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ishy-man · 5 years ago

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IB REVIEW: THE IRISHMAN

Written by ishmael Mainoo

An ambitious comeback for a director that needs no introduction, Italian American film director Martin Scorsese’s cinematic adaptation of the Charles Brandt Biography: ’I heard you paint houses’ a detailing the life of Frank “The Irishman” Sheeran and his dealings with the Buffalino crime family, and Jimmy Hoffa head of the teamsters union. Can be described as enthralling. Informative and macabre as well as thoroughly enjoyable. Speaking as a man familiar with the filmography of the ‘new Hollywood’ icon, it was refreshing to see an auteur like Scorsese returning to his artistic roots. Reminiscent of such previous works as Casino and The mafia classic Goodfellas. And with the line-up of an all-star cast. Scorsese could well be likened to Marvel’s S.H.I.E.LD agent: Nick Fury as he assembles his avengers. Seeing him team up once again with the likes of Stout ‘tough guy’ Joe Pesci, The Ragin bull Robert De Niro, And of course Al Pacino. All of whom are no strangers to appearing in the odd gangster flick or two. All this along with the addition of British actor Stephen Graham who has indeed starred in his fair share of crime productions from Tommy in the guy Ritchie film ‘Snatch’ to Chicago mob boss Al Capone in the critically acclaimed HBO series ‘Boardwalk empire’, I think we can safely say this cast will take to any gangster role like a duck to water. And an appearance by Harvey Keitel as the respected Mob boss Angelo Bruno as well as a little something for the young people as new York rapper Action Bronson has a bit part as a coffin salesman, but I digress…

The Irishman is yet another biopic style film about an antihero in Frank Sheeran (Robert De Niro) who’s line of work lead to the slow and subtle dismantling of his family life especially his relationship with his daughter Peggy who witnesses certain sides to her father that she knows are less than pleasant and eventually her fear of him turns to hatred as she realises her father is a cold blooded killer. Within the opening shot we see our silver haired protagonist and humble narrator; Frank Sheeran sitting alone in his section of the cafeteria at a nursing home for the elderly. Almost held in captivity by his wheelchair. As he reminisces to us in the typical Scorsese fashion of breaking the fourth wall. About how life used to be. Treating the audience as an eager child hearing stories of the ‘the good ol’days’ from Grandpa. Showing muted attrition for his acts and almost a sense of self pity in his tone before even getting into the story. The elderly Irish American hitman still has an air of military philosophy in his character. That one could attribute to the character’s time in the second world war as he rationalises his acts as any quintessential soldier would, by stating he was only following orders.

From a technical standpoint the film’s cinematography was nothing short of trademark Scorsese, the tracking shot through the nursing home and into the room where frank sits, almost emulating the single take done by Henry and Karen Hill entering through the staff entrance at the Copacabana club in Goodfellas, or the quick cross cuts between Jo Hoffa (Welker white) turning on her ignition and an exploding car from another job. Indeed, it is the suspense created from the long pause of Jo anxiously awaiting to turn her engine on that transforms the scene alone into something of sheer brilliance. The Irishman to me was a testament to the scorcese cinematic mafia world. And will leave you either fascinated with the mafioso subculture or leave you ultimately disgusted with their heinous and nonchalant behaviour to murder. However unlike Goodfellas, casino or even the wolf of wall street, I found the film to be ‘an acquired taste’ if it so can be called, unlike it’s predecessors I found that the film was more dialogue driven than films before it and set at a slower pace. Compared to the aforementioned names. Well written though the film was and with the certain east coast lexical flair which all added to a believable and natural dialogue. I couldn’t help but feel that this came at the expense of momentum for the film. even the opening scenes of Scorsese’s films beforehand struck you with action from the very beginning. Whether it’s three guys driving at night with a halfdead body in the trunk. (Goodfellas). or a Casino boss leaving a restaurant ready to turn on the ignition in his car only to unknowingly detonate a car bomb (Casino). Or even a midget toss at an office party in the heart of New York’s financial district. (The Wolf of Wall Street). I feel that if the Irishman was a horse it is in no way shape or form a front runner and is a film that requires a viewer’s patience.

Which is probably why a handful of viewers (philistines) complained after it’s initial release stating it to be ‘boring’ and ‘too long’, I can empathise with these people on the ‘boring’ part, upon my first viewing even I had to wave my cursor to check the time marker to see how long I had left of this picture. However, to simply complain a film is ‘too long’ is in my mind nothing short of nonsense. Especially if you are familiar with Scorsese’s works: The runtime for the Wolf of Wall street is exactly three hours, Goodfellas two hours and twenty-eight minutes and Casino at Two hours and Fifty-eight. To conclude the runtime of a film should have no bearing on the quality of the film itself. And would not be a problem for most were the film more visually stimulating. Where the wolf of wall street, casino and Goodfellas featured frequent fast cuts and dynamic shots of abhorrent drug use, rampant sex, and/or poor bastards getting their brains blown out. All set to a multitude of complimenting soundtracks by artists such as Ray Charles, The rolling stones, Smokestack lighting or frank Sinatra etc. The Irishman had a distinct lack of all mentioned. However, this muted tone made for a more earnest watching. instead of relying on fast cuts and music sequences, it relied on the tension created by nuances in dialogue. The tension was even made sharper by the lack of non-diegetic sound. Seen multiple times especially when Tony Slaerno and Russel Buffalino (Joe Pesci) Tell Frank to persuade Jimmy (Al Pacino) to retire. (Essentially, ‘tell him to retire or we whack him’)

To the finish, the film’s story as a whole reminded me of Goodfellas in the sense of a character being indoctrinated into the mob life and showing the day to day stresses and moral dilemmas of working in such a career. Such as attempting to blow up a laundry place only to find out before the act that it belongs to your mob boss. And trying to prevent your hot-headed friend from getting killed by your employers. However I believe this picture goes a step further by showing how our protagonist got to work for the mafia - what life was like working for the mafia - and life after the mafia as an old man riddled with arthritis. Which leaves one to almost sympathise with this Irishman. As he sits alone in his nursing home. Isolated from the open world, with all his friend’s dead. Or in prison and a family that wants nothing to do with him because of who he was.

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tharealsinister · 8 years ago

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JoJo Capone Talks Cam'Ron's Response To Jim Jones, Capo Messing Up His Money W/Dipset, Saigon Almost Signing W/G-Unit, Trump Sending Feds To Chicago, 600 Breezy, Soulja Boy/Chris Brown (Video)

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#jo jo capine #new #music #jo jo capone #chris brown

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arrow-of-dodona · 6 years ago

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I just love thinking about the Waystation family yall

between Calypso (former Titaness who did nothing but garden for some 4000 years), Emmie (granddaughter of Dionysus) and Lit (son of Demeter) they probably have one boss ass garden that can grow practically any food any time of the year

they probably sell it at like a local farmers market and everyone always marvels at how they get so many of a certain produce completely out of season! And Calypso and Lit aren’t allowed to man the booth by themselves bc modern money still baffles them. They get stuck with Georgina once and she ends up handling all the money to every customer’s amusement.

And I mentioned team gardening, but there’s also team forging! Jo showing awed Leo and Georgina the difference between forging with magic items and Forging With Magic like she does. Then teaching them how to do the basics, even if they can’t properly use magic like she can as a daughter of Hecate.

or! or think about Leo and Calypso going to school! it’s hard at first (Leo is still in shock over that thing and Calypso has no idea what school is even like) but eventually they get into a rhythm where they figure out how they study best, what subjects they’re best at (Leo is great at math when he tries, Calypso is probably endlessly fascinated by science classes), all that stuff. Imagine them walking Georgina to elementary school before going to their own school aww

(also speaking of that thing, imagine Leo showing up at the Waystation and he’s acting like everything’s fine but Emmie and Jo catch on and gently get him to talk, and when it all comes out they just. hug him. because this poor boy needs a hug from a mom figure stat)

Jamie shows up for dinner frequently (brings his girlfriend depending on whether she knows of all this godly business?) and tells all sorts of stories about the Yoruban gods to an excited crowd. (I’m sure all of them, except maybe Emmie who’s been around A While and Calypso who is a Titaness, would be confused but excited at the thought of different pantheons)

Speaking of stories! Emmie and Lit telling them all what it was like living in Ancient Greece. Calypso telling what it was like to live even before that, when only the titans were around. Emmie talking about all the places she went as a Hunter of Artemis. Jo adding to those stories, then talking about working for Al Capone (Leo would love that omg). Leo even manages to add in his own experiences during his recent quests.

idk where i’m going with this but i just love imaging them as a weird lil family. mom’s Emmie and Jo with their daughter Georgina. teenagers Leo and Calypso who are figuring life out. Lit as that weird uncle type who used to be an enemy but now he’s just there. also there’s 2 gryphons and an elephant. all living in a semi-sentient building. beautiful.

#it me #toa #trials of apollo #the dark prophecy #i dont make personal posts but when i do its at like....midnight #and it will probably always be about toa sdfkjsdks #10

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xhemilbeharaj · 2 years ago

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Shoqëritë sekrete që ndryshaun botën

Shoqëritë sekrete dhe lozhat masonike ligjore ose jo nuk janë një krijim i kohëve moderne. Ato kanë ekzistuar gjithmonë, disa me qëllime të mira dhe në respekt të ligjit. Por shpeshherë kanë pasur objektivë të errët dhe kanë inspiruar luftëra dhe horrore. Ja shtatë historitë që duhet të dini: Një nga shoqëritë sekrete më pak të njohura është ajo e Secret Six. Të gjithë e dimë se Al Capone u…

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madamekyberpunk · 4 years ago

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Film Diary (July 12, 2020 - Dec 28, 2020)

JULY

July 12, 2020: KNIVES OUT (Dir. Rian Johnson)

We get to see Rian Johnson finely tune his craft in real time, and I find it exciting. I’ve been on a binge of his work as-of-late and a recurring theme of most of his movies is them being a commentary on themselves or the genres they’re working within. I think this movie nails that trick on the head without patting itself on the back too much. The ensemble cast is expertly chosen and works together really well, and you can tell just by watching it that they were having fun on set. The cast is grounded by Ana de Armas’ quietly brilliant performance. My favorite Rian Johnson movie is still reserved for Star Wars: The Last Jedi, but I do think this is his best work so far.

July 13, 2020: MERMAIDS (Dir. Richard Benjamin)

A slightly more absurd version of Lady Bird, if Lady Bird was made in the nineties. A good addition to the strained-but-loving mother-daughter relationship cinematic universe.

July 15, 2020: THE UNTOUCHABLES (Dir. Brian De Palma)

This is actually the first mafia movie I’ve ever seen, and honestly...it was probably a bad one to start with. Although it was entertaining and tense at all the right moments, the whole thing just felt empty. Every character seemed half-baked and none of them really had any development. De Palma could’ve gone grittier for an R-rating and made his interpretation of Al Capone a little less cartoonish; Kevin Costner’s Eliot Ness was doing the absolute least, and Robert De Niro’s Al Capone was doing the absolute most.

July 31, 2020: (500) DAYS OF SUMMER (Dir. Marc Webb)

For some reason I have unintentionally seen almost all of Marc Webb’s filmography, and I have to say that I’m underwhelmed by all of it. While watching I found myself reflexively comparing this to Webb’s The Amazing Spiderman and maybe it ruined my viewing experience a little bit. Both of them have lots of super mumbly, drawn-out conversations and an interpretation of an “indie” style that just seems...bland to me. (Also, both of them have pale women with bangs and men with undiagnosed depression.) I don’t know, I just feel like if you want a rom-com with a realistic depiction of romantic relationships, you should just go watch The Big Sick.

AUGUST

August 14, 2020: LATE NIGHT (Dir. Nisha Ganatra)

Emma Thompson was great in this, and I think Mindy Kaling is very underrated as a writer (in some ways, I think she is the modern Nora Ephron). I’ve seen quite a few reviews claiming that this movie plays along with conventions, but I don’t necessarily think that conventions are inherently bad as long as they’re executed well. In this case, they were.

August 22, 2020: THE FAREWELL (Dir. Lulu Wang)

I’d classify this as a really good movie that just didn’t click with me. It was a complete, “it’s not them, it’s me,” situation. It was smartly directed with a focused, sharp script and an excellent leading performance from Awkwafina - I can see why people were upset that it got snubbed at the Oscars - but it just wasn’t my thing. The only time I really connected with it emotionally was the ending.

August 22, 2020: KNOCK DOWN THE HOUSE (Dir. Rachel Lears)

The only piece of media currently in existence that somehow makes me feel a sense of patriotism for this hellscape of a country.

SEPTEMBER

September 5, 2020: BARRY (Dir. Vikram Gandhi)

Speaking of living in a hellscape of a country, I have mixed feelings about the Obama presidency - but this movie isn’t about his presidency. It isn’t indicative that he’ll be president at any point. It’s essentially a piece of historical fiction about race and American identity that happens to use Barack Obama as its protagonist. You could replace him with any other dude with a background similar to his and it still would’ve been interesting.

September 8, 2020: UNICORN STORE (Dir. Brie Larson)

If there’s one word to describe this movie, I’d say, it’s cute. Not in a patronizing type of way, but in a this-movie-feels-like-a-warm-hug type of way. I like this Brie Larson vehicle much more than Captain Marvel, mainly because I feel like she’s having more fun in this and she gets to wear more colors and Samuel L. Jackson has tinsel in his hair and also there’s a unicorn in it. I’m a simple girl with simple needs. I also think Samuel L. Jackson should be adorned in tinsel in every film he’s in without explanation (I might actually watch Pulp Fiction if Jackson’s character had a sparkly afro in it). This movie also made me stan Mamoudou Athie - I think he plays a good straight man and I hope that they don’t waste him in Jurassic World: Dominion, although I’m not getting my hopes up.

September 11, 2020: LADY BIRD (Dir. Greta Gerwig)

I waited a criminally long amount of time to finally watch this. I can’t really say anything about this movie that hasn’t already been said. It’s good! It’s genuine and sweet and I liked seeing Timothée Chalamet play a pretentious asshole.

September 12, 2020: THE BROTHERS BLOOM (Dir. Rian Johnson)

Upon a rewatch, I’m taking my original score of 3.5 out of 5 and bumping it up to a 4 out of 5. Adrian Brody and Rachel Weisz’s performances pretty much make this movie with their earnestness and chemistry. I think you could qualify this film as a romantic dramedy that just happens to be about an international con job. It doesn’t do the greatest job of explaining itself plot-wise, but it makes up for it with stylish direction and a charming cast.

September 18, 2020: EVER AFTER (Dir. Andy Tennant)

The best Cinderella adaptation currently in existence (next to Nickelodeon’s Rags starring Keke Palmer, of course). It’s so good that I’m willing to forgive Drew Barrymore’s attempt at a British accent. I also think this is one of the few movies that could be a decent remake if you gave it to the right director.

September 19, 2020: BRICK (Dir. Rian Johnson)

I love Rian Johnson, I think we’ve established that already, but I kind of sort of hated his film debut. It seemed so caught up in its own concept that it ended up seeming like a shell of a movie with no theme to ground it. Sometimes I don’t care if movie has no theme if it’s entertaining, but this movie was not entertaining, so...

September 25, 2020: ABOUT LAST NIGHT... (Dir. Edward Zwick)

Alternate title: Toxic Man is Horrible to a Woman Who Literally Does Nothing Wrong Ever and Also is Gorgeous, They Break Up, Toxic Man Gets a Different Job and Toxicity is Gone Now, Like His Personality was Sifted Through a Brita Water Filter, then the Toxic Man Gets an Unearned Happy Ending with Gorgeous Woman. It might be a little bit long, but at least people would know what they were in for. Still better than (500) Days of Summer, although every male character in About Last Night... deserves to be in jail. All of Demi Moore’s sweaters get five stars.

OCTOBER

October 3, 2020: ENOLA HOLMES (Dir. Harry Bradbeer)

During the first draft of this post, I gave this movie a pretty good review. Then I rewatched it, and...huh. It’s not exactly a bad movie, it’s just an aggressively average movie. Enola Holmes would have benefited from a) a shorter runtime, b) a better mystery, and c) a weirder style. I think that if the character is going to repeatedly talk into the camera, which is kinda weird, you should just make everything else weird too. Give it a Birds of Prey-esque unreliable narrator and non-linear storyline. It’s still a fun movie, and the inevitable sequels have potential, but it just felt like they could’ve - I don’t know - made more of an effort?

October 10, 2020: HUNT FOR THE WILDERPEOPLE (Dir. Taika Waititi)

This is the first Taika Waititi movie I’ve seen besides Thor: Ragnarok. I liked seeing how his style transferred into Ragnarok, and it probably has the funniest funeral scene ever written (do yourself a favor and look it up on YouTube). Hunt for the Wilderpeople knows when to make a joke without getting too goofy, and it knows when to be sentimental without getting too sappy. It also has dozens of glorious one-liners.

October 11, 2020: LITTLE WOMEN (Dir. Greta Gerwig)

The best Little Women adaptation. (I haven’t seen the one with Katharine Hepburn but I’m just going to assume that this one’s better.) This movie was clearly made for people who know and love the story, which can be a good thing and a bad thing - it means that it took some creative liberties that enhanced the story and added subversions that made it feel meta in a satisfying way. But it also meant that it could be potentially confusing for people who aren’t familiar with the story. Personally I wasn’t lost, but I think Gerwig could’ve used some more visual cues to let you know when they were in the present or when they were diving into the past. I wouldn’t want her to eliminate the jumping back and forth, though, because I think it allowed the characters to be explored a lot more than a linear story would’ve allowed. Gerwig also did a great job of letting you understand the motivations of the supporting characters - specifically Amy - in a way that prior adaptations never really did. Every character felt like their own person instead of accessories to Jo’s life.

October 16, 2020: THE TRIAL OF THE CHICAGO 7 (Dir. Aaron Sorkin)

Siegel, a very good Letterboxd reviewer that I follow, said it better than I can: ��Aaron Sorkin is way too good a writer to be forced to work with such a mediocre director as Aaron Sorkin”. I didn’t mind the beginning - I thought the quick editing, upbeat music, and cuts back and forth between historical footage and fictionalized scenes were engaging, but the ending was clunky and didn’t fit the tone of the rest of the film. The Trial of the Chicago 7 was a little confused politically and wanted to desperately cling onto a centrism that didn’t let the film fully embrace the anger that it could’ve ended on. Despite all of these things, I still thoroughly enjoyed it. The performances were all excellent, and if any of them get nominated for an Oscar it’s well-deserved. I’m also a sucker for Aaron Sorkin’s speechy, tangential dialogue. It makes me feel smart whenever I listen to it.

October 20, 2020: HALLOWEENTOWN (Dir. Duwayne Dunham)

This movie does it for the girls and the gays, that’s it.

October 26, 2020: BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN) (Dir. Cathy Yan)

This movie also does it for the girls and the gays, that’s it. Seriously, I honestly don’t know why people don’t love this movie. Margot Robbie’s performance as Harley Quinn is Oscar-worthy. That’s not a joke. I actually think that if the Oscars knew how to have fun, she would get a nomination. She is this character. It feels so lived-in and she never does too much - and with a role like Harley Quinn, it would be very easy to do too much. I also have to give props to the type of feminism that director Cathy Yan inserted into this film. I really enjoyed Wonder Woman and didn’t mind Captain Marvel, but there was something so formulaic and studio-approved about the female empowerment in both of those films. Birds of Prey, however, didn’t really give a single fuck. It was a nuanced, violent, funny as hell story about flawed women forming alliances and finding meaningful relationships in a world that actively abuses them and ugh, I love this movie. It’s probably my personal favorite of the year.

October 27, 2020: DOLLY PARTON: HERE I AM (Dir. Francis Whately)

This documentary was strangely edited and offered pretty surface-level information presented in an uninteresting way. I enjoyed myself while I was watching it, but I just wish it would’ve gone deeper. Dolly Parton is one of the most interesting figures in music history, and there was a lot more they could’ve explored.

NOVEMBER

November 1, 2020: ATTACK THE BLOCK (Dir. Joe Cornish)

This 82-minute movie gave John Boyega a more satisfactory arc than the almost seven hour long Star Wars sequel trilogy. Seriously, this movie fucking slaps! It hit all the right notes at all the right moments. I honestly think that a lot of sci-fi movies would be better if they worked with smaller budgets and shorter runtimes. Something about working within limitations makes a film feel more authentic and cuts out a lot of the excess fat. This movie is funny and earnest and surprisingly has a lot to say about the world we live in, with a budget that’s 200 million dollars less and a runtime that's 45 minutes less than a lot of sci-fi movies out there.

November 18, 2020: A PRINCESS FOR CHRISTMAS (Dir. Michael Damian)

*Lady Gaga voice* Amazing, show-stopping, spectacular, never the same, totally unique, completely-not-ever-been-done-before... My go-to shitty Hallmark Christmas movie every year :)

November 19, 2020: THE LEGO STAR WARS HOLIDAY SPECIAL (Dir. Ken Cunningham)

I’m giving this a five-star rating completely unironically. This movie uses the mechanism of time travel better than Avengers: Endgame.

November 20, 2020: THE CHRISTMAS CHRONICLES (Dir. Clay Kaytis)

There’s a scene where Kurt Russel does a musical number in a jail cell and then Winston from “New Girl” quits his job as a cop. What more could you want from a Christmas movie?

November 21, 2020: INSIDE LLEWYN DAVIS (Dir. Joel & Ethan Coen)

What was originally intended to be an Oscar Isaac thirst watch turned into what might end up being one of my favorite movies of all time. It’s one of those movies where it’s hard to articulate why it was so good, it was just good, but for the sake of this post I’ll try my best. Oscar Isaac was phenomenal in this - and I’m not just saying that because I’m a simp. His performance, combined with the script, made you root for his character even if he was a douchebag a lot of the time. The movie did a great job of blurring the line between what Llewyn Davis brought on himself and what was the result of just really, really bad luck. The use of sound in Llewyn Davis is excellent, too. Instead of using an instrumental score to emphasize emotion, they used sounds from the character’s environment, which really let the occasional musical moments pop - whenever anyone started singing, it almost felt cathartic. The Coen Brothers also provided moments of levity with perfectly-timed comedic moments throughout. It’s one of those movies where at the end of it, you’re kind of jealous that someone could make something that good. The fact that Oscar Isaac didn’t even get an Oscar nomination for this is - not to be dramatic - a fucking war crime.

November 22, 2020: STAR WARS: THE LAST JEDI (Dir. Rian Johnson)

Listen, I know The Last Jedi is such a hotly debated movie that it’s almost political, but it happens to be my favorite movie of all time. Like, number one. It even beats A Princess for Christmas. I’ve had my fair share of slander for loving this movie so damn much, but I will defend it until the day I die, and then I will have my tombstone engraved with “Luke Skywalker’s portrayal in this movie makes sense, you guys are just poisoned by nostalgia.” I’ve seen this movie several times, but I actually haven’t given it a rewatch since The Rise of Skywalker came out last December, and it still holds up. There’s a couple of things that I really appreciated a bit more this time around: every shot in this movie seems so intentional and emotionally charged. Pause it at any point and you’re going to have something interesting and aesthetically pleasing to look at. I really enjoyed the dialogue, too. In most of his movies, Rian Johnson makes his characters talk in a slightly heightened (or in Brick's case, very heightened) way, and it lends well to the Star Wars universe. I'm never going to to not gush about this film. The Last Jedi is the movie that made me love movies, and for that I will always be grateful.

November 25, 2020: HAPPIEST SEASON (Dir. Clea DuVall)

I have similar feelings toward this movie as I did toward Crazy Rich Asians; it follows most of the conventions that populate the rom-com genre, but for the marginalized people the movie is representing, it’s actually pretty fresh. Hot take, but I don’t think that Kristen Stewart’s character should’ve ended up with Aubrey Plaza’s character - I just think the film could’ve done a better job of empathizing with Mackenzie Davis’s character. If we focused on her perspective a bit more, maybe she would’ve seemed less...shitty and distant. I’d also appreciate it if we just stop doing the Gay Best Friend Trope after this movie because - let’s be honest with ourselves - no one’s going to be able to top Daniel Levy’s rendition of it.

November 29, 2020: MANGROVE (Dir. Steve McQueen)

See my Mangrove review here.

DECEMBER

December 5, 2020: RED, WHITE AND BLUE (Dir. Steve McQueen)

I may need to give this a rewatch at some point, mainly because it seems like I didn’t fully grasp the themes it was conveying due to my own skepticisms going into it. Here’s my original review.

December 13, 2020: THE PROM (Dir. Ryan Murphy)

I really can’t critically engage with this movie because my brain just turns off the minute the first song starts. Most of the criticisms you’ve heard are valid - though perhaps a little bit blown out of proportion - but it’s so much damn fun. I’ve watched it twice now.

December 19, 2020: MA RAINEY’S BLACK BOTTOM (Dir. George C. Wolfe)

Chadwick Boseman’s last performance is haunting, transformative, and magnetic. The same can be said about Viola Davis’ performance, which is a surprise to no one, but this is really Chadwick’s vehicle. I just wish the directing was as interesting as the acting. This film was adapted from an August Wilson play, and directorially it was treated like a play, which doesn’t necessarily translate that well to film. The space around the actors wasn’t really utilized, and the way it was shot was pretty lackluster and static; oftentimes, the only interesting thing to look at in a scene was an actor’s performance. Maybe I’ve just been a little obsessed with Steve McQueen’s directing style lately, but this movie probably would’ve been five stars for me (instead of the four-and-a-half I gave it) if it was directed by him.

December 19, 2020: LONG TOAST (Dir. Karsten Runquist)

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Fuck yeah, Karsten Runquist! Shout out to his monthly “what I watched in [insert month]” videos for giving me the inspiration to write this.

December 23, 2020: LET IT SNOW (Dir. Luke Snellin)

Weirdly enough, this may be one of my favorite Christmas movies. There’s nothing all that remarkable about it, but it has a sweet, simple holiday vibe with innocent performances and low stakes. I don’t really ask a lot for Christmas movies, and this pretty much delivers.

December 25, 2020: THE PSYCHOLOGY OF DREAM ANALYSIS (Dir. Rian Johnson)

This short film from Rian Johnson is the earliest thing I could find of his filmography on Letterboxd, and it was a pretty engaging watch. It was essentially all of Johnson’s quirks as a director condensed into ten minutes. It reminded me of those trippy short stories you had to read in middle school.

December 26, 2020: PLUS ONE (Dir. Jeff Chan & Andrew Rhymer)

I’ve seen a lot of rom-coms - like, an ungodly amount - and my love-hate affair with this genre has made me realize that predictability isn’t the issue with rom-coms (a lot of genres are very, very predictable). The issue is a lack of authenticity. Yes, this film is predictable, but it’s authentic. The humor in this movie actually feels like something that would happen in real life, not something heavily contrived or exaggerated for the sake of entertainment. I don’t have anything against the contrived and exaggerated, but it’s refreshing to see comedy being delivered so naturally in this genre. Plus One also has a more realistic (but still sweet) perspective on love and relationships which you don’t normally see in any genre.

December 27, 2020: THE HALF OF IT (Dir. Alice Wu)

I watched this at the beginning of the year and didn’t enjoy it all that much - partly because I was in the closet and aaaah girls kissing aaaaaah - and partly because I just thought it was boring. On a second viewing, I really appreciated it more. I think it’s the smartest and most well-shot movie directed toward teens that I’ve seen on Netflix. Although the script can be a bit pretentious, it’s directed in a way that doesn’t feel like it’s either trying to be too indie or like an hour and fourty-five minute long single-camera sitcom episode. The character of Ellie is also a really interesting and nuanced character, and a good example of how to write and portray queerness on screen.

December 27, 2020: TAYLOR SWIFT - FOLKLORE: THE LONG POND STUDIO SESSIONS (Dir. Taylor Swift)

I would die for Taylor Swift and/or Jack Antonoff.

December 28, 2020: MANK (Dir. David Fincher)

I went into this movie as a) someone who has never seen a David Fincher film, and b) someone who has never seen Citizen Kane. Unsurprisingly, Mank was definitely not my thing. That doesn’t mean I didn’t appreciate it. It’s a fucking good-looking movie. But it’s kind of like the himbo of movies - it’s nice to look at, but there’s not much going on underneath. I’m hearing this complaint from a lot of people: it’s a technical masterpiece, but it feels pretty damn hollow. Personally, it’s not enough for me to recognize that a film looks and sounds good - I have to care about and know the human beings within it in order for me to think that it’s a good movie. To me, a film is only as good as the emotional relevance of its story, but sadly emotional relevance is where Mank falls short.

What movies kept you sane during 2020? Let me know!

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trashvideofinland · 7 years ago

Photo

Tuomion yö / Don't Turn Out the Light (1987) Castle Video https://www.videospace.fi/release/Sn7h9un9 "Poliisi on palveluksessa ampunut syyttömän ihmisen ja hänen on nyt vaikea käyttää enää asetta. Entä jos on pakko... Pelastaakseen oman perheensä... David King (Robert Bideman) on poliisina Durhamissa ja naimisissa kuvankauniin Jenniferin (Nadia Capone) kanssa. Eräänä päivänä hän saa tehtäväksi kuljettaa hengenvaarallista, yksisilmäistä vankia. Matkalla hän tekee erehdyksen - joka maksaa paljon! Liian myöhään hän huomaa, että heitä on odotettu... Joukko psykopaatteja on hetkessä vapaana ja pelon ja kauhun levittäminen on heille urheilua. Nyt on tosi kysymyksessä!"

#Castle Video #vhs #VHS tapes #VHS art #VHS cover

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fimfast · 5 years ago

Text

1. Đế Chế Ngầm: Phần 2

Boardwalk Empire là bộ phim truyền hình nói về vấn đề tội phạm trong thời kì những năm 1920 đến 1930 khi lệnh cấm bán rượu được ban hành. Và hệ lụy là sự xuất hiện của hàng loạt các băng nhóm tội phạm, chính trị trở thành Gangster. Nơi bắt nguồn cảm hứng cho chế độ Mafia Mỹ, mà sau này hình thành các huyền thoại mafia nổi tiếng như: Bugsy Siegel, Lucky Luciano, Al Capone Scarface. Nhân vật chính là Enoch “Nucky” Thompson, một chính trị gia nổi bật lên trong thời kì này và đã trở thành người lãnh đạo thành phố Atlantic City, New Jersey. Boardwalk Empire có những bối cảnh được trau chuốt tỉ mỉ và vô cùng chân thực, cùng cốt truyện đặc sắc và gay cấn được thể hiện một cách hoàn hảo bởi những diễn viên tài năng.

Link Xem Tại đây

2. Pháp Sư Vô Tâm (Phần 3)

Pháp Sư Vô Tâm Phần 3 - The Monster Killer Season 3 lấy bối cảnh thời Đường, phim có độ dài 28 tập, xoay quanh một pháp sư có tên Vô Tâm. Vô Tâm có nhiệm vụ tiêu diệt yêu quái, bảo vệ người dân lương thiện. Trên hành trình cam go của mình, Vô Tâm đã nảy sinh tình cảm với 1 cô gái xinh đẹp, hiền lành. Link Xem Tại đây

3. Oh! My Lady

Yoon Gae Hwa (Chae Rim) là một người nội trợ bình thường, bỗng nhiên trở thành quản lý cho một ngôi sao hàng đầu. Cô nhận công việc này để kiếm tiền giành lại đứa con gái nhỏ, hiện đang do chồng cô nuôi dưỡng. Sung Min Woo (Choi Si Won) là một diễn viên khó chiều, người tình cờ thấy mình rơi vào tình huống trớ trêu với Dae Hwa, nhưng sau đó lại dần phải lòng cô. Link Xem Tại đây

4. Thư kí Kim sao thế?

Phim xoay quanh câu chuyện tình cảm giữa vị sếp hoàn hảo và cô thư ký riêng tài giỏi. Chuyện bắt đầu khi 1 ngày nọ, cô thư ký đã làm việc cho vị phó chủ tịch tập đoàn nổi tiếng, bỗng nộp đơn từ chức. Anh sếp không muốn cô nghỉ việc nên đã làm những việc trước giờ mình chưa bao giờ làm. Suốt 9 năm làm việc cùng nhau, họ xác định mối quan hệ giữa 2 người chỉ là quan hệ công việc. Liệu mối quan hệ đó có thay đổi hay không? Liệu thư ký Kim có thay đổi quyết định của mình trước những hành động của vị phó chủ tịch hay không? Chúng ta cùng chờ xem 16 tập phim nhé! Link Xem Tại đây

5. Áo Choàng

Trong phim Áo Choàng, Vince Faraday là một cảnh sát viên đã bị buộc tội giết người. Trong phim, ông thoát khỏi cáo buộc và trở thành siêu anh hùng chỉ được biết đến như là Hiệp Sĩ Áo Choàng Đen. Xem phim Áo Choàng bạn sẽ rất hài lòng với chất lượng dịch vụ phim online.

Link Xem Tại đây

6. Ước Mơ Vươn Tới Một Ngôi Sao

Ngôi sao lấp lánh trên bầu trời, tưởng xa nhưng thật ra nó không ở đâu xa mà đang ở trong tim mỗi người. Khi đạt thành giấc mơ và khát vọng của mình, chính là lúc ta chạm đến một ngôi sao. Phim Ước Mơ Vươn Tới Một Ngôi Sao - một bộ phim chỉ ta cách chạm đến ngôi sao chúng ta hằng ao ước qua một cuộc hành trình muôn màu muôn vẻ của cuộc sống - nơi lòng tốt luôn hiện hữu, nơi khát vọng vươn lên luôn cháy bỏng, nơi thời trang và âm nhạc thăng hoa, nơi biến giấc mơ thành hiện thực, nơi đã yêu thì không từ bỏ bao giờ. Xem phim Ước Mơ Vươn Tới Một Ngôi Sao và chắc chắn các bạn sẽ thích phim online này! Link Xem Tại đây

7. Nữ Phù Thủy

Phim Nữ Phù Thủy dựa trên bộ ruyện tranh "xxxHOLiC" của Clamp xoay quanh những câu chuyện thần bí có phần rùng rợn. Phim hd này kể về anh chàng Watanuki Kimihiro, là một học sinh cấp 3 có khả năng nhìn thấy và thu hút linh hồn. Và với mong muốn xóa bỏ đi năng lực này, Watanuki đã trở thành người làm tại cửa tiệm quái dị của Yuko - là nữ chủ nhân xinh đẹp chuyên giúp khách hàng biến mong ước thành hiện thực với điều kiện phải trả một giá tương xứng. Trong thế giới của phép thuật, Yuko là ''Phù thủy không gian'' còn ngày thường, Yuko là người bê tha và luôn thích hành hạ Watanuki! Xem phim Nữ Phù Thủy và bạn hoàn toàn bị choáng ngợp trước các cảnh quay của phim hay này! Link Xem Tại đây 8. Gia Đình Chồng Tôi

Trong phim Gia Đình Chồng Tôi, Yoon-Hee (Kim Nam-Joo) là một giám đốc bộ phim truyền hình. Cô gần đây đã kết hôn với người đàn ông hoàn hảo cho cô ấy. Yoon-Hee đã sợ có pháp luật, cụ thể một người mẹ trong pháp luật. Bởi vì điều này, Yoon-Hee đã tìm kiếm một chàng trai không được kết nối chặt chẽ với gia đình của mình. Xem phim online này bạn sẽ thấy nếu cô ấy không thể tìm thấy một chàng trai như vậy, Yoon-Hee kế hoạch ở duy nhất. Cuối cùng, Yoon Hee đã gặp Terry (Yu Jun-Sang). Terry là một bác sĩ với một tính cách ngọt ngào, nhưng, quan trọng nhất, ông đã thông qua các bậc cha mẹ từ Mỹ. Terry không có hồi ức của cha mẹ thật của mình và đã được thông qua bởi các cặp vợ chồng Hàn Quốc tại Mỹ như là một đứa trẻ. Cuộc sống hôn nhân Yoon-Hee có vẻ như tất cả các thiết lập. Trong khi đó, Chung-Ae (Yoon Yeo-Jung) đã sống với cảm giác tội lỗi nặng nề kể từ khi cô mất người con trai Gwi-Nam tại một thị trường truyền thống 30 năm trước đây. Liệu phim sẽ diễn biến thế nào mời các bạn cùng theo dõi bộ phim Gia Đình Chồng Tôi. Link Xem Tại đây

9. Chàng Trai Biển Cả

Phim Chàng Trai Biển Cả phản ánh cuộc sống của một băng đảng xã hội đen với ba nhân vật trọng tâm. Nam diễn viên Jo Jae Hyun vào vai một ông trùm xã hội đen, nhận Cheon Soo (Kim Kang Woo thể hiện) làm đàn em và đào tạo anh thành một tay chân đắc lực. Xem phim này bạn sẽ thấy Cheon Soo, một cựu vận động viên bơi lội trong đội tuyển quốc gia, bất ngờ vướng vào một vụ cá cược với một ông trùm xã hội đen buôn bán ma tuý và buộc phải bước vào con đường tội lỗi. Còn nữ diễn viên Park Shi Yeon thì vào vai một cô đào lẳng lơ, được ông trùm xã hội đen giao cho nhiệm vụ quyến rũ Cheon Soo để anh tiếp tục chìm đắm trong thế giới tội phạm. Ngoài nữ diễn viên Park Shin Yeon, phim Chàng Trai Biển Cả còn có sự góp mặt của nam diễn viên Jo Jae Hyun và Kim Kang Woo. Đặc biệt, nam diễn viên Kim Kang Woo được đánh giá là gương mặt "sáng" trong bộ phim nhựa này. Anh được so sánh với "đàn anh" Kwon Sang Woo bởi hình thể đẹp và lối diễn xuất cuốn hút. Link Xem Tại đây và rất nhiều phim khác như

Chiến Binh Baek Dong Soo Xem tại đây

Yuusha Yoshihiko Xem tại đây

Liên Minh Công Lý Trẻ (Phần 1) Xem tại đây

Ngày Thanh Trừng 4: Cuộc Thanh Trừng Đầu Tiên Xem tại đây

Ngày Thanh Trừng 3: Năm Bầu Cử Xem tại đây

Ngày Thanh Trừng 2: Hỗn loạn Xem tại đây

Người Canh Gác Bóng Đêm Xem tại đây

Vô Độ (Phần 1) Xem tại đây

Hậu Duệ Mặt Trời Xem tại đây

Chuyện Tình Ở Sungkyunkwan Xem tại đây

Thiên Hà (Phần 3) Xem tại đây

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sohannabarberaesque · 7 years ago

Conversation

Imagine a Chickenman crossover with the Cattanooga Cats (chwech)

NARRATOR: Having finally dispatched Chessie the Autograph Hound, as per assignment of the Police Commissioner, Our Legendary White-Winged Warrior, as in Chickenman, is preparing for the next phase of his assignment: Helping to get "Mrs. Howe's Troupe of Dancers" checked into Yaami's Hotel ahead of a concert appearence at the adjacant Taj Mahal, Midland City's preeminent entertainment venue.

CLERK, speaking with a Gail Gordon/Frank Nelson hybrid snootiness: So you're on assignment to handle "Mrs. Howe's Troupe of Dancers" as they arrive here for a few days' concerts at the Taj Mahal!

CHICKENMAN: That is correct, Sir.

CLERK: If I may show you something we usually don't reveal to the hoi polloi--

NARRATOR: Whereupon the clerk at Yaami's Hotel gave the Crusading Capon a rather revealing look at the Legendary Secret Passage connecting the premi of Yaami's to the backstage area of the Taj Mahal.

CLERK to CHICKENMAN: Don't be put off by the soft lighting; it's all distracting.

CHICKENMAN: Distracting to whom?

CLERK: The performers lucky enough to perform at the Taj Mahal AND stay at Yaami's, what did you expect?!

CHICKENMAN: And I assume this Secret Passage is designed to protect performers from rabid and overzealous fans demanding autographs or other souvenirs, especially such as might conceal Sinister and Dangerous Motives.

CLERK, with snobbiness inherent: How did you guess?

CHICKENMAN: Just dumb luck, I guess.

NARRATOR: Within a few minutes, Yaami's Hotel received a mobile call from--

COUNTRY, of the Cattanooga Cats (filter): Uh, this is Mrs. Howe's Troupe of Dancers; we're approaching Midland City now, and will be approaching Yaami's Hotel soon....

CLERK: Great, great! We ask that you please use the side alley between us and the abandoned-looking barber shop for entry, and keep a low profile on entry. Security reasons, you know.

NARRATOR: And some minutes later--

KITTY JO, female lead for the Cattanooga Cats: And aren't we glad to be in Midland City! [Whereupon the other members of the Cats--COUNTRY, GROOVE, SCOOTS and TEENY TIM, Kitty Jo's dog andportable keyboard player for the band--go into ad-libbed greetings.]

CHICKENMAN, to CLERK (aside): So THIS was "Mrs. Howe's Troupe of Dancers" all along!

CLERK, with sheer snark: Otherwise known as the Cattanooga Cats! It was just a secyrity ruse!

KITTY JO: If I may explain, uh--

CHICKENMAN, introducing himself: 'Tis I, Chickenman, The Wonderful White-Winged Warrior Who Strikes Fear Into The Hearts of Criminals and Lawbreakers--

GROOVE: [Laughing hilariously]

SCOOTS: Wavy chitlins! Is that THE Chickenman we've heard on the radio all this time?

CHICKENMAN: It is I, one and the same. And you will be pleased to hear where Chessie the Autograph Hound was tripped up and is under psychiatric observation.

ALL THE CATTANOOGA CATS: [Cheering and rejoicing]

KITTY JO, getting back on track: Actually, that thing about "Mrs. Howe's Troupe of Dancers"--

CHICKENMAN: The same ruse, know, Chessie the Autograph Hound attempted using.

COUNTRY: We actually use it as a way to communicate with theatrical hotel managers so as to avoid overzealous fans getting wind that we're the Cattanooga Cats!

NARRATOR: WEEEEEELLLLLLLL--!! So what exactly was Chessie the Autograph Hound privy to all this time, even if her main goal was to ask the Cattanooga Cats for their autographs--by hook or by crook? And Another Thing: Is there really a "Mrs. Howe's Troupe of Dancers" as part of the Cattanooga Cats' routine?

[Standard "Be listening tomorrow," &c., outro]

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vampireadamooc · 7 years ago

Link

Friendly reminder that the FBI Files are publicly available - updated weekly as FOIA Requests are processed.

Direct Links to A-P (August 4th 2017)

The Vault Index

The FBI has converted many FOIA documents to an electronic format (PDF), and they may be viewed below. In the case of voluminous pages, only summaries or excerpts from the documents are online. Subjects are sorted alphabetically by first name. You can also use your browser's find feature to locate subjects on the page.

Al Capone Animal Mutilation Ali Hasan Al-Majid Al-Tikriti (Chemical Ali) Albert Anastasia ACLU Aristotle Onassis American Friends Service Committee Aryan Nation Anna Nicole Smith Anthony Blunt Alfred Kinsey Abner Zwillman Albert Einstein Anthony Spilotro ABSCAM Arthur Flegenheimer (Dutch Schultz) Alcatraz Escape Alcoholics Anonymous Al Gore, Sr. Amerithrax Anwar Nasser Aulaqi Amelia Boynton Abbie Hoffman Adolf Hitler Asian American Political Alliance Amelia Mary Earhart Andrew Phillip Cunanan Anthony Salerno All American Anti Imperialist League American Nazi Party Arthur Rudolph Aryan Brotherhood Atlanta Child Murders Aryan Circle Almighty Latin Kings Abe Fortas Arthur R. "Doc" Barker Arnold Palmer Armando Florez Ibarra Alvin Francis Karpis Attempted Assassination of President Ronald Reagan Alger Hiss Ariel Sharon Art Modell

Black September Bertolt Brecht Billy Carter Bishop Fulton Sheen Bonus March Barker-Karpis Gang Summary Bloods and Crips Gang Bonnie and Clyde Black Dahlia (Elizabeth Short) Basque Intelligence Service Bugsy Siegel Bayard Rustin Benjamin Hooks Benjamin Crowninshield Bradlee Black Guerilla Family Black Mafia Family Bernard Baruch Black Panther Party BOMBROB Betty Shabazz Bureau Aviation Regulations Policy Directive and Policy Guide Bernard Julius Otto Kuehn Bettie Page Billy Martin Barker/Karpis Gang

Caryl Chessman Cardinal Francis Spellman Cambridge Five Spy Ring Carmine John Persico, Jr. Custodial Detention Clyde A. Tolson Clark Gable Charles Manson Council on Foreign Relations Charles Lindbergh Clarence Smith (aka 13x) Clarence Darrow Carl Sagan Carmine Galante Conference Cost Reporting and Approvals to Use Nonfederal Facilities Policy Directive 0927D Charlie Chaplin Casey Kasem Cartha DeLoach Christopher (Biggie Smalls) Wallace Charles "Chuck" Wendell Colson Contract for Assistance Regarding Syed Farooks iPhone Charlie Wilson Courtney Allen Evans Claudia Johnson Carlo Gambino Christic Institute Cesar Chavez Clergy and Laity Concerned about Vietnam Charles Rebozo Charles Kettering Claudia Jones Christian Identity Movement Carl Sandburg Charles (Sonny) Liston Columbine High School Criminal Profiling Coretta Scott King Charles Arthur (Pretty Boy) Floyd Custodial Detention Headquarters Carlos Fuentes COINTELPRO Custodial Detention Security Index

Danny Kaye David Koresh Daily Worker Dinah Shore Dorothy Dandridge Duquesne Spy Ring Director Comey Letter to Congress Dated October 28, 2016 Diversity and Inclusion Program Policy Guide Policy Directive 0842D Daniel David "Dan" Rostenkowski Daniel Inouye Daniel Schorr Demonstrations against Lyndon B. Johnson Desi Arnaz Diana, Princess of Wales D. Milton Ladd Dr. Samuel Sheppard Dwight David "Ike" Eisenhower Director Comey Letter to Congress Dated November 6, 2016 David Hahn Debbie Reynolds David Howell Petraeus Daniel Patrick Moynihan D. B. Cooper

Erich Fromm Emmett Till E. B. (William) Dubois Extra-Sensory Perception Eliot Ness Electronic Recordkeeping Certification Policy Guide 0800PG Edward Irving "Ed" Koch Elizabeth Taylor Everette Hunt Edward Abbey Elizabeth Arden Edward Kennedy (Duke) Ellington Elvis Presley Eugene McCarthy Eddie Cantor Eleanor Roosevelt Evelyn Frechette Eric Wright (Eazy-E, EZ E) El Rukns Elijah Muhammad Ernest Hemingway Eugene “Gene” Curran Kelly Explanation of Exemptions

FBI Miami Shooting, April 11, 1986 Frances Perkins Fred Hampton Frank Capone FBI History Francis Gary Powers Frank Sinatra FBI Technical Surveillance Countermeasures Classification Guide Fred W. Phelps, Sr FBI Ethics and Integrity Program Policy Directive Policy Guide FBI Student Programs Policy Guide 0805 PG Fannie Lou Hammer Frank Rosenthal FBI Domestic Investigations and Operations Guide (DIOG) FBI Undercover Operations FBI Terrorist Photo Album Five Percenters Frank Wortman FBI Use of Global Positioning System (GPS) Tracking Frank Malina FDPS FBI Sign Language Interpreting and Reading Program 0889D FBI Seal Name Initials and Special Agent Gold Badge 0625D FOIA DISCLAIMER Fidel Castro Freedom Riders FBI Assistance Provided to Local Law Enforcement During the Black Lives Matter Movement FBI Recreational Association(s) 0465D FOIA Requests Containing the Word Trump Fritz Julius Kuhn Fred G. Randaccio Fred C. Trump

George (Bugs) Moran Greenlease Kidnapping George (Machine Gun) Kelly Groucho Marx Guy Hottel Gov. Edmund Gerald (Pat) Brown, Sr. Gene Siskel German American Federation/Bund Geraldine Ferraro Gangster Disciples Grace Kelly Greenpeace George Jackson Brigade Guantanamo (GTMO) George Burns George Lester Jackson General Douglas MacArthur General Telecommunications Policy 0862D George S. Patton, Jr. Gay Activist Alliance Ghost Stories: Russian Foreign Intelligence Service (SVR) Illegals Gamergate Gregory Scarpa, Sr George Orson Welles George Steinbrenner

Hugo Black Henry Louis (H.L.) Mencken Henry A Wallace Herbert Khaury (Tiny Tim) Highlander Folk School Hanns Eisler Henry Miller Howard Zinn Huey Percy Newton HEARNAP Honoraria Policy 0867D Herman Barker Harold Glasser Hubert H. Humphrey Helen Keller Harland David "Colonel" Sanders Hindenburg Harry S. Truman Hillary R. Clinton Howard Robard Hughes, Jr

Interpol Irgun Zvai Leumi Irving Berlin Impersonation of Bhumibol Adulyadej Imperial Gangsters I Was a Communist for the FBI (Motion Picture) Irwin Allen Ginsberg Ian Fleming Irving Resnick

Jack Soble Jefferson Airplane Jack Benny Jack the Ripper Jesse James James Cagney John F. Kennedy Jr. John Murtha Joseph Aiuppa Jonestown (RYMUR) Summary Joseph Lash John Ehrlichman John L. Lewis John (Jake the Barber) Factor Joseph P. (Joe) Kennedy, Sr. John Steinbeck John Arthur (Jack) Johnson Janis Joplin Jimmy Hoffa Jessica Mitford Jeffrey Lionel Dahmer Jack Anderson John Wilkes Booth Joe Paterno Jay David Whittaker Chambers John Joseph Gotti, Jr James Marshall "Jimi" Hendrix James Baldwin Joseph Losey John Siegenthaler Jeannette Rankin Jack Roosevelt Robinson Judith Coplon James Joseph Brown John Wayne (Marion Robert Morrison) Jerry Garcia Jane Addams John Chancellor John Wayne Gacy Jack Roosevelt (Jackie) Robinson John D. Rockefeller, III John Dillinger John (Handsome Johnny) Roselli John Profumo (Bowtie) J. Edgar Hoover Julius and Ethel Rosenberg J. Edgar Hoover Appointment and Phone Logs Jesse Helms Jonestown J. Edgar Hoover Official and Confidential (O&C) Files Joe Louis Joan Alexandra Rivers Jack Dempsey John Denver James Farmer James McDougal John Updike Jerry Heller Josephine Baker Joseph Paul "Joe" DiMaggio John Winston Lennon

Kent State Katherine Oppenheimer Kent State Shooting Ken Eto Kansas City Massacre Kiss

Lady Bird Johnson Louis Allen Leander Perez, Sr. Legal Handbook for FBI Special Agents Louis (Lepke) Buchalter Liberace Lyndon B. Johnson Laboratory Reference Firearms Collection Policy LD0020D Louie Louie (The Song) Louis Francis Costello Lucia Stepp Lewis F. Powell, Jr. Lillie Belle Allen League of Women Voters Lillian (Lily) Hellman Lester Joseph Gillis (Baby Face Nelson) Lenny Bruce Lucille Ball Luis Buñuel Louis Terkel Langston Hughes Leonid Ilyich Brezhnev Leon Trotsky Leonard Bernstein Lloyd William Barker

Marilyn Monroe Motion Picture Copyright Infringement Mississippi Burning (MIBURN) Case Michael (Mike) Royko Martin Luther King, Jr. Melvin Purvis Malcolm X Muriel Rukeyser Marilyn Sheppard Madalyn Murray OHair Mack Charles Parker Mexican Mafia Mafia Monograph Morris and Lona Cohen Medgar Evers Moorish Science Temple of America Mary Jo Kopechne (Chappaquiddick) Majestic 12 Marian Anderson Michael Jackson Machine Gun Kelly Murray Humphreys Michael Hastings Michael Whitney Straight Melvin Belli Marvin Gaye Marlene Dietrich Malcolm Little (Malcolm X) Meir Kahane Mario Savio Mohammed Khalifa MAOP Margaret H. Thatcher Myron Leon "Mike" Wallace Miami Boys Mario M. Cuomo Muammar Qadhafi Mattachine Society Meyer Lansky Mickey Mantle MIOG Mark Felt Martin Dies, Jr. Muhammad Ali Marcus Garvey

Nikola Tesla Norman Mailer Neil Armstrong National Rifle Association (NRA) New Alliance Party Nuestra Familia National Security Letters (NSL) National States Rights Party NAACP National Investigations Committee on Aerial Phenomena (NICAP) National Organization for Women (NOW) Nation of Islam Nelson Mandela National Gang Threat Assessment Next Generation Identification Monthly Fact Sheets Non-Retaliation for Reporting Compliance Risks Naming and Commemorating FBI Buildings and Spaces 0910D

Osage Indian Murders Owen Lattimore OKBOMB Original Knights of the KKK

Pearl Buck People for the Ethical Treatment of Animals (PETA) President Richard Nixon's FBI Application Purple Gang (aka Sugar House Gang) Project Blue Book (UFO) Philip Ochs Protests in Baltimore, Maryland, 2015 Pablo Escobar Patriot Act Paul Harvey Paul Robeson, Sr. Pulse Nightclub Shooting Personal Services Contracts Policy Directive 0957D Percy Sutton Pentagon Spy Case Policy: Custodial Interrogation for Public Safety Policy Directive 0481D Physical Fitness Program Policy Directive and Policy Guide 0676PG

#FBI Files #Research #Resource

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