#flickeringmyth

[thcecrowd]

The Baby in the Basket is a gothic horror feature inspired by 1960s horror movies, film noir and some of the classics across the ages! In short, it's Rosemary's Baby meets The Omen meets The Shining - tense, mysterious, paranoid and shocking.

With a screenplay by acclaimed screenwriter and horror expert Tom Jolliffe (Renegades, War of the Worlds: The Attack, Wrath of Van Helsing), The Baby in the Basket is set on a remote Scottish island at an isolated monastery, where a baby is left on the doorstep during a blistering storm. Before long, strange things begin to happen on the eerie island and Sister Agnes starts to suspect the baby is the devil's child.

Link: https://www.kickstarter.com/projects/nathanshepka/the-baby-in-the-basket-gothic-horror-movie

[breningirl]

and.... I've still not seen this film 😢

Lee’s movie dares to imagine a more hopeful world in which people of all stripes and orientations deserve to carve out their own patch of happiness. It’s a message that’s much-needed, and much-welcomed.

[venomlafuriadicarnagestreaming]

Venom La furia di Carnage film streaming ita completo gratis

Venom La furia di Carnage Guardare - https://venom-la-furia-di-carnage.blogspot.com/

Il film continua la storia di Eddie Brock, che divenne Venom. La nuova parte si concentrerà sul confronto tra Venom (Tom Hardy) e Cletus Cassidy (Woody Harrelson).

Nonostante abbia portato uno degli assassini più spietati e spregevoli di tutta la Marveldom, non avrebbe dovuto essere una sorpresa quando è stato confermato che Venom: Let There Be Carnage di Sony sarebbe rimasto fedele alla valutazione PG-13 del suo predecessore, piuttosto che andare fuori di testa con un rating R.

Il primo film ha incassato oltre 850 milioni di dollari in tutto il mondo (più di quanto Sony sia riuscita con uno qualsiasi dei suoi film da solista di Spider-Man), e come ha rivelato il regista Andy Serkis durante un'intervista con IGN, lo studio voleva assicurarsi che potesse raggiungere un pubblico così vasto come possibile con il sequel, spingendo al contempo la valutazione PG-13 "ai limiti estremi". "Potresti passare a una versione per adulti classificata R di questo", ha detto Serkis. “Avresti potuto farlo con l'ultimo film. Ma volevamo raggiungere un grande pubblico con questo e... ci sono diverse regole che devi rispettare. Tuttavia, detto questo, penso che ci siamo spinti al limite [con] il pericolo e l'oscurità e la minaccia e la minaccia di Carnage”. "Solo perché non vedi così tanto sangue - forse non c'è così tanto sangue o non vedi le teste che vengono morsicate - puoi comunque suggerirlo", ha elaborato Serkis. “Il suggerimento, lasciandolo all'immaginazione del pubblico, può essere altrettanto potente. Penso che sia proprio quello che siamo riusciti a fare. Certamente non sta rifuggendo dall'oscurità. E il vero cuore di Carnage come personaggio non è compromesso". Mentre aspettiamo l'uscita a lungo ritardata del film il 1° ottobre, è emerso un nuovo spot televisivo internazionale, che includeva molti filmati inediti del sequel; dai un'occhiata qui sotto insieme a un nuovo poster per il film e assicurati di farci sapere i tuoi pensieri sulla valutazione PG-13 sui nostri canali social @FlickeringMyth... Venom: Let There Be Carnage vede Andy Serkis (Mowgli: Legend of the Jungle) dirigere i membri del cast di Venom Tom Hardy (Eddie Brock/Venom), Michelle Williams (Anne Weying), Woody Harrelson (Cletus Kasady/Carnage) e Reid Scott (Dr. Dan Lewis), insieme alle nuove aggiunte Naomie Harris (No Time To Die) e Stephen Graham (The Irishman).

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[haydenfannews]

Tweeted

Star Wars: Obi-Wan Kenobi series will feature a rematch with Darth Vader #HaydenChristensen https://t.co/0pSjtTVTi2 via @flickeringmyth

— barbara (@haydenfannews) December 15, 2020

[thecomposerthatwaspromised]

Lorne Balfe’s soundtrack mentionned in the first HDM reviews:

“with a score full of suitably epic flourishes” - Flickeringmyth

“And please could we have a moratorium on knowingly epic orchestral scores to accompany any drama with more than a whiff of fantasy. John Williams clearly has a lot to answer for.” - Telegraph

“just putting this out there that the theme song for HBO's #HisDarkMaterials FULLY SLAPS” -  @MarcSnetiker

“@Lornebalfe’s score was superb.” + “ Our musical highlights were the opening theme and Mrs Coulters first appearance.” - @Twittagazze

“the score full of epic flourishes” - @MainstreamMatt 

“The emotion, the pacing, the imagery, the SCORE.” - @JSherleyHolmes

“ Ep1: Epic score by @Lornebalfe” -  @maffoos1

[emma-what-son]

Little Women reviews are in

I’ve noticed that some reviews are just simply overwhelmingly positive. I just don’t trust that. There has to be something you disliked! The pace, any changes the director has made... Something! Anyway, as always I’ll only post reviews mentioning Emma.

Vanityfair: I won’t go through all the other players in the ensemble, but most of them inhabit their roles with just the right pep and insight. (Only Watson, as dour eldest sister Meg, runs into some flatness.) Gerwig has a lively, natural directorial rapport with actors, creating comfortable spaces in which they can more easily form organic bonds. Little Women is nicely textured in that way, possessed of all the easy chatter and squabble of people who genuinely know one another.

Indiewire: “Little Women” isn’t always perfect: A few line readings fall flat — whenever Watson slips out of her American accent, all bets are off — and a handful of characters aren’t given nearly as much dimension as the sisters. Laura Dern’s soft-hearted Marmee is almost too good to be believed, and Bob Odenkirk’s boisterous initial introduction as the March family patriarch feels out of place (though it’s later redeemed during one of the film’s more amusing final sequences). And yet Gerwig and her girls know the hearts and minds of the sisters through and through. “Little Women” is about them above all else.

Empireonline: And while Meg gets a few good scenes, she’s still underserved compared with her younger sisters.

TheHollywoodreporter: Among the large cast, Watson somewhat fades into the background, possibly because the pretty, vivacious girl makes way so early for the thoroughly good wife who married for love, not material comfort. Dern at times seems a tad contemporary as Marmee, but then that could partly be because her delectable skewering of a quintessential L.A. type in Marriage Story remains so fresh in my mind. But even with limited screen time, all the actors register as fully formed characters.

Variety: A long way from her days as Hermione Granger in the Harry Potter movies, Watson portrays Meg as the sister who most knows what she wants, which makes the character’s choice feel like less of a compromise. Pugh has the tricky part, since so many find Amy’s personality off-putting, whereas she makes it possible to understand the difficulties of living in her sister’s shadow.

Screendaily: But this is an all-star marquee line-up. A somewhat miscast Emma Watson - she’s just too modern a presence - plays Meg, Eliza Scanlen is Beth, Laura Dern is Marmee while Meryl Streep plays Aunt March. On the male side, Timothee Chalamet is Laurie, with Louis Garrel playing Professor Bhaer and James Norton as Mr Brooke, the hard-up apple of Meg’s eye. The hair department must have worked overtime.

Screenrant: But while Jo is perhaps the closest Little Women gets to a single protagonist, and Ronan carries that starring role well, Gerwig's script makes sure to give each of the March sisters' their due. Watson brings a great deal of depth and empathy to Meg, while there's a steel to Pugh's Amy that allows her to hold her own alongside Ronan's Jo in a way that's fascinating to watch. Scanlen's Beth has all the sweet charm that the youngest March sister needs. Dern and Meryl Streep round out the exceptionally strong main female cast, bringing warmth and cold sensibility, respectively.

Dailymail: So the performances are terrific across the board, and that includes Watson (who reportedly replaced Emma Stone). She’s a limited actress magicked by Hermione Granger’s wand into better roles than her talent deserves, but she’s perfectly lovely as Meg, the eldest sister.

Telegraph: Emma Watson, supplying her usual finished charm, has no challenge lending consistency to dutiful-but-dull Meg, the eldest; and Eliza Scanlen gives a pale vulnerability to sickly piano prodigy Beth, “the best of us”.

Nerdist: The film isn’t without its weaknesses. The back-and-forth editing is occasionally confusing, and sometimes hinders the power of Jo’s arc. Her growing dissatisfaction with her work and her isolating loneliness is powerful when chronological, and suffers a bit here interspersed with happy memories of togetherness. There’s also one puzzling addition to her relationship with Laurie that rings false to Alcott’s story and Jo’s character, although not detrimentally. Laura Dern’s Marmee feels a little too sparkly compared to the hard-worn and exhausted character of the book, and Emma Watson’s Meg fails to make much of an impression, though she has a few touching moments that contrast her desires with her sisters’.

Flickeringmyth: If anything, the only noticeable flaw with Little Women is that for anyone that’s not Jo or Amy, it feels like there should be more that was probably edited down to keep the running time from going any higher than 2 hours and 15 minutes. That goes for Meg’s relationship and inevitable marriage, the bad boy behavior of Laurie who doesn’t know how to deal with rejection at first (he decides to pursue Amy following that, with Florence Pugh eliciting a great deal of emotion and making a case for Best Supporting Actress choosing between lovers and what’s best for her own passions), and one or two more scenes centered on Beth.

Moviecitynews: Emily Watson seems to be the #2 little woman as Meg, but she unselfishly lets the second dominant character come slowly into focus through the film in the form of Florence Pugh, whose character, Amy, is not as clear about what she wants. Both just get better and better through the film. And Beth, played by Eliza Scanlen, has the least to do in the film, but still comes through as a fully formed character.

Butwhythopodcast: As Meg, Watson is stunning. She carries a calm emotion, embodying her role as the older sister, the template for the girls behind her. Each of the women carries a burden with them, while they carry it differently, they share it all the same. Gerwig nails the burden of family perfectly, while also showing us how a family carries together.

Lenoirauteur: Speaking of a lack of there there, poor Emma Watson. Her Meg has a really interesting story on face value but the story doesn’t get to really dig into her interior life. Which is a shame, because I felt Meg’s desire to know and want fancy things only to fall in love with a man who doesn’t have much is very interesting! But what good does interesting do me, if we barely spend time with her and everyone else gets a much more epic Laurie moment. It’s in the moments we spend with Meg where Gerwig’s changes strain against what you can do with a text and still maintain its effectiveness.

Timeout: But it’s Midsommar’s Florence Pugh who wows you the most as youngest Amy, gliding from bratty competitiveness to a hard-headed realism. (If Emma Watson and Eliza Scanlen as the other two March girls, Meg and Beth, don’t make the same impression, it’s by intention: Gerwig has designed them more as mirrors.)

Everymoviehasalesson: The titular Chatty Cathys are the four March sisters of the 1860s at different coming-of-age stages. The two youngest, Beth (newcomer Eliza Scanlan of Babyteeth) and Amy (rising star Florence Pugh), look up to their older two sisters, Jo (three-time Academy Award nominee Saoirse Ronan) and Meg (the now nearly-30 Emma Watson) with shifting notes of reverence and jealousy.

Denofgeek: Watson’s Meg, meanwhile, feels like wallpaper despite leading many scenes, although this might simply be the result of Watson’s limited range in comparison to Ronan and Pugh.

 Thespool: Ronan continues to prove a beautiful creative partner for Gerwig; her Jo’s an iconoclast and a spitfire, but that just makes her moments of vulnerability that much more deeply felt. Watson turns in fine, elegant work as Meg, and Scanlan commands the screen with quiet stoicism. But Pugh’s Amy March is a particular standout, her pouty brattiness belying her genuine insight into others, especially Laurie.

Forbes: Watson has perhaps the most challenging (and least audience-friendly) role, as the proverbial straight woman of the sisters who is put on the defensive when her dreams end up being the most conventional of the lot.

[cblgblog]

Full list of deleted scenes from Marvel Studios’ The Infinity Saga box set revealed: www*flickeringmyth*com/2019/11/full-list-of-deleted-scenes-from-marvel-studios-the-infinity-saga-box-set-revealed/ // No Steve Rogers deleted scenes.

Alright so A…all of that and you assholes didn’t have one (1) Steve scene? Nothing? Losers. And B, yay, now I don’t have to feel that bad about not selling a kidney to buy the thing.

Has anyone posted the scene of Hank and Janet being involved in Ghost’s accident though? Honestly I’d like to see that

[villordsutch]

My recent interview with Bill Harbison. If you have five minutes pop over and have a read :D - https://www.flickeringmyth.com/2018/05/exclusive-interview-bill-harbison-talks-about-his-career-in-gaming-from-the-zx-spectrum-to-runescape/ #ZXSpectrum #retrogaming #8bit #8bitgaming #Sinclair #Robocop #oceansoftware #artist #graphicart #graphicartist #interview #runescape #flickeringmyth

[mrd-gvf]

Full list of deleted scenes from Marvel Studios’ The Infinity Saga box set revealed www*flickeringmyth*com/2019/11/full-list-of-deleted-scenes-from-marvel-studios-the-infinity-saga-box-set-revealed/ -- Thor at the end of Avengers: Endgame trying to kiss Valkyrie but she rejects him. ewwww

Yikes. The straights are at it again

[wondroussimmer-blog]

Just wanted to do a little plug for my boyfriend’s podcast!

If you guys are in to films, my boyfriend and his friend do a weekly podcast where they each bring 3 films of a certain genre and ‘battle it out’ to find the ultimate classic of that genre!

If you wanna give it a listen:

spotify: https://open.spotify.com/show/27LqiWKV9RTUtNtKAbOfo1

itunes: https://itunes.apple.com/us/podcast/thats-a-classic/id1447882355?mt=2

https://flickeringmyth-network.podiant.co/thatsaclassic/

[messymandella]

The Harder They Fall ***messymandella*** Netflix

https://twitter.com/flickeringmyth/status/1447490198292647937

[gravesdiggers]

“Rupert [Graves, one of the movie’s leads] immediately got it when I sent it to him, he immediately got it. He loves music and he’s a musician himself. He’s got a little recording studio in his back garden!“

Rupert has a studio shed. I love little titbits like that...

[lyricsfood]

Godzilla vs. Kong posters see the two titans face off

Godzilla vs. Kong posters see the two titans face off

With its release fast approaching, we’ve got another three posters for Warner Bros. and Legendary Pictures’ MonsterVerse showdown Godzilla vs. Kong, which showcase the two iconic movie monsters and their impending face-off. Will Stormbreaker give King Kong the edge? Or is your money on Godzilla? Let us know who you’re backing on our social channels @FlickeringMyth… SEE ALSO: Godzilla vs. Kong…

[bhadpodcast]

Flickering Myth

https://mobile.twitter.com/flickeringmyth/status/953561562664587264

https://t.co/0nmwvI7EzA?amp=1

Forbes

https://mobile.twitter.com/ScottMendelson/status/953658181212934144

https://t.co/xlmAuWPl9k?amp=1

Empire Magazine

https://mobile.twitter.com/empiremagazine/status/953675997190197248

https://t.co/Tq3R7vrib3?amp=1

Fandom.Wikia

https://mobile.twitter.com/couchCritics_/status/953613438110109696

https://t.co/fWI65XGpRA?amp=1

Indie Wire

https://mobile.twitter.com/IndieWire/status/953620422334939137

https://t.co/kr7rcKLxtS?amp=1