich from a woman’s hands and throwing it in a bonfire. Forget that it’s not on rye bread; Taormina would argue if caught, I have no doubt, that the title refers to that pointless scene.) And while perhaps he didn’t steal the title, he very obviously bases one of his characters entirely on Stephen Lea Sheppard’s character Harris Trinsky from turn-of-the-century TV show Freaks and Geeks, and another character, though he has few lines, is obviously modeled after Samm Levine’s Freaks and Geeks character Neal Schweiber. Taormina would undoubtedly tell us this is homage. Homage is not replicating characters wholesale. Good directors do homage. What Taormina does, and what Jason S. does in his Twin Peaks documentary featurettes, is wholesale theft, copying, mimicry, whatever you want to call it. I can’t stand having to sit through hours of someone who sounds exactly like a person imitating Werner Herzog’s shtick and having it passed off like an original artistic decision. I once met a pretentious guy at a wedding who introduced himself as Sparklehorse. He even signed the wedding registry as Sparklehorse with an enormous, embellished signature that took up half the page. No, you don’t get to do that, Sparklehorse is already someone else’s pseudonym, and it is a singular pseudonym, not an all-purpose nickname like Junior or Shorty that’s available to anybody who wants it. Watching all this nonsense is like meeting the fake Sparklehorse.

All of THAT being said, the short features by Jason S. cannot be written off as worthless, for they manage to capture the truest, most intimate examples that I can imagine are in existence of David Lynch’s on-set directing style. Throughout all the bonus features I have watched, actors from Twin Peaks have rhapsodized about what it’s like to be on set with David Lynch. They often say it just wasn’t the same when a guest director would come in for an episode of the original Twin Peaks two-season run. These actors love Lynch, and between the idiotic Herzog rip-offs Jason S.’s short features capture why they love him. It’s not just that he’s empathetic or patient; it’s also his own inscrutable side, the kind of thing you usually hear coming from musicians when they say perplexing things like “play it like a snake in the rain,” or whatever vision only they can see. And then the people they’re working with manage to do it. I love being able to see this in action with Lynch. So, I can’t hate Jason S. too hard, for Lynch allows him to capture all of this, and feels comfortable letting him in on these intimate moments so that we all can see them.

The Man with the Grey Elevated Hair focuses on Lynch’s interplay with some of the better-known cast members of Twin Peaks. 

2021 Home Viewing #106a: Tell It Martin. (dir. Jason S., 2017) [28m 52s]

This one, whose title has zero significance that I understand, focuses on Lynch’s interplay with other members of the cast outside the stars of the show that we’re most familiar with. In addition, some of Lynch’s other side is seen here: blunt, perfectionist, exasperated (not with people, but with situations). 

[iffltd]

                                                  s  t  a  r  r  i  n  g

                                                 Charlize  Theron    

      John  Goodman   James  MacAvoy    Sofia  Boutella    Toby  Jones

original music by Tyler Bates                    music supervisor John Houlihan    director of photography Jonathan Sela    editor Elisabet Ronaldscoditir    production designer David Scheunemann    casting  Zsolt Csutak   Marisoi Roncali   Mary Vernieu   art director Zsuzsa Kismarty-Lechner  Tibor Lazar produced by Peter Scherwin and Charlize Theron      screenplay by Kurt Johnstad     based on the ONI graphic novel series “The Coldest City” written by Antony Johnston illustrated by Sam Hart   directed by  David Leitch    

music includes: “Cat People (Putting Out Fire)” and “Moorage Daydream” - David Bowie,  “Major Tom (Vollig Losgelost)” - Peter Schilling, “Blue Monday” - Health,  “ “I Ran (So Far Away)” - Flock of Seagulls,  “99 Luftballons” - Nena, “Father Figure” - George Michael,  “Der Kommissar” - After the Fire,  “London Calling” - The Clash,  “Under Pressure” - David Bowie with Freddie Mercury and Queen,  “Personal Jesus” and “Behind the Wheel”   - Depeche Mode,  “Voices Carry” - Til Tuesday, “Stigmata” - Ministry,  “Just Like Heaven” - The Cure,  “Hungry Like the Wolf” - Duran Duran, “The Politics of Dancing” - Re-Flex,  “Cities in the Dust” - Siouxsie and the Banshees, “One Thing Leads to Another” - The Fixx,  “Hey, Bulldog” - The Beatles, “Sweet Dreams (Are Made of These” - The Eurythmics,  “Der Kommissar” - Falco,”The Killing Moon” -  Echo and the Bunneymen

version 2 (expanded)

[ljones41]

"THE THREE MUSKETEERS" (2011) Review

"THE THREE MUSKETEERS" (2011) Review Recently, I became aware of the BBC series called "THE MUSKETEERS" and became an instant fan. Due to my renewed interest in Alexandre Dumas père's work, I decided to focus my attention on 2011's "THE THREE MUSKETEERS", the most recent adaptation of the author's 1845 novel. 

Produced and directed by Paul W.S. Anderson, this cinematic version of Dumas père's novel, proved to be a different kettle of fish. Yes, screenwriters Andrew Davies and Alex Litvak managed to adhere to some aspects of the 1845 novel. The movie closely followed d'Artagnan's first meeting with his future three friends - Athos, Aramis and Porthos - along with Captain Comte de Rochefort and Milady de Winter. The rivalry between the Musketeers and Cardinal Richelieu's guard - led by Rochefort - remains intact. "THE THREE MUSKETEERS" also included a conspiracy created by Richelieu that centered around Queen Anne, Britain's Duke of Buckingham and the former's diamond necklace given to her by King Louis XIII. But Davies and Litvak created changes to Dumas' story. One, Milady de Winter begins the story working with the three musketeers to steal airship blueprints created by Leonardo da Vinci. In this scenario, Milady and Athos are long time lovers and not a married couple. Their antipathy begins when Milady betray her compatriots and gives the plans to Britain's Duke of Buckingham. Her betrayal leads to the disbandment of the Musketeers. So, when d'Artagnan arrives in Paris to join the military unit, he is a year too late. Also, the Duke of Buckingham is portrayed more as a villain, since he is not The Constance Bonacieux is not only single in this story, but also one of the Queen's ladies-in-waiting; instead of married and a royal seamstress. Also, there is no real affair between Queen Anne and Buckingham. But Cardinal Richelieu decides to create false rumors using the Queen's diamond necklace and false love letters in order to discredit her. This would lead to Anne's execution, a war against Britain and a demand by the people that a more experienced leader - namely Richelieu himself - would rule France. Alas, thanks to Constance, d'Artagnan and the Musketeers step up to save the Queen's reputation and ruin Richelieu's plans. It would be difficult for me to deny that "THE THREE MUSKETEERS" is a beautiful looking film. Germany served as 17th century France and Great Britain in this film and Glen MacPherson really did justice to the shooting locations, thanks to his beautifully sharp and colorful photography. MacPherson's photography also did justice to Paul D. Austerberry's production designs, whose re-creations of 17th century France and England struck me as spot on. Both MacPherson and Austerberry's work benefited from Philippe Turlure's set decorations and the art direction team of Nigel Churcher, Hucky Hornberger and David Scheunemann. But what really dazzled me about "THE THREE MUSKETEERS" were Pierre-Yves Gayraud's s costume designs. Personally, I found them worthy of an Oscar nomination. Below are three images just to prove my point:

There are aspects of "THE THREE MUSKETEERS" that did not exactly impress me. First of all, the chemistry between the four leads seemed a bit off. One might blame Logan Lerman, who was the only American in the team. But I had no problems with his chemistry with both Matthew MacFadyen and Ray Stevenson. And Luke Evans had a nice chemistry with both MacFadyen and Stevenson, despite his subdued take on his role. And I cannot blame MacFadyen, who seemed to be the odd man out as a screen swashbuckler. I am not saying that all four men - Lerman, MacFadyen, Evans and Stevenson - had no chemistry whatsoever. There was some inclination of a screen chemistry. But . . . their chemistry as the four musketeers never struck me as dynamic as in other versions I have seen. Another major problem I had with the movie proved to be Davies and Litvak's re-writing of the Milady de Winter character. I had no problem with Milady starting the movie as colleague of Athos, Aramis and Porthos. I had no problem with her being Athos' lover, instead of his estranged spouse. I did have a problem with Milady being written as some kind of action woman. Many of her scenes featured actress Milla Jovovich engaged in some acrobatic stunt at a great height. I understand why. Both Jovovich and Anderson (who are married, by the way) are known for the "RESIDENT EVIL" movies, in which the actress had starred as the main protagonist. For some reason, the couple and the two screenwriters seemed to believe it was necessary to transform Milady into a female action figure. In doing so, all four robbed the Milady of the subtle villainy that made her such a memorable character in the novel and in other adaptations. I almost got the impression that Anderson and the screenwriters did not believe Jovovich lacked the ability to portray a seductive and manipulative villainess. Yet, one scene between Jovovich and actor Christoph Waltz (who portrayed Cardinal Richelieu) made it clear to me that the actress could have been a very effective Milady de Winter without resorting to countless number of stunts and other action scenes. Hmmm . . . pity. Despite these misgivings, I must admit that I enjoyed "THE THREE MUSKETEERS". Much to my utter surprise. When I first saw the film, I was ready to reject it after the Venice sequence. The idea of Milady working with Athos, Aramis and Porthos on a mission in Venice was not how I recall previous adaptations of Dumas' novel. But I gave it a chance and decided to finish the film. And I enjoyed it. Actually, there were aspects of the movie that made it enjoyable for me. Aside from the movie's visual style and costumes, I enjoyed how Davies and and Litvak put a different spin on Dumas' story arc about Queen Anne's diamond necklace. I was also both surprised and impressed at how they utilized the heist movie trope in two major sequences - the opening scene in Venice and the Musketeers' attempt to get their hands on the diamonds, which were stolen by Milady and planted inside London's Tower of London. Davies and Litvak's screenplay displayed a nice sense of humor. This was apparent in the personalities of three major characters - Porthos (who has been the comic relief of nearly all versions of Dumas' tale), King Louis XIII and surprisingly, the Duke of Buckingham, along with d'Artagnan's first meetings with his future three friends. The movie also featured some excellent action sequences. My favorite include the Musketeers and d'Artagnan's fight against Rochefort and the Cardinal's guards, the four friends' heist of the diamond necklace from the Tower of London, and their final showdown against Rochefort and his men upon their return to Paris. This last sequence featured an outstanding duel between d'Artagnan and Rochefort that in my opinion, rivaled the duel between the two characters in 1974's "THE FOUR MUSKETEERS". I still stand by my belief that the chemistry between the four actors who portrayed the Musketeers and d'Artagnan was not as strong as it had been in other productions. But the movie did featured some solid performances from the four actors. Ray Stevenson displayed his usual talent for comedy in his performance as Porthos. Honestly, I think his comic skills are highly underrated. Luke Evans gave a decent performance as Aramis. However, I do wish he could have displayed a little more élan in his portrayal of the usually dashing womanizer. Matthew Macfadyen did a skillful job in portraying Athos' brooding nature and role as the group's leader. But I got the feeling that he was not the type of actor I would cast in a swashbuckling film. Of the four actors, he never struck me as the swashbuckling type. It is odd that I would say this about Macfadyen and not Logan Lerman, who portrayed d'Artagnan. But the thing about Lerman is although his looks strike me as mediocre and he seems to be the shortest of the four leads. Yet, once he opens his mouth and move, he becomes a bundle of energy with a good deal of style and panache. Curious. Despite my complaints by Anderson and the screenwriters' attempt to turn Milady de Winter into an action queen, I must say that I still managed to enjoy Milla Jovovich's performance. She is the only actress I know who conveyed the spy's seduction skills with a good deal of sly humor. Christoph Waltz did a solid job as the villainous Cardinal Richilieu. But I must admit, I did not find his performance particularly memorable or energetic. I can also say the same about Gabriella Wilde, who portrayed Constance Bonacieux. I hate to say this, but I found her performance somewhat wooden. On the other hand, Juno Temple gave a very charming performance as Queen Anne (formerly of Austria). Not only did she give a charming performance, she also conveyed a good deal of the Queen's strength of character. I really enjoyed Mads Mikkelsen's portrayal of Captain Rochefort. The Danish actor did an excellent job of conveying Rochefort's subtle menace and talent for intimidation. Orlando Bloom proved to be quite a surprise as the villainous Duke of Buckingham. He was very funny in a sly, yet theatrical way. James Corden also gave a funny performance as Planchet, the Musketeers' long suffering manservant. But the funniest performance came from Freddie Fox, who portrayed the rather young King Louis XIII. What can I say? He was hilarious in his portrayal of the King's insecure nature and lack of experience as a leader. In fact, I believe he gave the best performance in the movie. What else can I say about "THE THREE MUSKETEERS"? It is not particularly faithful to Alexandre Dumas père's novel. But to be honest, I do not really care. In my opinion, the movie's lack of adherence to the novel was not a weak point. The worst I can say about the movie is that the chemistry between the four actors portraying the Musketeers was not particularly strong. I did not care for the use of 17th century airships in this story. And I was not that impressed by the movie's tendency to portray Milady de Winter as an action figure. On the other hand, I still managed to enjoy the screenplay written by Andrew Davies and Alex Litvak, along with Paul W.S. Anderson's direction. And the movie also featured some strong performances - especially from Logan Lerman, Juno Temple, Orlando Bloom and Freddie Fox. In the end, I still enjoyed the film, despite my initial reservations.

[mrjohnangulo]

Links: Nominees for the 2019 Origins Awards, and Voting for the 2019 Deutscher Spielepreis

by W. Eric Martin

• The Academy of Adventure Gaming Arts and Design has announced the nominees for the 2019 Origins Awards within a variety of categories, with the winners of each category scheduled to be announced on June 15, 2019 during the 2019 Origins Game Fair. Attendees at the fair can try out the nominees in an area devoted to the nominated games, and they can cast ballots to determine a fan favorite winner in each category. Some of the nominee categories are: Board Games —Brass: Birmingham, by Gavan Brown, Matt Tolman, and Martin Wallace (Roxley) —Chronicles of Crime, by David Cicurel (Lucky Duck Games) —Cryptid, by Ruth Veevers and Hal Duncan (Osprey Games) —Everdell, by James A. Wilson (Starling Games) —Gizmos, by Phil Walker-Harding (CMON Limited) —Pulsar 2849, by Vladimír Suchý (Czech Games Edition) —Rising Sun, by Eric M. Lang (CMON Limited) —Root, by Cole Wehrle (Leder Games) —Space Base, by John D. Clair (Alderac Entertainment Group) Family Games —The Climbers, by Holger Lanz (Capstone Games) —Echidna Shuffle, by Kris Gould (Wattsalpoag Games) —The Mansky Caper, by Ken Franklin (Calliope Games) —Pantone: The Game, by Scott Rogers (Cryptozoic Entertainment —Spy Club, by Randy Hoyt and Jason D. Kingsley (Renegade Game Studios) —Strawberry Ninja, by Chris Castagnetto (Strawberry Studio) —Super Kitty Bug Slap, by Sam Mitschke and Randy Scheunemann (Steve Jackson Games) —The Tea Dragon Society Card Game, by Steve Ellis and Tyler Tinsley (Renegade Game Studios) —When I Dream, by Chris Darsalkis (Repos Production) Card Games —Anatomy Fluxx, by Andrew Looney (Looney Labs) —Choose Your Own Adventure: House of Danger, by Prospero Hall (Z-Man Games) —Dark Souls: The Card Game, by David Carl (Steamforged Games) —Get the MacGuffin, by Andrew Looney (Looney Labs) —Maiden's Quest, by Kenneth C. Shannon III (WizKids) —The Mind, by Wolfgang Warsch (Pandasaurus Games) —Villainous, by Prospero Hall (Ravensburger) Miniature Games —Fallout: Wasteland Warfare, by James Sheahan (Modiphius Entertainment) —Kill Team (Games Workshop) —Kings of War: Vanguard, by Matt Gilbert (Mantic Games) —Necromunda, by Andy Hoare (Games Workshop) —A Song of Ice and Fire: Tabletop Miniatures Game, by Michael Shinall and Eric M. Lang (CMON Limited) —Star Wars: Legion, by Alex Davy (Fantasy Flight Games) As with any set of award nominees, you can find oddities once you start looking at the lists in more detail. I'm not sure why Villainous qualifies as a card game, for example, whereas Space Base counts as a board game. Seems like they should both be in one category or the other together. Keyforge: Call of the Archons, by the way, was placed in the collectible games category, along with the X-Men Xavier's School expansion for HeroClix, the Dominaria expansion for Magic: The Gathering, the Legacies expansion for Star Wars: Destiny, and six other expansions for more traditional "collectible" games.

• Voting is open for the 2019 Deutscher SpielePreis (DSP), with games released in the second half of 2018 and the first half of 2019 being eligible. You can vote directly here, listing up to five family/adult games in the order that you prefer them, along with a single children's game. Merz Verlag, which oversees both the DSP voting and the annual SPIEL game convention, is giving away more than a hundred games to voters, as well as prizes that award the holder free entry to SPIEL '19. After voting, you'll receive a message via email that you must click to confirm your votes, after which you'll be entered into the prize drawing. from BoardGameGeek News | BoardGameGeek http://bit.ly/2GVLFRR

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Atomic Blonde (David Leitch, 2017).