#ryaneggold

[speakin-4-myself]

It's the final season of one of my favorite shows. #TheBlacklist #JamesSpader #MeganBoone #HarryLennix #DiegoKlattenhoff #AmirArison #HishamTawfiq #LauraSohn #AnyaBanerjee #RyanEggold #ParminderNagra #MozhanMarno #LotteVerbeek #ClarkMiddleton #SusanBlommaert #RonRaines #BrianDennehy #FisherStevens #AidaTurturro #FionaDourif #RhondaLaChanzeSapp https://www.instagram.com/p/CpLPaSRLiGB/?igshid=NGJjMDIxMWI=

[film-book]

‎

NEW AMSTERDAM: Season 5, Episode 11 TV Show Trailer [NBC] https://film-book.com/new-amsterdam-season-5-episode-11-tv-show-trailer-nbc/?feed_id=115747&_unique_id=63804ebb8412a

[frontmezzjunkies]

Broadway Boxes in DHH's "Yellow Face" Cleverly and Comically

#frontmezzjunkies reviews: #DavidHenryHwang's #YellowFaceBway @roundaboutnyc directed by #LeighSilverman w/ #DanielDaeKim #RyanEggold #FrancisJue #KevinDelAguila #MarindaAnderson #GregKeller #ShannonTyo #RoundaboutTheatreCompany at the #ToddHainesTheatre

Ryan Eggold, Marinda Anderson, Daniel Dae Kim, and Kevin Del Aguila in Roundabout’s Yellow Face. Photo by Joan Marcus. The Broadway Theatre Review: David Henry Hwang’s Yellow Face By ross In modern sharply defined boxes of light, the lead character, going by the scripted name of “DHH” and played with wise relish by Daniel Dae Kim (Public’s The Chang Fragments; “Lost“), steps out strong. It’s…

[brokeen1]

The Blacklist aesthetic

[adamwatchesmovies]

Never Rarely Sometimes Always (2020)

You expect Never Rarely Sometimes Always to draw all sorts of emotions from you. Even if you think you're prepared for it, you're not.  It isn't so much the story, it's the way it's told that gets you.

17-year-old Autumn Callahan (Sidney Flannigan) is 10-weeks pregnant. After realizing she cannot get an abortion in Pennsylvania without her parents’ consent, she and her cousin Skylar (Talia Ryder) travel to New York - alone - to get the procedure done.

Never Rarely Sometimes Always has a documentary-like quality (a testament to its performances). It maintains a distance by showing without judging. Eliza Hittman simply asks you to keep watching. Then again, the nature of this story is so personal you feel like a ghost walking next to the two teens, frustratingly powerless. The movie is solely about Autumn’s trip to New York and the obstacles she faces as she tries to get the abortion. The focus is so narrow we hardly get to know her - or anyone else at all. This choice makes you forget about everything else but what's on-screen. The whole movie is entirely composed of quiet moments that make you think. For instance, we never find out who the father is or what circumstances caused Autumn to become pregnant. You have to fill in the blanks yourself. This makes the film so powerful and thought-provoking. This could be anyone's story. Since you're right there, it becomes yours.

It's like there's always someone making Autumn's life difficult. Her father (Ryan Eggold) isn’t in the movie much but he establishes himself as a complete turd. You’re mad at Autumn’s mom (Sharon Van Etten) for staying with him. Everywhere else, Autumn is either bullied or eyed by guys who have no business giving a second look to a 17-year old. You’re put into such a state of unease your nerves start to fry. What's with Jasper (Théodore Pellerin's)? Maybe there is more to this movie after all. This may be a cautionary tale or a harsh lesson. Anything could happen.

Our protagonist is such a blank slate (sometimes frustratingly so) that you wind up projecting yourself onto her. Everything Autumn faces seems so unfair and the injustices seem even bigger because this… shouldn’t be this hard. By simply showing the scenario, it asks hard-to-answer questions. Why does she need her parents’ permission? How can the lady who works at the crisis pregnancy center be so hellbent on pushing her agenda? Isn’t there anyone willing to help this vulnerable girl? By the time we meet someone who is, it's too late. The paperwork and questions feel way too personal, way too intrusive. They may be doing their job but to Autumn - and you - it's another intrusion.

Never Rarely Sometimes Always packs an emotional punch that's guaranteed to stick. I might even call it important considering the current climate. Certainly, this is one of the year's best. (November 15, 2020)

[doomonfilm]

Review : Never Rarely Sometimes Always

Youth-driven stories are nothing new to American cinema, but the scale of content often tips towards the lighter side of things.  Every once in a blue moon, though, we are given an honest look at the teenage condition that does not sugar coat or shield us from the darker sides of that experience.  Teen pregnancy is a problem that all generations tend to face, and while film is a medium that provides us an ability to look at these issues through a different lens, we are often beset with the machinations of Hollywood in the form of tropes and undercutting quips.  For Never Rarely Sometimes Always, we are given a stripped down, uncut and very real look at the pressures a pregnant teenage would face, and the infinitely challenging choice between life or the termination of it.

Teenage outside Autumn Callahan (Sidney Flanigan), after an extended bout with sickness, begins to suspect that she may be pregnant.  After visiting a crisis pregnancy center and taking a test, her fears are confirmed.  Autumn hides the secret from her mother (Sharon Van Etten) and her stepfather Ted (Ryan Eggold) while attempting to live as normal a life as she can, but after failed attempts at a miscarriage, she eventually confides in her cousin and closest confidant Skylar (Talia Ryder).�� With the walls closing in on Autumn, and abortion not being a legal option in Pennsylvania, the duo makes plans to head to New York in hopes of finding an option to terminate Autumn’s pregnancy.

The mental anguish and actual stress that comes with an unplanned teenage pregnancy is laid out in a very straight-forward manner, without the extra flourish that normally pairs with the situation in other films.  While there are family troubles and rude interactions from peers in Autumn’s world, not to mention the burden of school and a part time job, the lion’s share of the attention is devoted to Autumn’s personal moments, the support of Skylar, and the incredibly difficult decision to terminate the pregnancy.  Due to this focus on the toughest moments in Autumn’s life, and her contemplative silence that accompanies these moments, the viewer is not given the normal outlets and humorous asides that ease their experience.  It is painfully obvious that Autumn has massive regrets from her moment of discovery to the completion of the termination, but you can also see her weigh these regrets against the reality of bringing a new life into her already tough situation, and with all of the cards out on the table her decisions are presented without judgement.

It is this lack of judgmental gaze that really allows the film the work.  There are no self-righteous speeches delivered to Autumn, and outside of the introductory moments that set up Autumn’s place in the world, there are no jokes made at her expense by her peers.  Her boss is much more worried about having cute teenagers working registers than whatever the cause of Autumn’s sickness is, and customers aren’t used in comparison or contrast to examine Autumn’s so-called “bad decisions”.  Autumn is the eye of this storm, and the film makes sure that we know this, understand this, and carry the weight of her life with her, which deepens the impact of the viewing experience.

The color grading is warm and nostalgic, which makes the story inviting rather than trying to set a somber or depressing tone.  This look really allows the viewer to come in with an open mind and an emotional clean slate.  The dialogue is minimal and true to life, with sanctimonious monologues and witty banter moved to the side for efficient talk between characters that makes their relationships instantly understandable.  The warmness also recedes as the location switches to New York, making things much more direct and to the point, and enhancing the transactional interactions on both Autumn and Skylar’s side.  The film is well-cast, with the young leads more than stepping up to the plate in terms of handling the ups and downs of such an emotionally taxing narrative.

Sidney Flanigan is powerfully subtle in her ability to emote deep, dark realms of thought simply through a distant stare of a contemplative gaze, very much embodying the way that we often hide life-changing secrets from those who can help and support us.  Talia Ryder brings a cautious optimism to her performance... she is willing to do whatever it takes to assist her cousin, but not so much that she is blind to or ignorant of potential dangerous people and situations.  Théodore Pellerin inhabits the role of a hormone-driven teenager perfectly, presenting a paper-thin casual guise that hides a clear and present attraction to Ryder’s portrayal of Skylar, and fueling a tension that runs alternative to the natural tension found in Flanigan’s journey as Autumn.  This core group handles a vast majority of the acting work, with performances by Ryan Egoold, Sharon Van Etten and a group of supporting actors filling out the minimalist cast.

Never Rarely Sometimes Always is a powerful watch, which is an impressive feat considering it doesn’t way heavily on gimmicks and tropes.  It really and truly works best in its quiet, observational manner, as this space that is generally taken up by narrative noise remains vacant, which in turn almost forces the viewer to fill in that space with their own thoughts, reflections and worries.

[geekbroll]

Never Rarely Sometimes Always - Hit theaters in limited release the same weekend that Bloodshot  did, March 13th. It was theoretically several weeks away from opening here in Portland. Before the world ended.  Now this weekend the movie is available as a $19.99 Rental on VOD spots like Amazon. https://amazon.com/Rarely-Sometimes-Always-Sidney-Flanigan/dp/B085N6NHMV https://www.youtube.com/watch?v=BMWm6id4kQ0 https://www.fandangonow.com/details/movie/never-rarely-sometimes-always-2020/MMV952958F26C32691AD1B0A19C50A94F589MWm6id4kQ0 Who's Involved: Eliza Hittman (writer/director), Talia Ryder, Sidney Flanigan, Ryan Eggold, Adele Romanski, Sara Murphy, Théodore Pellerin, Sharon Van Etten, Rose Garnett Plot: The story focuses on two teenage girls in rural Pennsylvania. Faced with an unintended pregnancy and a lack of local support, Autumn and her cousin Skylar embark on a brave, fraught journey across state lines to New York City. Trailer: https://www.youtube.com/watch?v=hjw_QTKr2rc   Here’s a list of upcoming movies. It lists a bunch of upcoming streaming. And a bunch of stuff has not yet been cancelled or postponed, for whatever reason. https://www.movieinsider.com/movies/2020   Seberg, a biopic about Jean Seberg starring Kristen Stewart, got a limited release that never got to go wide. The poster for the movie on Amazon, lists it as an Amazon Original, but the movie still has not yet hit Prime Video. https://amazon.com/Seberg-Kristen-Stewart/dp/B084H33WSZ     #neverrarelysometimesalways #newmovies2020 #bloodshot #focusfeatures #SidneyFlanigan #RyanEggold #TaliaRyder #abortion #waronwomen #plannedparenthood #autumn #skylar #pennsylvania #ElizaHittman #fandango #vod #primevideo #youtube #newreleases #endoftheworld #seberg #jeanseberg #kristenstewart    (at Portland, Oregon) https://www.instagram.com/p/B-kj5v5BZei/?igshid=9hbeet0qlzfo

[audisj]

I saw this coming the very first episode @nbcnewamsterdam @freemaofficial Will we dare it will happen? #RyanEggold https://www.instagram.com/p/Bu9-CpOBi3w/?utm_source=ig_tumblr_share&igshid=ud6fm723enbo

[noreenindie]

[verenetta]

View this post on Instagram

A post shared by Verenetta Johnson (@verenetta)

@officialspikelee Did a excellent job‼️ #bravo #Blackkklansman is a must see‼️ #5Stars . . . #spikelee #aSpikeLeeJoint #johndavidwashington #adamdriver #lauraharrier #harrybelafonte #jasperpaakkonen #tophergrace #coreyhawkins #ryaneggold #michaelbuscemi @blackkklansman #robertjohnburke #paulwalterhauser #ashlieatkinson #isiahwhitlockjr #mumsdaschemer #damarislewis

[film-book]

‎

NEW AMSTERDAM: Season 5, Episode 9: The Empty Spaces / Episode 10: Don't Do This for Me TV Show Trailer [NBC] https://film-book.com/new-amsterdam-season-5-episode-9-the-empty-spaces-episode-10-dont-do-this-for-me-tv-show-trailer-nbc/?feed_id=113268&_unique_id=637557609c3bb

[bbottone]

#EmmyAwards nominations has been announced on July 12, 2018 by Ryan Eggold and Samira Wiley. The ceremony will be held on September 17, 2018, at the Microsoft Theater in Downtown Los Angeles, California, and will be broadcast by NBC. The ceremony will be hosted by Michael Che and Colin Jost. What do you think of this year nominees?! #HollywoodCiak #Emmys #Emmys2018 #RyanEggold #SamiraWiley #nomination #awards #tv #NBC #followmw

[notjustamomsworld]

@nbcnewamsterdam 🎬Una más de la lista en MEGA FAVORITAS👌ESPERANDO LA 4a temporada🤩‼en calidad de URGENTE😁🇸🇳

⚠👉El doctor Max Goodwin, un médico recién llegado, rompe las reglas del hospital público más antiguo de los Estados Unidos, aunque lo hace porque tiene un buen propósito: desmantelar tanta burocracia y mejorar los servicios hospitalarios.😊 Cantidad de temporadas: 3 Cantidad de episodios: 41 Protagonistas: Ryan Eggold; Freema Agyeman; Janet Montgomery; Jocko Sims; Anupam Kher; Tyler Labine Basado en: Twelve Patients: Life and Death at Bellevue Hospital; de Eric Manheimer N.º de episodios: 40 . . . . . . . . . . . . . . #newamsterdam #newamsterdamvodka #series #serie #medicos #seriedemedicos #medics #doctor #dramaseries #drama #ryaneggold @ryaneggold #abcseries #freemaagyeman @freemaofficial (en Malecon Coatzacoalcos, veracruz

[brokeen1]

“Todos temos um lado cujo o mundo desconhece.”

[yanarchy072]

・ ・　 『17歳の瞳に映る世界』観た。 ・ ラストの安堵感は不意に殴られた様な衝撃だった！ 女子は勿論観た方が良いが、(自分はフェミニストではないが)寧ろ男(漢)の方が観た方が良い。 究極の選択という2択はあるが、原題の「Never Rarely Sometimes Always」は“一度もない、めったにない、時々、いつも”という正直で悲痛な4択の意味。 “一度もない”と「うんうん！」と共感する男子は0.1%もいないだろうし、勿論自分も耳が痛かったし、逆に99.9%の男(漢)の中で尤もぶって嘯く様な輩がいたら相当な聖人君子気取りだね(笑) ・ ところで、邦題の「17歳の瞳に映る世界」の意味が分かった。 なんとも！純文学的で目から鱗！このタイトル付けた人は神だね！ 主人公である2人の17歳女子の目線(ある意味“視点”)が異様なまでに男(漢)の本質を掘り起こす！ 裏返してみれば、男(漢)を本能的に上手に使うコトが出来るのは女子なのかもしれない。 ・ #17歳の瞳に映る世界 #NeverRarelySometimesAlways #エリザヒットマン #ElizaHittman #バリージェンキンス #BarryJenkins ・ #シドニーフラニガン #SidneyFlanigan #タリアライダー #TaliaRyder #ライアンエッゴールド #RyanEggold #シャロンヴァンエッテン #SharonVanEtten ・ #フォーカスフィーチャーズ #FocusFeatures #ドラマ映画 #dramafilm ・ #映画 #movie #ビバムビ #instamovie #moviestagram #instagood #instapic ・ #staysafe #socialdistancing #withコロナ #newnormal (シネクイント) https://www.instagram.com/p/CR_KA6vrhlU/?utm_medium=tumblr

[doomonfilm]

Review : BlacKkKlansman (2018)

Here we are, 30 years in, and Spike Lee just continues to get better and better.  In fact, it was almost 30 years ago that Mo’ Betta Blues marked the first time that Spike teamed up with Denzel Washington, eventually helping evolve him rom a standout supporting actor to the icon and legend he is today.  Now, here we are, Spike directing Denzel’s son in what will more than likely go down as an iconic performance in the standout film BlacKkKlansman.    

It’s 1972, and Ron Stallworth (John David Washington) has his sights set on breaking the color barrier on the Colorado Springs Police Department by becoming the first black detective.  Upon hiring, he immediately establishes himself by attending the Black Student Union of Colorado College sponsored speech of Kwame Ture (Corey Hawkins), formerly Stokley Carmichael, while wearing a wire.  To his good fortune, he meets Black Student Union president Patrice Dumas (Laura Harrier), and a connection is sparked.  His next assignment, however, puts him on the map : infiltrating the Organization (read, the KKK) via phone conversations and a physical presence via fellow detective Flip Zimmerman (Adam Driver).  The plan is effective enough to put Stallworth on the map of Grand Wizard turned National Director David Duke (Topher Grace), but it does not escape the suspicion of Colorado Springs chapter member Felix Kendrickson (Jasper Paakonen), despite support for Stallworth by key Organization member Walter Breachway (Ryan Eggold).  With danger and tensions rising between the black and white communities of Colorado Springs, the combined Ron Stallworth attempts to thwart the growth of the Organization and keep peace in the community. 

While containing many of the key Spike Lee visual and thematic earmarks present in all of his films, something about BlacKkKlansman and it’s balance in both narrative and presentation resonates stronger than anything he’s directed since Malcolm X.  The aforementioned tools like the floating actor shot do show up, but new tools are used to great effect.  During the Kwame Ture speech in the film, Ture focuses on identity and self-value, and Lee emphasizes this sentiment through beautiful portrait-style close ups of individual audience members against a black background, presented like a collage.  The effect is striking, working on both a literal and emotional level, and deepening our involvement on the side of the protagonist.  Spike also manages to drop a handful of knowledge on the viewers, as well as a few points of modern day relevance, with a great amount of uncomfortable humor thrown in for good measure. 

The power struggles presented in this film and the way that they are interwoven without being wholly dependent on one another is key as well.  Stallworth is dealing with a power of identity in the realm of respect deserved to him as a man in a profession not known for its sympathy to black folks.  Felix and Flip fight both a literal power struggle (in regards to who will run the organization) and a symbolic one (in regards to Flip constantly being challenged by Felix on whether or not he is Jewish).  The Black Student Union is fighting a power struggle against the powers that be for equality and identity, while the Organization is fighting a power struggle in hopes of taking their publicly perceived identity back in order to reshape and resell it to new generations.  

From my understanding, the film originally was meant to end within the world of the original narrative, with a standard Spike Lee-esque symbolic closing shot to nail down the idea.  During post-production, however, the Charlotte demonstrations took place during the early days of the Trump presidency, and like a gift from God himself, David Duke found himself wholly relevant once again, amazingly for the exact same issues raised within the film itself, meaning Spike’s original intended motif of how even great victories can be tainted by everlasting negative mindsets, was suddenly illustrated front in center in the modern day.  This lead to a compelling set of additions at the end of the film that left myself and many members of the audience crying and silent, further demonstrating the power of Spike Lee’s statement.

John David Washington is amazingly charismatic in this film, commanding himself in a performance that makes it nearly impossible not to instantly fall in love with seeing him on the screen.  Adam Driver continues to show his dynamic range by finding all of the key elements for his character to compliment Washington’s performance, therefore managing to give him an equally compelling performance without either actor detracting from one another.  Laura Harrier plays the romantic interest sufficiently while managing to carve out her own identity, although she is slightly underused and is sometimes purely included to help move things forward.  Topher Grace hits us with another charming portrayal of a morally deficient individual (similar to his performance in American Ultra), finding a perfect balance between realistic and slightly dopey with high hopes for power.  Ryan Eggold and Paul Walter Hauser reel you in as members of the Colorado Springs branch of the Organization, but it’s the performance of Jasper Paakonen that truly stands out in that bunch, with his intensity and commanding nature working at a perfect smolder, with the ever present sense of danger emanating right off of him.  Ashlie Atkinson and Corey Hawkins also turn in notable performances, and memorable appearances from Harry Belafonte, Alec Baldwin and Danny Glover also deserve mention. 

Spike Lee continues to make films wholly relevant to both the current times we live in, and the history that has led us straight to these times.  BlacKkKlansman is a standout film, and a truly important one that is much needed right now.