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weekendwarriorblog · 4 years ago

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The Weekend Warrior 3/19/21: SXSW, Zack Snyder’s Justice League,The Courier, City of Lies, Happily and More!

Remember a couple weeks back when I stated the plan was to bring back the Weekend Warrior as a regular weekly series again? Yeah, well if you looked for a column last week and wondered what happened, I just didn’t have time to write one. And I also just haven’t been able to get back on the ball in terms of writing reviews. It just takes a lot of time to watch all the movies let alone review them the way I did last year. I honestly have no idea how I did it last year, but things have been busier than ever at Below the Line, which does throw a bit of a spanner into any extracurricular plans.

The big event this week is the annual SXSW Film Festival, which I’ll be taking part in virtually, and somewhat tangentially, watching as much as I can while still doing other things. It’s been a while since I’ve attended SXSW in person, but it tends to have great docs, especially music docs. In fact, this year’s Opening Night Film is the documentary, Demi Lovato: Dancing with the Devil, about Demi Lovato’s drug overdose from 2018 and its aftermath. Other music docs of interest include Poly Styrene: I Am A Cliché, about the late frontwoman from early punk band X-Ray Spex through the eyes of her daughter; Mary Wharton’s doc Tom Petty, Somewhere You Feel Free made from archival footage of the late singer making his 1994 record “Wildflowers”; Alone Together about Charlie XCX’s pandemic record; Under the Volcano about George Martin’s AIR Studios Montserrat; and it gives another chance to see Edgar Wright’s excellent, The Sparks Brothers, which was picked up by Focus Features after Sundance. There’s also an amazing doc about Selma Blair’s fight with MS, Introducing, Selma Blair, which is equal parts heartbreaking and inspirational.

SXSW also has pretty solid Midnighters, and there’s a number of those I’m also looking forward to, including Travis Stevens’ Jakob’s Wife, starring horror legends Larry Fassenden and Barbara Crampton, who were so great in my buddy Ted Geoghegan’s We Are Still Here. (No coincidence since Stevens produced that movie.) And I hope to watch a few others like Lee Haven Jones’ The Feast, Jacob Gentry’s Broadcast Signal Intrusion, and Alex Noyer’s Sound of Violence. We’ll see how much I get to see this week, cause it’s a lot of movies over only a couple days, basically from Tuesday through Saturday.

Closer to home at the Metrograph, the still-closed movie theater is doing a virtual series called “Bill Murray X6” which has already shown Lost in Translation and What about Bob? With Rushmore screening until Thursday, and then The Life Aquatic with Steve Zissou available through Friday. Become a digital member for just $5 a month! This past weekend I saw a really amazing 7-part doc series called Untitled Pizza Movie by David Shapiro. In fact, I stayed up late on Sunday to watch the whole thing since it was leaving the digital screeners, but it’s a very entertaining, intriguing and personal story about the director, his friend and partner in crime Leeds, who he went around to different NYC pizza shops in the ‘90s trying to find the perfect slice, and then they come across pizzaman Andrew Belluci at the world-famous Lombardi’s in Soho. The project that took over 20 years to make follows what happened to the three men, but mainly Leeds and Belluci as they have ups and downs that ultimately leads to Belluci starting his own pizza joint in Queens. Everything that happens in between is quite fascinating.

I saw a couple other movies this past weekend including Robin Wright’s Land, which I quite enjoyed, and the rom-com Long Weekend, which came out last Friday but I totally missed. Land is a pretty amazing directorial debut that’s mostly a one-woman show with her character alone in the wilderness until she runs into trouble and meets Demian Bichir’s kindly Samaritan and they become friends. Directed by Stephen Basilone, Long Weekend stars Finn Wittrock and Zoe Chao in what starts as a meet cute rom-com and turns into something much deeper with a couple sci-fi-tinged twists, a bit like Palm Springs, but much more grounded. I loved the two leads and how Basilone made a romantic comedy that actually was romantic and very funny, as well. Both movies I recommend.

Getting into some of the streamer offerings this week, ZACK SNYDER’s JUSTICE LEAGUE will hit HBO Max on Thursday, so we can finally see whether or not that extra money and work paid off. I’ll be reviewing this over at Below the Line, so won’t spend too much time here. I figure that anyone who has been waiting for this will watch it, as will anyone who has been curious about it. As you can read from my review, I was quite impressed by the film as an achievement in finishing what is clearly a far superior film to the 2017 theatrical release. Some of the highlights include great stuff between Ray Fisher’s Cyborg and his father, a far more fun introduction to The Flash that was cut from the 2017 release and just some insanely crazy good action. I can’t wait to watch the movie again.

Kicking off on Friday is the anticipated Marvel Studios series, THE FALCON AND THE WINTER SOLDIER (Disney), bringing back the title characters played by Anthony Mackie and Sebastian Stan, who were introduced in one of the MCU’s better movies, Captain America: The Winter Soldier. I was sent the first episode and unfortunately, there’s an embargo until Thursday afternoon, but I do think that MCU fans are gonna be thrilled with the first episode, especially with the Falcon’s opening action sequence, which is like something right out of the movies.

Okay, fine, so let’s get to some new movies and some real reviews…

Probably the movie with the widest release this weekend will be THE COURIER (Lionsgate/Roadside Attractions), starring Benedict Cumberbatch, which I’m guessing will be in 1,000 or so theaters. The movie premiered at Sundance way back in 2020 under the significantly worse title of “Ironbark” with plans to release it later in the year, but then COVID happened. I’m not sure if Roadside Attractions planned for this to be an awards movie, but after a few delays, releasing it in mid-March just days after the Oscar nominations, I’m guessing probably not?

Directed by Dominic Cooke (On Chesil Beach) from a screenplay by Tom O’Connor (The Hitman’s Bodyguard… wait, WHAT?), this Cold War spy thriller set in the early ‘60s stars Cumberbatch as Greville Wynne, a British businessman who is coerced by agents from MI6 and the CIA (repped by Rachel Brosnahan) to smuggle Russian secrets from military man Oleg Penkovsky (Merab Ninidze). Greville’s trips to Moscow start getting more and more dangerous under the shadow of the Cuban Missile Crisis, and his wife (the always great Jessie Buckley) wants him to stop taking the trips. It all leads up to a pretty exciting second act as the KGB starts to figure out what Greville and Oleg have been up to and work to put a stop to it.

I have to admit that as much as I enjoy a good spy-thriller, a lot of this reminded me of Cumberbatch’s earlier film Tinker Tailor Soldier Spy – yes, the John Le Caree adaptation, which I was never a particularly big fan of. This has similarities in that it starts out fairly slow, making me think this might be one of those well-made, well-acted movies that are just plain boring cause the subject doesn’t interest me. I’m sure when this was greenlit, there was probably more relevance to the situation between the U.S. and Russia, although this is obviously a British production and maybe something better to watch on the Beeb than in a movie theater.

In general, the stuff with the two men and their families tends to be the best part of the movie. I wasn’t familiar with Merab Ninidze beforehand, but he’s a really good actor who holds his own in scenes with Cumberbatch. Although Cumberbatch’s performance is significantly better here than in The Mauritanian, that’s definitely a better movie, so even in the last act which sees Wynne in a Russian jail, it just doesn’t compare. This is the second film with Rachel Brosnahan in which she didn’t really impress me much after hearing how great she is on Mrs. Maisel. Even so, the movie did make me want to go back and rewatch the beginning again to see if maybe I wasn’t as focused on it, as it should be.

As far as box office, I don’t have much hope for this making more than $2 or 3 million this weekend, since it seems more like a prestige platform release that would have to build audiences from rave reviews or positive word-of-mouth. Coming out so long after its festival debut (kinda like that Thomas Edison movie a few years back) may have helped people forget about the midling festival reviews. Even so, this movie just doesn’t have much buzz or interest from #FilmTwitter who has had its tongue so far up the superhero movie ass this week between Zack Snyder’s Justice League and Marvel’s The Falcon and the Winter Soldier to pay much attention to this. (Hey, facts is facts!)

Johnny Depp and Forrest Whitaker star in Brad Furman’s crime-thriller CITY OF LIES (Saban Films), which is about the real-life search for the killer of the Notorious B.I.G. aka Biggie Smalls with Depp playing Detective Russell Poole, who ended up on the case in 1997, and Whitaker playing reporter Jack Jackson, doing a story on Smalls for the 20thanniversary of the unsolved murder.

Based on the book “Labyrinth” (the movie’s original title), it’s a story that takes place in two time periods, Los Angeles in the ‘90s after the Rodney King beating and L.A. riots and how it’s made the criminal element that surrounds rap mogul Suge Night. It begins with Poole investigating the death of a black police officer named Gaines, shot by a white police officer (Shea Whigham) in what is seemingly a road rage incident. As Poole investigates, he learns about police corruption in the force including a number of officers tied directly to Knight.

As Jackson interviews Poole to try and find out who killed Biggie, we flashback to Poole’s investigation and interaction with some of those corrupt cops and being put into extremely dangerous situations. The movie isn’t bad, especially the scenes between Whitaker and Depp, who gives a far more grounded performance than we’ve seen from him in recent years. Even so, the performance that really impressed me was Toby Huss as Poole’s superior, who just brings something new to the tough head detective role we haven’t really seen.

Regardless of what you think of Depp’s activities off-camera, this is a fairly solid crime thriller (as was Scott Cooper’s Black Mass), and though you never actually get to see Biggie, Tupac or Suge Night, it’s an interesting examination into a period in L.A. that seems so long ago but still rings true to what’s been going on in the last year.

BenDavid Grabinski’s HAPPILY (Saban/Paramount) is a dark comedy-thriller starring Joel McHale and Kerry Bishé as Tom and Janet, a happily married couple who annoy their friends by still having sex on the regular whenever they possibly can. In fact, their friends decide to uninvite Tom and Janet to their planned couples’ weekend because they’re so annoyed by them. One day, a mysterious man (played by Stephen Root) shows up at Tom and Janet’s house, one thing leads to another and they kill and bury him. Thinking that the man’s visit might be part of a friend’s prank, they go to the planned couples’ trip, trying to figure out if the prankster has gotten suspicious about what they’ve done.

For the sake of transparency, I met Grabinski at my very first Sundance ever as he was friends with some of my colleagues, but I never spent a ton of time talking to him. This film impressed me, since it’s a prtty strong debut from him, one that benefits greatly from a strong cast that includes Paul Scheer, Breckin Meyer (who I didn’t even recognize!), Charlyne Yi, Natalie Morales and more, making for a really solid ensemble dark comedy that reminded me of the tone of last year’s The Hunt or Ike Barinholtz’s The Oath or a great lesser-seen movie from last year, Robert Schwartzman’s The Argument. Dark comedy isn’t for everyone, and this is definitely a little mean-spirited at times, but more importantly, it’s very funny and tends to get crazier and crazier as it goes along.

More importantly, I loved Grabinski’s musical choices from Devo’s “Working in a Coal Mine” to not one but two OMD songs, and great use of Public Image Limited as well. The way Grabinski puts this together comes across like a hipper and fresher Hitchcock, and while it might not be for everyone, I could totally see this killing at a genre fest like Fantastic Fest or even this week’s SXSW. It’s clever and original and rather intriguing how Grabinski puts all the various pieces together.

Hitting Shudder on Thursday is Elza Kephart’s horror-comedy SLAXX (Shudder) about a possessed pair of jeans brought to life to punish the practices of a trendy clothing company, which it does by terrorizing the staff locked in overnight. Didn’t get to watch this before getting bogged down in SXSW but definitely looking forward to it.

Another horror film coming out this week is the horror anthology PHOBIAS (Vertical), exec. produced by the filmmaking team “Radio Silence” (Ready or Not) with segments directed by Camilla Belle, Maritte Lee Go, Joe Sill, Jess Varley and Chris von Hoffman. The stories follow five dangerous patients suffering from extreme phobias at a government facility with a crazed doctor trying to weaponize their fears.

Jeremy Piven stars in Paolo Pilladi’s LAST CALL (IFC Films) playing real estate developer Mick, who returns to his old Philly neighborhood and must decide whether to resurrect his family bar or raze it. I actually watched a few minutes of this, but apparently, IFC Films isn’t allowing reviews, so I have nothing more to say about the movie beyond the fact that it’s coming out on Friday.

Opening at the newly reopened Film Forum – currently doing a hybrid of in-person and virtual cinema – is Chris McKim’s doc WOJNAROWICZ: F**K YOU F*GGOT F**KER (Kino Lorber), premiering virtually on Friday. It’s about David Wojnarowicz, one of the loudest voices in the ACT-Up movement during the ‘80s who died of AIDS himself in 1992. (Correction: Film Forum actually isn’t reopening until April 2.)

A few other things this week include Aengus James’ doc AFTER THE DEATH OF ALBERT LIMA hitting Crackle about Paul Lima, a son obsessed with capturing his father’s murderer who has remained at large in Honduras due to a failed legal system. Because of this, Paul travels to the Honduras with two bounty hunters to find and capture the killer.

Lastly, streaming on Topic Thursday, there’s Parliament, directed by Elilie Noblet and Jeremie Sein, about a young man named Samy who arrives in Brussels after the Brexit vote trying to get a job into the European Parliament without really knowing how it works.

That’s all for this week. It might be a while before I can get The Weekend Warrior back into some sort of fighting weekly shape, but I’m doing the best I can right now, so let me know if you’re reading any of this.

#TheWeekendWarrior #TheCourier #Movies #Reviews #BoxOffice #ZackSnyderJusticeLeague #Happily #CityOfLies

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marianajacqueline45 · 4 years ago

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Falleció Hugh Keays-Byrne a los 73 años, conocido por interpretar al villano de Mad Max: Fury Road, según han confirmado algunos de sus compañeros del gremio. El intérprete anglo-australiano, que residía en Gosford, en la costa de Nueva Gales del Sur, era muy querido por los fans de la saga por su trabajo como Immortan Joe en la película de 2015, pero la participación del actor en la saga se remonta a la cinta protagonizada por Mel Gibson de 1979, donde interpretó al también villano, Toecutter. Aún no está claro la causa de la muerte del actor, aunque se dice que falleció en un hospital el pasado martes. Le sobrevive su compañera Christina, quien le acompañó los últimos años de su vida. Biografía Hugh Keays-Byrne (Srinagar; 18 de mayo de 1947-1 de diciembre de 2020) fue un actor de cine y televisión británico. De padres ingleses, Hugh nació en la India y se mudó a Australia en 1973 para iniciar una carrera en la televisión y el cine de ese país. Es reconocido por su papel de Toad en la película de 1974 Stone, como Toecutter, el principal antagonista en la cinta de 1979 Mad Max, como el villano Immortal Joe en la película de 2015 Mad Max: Fury Road y como Grunchlk en la serie televisiva de ciencia ficción Farscape. El actor falleció a los setenta y tres años el 1 de diciembre de 2020, lo que fue informado a través de Facebook por el director Brian Trenchard-Smith, quien había trabajado con Keays-Byrne en la película The Man From Hong Kong (1975). El cineasta Ted Geoghegan lamentó su muerte a través de su cuenta de Twitter, en la que manifestó además que Keays-Byrne era "un héroe anónimo del cine australiano". #Collage #ProgramaCollage #Cine #Historiadecine #revistacollage #esterno #movie #magazine #revista #Noticia #saga (en Montevideo, Uruguay) https://www.instagram.com/p/CIbGAO_A54t/?igshid=fs7xfm98ps3x

#collage #programacollage #cine #historiadecine #revistacollage #esterno #movie #magazine #revista #noticia #saga

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the-line-up · 4 years ago

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Last One Standing

Yesterday marked both the start of the second week of the 2020 Vuelta a Espana and also the rapidly approaching conclusion of this year’s UCI World Tour calendar, with the next scheduled race, the Tour Down Under, due to begin on 14th January 2021. After the conclusion of this year’s Giro D’Italia in Milan on Sunday with Ineos Grenadiers’ domestique Tao Geoghegan-Hart becoming the latest recipient of the Maglia Rosa, the race is now on to find out who will win the overall general classification at the last of this year’s Grand Tours.

For the first time in the history of Grand Tour cycling, due to a severely condensed race schedule brought on by Covid-19 restrictions, the Giro D’Italia and the Vuelta a Espana overlapped for one week, meaning that no riders would have the opportunity to complete a Grand Tour hat-trick this year. In addition, the commencing of the Giro on 3rd October occurred just two weeks after the final stage of the Tour De France, cutting the usual time-gap between the races in half.

This meant that many of those who competed in the TDF chose to forgo a trip to Italy and instead made their way to Spain for the 75th edition of La Vuelta. Those cyclists included Dan Martin from Israel Start-Up Nation, Cofidis’ Guilleme Martin and Alejandro Valverde from Movistar. Also undertaking the TDF-Vuelta double-header this year is Team Jumbo-Visma leader Primoz Roglic who is looking to defend his general classification win from last year and secure a second Grand Tour win after being pipped at the post at this year’s Tour by felow Slovenian Tadej Pogacar.

With six stages down and 1,013.2km, the first week of the 2020 Vuelta a Espana has already been filled with plenty of exciting moments: Roglic, coming off first-place success at Liege-Bastogne-Liege a few weeks previous, took the leader’s jersey on day one after a 173km stage from Irun to Arrate, with Ineos Grenadiers’ Richard Carapaz and Israel Start-Up Nation’s Dan Martin trailing close behind at five and seven seconds down respectively.

Roglic continued to hold onto the maillot roja for the following five stages as the cyclists snaked their way towards northeastern Spain, with support during this time coming from his Jumbo-Visma teammates including Sepp Kuss, George Bennett and Robert Gesink. Unfortunately, the 146.4km Stage 6 route from Biescas to Aramon Formigal proved to be too much for the seven-year pro who was distanced by other GC contenders on the final 14.5km climb and fell back to fourth place, now sitting thirty seconds behind the new leader Carapaz.

Along with the increasingly tight competition between multiple GC contenders for the maillot roja, the Vuelta’s first week saw six different teams enjoy stage success: Movistar’s Marc Soler took Stage 2 after missing out the previous year when he was called back to help then-team leader Nairo Quintana, while Stages 3 and 4 saw an Irish double-header with Dan Martin winning his first Grand Tour stage since 2018 and Sam Bennett continuing his run of success this year after winning two stages, along with the overall points classification competition, at this year’s Tour De France.

Stage 5, a 184.4km cycle from Huesca to Sabninanigo, was won by Belgian Lotto-Soudal rider Tim Wellens, while Astana took the final stage before the first rest day with Ion Izagirre crossing the finish line first after his teammate and older brother Gorka put in the leg work during the final climb.

With the fight for the maillot roja now certainly under way between GC contenders like Carapaz, Martin, Roglic and Hugh Carthy of EF Pro Cycling, and with more teams hoping to achieve stage win success, the Vuelta’s second week was shaping up to be an exciting and eye-catching 945.8km of racing, and Stage 7 certainly didn’t disapoint.

Consisting of 159.7km of racing between Vitoria-Gastiez and Villanueva de Valdegovia, this stage would be a tough course for the riders with almost sixty kilometres of cycling before coming into a circuit featuring two climbs of the Puerto De Orduna, oft-described as one of the most challenging climbs in the Basque Country. Richard Carapaz would be looking to hold onto the leader’s jersey for another day while fending off competition from Carthy, Martin and Roglic, while Jumbo-Visma’s Sepp Kuss would be looking to claw back points in the Mountains classification.

The race started off quite calm and relaxed, with only Deceunik-Quick Step’s Remi Cavagna attempting to distance himself from the peloton before being quickly swallowed up again, with the riders continuing to move at a steady pace for around the next 60km. However, as the first climb up the Puerto De Orduna, a 7.8km trek with an average gradient of 7.7% and maxing out an eye-watering 14%, began to loom, a sizeable sixteen-man breakaway began to form. Some of the riders in this initial group included Kuss, Rui Costa of UAE Team Emirates, Magnus Cort Neilson from American team EF Pro Cycling and Astana’s Alex Aranburu. As this breakaway hit the beginning of this steep climb, they had managed to build up a two-minute advantage over the main peloton, but were still faced with competition from a quickly approaching second breakaway group.

With eighteen riders including AG2R La Mondiale’s Nans Peters and Kenny Elissonde from Trek-Segafredo, along with Michael Woods and Omar Fraile, whose respective teammates Cort and Aranburu were already up the road. Not wanting to be distanced, a trio of riders made up of previous Vuelta a Espana winner Alejandro Valverde, riding for Movistar, along with Mitchelton-Scott’s Mikel Nieve and UAE Team Emirate’s Davide Formolo, also broke away from the main peloton soon after in an attempt to catch up with the groups ahead.

Their efforts, along with those of the eighteen-man breakaway, paid off in the end, catching up to the initial group of sixteen cyclists mid-way through the ascent of the Puerto De Orduna; the three groups eventually merged to form a final thirty-six man breakaway, with those eager to gain points in the mountain classification fighting to get towards the front.

Meanwhile, back in the main peloton teams including Team Jumbo-Visma, Israel Start-Up Nation, Astana, and Ineos Grenadiers were pushing on the pace, with this main group never conceding more than three minutes to those out in front throughout the entire stage. Chris Froome, riding in his first Grand Tour this year after suffering a horrific crash at last year’s Criterium De Dauphine, set the pace for Ineos Grenadiers at the head of the peloton for a time, showing that he is on the way back to reaching close to his prime cycling form once again.

Out in front, Kuss was the first of the thirty-six-strong breakaway to cross the summit of the Puerto De Orduna, picking up the maximum ten points and virtually securing the Mountains Classification jersey. As he and the other riders entered the descent and began heading towards Espejo, Peters and Guilleme Martin of Cofidis tried to distance themselves from the group to catch up with Kuss who was now a short distance up the road. This attempted three-man breakaway was quickly nipped in the bud however, with the thirty-three riders left chasing behind quick to prevent any significant time gap from opening up.

With the thirty-six man breakaway now reconvened, they continued to cycle together until just around the 60km to-go mark approaching Subijana-Morrilas when another trio of cyclists attempted to gain some daylight between themselves and others in the group. Valverde, AG2R La Mondiale’s Dorion Gordon and Stan DeWulf of Lotto-Soudal were those who decided to go the lead; the maneuver worked well for a time as they were able to maintain a modest thirty-second gap between them and those they had left in the breakaway until around 35km to the finish when they were eventually caught by George Bennett (Team Jumbo-Visma), Wellens and Cort.

After being initially caught, French cyclist Gordon once again managed to distance himself from the breakaway as they began the descent before facing the Puerto De Orduna for the second and final time of the stage. Gordon, who turned pro in 2016, kept a thirty-second gap between himself and the chasing group during this latest shot for the line, but found it difficult to keep up the pace once the ascent began and was eventually caught by a sizeable chasing group at 25km from the finish.

As the group merged once again and began to weave their way up the Puerto De Orduna for the second time, EF Pro Cycling rider Woods decided to take his chance at 3km from the peak and made a dash up the remainder of the climb, with the other cyclists behind clambering up the mountain in an attempt to catch up to the Canadian. A quartet of riders, Guilleme Martin, Omar Fraile, Nans Peters and Alejandro Valverde, were the only ones to catch up to Woods, eventually reaching him during the descent with 15km to the finish line; in the process of chasing, Martin also secured the maximum mountain points for this second ascent of the Puerto De Orduna, taking away the polka-dot jersey which Sepp Kuss had virtually secured earlier in the race.

As the five riders out front began to make their way towards the finish in Villanueva De Valdegovia, what followed next was a game of cat-and-mouse, with the cyclists dashing away from the group momentarily to see if anyone would take the bait and chase them down. This back-and-forth continued for the next four kilometres; Woods and Fraile, with 3km left, tried to make a break for it but were soon closed down again by the other three, led by Valverde.

The decisive moment in the race, in fact, did not come until the final kilometre when Woods made a final sprint for the line, leaving the others scrambling to once again close the gap. Their efforts were for naught in the end though, with Woods crossing over the line for his second Vuelta stage victory to go along with Stage 17 win in 2018. Richard Carapaz also managed to hold onto the maillot roja for a second day, with his closest competitors Hugh Carthy and Dan Martin remaining unchanged at eighteen and twenty seconds down respectively.

With another eleven stages to ride until the final 124.2km from the Hipodroma de la Zarzuela to Madrid on 8th November, there’s still plenty of time for more exciting moments to come from this year’s Vuelta a Espana in a cycling year which has already thrown up plenty of surprises.

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lavistamedia · 7 years ago

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Junior Blue Ryan brings the ball down the field as he looks for an open player to pass the ball to. The Mira Costa High School boys lacrosse team played at Waller stadium at home on Thursday, May 11th.

Sophomore Max Geoghegan runs down the field while the lacrosse ball is in his lacrosse stick. The Mira Costa High School boys lacrosse team played San Marcos at 7 pm.

Sophomore Max Geoghegan runs towards the ball while blocking the opposing player from taking the ball. Following this, Horwitz gained possession of the ball by getting the ball in his lacrosse stick.

Senior JJ Packer passes the ball to Junior Mile Choromanski while moving down the field towards the goal. By bringing the ball down the field the Mustangs were able to score another goal, which gave them a bigger lead against San Marcos.

Senior Julian Menendez attempts to gain possession of the ball from the opposing team without fouling the opposing player. The Mira Costa High School boys lacrosse team ended up defeating San Marcos, winning their bracket.

Jordyn Tonne/ Photographer

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njawaidofficial · 7 years ago

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George A. Romero Dead: Hollywood Pays Tribute to 'Night of the Living Dead' Director

http://styleveryday.com/2017/07/16/george-a-romero-dead-hollywood-pays-tribute-to-night-of-the-living-dead-director/

George A. Romero Dead: Hollywood Pays Tribute to 'Night of the Living Dead' Director

3:07 PM PDT 7/16/2017 by THR Staff

The father of the zombie film died Sunday in his sleep after a battle with lung cancer.

Many in Hollywood took to social media on Sunday upon learning that George A. Romero, the father of the zombie film, had died.

Romero’s low-budget body of work, which included Night of the Living Dead and Dawn of the Dead, creeped out audiences for decades.

Romero died Sunday in his sleep after a battle with lung cancer, his producing partner, Peter Grunwald, told the Los Angeles Times. Romero’s family confirmed his death to the newspaper as well.

Here are just some of the tributes from those who have worked with him and others who admire his work.

My first ever movie job: I was an art department intern on DAY OF THE DEAD. I made zombie vomit for Bub. RIP George Romero, one-of-a-kind pic.twitter.com/18Vz6w5tEt

— greg mottola (@gregmottola) July 16, 2017

Just heard the news about George Romero. Hard to quantify how much he inspired me & what he did for cinema. Condolences to his family.

— Eli Roth (@eliroth) July 16, 2017

R.I.P. George Romero. A true legend. Started a new genre on his own. Who else can claim that?

— Kumail Nanjiani (@kumailn) July 16, 2017

Sad to hear my favorite collaborator–and good old friend–George Romero has died. George, there will never be another like you.

— Stephen King (@StephenKing) July 16, 2017

Rest In Peace George Romero. A great artist, innovator and creator . He changed everything.

— Anthony Bourdain (@Bourdain) July 16, 2017

RIP, George Romero. Your legacy is chiseled in stone forever and I only wish you could have lived to see the real zombie apocalypse.

— James Roday (@JamesRoday) July 16, 2017

RIP #GeorgeRomero. You made me want to make movies, and helped me to find meaning in monsters. Thank you. I love you.

— James Gunn (@JamesGunn) July 16, 2017

RIP George Romero. Huge loss.

— Joe Harris (@joeharris) July 16, 2017

George Romero, RIP. Eat God’s brains.

— Doug Benson (@DougBenson) July 16, 2017

RIP George Romero. You were a genius, and I look forward to your inevitable return. https://t.co/8GTVebIMBc

— Brian Lynch (@BrianLynch) July 16, 2017

DAWN OF THE DEAD is one of the greatest films in the history of cinema. We were so much richer for having Romero in our lives. pic.twitter.com/P9JKGGQ0uM

— Ted Geoghegan (@tedgeoghegan) July 16, 2017

R.I.P. George Romero – if you dug Get Out, do yourself a favor and watch Night of the Living Dead tonight.

— Jensen Karp (@JensenClan88) July 16, 2017

Oh no. George A. Romero has died. Nothing has frightened me more than when I first watched “Night of the Living Dead”. RIP. An amazing man

— Reece Shearsmith (@ReeceShearsmith) July 16, 2017

A fond farewell to charming, legendary zombie king George Romero. ‘Martin’ is one of my favourite horrors. An honour to have met him. RIP pic.twitter.com/8ZIwjxFrmx

— Mark Gatiss (@Markgatiss) July 16, 2017

RIP George Romero! Had the pleasure of working with him on Savini’s NOLD remake, enjoyed his company at many horror cons. A huge influence!!

— Bill Moseley (@choptopmoseley) July 16, 2017

RIP to the man who started a genre. #GeorgeRomero pic.twitter.com/1oPGa52Ao9

— Emily DiPrimio (@EmilyDiPrimio) July 16, 2017

George Romero was an icon who created a cinematic universe of loosely affiliated sequels forty years before that was a thing RIP to a genius

— Max Landis (@Uptomyknees) July 16, 2017

George Romero Master of Horror with commentary by @RealGDT, @TheHorrorMaster made by @DaveParker666 @madmanmendez https://t.co/r5UCD9QNNr

— Christopher Drake (@DrakeFilmScore) July 16, 2017

If you like @JordanPeele ‘s GET OUT (I do!) check out George Romero’s social horrors NIGHT OF THE LIVING DEAD and DAWN OF THE DEAD. pic.twitter.com/Ikp0AZy5M4

— David Bowers (@DavidMBowers) July 16, 2017

#Dead #Director #George #Hollywood #Living #Night #Pays #Romero #Tribute

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portaldiario · 8 years ago

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La violinista Heloise Geoghegan cierra temporada de la OSEM

Redacción

La Orquesta Sinfónica del Estado de México cerrará con broche de oro su Temporada 135, con dos magnos conciertos a ejecutarse el viernes 7 en punto de las 20:00 horas en la Sala Felipe Villanueva de Toluca y el domingo 9 de abril a las 17:00 horas en la Catedral de Tenancingo, Estado de México.

Para este cierre de temporada la acompañará a la violinista irlandesa Heloise Geoghegan bajo la batuta del Maestro Enrique Bátiz Campbell, director general de la agrupación mexiquense que cumple ya con 135 temporadas a los 45 años de su creación.

Durante la primera parte de este último programa, la Orquesta ofrecerá la Suite Sinfónica “El amor por tres naranjas” Op. 33 bis, del compositor ruso Sergei Prokofiev, para después acompañar a la solista invitada en su magistral ejecución del Concierto para violín No. 1, Op. 26, en Sol menor, del músico alemán, Max Bruch.

Luego del intermedio la OSEM cerrará su temporada 135 con broche de oro, deleitando al público con la Sinfonía No. 6, Op. 74, en Mi menor del ruso Piotr Ilych Tchaikovshy.

Definida a los catorce años por Franco Gulli como una violinista de gran talento, Heloise Geoghegan, nace en Dublín e inicia el estudio del violín a la edad de 6 años mostrando un talento precoz. Inicia pronto a presentarse en público ganando numerosos concursos nacionales e internacionales.

Ganadora de una beca por dos años se ha perfeccionado en la Escuela de Música de Fiesole con el Trío de Milán. Sucesivamente consigue, con las máximas notas y honores el Diploma académico II nivel y el Diploma de solista (Konzertexamen) en el histórico Hochschule für Musik und Theater - Félix Mendelssohn-Bartholdy de Lipsia, bajo la guía de Mariana Sirbu.

Al mismo tiempo obtiene la maestría en Classical String Performance en la universidad de Limerick en Irlanda, donde fue premiada como artista residente con el Trío Bellatrix.

Además, perfeccionó sus estudios con Maestros como Franco Gulli, Stefan Georghiu, Jean Jacques Kantorow, Emanuel Borok, Bruno Giuranna, Nora Chastain y Menahem Pressler.

En el 2004 debutó como solista en el National Concert Hall de Dublín con la Orquesta Sinfónica Nacional, ejecutando el Poème de Chausson.

Colabora con la Irish Chamber Orquesta y la Camerata Ireland, orquesta de cámara fundada por el pianista Barry Douglas.

La actividad del solista de Heloise Geoghegan también comprende una serie de conciertos en gira que la ve exhibirse, además, en el Concierto en Mí menor de Mendelssohn con la orquesta del instituto V. Monos de Catania y el National Symphony Orquesta de Dublín.

Heloise Geoghegan participa en importantes Festivales como el West Cork Internacional Chamber Music Festival, Gstaad Festival, Festival de Saint Denis, Festival del Lago de Cómoda, Suolsalmi en Finlandia, Ponte de Lima Festival, Mozart en Ortigia, Toscana Clásica y el Festival Pontino de Sermoneta.

Recientemente Heloise grabó un CD en dúo con la pianista alemán Beatrice Berthold, producido por Radio Bremen en Alemania.

Geoghegan ganó en 2012 las audiciones en las orquestas GSO de Göteborg en Suecia y el Stuttgarter-kammerorchester de Stoccarda, y aceptó una cátedra de violín en el Conservatorio Stanislao Giacomantonio de Cosenza.

El Patronato de la Orquesta Sinfónica del Estado de México, asociación civil sin fines de lucro, externa el gran honor que tiene al refrendar el compromiso de no sólo ser un organismo impulsor de las actividades de la Orquesta, sino un verdadero apoyo a la cultura y de la participación de las empresas en el fomento de la música.

(Foto: Especial Portal)

#recomendamos #cultura #toluca

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johnsellph · 4 years ago

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The Moment Paris-Nice Was Won

In 1972 Eddy Merckx was so confident of winning Paris-Nice that before the start of the final stage he posed for photos with a speedboat, a prize that year. Only Raymond Poulidor rocketed up the Col d’Eze to win the stage, take the race overall and collect the prize. Primož Roglič can show a cannibal-like trait at times but must also know a thing or two about not counting chickens until they hatch, or as they say in Slovenian, “not praising the day until the evening”. But on the morning of the final stage it did look like Roglič had Paris-Nice sewn up and he even had a good chance of winning the final stage too…

Many star riders had opted for Tirreno-Adriatico, but if two simultaneous World Tour races might sound incongruous to outsiders or management consultants, the format works well with a large share of the peloton able to bank a week-long stage race in mid-March and views able getting double the action. Perhaps more than Wout van Aert or Julian Alaphilippe, the one thing Paris-Nice really missed this year was the wind. Ride from Paris to Nice and long days across the plains are inevitable, and if the weather is benign, so is the racing.

We got some fine bunch sprints, but this is the sporting version of nouvelle cuisine when we’d hoped for a feast, a daily dish to be consumed in seconds rather than hours. Sam Bennett won the opening stage in Saint Cyr and would take second while Cees Bol seized the moment to take a chaotic finish, too.

Without echelons on the first two days, the time trial in Gien was the first obvious rendez-vous for the GC contenders and Roglič was the best, just behind Stefan Bissegger and Rémi Cavagna, with Brandon McNulty close, then Max Schachmann and Sacha Vlasov close by. The likes of Tao Geoghegan Hart, Jai Hindley, David Gaudu and Guillaume Martin were among those on the receiving end in a 14km time trial and they’ll face four times this distance if they ride the Tour de France.

The wine stage past Macon and into the Beaujolais was a lively one with a difficult finishing circuit. These are not legendary roads but they do offer great riding for visitors and make just as good terrain for racing as they do red wine. All talk of wine tasting was spat out with Roglič’s late surge to win solo as he crushed his rivals like they were grapes in a vat. He took 12 seconds by the line and another 13 in time bonuses with Schachmann again close by, and this was the German once again the second best. Schachmann finished 19th on the stage to Biot won by Roglič, but all were on the same time so this momentary gap didn’t cost anything.

Schachmann was back on Roglič’s wheel for the big mountain top finish to La Colmiane. Gino Mäder was the lone breakaway survivor and with a chance of the stage win, but after everyone else was dropped Roglič launched one last time to shake off Schachi and got clear, rounded Mäder and took the stage win, his third so far. Some would have preferred if he could have let Mäder win, but this was no place for gifts with Roglič being hounded by Schachmann, who’d been right on his wheel and still seconds separating the main riders on GC with a tricky stage behind Nice still to come, rather. We don’t need hindsight to see Roglič couldn’t afford to play Santa either. Name a rider who has lost a stage race because they didn’t distance their rivals enough: Roglič. Name a rider who has seen stage races slip from him on the last day: Roglič. He’d be a tragic figure if it wasn’t for all the races he wins.

The final stage of Paris-Nice is never a victory parade. Ever since the Col d’Eze time trial was abolished it’s often the most difficult and spectacular day of the week. Still, the briefing on the Jumbo team bus wouldn’t have lasted long, a stage on the same roads as last summer’s Tour de France and within easy riding of several of the squad’s Monaco apartments presented few surprises and they needed to keep a lid on the race so that Schachmann and Astana didn’t take time; maybe letting a breakaway go to mop up the time bonuses would help. “Just keeping Primož safe to bring it home“.

Which brings us to the moment the race was lost. Or rather the moments, because like many disasters, it’s not one mishap but a chain of events. The first crash on the descent from Levens to Roquette – the same used in the Tour de France’s opening stage last year, the ice-rink stage – where he dislocated his shoulder and had his shorts shredded. Many would demand days off work following an accident like this, yet Roglič was back on the bike but, however quickly we see a rider remount, these incidents are never cost-free. Muscles ache, skin burns, adrenalin has burned up energy reserves, swelling starts and more. Then Roglič crashed again on the same descent the next time and jammed his chain. He got a replacement bike but had to chase and there was a barrage, where the convoy was being held back, leaving Roglič and his Jumbo-Visma teammates to close the gap. They’re strong, but lacked a big rouleur and the likes of Oomen, Kruijswijk and Bennett were spent quickly in the chase up the Vésubie valley, leaving Roglič alone to close the final gap of less than ten seconds. This was the point of maximum danger, where the final metres are often the hardest part of the gap to close, and meanwhile, Astana and Bora-Hansgrohe had riders on the front, so it was a lone rider in yellow versus a team trial.

Roglič never gave up though, climbing as fast as he could and prompting many double takes from dropped riders coasting up the last climb and upon reaching the finish, congratulated Schachmann on his win with a fist-bump when by all accounts he might have felt like something less gracious and would be entitled to vanish inside the team bus right away (he didn’t show up for the podium ceremony to collect the points jersey). Schachmann himself said he didn’t want to win this way but he did, and not just because Roglič crashed, but because someone else had to win and all throughout he was the second best rider. It’s a small consolation for last year’s winner on his way back after that accident in Bergamo that broke his collarbone.

The Verdict Not a vintage edition because the wind didn’t enliven the opening stages and once the race reached hillier terrain, the GC battle wasn’t much of a contest either. But like a restaurant that served up a surprise dessert, the memory might be of the final dish in the hills behind Nice. Primož Roglič looked to have the race sewn up with two stage wins and being the best-placed GC rider from the time trial, but all this just left him seconds ahead of his rivals and one crash was enough to topple him from the podium. He wasn’t alone: Richie Porte, Tao Geoghegan Hart and Brandon McNulty would also crash out of the race, and the absence of Ineos’s leaders allowed Jumbo-Visma to keep a grip on the race all week, but the final stage twist just adds to the lore of Paris-Nice.

Paris-Nice is often a small dress rehearsal for the Tour. Younger riders get a go and the youth competition showed strong rides by Vlasov, Lucas Hamilton, Jorgensen, McNulty and Paret-Peintre. It’s a tune up for next weekend’s Milan-Sanremo, too. But perhaps the long term effect will be on Jumbo-Visma; the team will give leadership to some of their other riders in upcoming stage races but last week’s racing suggests they’ll play it even safer in July.

The Moment Paris-Nice Was Won published first on https://motocrossnationweb.weebly.com/

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