#joey hartstone

[vintagewarhol]

[tv-moments]

Your Honor

Season 2, “Part Eighteen”

Director: Carrie Preston

DoP: Crescenzo Notarile

[abovethegaragepod]

Episode 121, “Interview with ‘Your Honor’ Season 2 Showrunner, Joey Hartstone,” is now LIVE! 🎉

▫️ Today, we have the incredible honor of speaking with Joey Hartstone, Showrunner of Showtime’s “Your Honor,” Season 2 about the writing and making of this epic season of one of our very favorite shows. Listen in to hear many entertaining behind the scenes stories from writing, filming all the way through post production. You don’t want to miss this interview!

▪️ This episode will include spoilers for new viewers as we discuss the show to date, which is through Season 2, Episode 9.

▫️ And since you enjoy Joey’s work so much, be sure to check his writing in other shows such as The Good Fight, LBJ, and Shock and Awe. And if you’re a reader, definitely find his novel, “The Local,” wherever you buy books! Kate highly recommends!

▪️ Come find our new social media pages for non-Handmaids shows on Instagram @abovethegaragepod and Twitter @ATGTV_Podcast.

[queer-is-the-universe]

Parallels TGF 1x4 and TGF 2x8

[cinesludge]

Movie #4 of 2022: Shock and Awe

John Walcott: “We do not write for the people who send people's kids to war. We write for the people whose kids get sent to war.“

[milliondollarbaby87]

Shock and Awe (2017) Review

Shock and Awe (2017) Review

When a group of journalists from the Knight-Ridder news service who are covering President George W. Bush’s plans to invade Iraq in 2003 they are sceptical of the claims that Saddam Hussein has weapons of mass destruction. ⭐️⭐️⭐️ (more…)

[deepredradio]

Shock and Awe

Story: Nach den Terroranschlägen vom 11. September 2001 trägt die Regierung um Präsident George W. Bush Beweise zusammen, der Irak besäße Massenvernichtungswaffen, deren Einsatz um jeden Preis verhindert werden müsse. Bush rechtfertigt damit den Einmarsch 2003 in den Irak, um Saddam Hussein als Machthaber abzusetzten. Während der Großteil der Washingtoner Presse die Worte des Präsidenten für bare…

[maisqueumfilme]

Woody Harrelson se transforma em Lyndon Johnson no primeiro trailer da cinebiografia LBJ [2017].

O filme dirigido por Rob Reiner (Louca Obsessão [1990]) acompanha os primeiros anos de Johnson e seu crescimento como um dos líderes mais inesperados dos EUA.

Além de Harrelson (Onde os Fracos Não Têm Vez [2007]), completam o elenco Jennifer Jason Leigh (Anomalisa [2015]), Michael Mosley (Castle [2010 - 2015]), Jeffrey Donovan (Sicario: Terra de Ninguém [2015]), C. Thomas Howell (E.T. - O Extraterrestre [1982]), Bill Pullman (O Protetor [2014]), Rich Sommer (Mad Men: Inventando Verdades [2007 - 2015]), Richard Jenkins (Queime Depois de Ler [2008]), Kim Allen (Army Wives [2007 - 2011]) e Michael Stahl-David (In Your Eyes [2014]).

Com roteiro de Joey Hartstone (The Good Fight [2017]), o drama, que estreia nos EUA em novembro, esteve no Toronto International Film Festival 2016 e não recebeu muitos comentários positivos. Aguardemos.

[tvafterdark]

[mundo-misterio]

Reseña y resumen de la película de LBJ (2017)

Reseña y resumen de la película de LBJ (2017)

El escenario histórico de la película representa algunas opciones interesantes por parte del guionista Joey Hartstone. Si bien el legado de Johnson incluye hitos como su gran corporación, Head Start, la legislación de Medicare y Medicaid, así como su escalada de la Guerra de Vietnam, “LBJ” ignora en gran medida los eventos de su presidencia para centrarse en esto. Que precedió, en los años 1959…

[tv-moments]

Your Honor

Season 2, “Part Twenty”

Director: Rosemary Rodriguez

DoP: Anette Haellmigk

[mrmichaelchadler]

Shock and Awe

“Shock and Awe,” a drama directed by and co-starring Rob Reiner, would have received only two stars from this reviewer but for something that happens in its last couple of minutes. As often occurs in movies based on real events, the filmmakers conclude their drama and then, under the end credits, show us news footage of the events’ actual people. In this case, those include four reporters from Knight-Ridder Newspapers who probed and questioned the lead-up to the Iraq War when outfits like the New York Times, Washington Post and the major TV networks were simply spewing lies fed them by the George W. Bush administration.

The interviewees also include the infamous Judith Miller, the Times’ fabricator in chief, who blandly allows that the Knight-Ridder guys were “the only ones who got it right.”

So I added an extra half-star for this coda’s potent reminder that the story that Reiner’s film has to tell is one of incredible importance. If the Iraq War was, in the words of one former general, “the greatest strategic blunder in American history,” it might also be characterized as the most disgraceful episode in the history of American journalism. Acting as if they learned not a single lesson from revealing the lies that led to America into the Vietnam War, or those that accompanied the Nixon administration’s attempts to subvert the Constitution during the Watergate scandal, the Times and the Post—and most similar news outlets—rolled over for malevolent fraudsters like Dick Cheney and Donald Rumsfeld and helped lead the U.S. into a devastating war based on patently specious evidence of Saddam Hussein’s non-existent weapons of the mass destruction.

Though the subject is indeed important, the filmmaking here is so pedestrian, flat-footed and overly-obvious as to leave “Shock and Awe” one of those second-rate dramatic movies that make you wish that it had been a topnotch documentary instead.  

The film opens with a young, wheelchair-bound African-American veteran (Luke Tennie) testifying before a Congressional committee. In the first of many cinematic cliches that dot the film, he starts to read a written speech, then puts it down in order to speak extemporaneously—and launches into an exposition-heavy monologue that sounds even more scripted.

The story proper begins when we flash back to, you guessed it, the attacks of 9/11. Every major news organization is instantly catapulted into covering the story and trying to understand the catastrophe and the U.S. response to it. In the cases of Knight-Ridder reporters Jonathan Landay (Woody Harrelson) and Warren Strobel (James Marsden) and their feisty editor John Walcott (Reiner), that means noting how the failed attempt to nail Osama bin Laden and his al-Qaeda henchmen, the crimes’ actual perpetrators, in Afghanistan lead—conveniently?—to an effort to blame and pump up the danger supposedly posed by Iraqi dictator Saddam Hussein.

In piecing together the mounting evidence of the fraudulence of the rush to war with Saddam, Landay and Strobel dash around Washington in typical movie-reporter fashion, comparing notes with each other and with Walcott after talking with various insiders, most of whom are not named but identified only as “U.S. Official” or such. Since the movie is supposedly based on the recollections of the main characters—who also include a caustic veteran reporter, Joe Galloway (Tommy Lee Jones)—it’s curious that such anonymity must be maintained this long after the fact.

Screenwriter Joey Hartstone, who scripted Reiner’s flawed but altogether more successful “LBJ,” has a knack for writing crisp, flavorful dialogue. But in addition to falling into the common historical-screenwriter’s trap of conveying too much information in big blocks of turgid speechifying, he must also be faulted for some tension-killing digressions such as the coy romance between Strobel and his cute neighbor (Jessica Biel), which might have come out of a 1950s Hollywood movie.

The film’s script, though, must be credited with some surprising inclusions. For one, a couple of mentions are made of the malign influence of Israel on American foreign policy. For another, when it comes time for Congress to vote on approving Bush’s war plans, we’re given the sad roll call of the Democrats who voted in favor: Hillary Clinton, Joe Biden, John Kerry, Joe Lieberman, and so on.

From a historical perspective, this disgraceful tale climaxed with General Colin Powell testifying in support of the fake intelligence regarding Saddam’s WMD, which echoed Condoleeza Rice’s warnings of mushroom clouds blossoming over America if Saddam wasn’t stopped. “Shock and Awe” reminds us all of this, and of the American media’s shameful complicity in fomenting an unjustified and vastly destructive war. But it also includes such moments as Sen. Robert Byrd’s moving speech drawing parallels between the lies that drew America into its Vietnam debacle and the falsehoods that would destroy many American and Iraqi lives in Iraq. At the current moment, when a president who lies constantly has his finger on the nuclear trigger, such warnings could not be timelier.

from All Content https://ift.tt/2NeN0Ud

[williamchasterson]

NPR News: The Reporting Before The Iraq War In 'Shock And Awe'

NPR News: The Reporting Before The Iraq War In ‘Shock And Awe’

The Reporting Before The Iraq War In ‘Shock And Awe’ NPR’s Lulu Garcia-Navarro asks Rob Reiner and Joey Hartstone about their new film Shock and Awe, which tells the story of Knight-Ridder journalists who reported the run-up to the Iraq War.

Read more on NPR

[flickdirect]

Everyone knows the events of that fateful day in November 1963. As President Kennedy's motorcade made its way down the street in Texas shots rang out and numerous lives were changed forever. Closely behind the President's car was Lyndon B. Johnson, Vice President of the United States. Within hours he would take the oath of office and assume the role as the leader of the free world. Along with the power came an awesome responsibility and a heavy burden. While numerous books and movies have chronicled the events of that day and the days shortly there afterward, director Rob Reiner's (A Few Good Men) LBJ takes on a different view of the Vice President and his ascent to the highest public office in our country. Lyndon B. Johnson (Woody Harrelson; War for the Planet of the Apes) was the Majority leader of the Senate when he decided to seek the Democratic nomination for President of the United States. He was crass and ornery and inappropriate at times and extremely powerful. He was a bulldog in a china shop. Conversely, John F. Kennedy (Jeffrey Donovan; Burn Notice) was charismatic, charming and very good looking so it was no surprise when he was the one who won the party's nomination instead. What was surprising was that he asked Johnson to be his running mate and that Johnson accepted. Over the course of the next two years, as Vice President of the United States, Johnson was pushed aside and relegated to an insignificant underling. He was put in a position to become the most hated man on both sides of Congress almost assuring he would never become the next President. However, all that changed with Kennedy's assassination and he suddenly found himself on top of the podium. Surprisingly, he carried on Kennedy's legacy and got the Civil Rights Act of 1964 passed. While there have been other versions of this story told, this one is unique in that it chronicles LBJ's growing frustrations at his inability to be effective as Vice President. It also gives a different view of the assassination and the days afterwards as he navigates his new found responsibilities. Through Joey Hartstone's (The Good Fight) telling, I seriously began to question whether or not LBJ had anything to do with Kennedy's murder as LBJ increasingly felt diminished by the administration. Harrelson was decent as the brusque and unpolished politician but underneath all the makeup and prosthetics you could still tell it was him. Jennifer Jason Leigh (The Hateful Eight) however, was excellent as his wife Lady Bird Johnson. She embodied an air of quiet strength and managed to demand attention in every scene she was in. The supporting cast including Donovan, Richard Jenkins (The Shape of Water), Bill Pullman (Independence Day), and Michael Stahl-David (Cloverfield) tended to be pretty good as well. Even with this talent, the script seemed to drag along, never really building tension or create that plateau of excitement before the ultimate climax to the plot. The Blu-ray is presented in 1080p high definition video quality with clean lines and sharp pictures. The colors are vibrant in some scenes while intentionally muted in others. The DTS-HD Master Audio 5.1 is crisp and clear with the dialogue coming through the center channel and the soundtrack and special effects (gunshots) relegated to the surrounding speakers. Interestingly, the Blu-ray doesn't come with any extras or a Digital HD copy of the film, It is simply just the film contained on a single disc. While LBJ gives a different perspective of Johnson, the Kennedy Brothers and their relationship it isn't always a flattering one. This breath of fresh air though gets lost in the lackluster storytelling of an all too familiar historical event. Simply said, The movie needed something more but never quite got it. However, for history and/or Kennedy/Johnson buffs it offers something a little different to chew on. Grade: C

About Allison Hazlett-Rose Allison Hazlett-Rose has always had a passion for the arts and uses her organization skills to help keep FlickDirect prosperous. Mrs. Hazlett-Rose oversees and supervises the correspondents and critics that are part of the FlickDirect team. Mrs. Hazlett-Rose attended Hofstra University where she earned her bachelors degree in communications and is a member of the Florida Film Critics Circle.

Read more reviews and content by Allison Hazlett-Rose.

via FlickDirect Entertainment News and Film Reviews

[houstonlocalus-blog]

Film Facts: Evolution Edition

This is a good week for films. Studio product and indie fare all offer superb above average entertainment. LBJ from director Rob Reiner, with a script by Joey Hartstone, examines the fateful period of Lyndon Baines Johnson’s life from 1960 through 1964. Woody Harrelson may not seem like the go-to actor to portray the ultimate Texas politician, but when you see him in make-up and lost in mannerisms...

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Film Facts: Evolution Edition this is a repost