#orson hong

[moobrvoobl-moobmoob-oobmpoobroom]

Just watched the new movie Crater and it’s a great movie! anti-capitalist message, found family dynamics, kids getting to be kids and heartwarming bittersweet ending. definitely watch if you have the time and means.

[tinyreviews]

It’s an adult story cloaked in a kids movie. I feel that this caters to neither though.

Crater is a 2023 American coming-of-age science fiction adventure film directed by Kyle Patrick Alvarez and written by by John Griffin. It stars Isaiah Russell-Bailey, Mckenna Grace, Billy Barratt, Orson Hong, Thomas Boyce, and Scott Mescudi.

[oceanusborealis]

Crater - Movie Review

TL;DR – A fun yet grounded film that knows when to pack an emotional punch. ⭐⭐⭐⭐ Rating: 4 out of 5. Post-Credit Scene – There is no post-credit sceneDisclosure – I paid for the Disney+ service that viewed this film. Crater Review – I always look forward to an interesting new take on the science fiction world. Still, as we look out into the wide world, it has been nice to see something a bit…

[geekcavepodcast]

Crater Trailer

Set on the moon in 2257, Crater follows a group of kids on a lunar roadtrip. Caleb has lived his whole life in a lunar mining colony and is about to be relocated to a faraway planet after the death of his father. Before he leaves, though, he, his three best friends, and a new friend from Earth hijack a rover to fulfill Caleb’s dad’s last wish and explore a mysterious crater.

Crater stars Isaiah Russell-Bailey, Mckenna Grace, Billy Barratt, Orson Hong, Thomas Boyce, and Scott Mescudi. Kyle Patrick Alvarez directs from a screenplay by John J. Griffin.

Crater hits Disney+ on May 12, 2023.

[boomgers]

No se trata del destino, sino del recorrido y las personas que te acompañan… “Cráter”

La historia gira en torno a Caleb Channing, quien se crio en una colonia minera lunar y está a punto de ser reubicado permanentemente en un idílico planeta lejano tras la muerte de su padre.

Pero antes de irse, para cumplir el último deseo de su padre, él y sus tres mejores amigos, Borney, Dylan y Marcus, junto a la recién llegada de la Tierra, Addison, roban un rover para tener una aventura final antes de su viaje, explorando un cráter misterioso.

Estreno: 12 de mayo de 2023 en Disney+.

La película está dirigida por Kyle Patrick Alvarez, guionizada por John Griffin y protagonizada por Isaiah Russell Bailey, Mckenna Grace, Billy Barratt, Orson Hong, Thomas Boyce y Scott Mescudi.

[slothpower-central]

Rolling out the Red Carpet for the Cinema branch!!

Hello,hi, it's me that one person who makes the funny videos and thinks she can draw(she cannot) Inspiration hit me in the middle of my film studies course while watching Vertigo by Alfred Hitchcock and I thought "what if I made my own LCB branch where every sinner is based on a movie I've watched in my film class (and just general classic Hollywood cinema) and so I did it! The branch is currently VERY unfinished,as I add a new sinner each week for every film we watch in the class,so lemme introduce you to the guys that I've at least doodled so far(awful art incoming lol)

First up,we need a manager,or should I say,director(get it, because it's based on movies?) anyway here's Dorothy! If it wasn't obvious, she's based on the Wizard of Oz,She may or may not have come from the Outskirts and now she's running around with these sinners,and her little dog too! Oh and her red slippers(boots now,IG lol)? Those have a use, clicking her heels 3 times allows her to bring her sinners back to life!

Our guide is Glinda! Also based on Wizard of Oz,I have....not drawn her yet! But she is ultra hands off,she mainly communicates by sending Dorothy letters in bubbles,oh and did I mention she's a color fixer? ...yea I probably should have started with that

Now onto our actual sinners, don't ask me about major plot details about them,I haven't worked it out yet,

Sinner #1,This is Chaplin! Based on Modern Times by Charlie Chaplin,this guy is more of a fusion of the two main characters of the movie since uhm...neither of them have names and frankly their stories are both so intertwined that You could easily mix them together so here we are. They are the most comical of the sinners,I have described them as having a lot of cat like behaviors to a degree, and they are selectively mute(silent film lol) They have a white board they write on like it's Lethal Company and they have Heelys(mainly for the funny)

I haven't uhm.....finished sinner #2 yet because everytime I try to draw him my art style makes him look like the Pringles mascot lol but it's Kane! Kane is based on Charles Foster Kane from Citizen Kane by Orson Welles! Right now currently he's like "god I'm in a company of all women...AND CHAPLIN" He's rich like....richer than Hong Lu rich,he does seem to offhandedly mention something Rosebud and it seems almost like he's searching for it...wonder what that could be?(Btw go watch Citizen Kane, I'm not telling you what Rosebud is)

Finally out last Sinner at the moment: Sinner #3 Judy based on Judy from Vertigo! Yessir this is the reason for the branch, her source got my imagination spinning (she may or may not be mine and Amia's favorite atm of the branch) I would have made Scottie a sinner but......I hate his ass and need him exploded and not in the cute way(JUDYYYYYY YOU DESERVED SO MUCH BETTER GIRLLL) Judy is also 20x more fun as a character than Mr. "I'm gonna stare at women for 70% of my screentime" Honestly I could gush so much about her but I won't to keep this brief... essentially by the end of Vertigo Scottie convinces her to change everything about herself to turn her into his lost love/obsession Madeleine (ai know there's more too it but uhm....Go watch Vertigo, I'm not spoiling the movie)[PS, Ignore the doodle in the corner, that was from an idea that Amia's OC Tessie and Judy would get along well]

Tomorrow we'll actually have Sinner #4 who's gonna be based on someone from the movie Sunset Boulevard ( I don't pre watch these bc my attention span actually increases so much when I analyze movies for Limbus)

Anyway I'll keep updating you on the Cinema branch their tag is "LCB Cinema Branch" if you want everything in one place oh! And feel free to draw my lil guys if u want,just @ me or tag me or something. uhm don't ask about their weapons or colors or anything I haven't thought that far ahead yet lol

[mad-prophet-of-the-airwaves]

Top 20 new-to-me movies of 2022

1. The End of Evangelion (1997, Kazuya Tsurumaki/Hideaki Anno, Japan)

2. The Tin Drum (1979, Volker Schlöndorff, Germany)

3. Marcel the Shell with Shoes On (2021, Dean Fleischer Camp, USA)

4. Little Miss Sunshine (2006, Jonathan Dayton/Valerie Faris, USA)

5. Beginners (2010, Mike Mills, USA)

6. I, Daniel Blake (2016, Ken Loach, UK)

7. Stalker (1979, Andrei Tarkovsky, Russia)

8. Bo Burnham: Inside (2021, Bo Burnham, USA)

9. Licorice Pizza (2021, Paul Thomas Anderson, USA)

10. The Mitchells vs. The Machines (2021, Mike Rianda, Hong Kong)

11. Daddy Longlegs (2009, Josh Safdie/Benny Safdie, USA)

12. The Worst Person in the World (2021, Joachim Trier, Norway)

13. The End of the Tour (2015, James Ponsoldt, USA)

14. Hollywood Shuffle (1987, Robert Townsend, USA)

15. The Big Bad Fox and Other Tales... (2017, Benjamin Renner/Patrick Imbert, France/Belgium)

16. The French Connection (1971, William Friedkin, USA)

17. Another Round (2020, Thomas Vinterberg, Denmark)

18. The Trial (1962, Orson Welles, France)

19. Exit Through the Gift Shop (2010, Banksy, UK)

20. Human Traffic (1999, Justin Kerrigan, UK/Ireland)

[back-and-totheleft]

Stone Raids Wall Street

Once upon a time Oliver Stone was best known for his scabrous screenplays for films such as Scarface and Year of the Dragon. Then his 1986 films, Platoon and Salvador, racked up a slew of Academy Award nominations, and Platoon collected Oscars for direction, editing, sound, and Best Picture. Stone was honored not for safe, Masterpiece Theatre-type films that make Academy members feel good about themselves, but for violent, unpleasant films on subjects considered until recently to be box-office poison—Central America and Vietnam. In one short year, he has emerged as the most interesting and important director in Hollywood. Nevertheless, as no one knows better than Stone, the winds of celebrity are fickle, and when we spoke with him in August, he was anticipating a more qualified reaction to his forthcoming film, Wall Street.

Q: How did you get the idea for Wall Street? A: The story first came to me while I was writing Scarface. Its get-rich-quick Miami mentality had certain parallels in New York, where an acquaintance of mine was making a fortune in the market. He was like some crazed coke dealer, nervously on the phone nights trading with Hong Kong and Lon- don, checking the telex, talking about enor- mous sums of money to be won or lost on a daily basis. His lifestyle was Scarface North. He had two huge Gatsby-like houses on the beach in Long Island (he couldn’t decide which one to live in), several dune buggies, cars, Jeeps, a private seaplane company, an art collection, and a townhouse in Manhattan. Then he took a giant fall; his empire came crashing down around him. He was suspended from trading; he lost millions and spent millions more in legal fees clearing his name, which he finally did. It made him a different, stronger person as a result, and it was partly this tale of seduction, corruption, loss, and redemption (as well as other stories we heard on the street, among them that of David Brown, a broker convicted for insider trading who served as an adviser on the film) that was the basis of Charlie Sheen’s character in our script.

Q: Wasn’t your father a broker?  A: Yes, he was on Wall Street for 50 years or so. My father’s world was very intimidating to me; I viewed it from an Orson Welles perspective out of The Magnificent Ambersons. | remember the staircases and mirrors. I remember looking down through banisters at Mom’s parties, at the rich people, the sophisticated people, women from Europe with accents, Belafonte or Sinatra on the phonograph singing ‘50s songs. Then they’d go out in packs like in La Dolce Vita to faraway places like El Morocco.

Dad would take me to the movies (how rare to be alone with him)—Dr. Strangelove, Paths of Glory, Seven Days in May—the ones with the ideas, and inevitably he’d come out of the movie and say, "Well, we could've done it better, Huckleberry,” and he’d tell me all the reasons why this plot was silly or illogical. It would make me think, which is one of the things a father is supposed to do. And he’d always say they never did intelligent pictures about businessmen; businessmen were always satirized or were stereotypical bad guys. 

Dad believed very strongly in capitalism. Yet the irony of it all was that he never really benefited from it. All his life money was an overriding con- cern. But he never owned a single thing; every- thing was rented, right down to the cars, the apart- ments, and if it had been possible, the furniture. There was an insecurity at the heart of our family existence. I began to resent money as the criterion by which to judge all things, and there grew to be a raging battle between my father and me about it. I found ways to throw away everything I had, which pissed my father off. | went to Yale but dropped out, and he lost the tuition. We reconciled before he died [in 1985], but by then I had moved away from it all. I didn’t want to go to an office every day from nine to five. I didn’t understand Wall Street. “Going into movies is crazy,” he would say. “You aren’t going to make a dime.”

When I was working on Wall Street, I felt my dad was sort of around in a ghostlike form, watching over me and laughing, because here is the idiot son who doesn’t know anything about the stock market, who can barely add and subtract, doing a film with the grandiose title Wall Street.

I always hated New York, which is what made it so special returning some 25 years later with a crew of professionals, a self-contained artillery unit. (I even got to cast Hal Holbrook, who is everybody’s dream of a father, as my father.) And suddenly | got a glimpse of a mysterious world I'd only scratched the surface of as a child—the adult world, New York in its power, glory, and greed.

Q: You're not dealing with war and revolution in Wall Street, as you were in Platoon and Salvador. It’s a less weighty film.

A: It appealed to me precisely because it is a lesser statement. There is only so much you can say about yuppies. I knew if I sat around for two or three years doing a Hamlet number - should I give the world another film? - I would really drive myself crazy. I would rather turn something out fast, get it over with, give the gold crown to somebody else so I can get on with doing things that I really care about, which are ideas. I’m ready to take a fall. I'm not expecting the same critical praise or the same box office that I got for Platoon.

I think I have always been identified with “‘lowercase”’ films that take people by surprise. It is strange suddenly to be in a front-runner position with Wall Street. I like being a dark horse. Celebrity can hurt the creative process if you let it go to your head. You start weighing your image of yourself instead of somehow keeping your head low down to the ground like a bulldog, telling a good story, and not letting your ego stand in your way.

Q: How did you get a producer for Wall Street?  A: Initially, I brought the script to John Daly at Hemdale. But he didn’t think the audience would go for a movie about people who were making millions of dollars. On the other hand, Ed Pressman and Twentieth Century Fox loved the idea, which was fine with me, because Wall Street was going to have to be shot in New York, and consequently it was going to be expensive. Hemdale is not really into $15 million movies; it would have been a big risk for them and more pressure for me, whereas for Fox it is a medium-budget movie.

  Q: Did you get any cooperation from Wall Street?  A: Initially, no. They felt Stanley Weiser (the co- writer) and I were going to trash the Street. Then after the success of Platoon, people started coming out of the woodwork. We hired Ken Lipper, who was formerly the deputy mayor of New York City and was managing director of Salomon Brothers, and we consulted with people such as John Gutfreund of Salomon, and Carl Icahn.

Q: How did the consultants help you? A: Ken Lipper put Charlie Sheen and Michael Douglas inside Salomon Brothers. He also got us into places like The 21 Club, Le Cirque, and, most important, the New York Stock Exchange, which was a first. No film had ever been done there. We actually shot on the floor while they were trading. A lot of the older traders were upset because they were trying to make money and we were creating a disturbance, but there were many more Vietnam veterans on the floor than I had imagined, and they had seen Platoon.

Ken was also on the set. He helped us with details: how brokers deal with sales, how they write up orders, their body language—how they hold a telephone, what is the pace of the conversation. I had no clue how these things are really done.

Q: What was it like to shoot in New York? A: Sixty-ninth Street and Madison was a fucking mess. Michael Douglas was shaking hands all day. Bill Murray came by, actors, businessmen, kings, diplomats—it was a constant stream of Hi Daryl [Hannah], Hi Michael, Hi Charlie. We'd try to shoot a scene and there would literally be a thousand people coming to look. It was impossible to work under those conditions. So | hired about 200 extras and filled the sidewalk with them so we could control the streets. If anybody walked onto that sidewalk they would see all these people standing stock still waiting for the cue for action. It was so bizarre, they would skirt the sidewalk and walk away.

And here’s an example of how unions can fuck up reality. | wanted real derelicts, but there’s a law in New York that the first 125 extras in major feature films have to be union. We made up the extras, but they never looked real. So if I need a real bum in a scene it has to be the 126th man. I just threw up my hands in disgust. My derelicts will have to go in my next picture 

Q: Why did you cast Charlie Sheen in the lead role?  A: | thought that he could do a good job of playing a bad boy, showing the negative side of Wall Street. There is a devilish side to Charlie that didn’t come out in Platoon, where he was more of an idealized figure. I think he’s been in trouble, and that shows in his personality, a strong streak of rebelliousness combined with an inner grace passed on from his father, Martin Sheen, who plays his father in the film. Charlie is only 22, which made him much younger than the brokers being busted on Wall Street, but we aged him with good suits, a haircut, and he gained a little weight from the good life in New York; his face is a little jowlier than normal. He invested his own money in the market, hung out with the young brokers at Bear Stearns and Salomon Brothers, drank with them at the South Street Seaport, kids just out of college who have to pull $100,000 in the first or second year just to occupy a space on the floor. Gone are the days of my father, when people were brought along slowly; there seems to be less mercy in the system, and as always the corruption is subtle, almost undetectable in a black and white sense. The corruption of all flesh—needing more and more, until like fat bugs we pop and bleed all over the page.

Q: I understand Charlie’s character was Jewish in the first draft of the script. Why did you change it?  A: His name was Freddie Goldsmith, but that would have necessitated a different kind of actor. I would never have believed Charlie as Jewish; he doesn’t have that kind of quickness, the mannerisms, the nerviness.  He is more of a laid-back type; at best he could play a Catholic, Protestant out of Queens. I also wanted to drop the Jewish angle because I think that too many people think that Wall Street is run by Jews and that they are all corrupt, a bunch of gangsters.  I just didn’t want to give them any more fuel. My father— who was Jewish, I’m half Jewish— always warned me that I would probably see a pogrom in the United States in my lifetime. I didn’t believe him when I was a kid. I believe it now.

Q: Did you have Daryl Hannah in mind from the beginning?  A: I've loved Daryl from way back. She’s an admirable person with a real passion for left-wing causes. And she looks beautiful on film. She’s the kind of girl a guy like Charlie would go after. She would be the type of girl who is pretty enough to be around the big money guys. Daryl had problems with her character because it wasn’t a character she particularly liked. She was scared by it. She is a natural, simple girl, and here was a character who was totally artificial. She had a major problem trying to learn that language. She went to a voice coach in New York and tried to change her flat Southern California/Chicago accent into something more nasal, more New York, upper class, and affected. I was tough with her. I beat her up, in a metaphoric sense, and in the early stages I am sure she wanted to quit. I think I made her cry a few times, but I wasn't really pleased with her wanness and passiveness, which were difficult to get through. She needs a very, very strong director. I am not sure I succeeded. 

Q: Weren't you taking a chance using someone like Michael Douglas, who’s never played a bad guy?  A: I was sort of worried about him because | had been warned by a highly placed studio executive that he would be in his trailer all day reading scripts and on the phone to Los Angeles. But he was always on time, never one minute late in the whole shoot, and very easy to work with as well. He seemed to be aware that it was a big role for him. He told me at one point that his dad had implied that he was finally about to become a real actor; that he had always played wimps, and that this was a role where he could play more toward his father, who could do a heel as well as a hero. Michael loved that idea.

I was amazed, for an actor who has done so many movies, how nervous he was in the beginning. He couldn’t believe it when on the first day I gave him three pages of monologue, like something out of Paddy Chayefsky. He'd never had speeches like that in his life. And then the second day I stuck a hand-held camera in his face about six inches from his eyeballs—he was on a plane, so I wanted to create a sense of movement. He said it was very difficult for him to act, to concentrate and remember his lines, staring at the camera. Then he hit his stride, and by the time we got to the scenes in his office, he was on top of his game.

Q: How do you prepare the actors?

A: In the rehearsal period I try to outline the context of the characters, what their inner life is about, what their backstory is. I try to help the actors suggest things and then let them run with those ideas. Then we have readings; you can see the way an actor is interpreting a role. Once we start filming, we relive what we did in rehearsal seven or eight weeks before. Often it comes out differently; nuances emerge because the material has been marinating in the actor's subconscious. I clear the set except for the actors, so that we keep it quiet. The rehearsal itself can take anywhere from 30 minutes to six hours, in the course of which it should become clear what everybody is looking for in the scene and how to play it. Whether they succeed doesn’t interest me; in fact, I'd rather that they didn’t do it and not spoil themselves emotionally before the cameras go on. Too often you have a good rehearsal and it never comes back.

Q: Do you improvise? A: I always try to encourage spontaneity. I like to be surprised. Astonish me! It is easy to play a scene predictably; a director falls into that because he has to complete the film in a limited period of time. He can clock out all the spontaneity and all the truth. That is the hardest thing a director has to face; he has to stay fresh.

Q: What do you do when a scene isn't working? A: I often deal with it by rewriting extensively on the spot. Part of that process includes listening to the actors. Some actors just can’t say certain words, or they will feel uncomfortable with a speech. They will say, “Gee, Oliver, do I have to say that line? Can’t I just do a look?”

Or I try to use the camera to respond to a mistake. You shoot the scene in such a way that you can cover the blemish. You change the angle, you move the camera. We did enormous amounts of moving camera in this film because we are making a movie about sharks, about feeding frenzies, so we wanted the camera to become a predator. There is no letup until you get to the fixed world of Charlie’s father, where the stationary camera gives you a sense of immutable values.

I generally work fast. | did Salvador in 50 days. I did Platoon in 54 days. | did Wall Street in 53 days. I came in seven days ahead of schedule and close to $2 million under budget. We never wasted an hour. If it rained, we made it a rain scene: Charlie goes to the beach in the rain. I hate waste. When I read about directors shooting a million feet, it makes me sick. They say film is cheap, but how can you sit there in the editing room and have to go through 30 or 60 or 95 takes? Ultimately, take 30 doesn’t look that much different from take 7. Usually after six or seven takes, I let it go. The most I ever did was nineteen takes.

Q: Do you relax in the editing room?

A: Hell, no. I tend to shoot three-hour movies and cut them down to two hours. My scripts are long; I blow a lot of my time shooting scenes that never get into the movie. We had 80 speaking parts in Wall Street. | will probably cut twenty of them. Editing to me is like a tremendous retreat, a march back from Moscow, a rout. When you are writing and directing, you feel like you’re on a perimeter, expanding. When you are editing you are withdrawing your perimeter as quickly as possible and trying to maintain the CP, the command position, because it is about to go under. Philosophically, it always seems to be that movies are about limitation. Every time I make a movie my original concept shrinks. It is a truth about movies that less is more, that sometimes when you try to do too much you get scrambled, you get killed.

Q: How would you describe the theme of Wall Street? A: I wanted to concentrate on the ethics of the characters and see where they lose their way, where they lose their sense of values, where net worth starts to equal self-worth. I think Wall Street is really about the urban culture of the ’80s. The pressure is enormous on these young guys to produce. | think they are perverted right off the bat. Why would someone who is making $100 million have to make another $20 million? Because he has to stay ahead of the next guy. Money is a way of keeping score. A line in the script says it all: “How many boats can you water-ski behind?’ Ultimately, not about money, it’s about power.

There is something patently unhealthy in using money just to make money rather than to create value. How can you justify threatening to take over a company, then selling it back and making $40 million, meanwhile forcing the company to spin off its assets and lay off employees?

Q: Is there a remedy for insider trading?

A: Probably not. There is no question that outsiders don’t do as well as insiders. I have invested in the stock market now off and on for 30 years, and I never made any money at it. It is a privileged club, an oligarchical institution in which the rich talk to the rich. They don’t talk to the poor. A guy goes to La Céte Basque for lunch. He sees a CEO from some other company and tells him some piece of information about a company that’s going into semiconductors or something, and he is going to buy into it. That’s the way the system works. You read about these kids who are making a million bucks, two million bucks a year—it demoralizes the person making $40,000 a year. All of a sudden everybody needs a Porsche or a VCR or a fishing boat. And this is what fuels America, more and more greed. We deal with these issues by staying inside a very small story, one fish in one Wall Street aquarium and what happens to that fish. #

-Peter Biskind, "Stone Raids Wall Street," Premiere, Dec 1987 (Vol 1 Issue 4)

[ciegeinc]

Movie Review...Crater

(3/5) I thought this was just okay.  The young group cast gives you those nostalgic feels like something from the those 80s, early 90s films (the goonies, sandlot...etc) but the story, for me, couldn't balance its youthful/adventure vs its dramatic/serious plot points. Loved the black young lead (something you wouldn't have seen when I was growing up) and the ending was sad too. This would be a good one to watch with the kids.

"Crater" is the coming-of-age adventure story of Caleb Channing (Isaiah Russell-Bailey), who was raised on a lunar mining colony and is about to be permanently relocated to an idyllic faraway planet following the death of his father (Scott Mescudi). But before leaving, to fulfill his dad's last wish, he and his three best friends, Dylan (Billy Barratt), Borney (Orson Hong) and Marcus (Thomas Boyce), and a new arrival from Earth, Addison (Mckenna Grace), hijack a rover for one final adventure on a journey to explore a mysterious crater.                

[scifi4wifi]

'Crater' | Disney+ | Official Trailer

Crater just released a teaser for its sci-fii YA movie debut on Disney+. Kyle Patrick Alvarez (Homecoming) directs the original film. Isaiah Russell-Bailey (Family Reunion) stars in Crater alongside Scott Mescudi, McKenna Grace, Billy Barratt, Orson Hong, and Thomas Boyce. This is an amazing stroke of fortune for the young screenwriter, John Griffin, who wrote the script for a screenplay contest…

[sirenjose]

Missing Player-ID: 157716441

Hidden Story/Epilogue - Part 3

Main Story: Part 1 Part 2 Part 3 Part 4 Part 5 Part 6

Hidden Story: Part 1 Part 2 Part 4 Part 5

Plot Analysis: Part 1 Part 2

Puzzle Solver Analysis

It’s like an old group photo, but I can’t see who it is

“Activity Record: Date: 1994.7.15 Location: Library Conference Room Participants: (unsure of translation here?): Li Weidong, Zhang Hong, Yu Qiuying, Qin Yiying, Zhou Hao, Wang Quangen, Sun Yan, Zhang Wei Volunteers: Zhao Tongshu, Liu Bingsen - Professional lecture "Talking about the key points of psychiatric rehabilitation training" - Self-introduction and psychological development of new members. - Patient and family experience exchange.”

“Professor, I think my wife is a little abnormal, I will go to you after the event today to talk about it. Please don’t tell anyone.”

“October 16th 1998 I just came back from the concert in the evening. My family has been doing well lately. Although my spouse is busy, he’s earning a lot of money, which seems to be much better that before. But there are always regrets in life. For example, today, the phone called him away so I had to stay and watching it all by myself. Even so, careers and children are all part of life, and I can understand that. But I still find it strange, overtime work is fine, but why is it always a business trip to Hong Kong when it’s so expensive. What kind of research is it?”

“September 9th, 2005 Today is the tenth anniversary. It should have been a very happy moment, but I couldn’t be happy. Looking back 10 years ago, in the church, we swore an oath in front of the pastor. Our friends, like us, have happiness and joy on their faces. When I say ‘I do’ I feel that the future is full of beauty. But I didn’t expect to become like this today. I really don’t want to believe it. I am very conflicted, but whenever I think of the situation at the time, I still hold up hope. The good news is that there have been no new suspicious behaviors in a year. For the sake of our daughter, I’ll maintain the appearance of peace and choose to forget what I saw before and to never reveal it, as long as it doesn’t continue. I am still willing to hold out hope.”

“August 14th 2010 I have to deal with it by myself, and I know they have countless ways to destroy evidence. But before that, all of this must be hidden, because I am not sure whether I will incur retaliation after I do it, and I am not in a position to confront them now. If something happens to me, I can only hope that these things will be seen again one day. It’s been a long time since I came out to Orson Villa. I think this should be a suitable place to bury it, with all the memories and hopes of the past.”

“September 8th 2010 The other day, Su Su (?) went to Happy Valley again (water stains). I always wanted to go there, but I didn’t make the trip. It would be nice if my parents came with me. But I can’t get my hopes up, or you’ll be even more upset if you get stood up. Mom has been uncharacteristically late in recent months, but instead (water stains) has started to leave work on time, and seems to be counting on Dad to be more reliable. Latest Information! I just learned that Dad is going to Happy Valley tomorrow, hehe~ He promised to take me there, and he said he will take me to the haunted house, even though I’m scared, I’m still super excited. Dad told me not to tell mom. (Water stains) Of course, you can’t (water stains) skip school, and I’ve said several times that (water stains) I’m not going to be able to sleep.”

This was the wrapping paper used for the package the Detective received that contained all of the daughter’s belongings. The mother said it was old paper she found at home.

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The dots around the coin are Morse code. Read it counterclockwise. (There are 3 gaps, so there are 3 messages).

First: long and short, short and short, short and short, long and short, short, long, short, long, long, long, long, long (decimal point is sunken). Translation: N54.6 W1.0. The corresponding spot on the map is shown.

Second: long short short short short short short long long long long and short, short long short short short short short short short short long. N51.7 W5.3

Third: long short short short short short long long long long long. Long long long long short, short long long long long long. Long long long long short. N50.9 E0.9

Find the center point of the three, which is: N52.4 W1.8. (may be the coordinates of the manor?)

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The girl’s weibo has a string of numbers. Use Baidu telegram code translation and enter the numbers. Says: “I’m so sorry”(?)

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(this is the part where friend tells about the server hacking incident)

(At the bottom of this page is where mysterious man makes a comment)

“I know you’re waiting for me. The previous post was still too flashy, so I came in here. Your friend the old geezer remembers the rules from my test years ago, and he’s right, but that’s obviously not the whole story. We also played the game on the official Identity V Weibo, right after the project was announced. You can also think back. Take the shortest route that the rules allow, and I’ll be waiting for you at the next lotation.”

[ulkaralakbarova]

Crater

After the death of his father, a boy growing up on a lunar mining colony takes a trip to explore a legendary crater, along with his four best friends, prior to being permanently relocated to another planet. Credits: TheMovieDb. Film Cast: Caleb Channing: Isaiah Russell-Bailey Addison: Mckenna Grace Dylan: Billy Barratt Borney: Orson Hong Marcus: Thomas Boyce Michael: Kid Cudi Maria: Selenis…

[personal-reporter]

Mostra del Cinema di Venezia 2023

Tutto è pronto per l’80 Mostra Internazionale d’Arte Cinematografica di Venezia, che si terrà al Lido dal 30 agosto al 9 settembre 2023. Saranno otto le sale dove verranno presentati i film in gara e quelli fuori concorso, comprese le pellicole dei sei registi italiani selezionati quest’anno dalla giuria e la sezione Venice Immersive all’Isola del Lazzaretto. La scomparsa Gina Lollobrigida sarà protagonista della pre-apertura di martedì 29 agosto, con una doppia proiezione di Portrait of Gina di Orson Welles e La provinciale di Mario Soldati. Ma l’80esima edizione della mostra entrerà nel vivo il pomeriggio del 30 agosto con le sezioni Orizzonti e Fuori Concorso, oltre alla rassegna Giornate degli Autori, che quest’anno propone la mostra Manifesti da salvare e ad aprire il concorso sarà un film italiano: Comandante di Edoardo De Angelis. Oltre alle sei pellicole in concorso, l’Italia è rappresentata anche nelle altre sezioni in Orizzonti Extra l'esordio alla regia di Micaela Ramazzotti con Felicità, su una truccatrice di cinema e la sua famiglia disfunzionale, Invelle’ di Simone Massi, film d'animazione che racconta una storia d'Italia vista dal basso, e Una sterminata domenica di Alain Parroni, una sorta di manifesto di una generazione perduta  come lo ha definito Barbera. Fuori concorso ci sono The penitent di Luca Barbareschi, adattamento cinematografico dal testo del drammaturgo Premio Pulitzer David Mamet, interpretato dallo stesso regista e da Catherine McCormack, Adam James e Adrian Lester, L'ordine del tempo’ dal saggio di Carlo Rovelli, ultimo film di Liliana Cavani con la storia di un gruppo di amici, che ogni anno si ritrova nella stessa villa sul mare per festeggiare il compleanno di uno di loro, Amor, docufilm di Virginia Eleuteri Serpieri e il corto Welcome To Paradise di Leonardo Di Costanzo. Tra gli ospiti confermati c'è l'attrice italiana Caterina Murino, la regista Liliana Cavani e l'attore Tony Leung Chiu-Wai, entrambi premiati con i Leoni d'oro alla carriera, oltre a tanti vip italiani come Pietro Castellitto, Benedetta Porcaroli, Pierfrancesco Favino, Toni Servillo e Valerio Mastandrea. La giuria del Concorso di Venezia 80 assegnerà il Leone d’Oro per il miglior film, il Leone d’Argento - Gran Premio della Giuria, il Leone d’Argento per la migliore regia, la Coppa Volpi per la migliore interpretazione femminile, la Coppa Volpi per la migliore interpretazione maschile, il Premio Speciale della Giuria, il Premio per la migliore sceneggiatura e il Premio Marcello Mastroianni a un giovane attore o attrice emergente. Quest’anno sarà il regista statunitense Damien Chazelle il presidente di giuria del Concorso ufficiale del Festival, assieme a l’attore Saleh Bakri (Palestina), l’attrice e modella Shu Qi (Taiwan, Hong Kong), la documentarista Laura Poitras (Usa) e i registi Jane Campion (Nuova Zelanda), Mia Hansen-Løve (Francia) Gabriele Mainetti, che è anche produttore (Italia), Martin McDonagh (Irlanda, Regno Unito) e Santiago Mitre (Argentina). Read the full article

[fangirlnationmag]

'Crater' Comes to Disney+ May 12, 2023

Disney+ has released a trailer and poster for their upcoming original movie, Crater. The film comes to the streaming service May 12th. Directed by Kyle Patrick Alvarez, the movie stars Isaiah Russell-Bailey, Mckenna Grace, Billy Barratt, Orson Hong, Thomas Boyce and Scott Mescudi. Here’s the official synopsis: “Crater” is the story of Caleb Channing (Russell-Bailey), who was raised on a lunar…

[ramascreen]

Key Art And Trailer For Disney+ Original Movie CRATER

The trailer and key art are available now for the Disney+ Original Movie “Crater,” which debuts exclusively on the service on May 12. Directed by Kyle Patrick Alvarez, the coming-of-age sci-fi adventure stars Isaiah Russell-Bailey, Mckenna Grace, Billy Barratt, Orson Hong, Thomas Boyce and Scott Mescudi. A 21 Laps Production, the film was written by John Griffin and produced by Shawn Levy, Dan…

[kevrocksicehouse]

Oscars 2022 

Best Female Actor

Cate Blanchett – Tar.

Ana de Armas – Blonde.

Andrea Riseborough – To Leslie.

Michelle Williams – The Fablemans

Michelle Yeoh – Everything Everywhere All at Once.

WILL WIN: Michelle Yeoh. She’s poised to make history as the first Asian Best Female Actor winner in a role written for her that showcases everything she is – Hong Kong action hero, glamorous movie star, femme fatale – but mostly a middle-aged laundromat operator whose family is falling apart and who has to connect with everything she has or could have ever been to save the universe. In a film that never stays still, she provides a center that paradoxically moves faster than anybody else.

SHOULD WIN: Cate Blanchett. As a supremely megalomaniacal orchestra conductor she rivalled Orson Welles’ Kane and put across the kind of genius that tempts you to justify her characters bottomless narcissism. We don’t need posterity to recognize this as one of the great performances.

SHOULDA BEEN NOMINATED: Aubrey Plaza in Emily the Criminal. Plaza embodies millennial angst so deftly it’d be easy to dismiss her range just like people did with Bogart. As a debt-saddled graduate who gets over her head in a credit-card scheme and learns to swim the backstroke she becomes a new kind of femme fatale less interested in manipulating men than beating them at their own game.