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pretoriuspictures · 4 years ago

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https://www.talkhouse.com/on-the-virtues-of-cinematic-failure/

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Most journalists who have spoken to me about my new erotic drama PVT Chat (starring Peter Vack and Julia Fox and streaming now on most VOD platforms) assume it’s my first feature film. Actually, it’s my third. My first two features never played a single film festival and haven’t been seen by more than a few hundred people (mostly friends and/or curious followers of my rock band, Bodega). They were financial failures (even though they were made extremely cheaply), but you couldn’t call them critical failures because nobody has ever reviewed them. I spent the last decade working on these films and yet their cultural footprint is practically nonexistent.

Despite that, I still believe in them and hope one day I’ll make a movie (or record) that inspires people to seek them out. My early cinematic attempts certainly failed at behaving like normal movies, but to me it is precisely this failure that makes them interesting.

Godard said of Pierrot le Fou (1965), “It’s not really a film. It’s an attempt at a film.” This is a purposefully cryptic statement, but I think I understand what he meant. There is a sketch-like quality to his films from that period. He was less interested in following a particular plot through to its conclusion than suggesting narrative ideas and moving on. He enjoyed employing classical narrative tropes but didn’t want to waste screen time on the proper pacing required to sell those tropes to an audience. Instead he filled his screen time with spontaneous personal, poetic, and political ruminations that occurred to him literally on the day of filming. Many found – and still find – this approach infuriating, but for a select number of Godard disciples, like me, this type of filmmaking is still revolutionary. I remember seeing Weekend during my sophomore year of college at the University of South Carolina and having my mind completely ripped open. Suddenly the world wasn’t a small, mediocre, predictable place – it was full of music and color and philosophy and eroticism. There were people out there genuinely disgusted with the status quo and boldly proclaiming it with style.

Godard’s work is a fulfillment of the dream of the caméra-stylo – a term coined in 1948 by Alexandre Astruc that argued it was theoretically possible for someone to compose a film with as much direct personal expression as exists in prose. In order to achieve this level of expression, one often needs to move beyond the realm of mere plot and narrative naturalism, the principle that what you are seeing on screen is real. (On most movie sets, the filmmakers and actors work overtime to sell this illusion.) Films that focus solely on plot, character psychology, and one literary theme have to direct the majority of their screen time toward plotting mechanics and emotional manipulation of the audience. What you gain in dramatic catharsis you often lose in intellectual honesty. There’s always a tradeoff. I am invested in a cinema of the future that veers toward self-expression, but doesn’t need to avoid dramatic catharsis as Godard’s films did. Certainly many filmmakers my age are working to achieve such a synthesis of intellectual directness and narrative pleasure. Experimentation is required and many “bad” films need to be made to pave the way for future successes.

I graduated college in 2010 high on this dream of the caméra-stylo and philosophy (my field of study) and in 2011 started filming my first feature, Annunciation, with experimental filmmaker Simon Liu. Annunciation is an “adaptation” of the Mérode Altarpiece, an early Northern Renaissance oil painting triptych by Robert Campin. The film features three short separate narratives, one for each panel of the famous 15th-century painting. I wanted the performances in Annunciation to be controlled and somewhat surreal, as if the whole film existed in a heightened but slowed-down hypnotic state; I was thinking about Bresson, Ozu, Antonioni and, of course, Godard (particularly his work from the ’80s). There is some plot, but the main goal of the movie was to reveal the miracle of existence in the everyday. And because the Mérode Altarpiece depicts the scene in Christianity where the Virgin Mary was impregnated by light alone, the film had to be shot on 16mm film.

Now picture this: a 22-year-old walks into a conference room in Midtown Manhattan and gives this pitch to a producer who was then investing in thriller movies: “Every time light strikes a piece of celluloid, a miracle similar to the Annunciation scene occurs: an image appears in the likeness of man that redeems our fallen world and reveals it to be the beautiful place that we take for granted in our normal day-to-day.” This wasn’t met with the enthusiasm I was hoping for. “Don’t you see,” I said, “this is a film about the ecstatic of the quotidian! This is a film that audiences will flock to! It could do for Williamsburg and Bushwick what Breathless did for Paris!” Looking back, I am both shocked and charmed by my youthful naiveté, courage and idiocy.

I was laughed out of the room, but the producer was kind enough to wish me good luck and welcomed any future pitches, should I come up with something any “normal” person would want to watch. I never thought of films in the tradition of the caméra-stylo as being elite works only for the gallery or the Academy. I, like Godard before me, have always assumed that audiences are intelligent and long for thoughtful, challenging movies. That belief I carry to this day and thankfully it sometimes seems to be true. How else could you explain the recent success of heady films by Josephine Decker or Miranda July?

Thanks to small donations from family members (and credit cards), I was able to shoot Annunciation without any official backing. I cast the film with a mixture of non-actor friends and some undiscovered Backstage.com talent and dove head first into the production. Right as our principal photography began, Occupy Wall Street gained momentum, so Simon and I spent time at Zuccotti Park filming our actors experiencing the movement. The hopeful promise of OWS seemed to reflect the yearning desire of our film’s protagonists as well as our own idealist cinema experiment.

When the film was finished and edited, I naively assumed that we were well on our way towards global cinematic notoriety. Surely, I thought, this important film that manages to blend fiction with actual footage of OWS would premiere at Cannes or Berlin and the Criterion Collection would issue the DVD shortly after. In actuality, it was rejected from every single film festival we submitted to.

Undeterred, I conceded that maybe there were a few minor structural flaws in the edit. It was probably a little too long and perhaps the three separate narratives would work better if they were crosscut more. A year later, this new edit was again rejected from almost 100 festivals. Stubbornly, I thought that perhaps what could really bring the movie together was a comic voiceover by my then cinematic muse Nick Alden (who is a lead in both Annunciation and my second film, The Lion’s Den). Audiences seemed to ignore the comic tone underlying Annunciation. If only I could unearth it, they wouldn’t be put off by the pretensions to greatness the movie wore on its sleeve. There is nothing so offensive to American audiences as pretentiousness.

I didn’t send the overcooked voiceover version to festivals. I knew it was forced and worked against the core concept of the film. But it was then that I started for the first time to have doubts about Annunciation. Maybe my film wasn’t as emotional or clever as I imagined. Maybe it was bad? “No,” I decided. The film, whatever its flaws may be, has value. Herculean delusions of grandeur come in handy when you are trying to become an artist.

I opted to edit the film back to its original state, but without some of the weaker, obviously didactic moments, then hosted a few local screenings in NYC (most of them at DIY venues where my rock band would play) and put the film up for free on Vimeo. Around this time, it occurred to me that editing Annunciation had been my film school. Failure is a wonderful learning tool. Editing the same raw material in a myriad of different ways taught me about pacing and tone. Still to this day, when I find myself in a certain state of mind, I open up the Final Cut sessions and do a new edit of the footage just for fun, like some sort of DIY George Lucas tinkering with the past. Last year during quarantine, I did a new edit of Annunciation and uploaded it to Vimeo without telling a single person. It has become my own little cinematic sandbox to play in.

When people did chance upon one of my myriad edits, they often commented that they enjoyed its style but found the acting too unnatural. My response to this was to make my next film, The Lion’s Den, a cheaper HDV feature that doubled as a political farce and an essay about naturalism in cinema. The film is about a group of ding-dong radicals who kidnap a Wall Street banker and plan to donate his ransom money to UNICEF so salt pills can be provided for dehydrated children. The UNICEF plot was drawn from Living High and Letting Die, a 1996 work of moral philosophy by Peter K. Unger. It was both a serious attempt at political philosophy and a total slapstick farce; I was imagining the comedy of errors in Renoir’s The Rules of the Game mixed with the Marxist agitprop of Godard’s La Chinoise.

The acting style in The Lion’s Den was purposefully cartoonish; at no point in the film could an audience member believe that what they were seeing was real. I like to think that The Lion’s Den was an attempt at theatre for the camera, part Shakespeare and part Brecht. This was my own personal response to our epoch’s hyperrealism fetish. At the time, I believed that the current obsession with neo-neorealism, mumblecore and reality TV was worth combating. Art with a realistic aesthetic, I thought then, was inherently conservative and accepting of the political status quo (whether the artists were aware of this or not). Art with an imaginative anti-realistic aesthetic, so I thought, was utopian. It opened new vistas and ways of thinking and being. It dared to believe in a more beautiful world than the one we are living in.

The making of The Lion’s Den was extremely difficult. It was by far the hardest thing I have physically done in my life. At the time, I was malnourished and broke, not unlike the character of Jack in PVT Chat; my diet for that month we made the film consisted mostly of coffee, rice and beans, ramen, light beer, and the occasional waffle or fruit smoothie from the vegan frozen yogurt stall I worked at. Unlike Jack, my addiction wasn’t cam girls or internet gambling, but independent filmmaking. I begged, borrowed and scrimped $10,000 to make a film I knew I wouldn’t be able to sell. Despite having some key collaborators near the beginning of the shoot, most of the film was made with just me, the actors and a loyal boom operator, all living together in a house in Staten Island. This meant that I had to assemble all of the cumbersome lights for every setup, handle the art for every scene (which involved a lot of painting), block the scene and direct the actors, throw the camera on my shoulder and film, and then at the end of the day transfer the footage while logging the Screen Actors Guild reports and creating the call sheets for the next day’s scenes. Exhausted both mentally and physically, I often couldn’t stand up at the end of the day’s filming.

Once we’d wrapped and everyone had gone home, I stood in the middle of our set and played Beethoven on my headphones. Within seconds, I began bawling my eyes out, partly from exhaustion but also from the melancholy that all my friends had left and I was now alone for the first time in a month. I collapsed and slept for hours. When I woke up, it was my 26th birthday. I celebrated by watching Citizen Kane alone and then started the process of painting the walls back to a neutral white. The actor Kevin Moccia (who has been in all three of my films and actually works as a house painter) heroically came back to set and helped me. I told him that despite all of the agony of the past weeks (my bank account was now in the red, with overdraft fees piling up), I was happier than I had ever been. Working passionately on something that has great value to you is, without a doubt, the key to happiness.

Shortly after returning to the real world and my job at the vegan yogurt shop, I passed out while on the clock and was taken to a hospital by my very supportive girlfriend. Turns out, all I needed was an IV and some nutrients to get back on my feet, but unfortunately the trouble with The Lion’s Den had just begun. At some point, I formatted the production audio memory card and, in one instant, accidentally deleted everything on it. For the next two years, my friend Brian Goodheart and I worked with all of the actors to dub all of the dialogue and sound effects in the movie. Each actor had to completely re-do their verbal performance. It felt like remaking the entire movie. The result made the film especially un-naturalistic (which pleased me at the time) and it turned out far better than I think Brian and I expected.

By then, I had some hopes that The Lion’s Den could reach a small audience. It is aggressively philosophical but also features a love triangle, a car chase and a final shootout. Its comic style, I was hoping, would attract people who were put off by the purposeful flatness of Annunciation. Nevertheless, the movie was also rejected from every conceivable festival. I now realized that submitting an aggressively experimental narrative film without a single famous person in it to festivals is basically like flushing your money down the toilet. Yet I continued submitting, like an addict at a casino putting all of their savings on the roulette table. You never know, right?

In hindsight, I now see The Lion’s Den as a very angry film that perhaps uses comedy to soften the blow of some of its hotheaded fervor, and suspect some of its critique of capitalism and naturalism came from hurt and jealousy. “You think my work isn’t natural enough, eh? I’ll show you motherfuckers naturalism!”

Sometime in 2017, to my surprise I became smitten with certain neo-neorealist filmmakers (Joe Swanberg, in particular) and decided I wanted in on the mumblecore party, albeit from my own outsider perspective. I began to see how I could work symbolically with naturalistic performances, which led me to my latest film. PVT Chat is by no means a work of strict realism, but nevertheless focuses on believable dramatic performances. The film’s cast blends some actors from my past work (Kevin Moccia, Nikki Belfiglio, David White) with some heroes of the modern neo-neorealist indie cinema (Peter Vack, Julia Fox, Buddy Duress, Keith Poulson).

I want to end with a bit of advice to other filmmakers: Don’t put your self-worth into the hands of festival reviewers or distributors. The future of the moving image will belong to the films that are willing to risk cinematic failure. If you make an earnest film that doesn’t behave like a normal movie, I want to see it, even if it is full of technical or narrative mistakes (which it most likely will be). There’s no right way to make a movie. Follow the dream of the caméra-stylo and make a film that if nobody else made, wouldn’t exist.

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thesinglesjukebox · 5 years ago

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JACOB COLLIER FT. KIMBRA & TANK AND THE BANGAS - IN MY BONES

[5.56]

If funk is exuding from your bones, you may be being used to make stock...

David Moore: This song has everything: Seinfeld slap bass, cartoon elephant ribcage percussion, multi-tracked falsetto approximations of exclamation points, audible pixelated firework GIFs, smeared squeals, spirit week clap 'n' stomp, huffs, puffs, boings, sproings, terrible rapping (blame Jacob, I think), competent rapping (thank Tank, I'm sure), time signature fuckery of the highest order, and the thorniest chord chart this side of a Steely Dan parody. What it lacks, unfortunately, is any semblance of funk, despite repeated invocations of the stuff. [4]

Kylo Nocom: Jacob Collier, notorious for making music theory a brand, collaborates with pop's biggest studio genius and a Tiny Desk Concert winner to release this. It's likely to be dismissed as NPR-sanctioned Fun, a tasteful enemy to the more vulgar forms of genre-blending that populate Minecraft music festivals. And I get it! The last time we talked about something like this, everyone who liked it had to qualify themselves because nobody wants to admit to sincerely enjoying Berklee funk. So much of "In My Bones" makes me want to hate it immediately, but somehow, they deliver something great! Kimbra's squeals and yelps counter Collier's nerdier impulses and push the song into nerd-crush song territory, while Tank's rapping launches the song into a higher plane of ridiculousness. That's not to mention the fantastic rhythm section, the interpolation of "Don't Stop 'Til You Get Enough," and the ridiculous usage of "tintinnabulation." Every possible negative description I can come up with ("the regressive children's show indie-quirk that would've been fashionable in 2011," "mistakes sound effects and showing off polyphony for actual songwriting," "the shit that will have us suffering through more Bill Wurtz") just sounds like something unmistakably up my alley. [9]

Oliver Maier: Collier hits on the same problems as usual, aiming for a kind of proggy, pan-musical utopianism and instead arriving in Wackyland. His approach incorporates feats of musical theory that I have no doubt are technically brilliant and far beyond my grasp, but the effect is exhausting 1080p slapstick, desperate to entertain but without any sense of feeling, let alone a funky one. Collier includes a reference to To Pimp A Butterfly in his pitched-up rap verse alongside Tank (of the Bangas), but their main takeaway from that album seems to have been that sometimes you can rap in a really annoying voice. Kimbra is charming when she and Collier aren't duetting Windows startup jingles. [1]

Alfred Soto: The smug polyphony is the intention and problem: fun and/or Meghan Trainor singing 1983-era Heaven 17. The slap bass runs, massed harmonies, and disregard for melody lines might be cool to stage, I guess. [4]

Katherine St Asaph: Like you handed a couple of kids "Sat In Your Lap," "Can't Stop the Feeling," some Prince stems, a couple dozen gecs, and a defective blender, except -- much like the actual Kate Bush/Prince collaboration -- not as good as that sounds. When (not if) you find something in this song obnoxious, fear not; it'll be gone in five seconds. Of course this goes for the parts you like, too, and while it's hard to latch onto them in this cacophonous GamemasterAnthony maelstrom of an arrangement, the obnoxious parts come through just fine. Everything good -- that descending riff I swear is the demo song from an old Yamaha, the crush lyrics that at least match words to whirlwind -- is fleeting. And everything bad is hyper-amplified: the barrels of quirk poured into what might have been a groove, the vwoips and squeaks crowding out what might have been a throughline, and the main vocalist who wants to be Craig David but actually is soulDecision. [4]

Nortey Dowuona: I don't like Jacob Collier. He seems like another Robin Thicke, and I thought we learned our lesson the last time. But at least the bass and drums spin into a swirly mix that presses him against the glass, while Kimbra sinks in and gets stuck as Jacob tries and fails to find his way over to her. As I wonder how Jacob has been trapped in this expensive Tyler Perry house, I see MonoNeon and Tank chillin' outside, Tank spitting silly rhymes quickly, before hopping in her tank to blow up the house and send Jacob and Kimbra high into the clouds. I say all this to say: as long as he doesn't show up to the YouTube Music Awards with Rowan Blanchard twerking on him, I approve of Jacob Collier. [8]

Katie Gill: This is exactly what Justin Timberlake wants to do but is too mainstream to actually do. "In My Bones" takes the self-referential, 1970s-flavored, falsetto-tinged skeleton of songs like "Can't Stop This Feeling" or "The Other Side" and blasts it into its full, dancing glory, rather than keeping it neutered enough for Kidz Bop albums, end-credits dance parties, and family-friendly radio stations that only play modern music by people the color of copy paper. This is fun, weird, catchy as hell, gives off some proper funk vibes, and yet still cannot get that coveted [10] as it criminally underuses Tank Ball. Still, it's enough of a jam that I can mostly overlook that sin. [8]

Juana Giaimo: This is seriously one of the most annoying songs I have heard in a long time. It doesn't have the carefree, happy feeling of funk. Instead, the lack of balance makes it sound like a ball of nerves about to explode. [3]

Wayne Weizhen Zhang: Futuristic and atavistic, structured and unpredictable, earthbound and phantasmagorical, referential and errant, maximalist, camp, funk, chaos: I'm running out of adjectives to describe this! The percussion in this track feels like the mad machinations of a sentient robot. There are so few times as a music fan that you can genuinely say something sounds like nothing else you've ever heard before, but when it happens, it feels like being knocked off your feet in the best way possible. [9]

[Read, comment and vote on The Singles Jukebox]

#Jacob Collier #Kimbra #Tank and the Bengas #pop #music #music review

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dweemeister · 5 years ago

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2019 Movie Odyssey Awards

As the 2019 Movie Odyssey Award for Best Original Song final was extended, the 2019 Movie Odyssey Awards themselves are late. As always, this is the annual awards ceremony to recognize a year of films that I saw for the first time in their entirety in the calendar year. All films featured - with the exception of those in the Worst Picture category (and even then, the Worst Picture winner won a competitive award below) - are worth seeing.

The full list of every single film I saw as part of the 2019 Movie Odyssey can be seen in this link.

Best Pictures (I name ten winners, none of which are distinguished above the other nine)

The Ascent (1977, Soviet Union)

An Autumn Afternoon (1962, Japan)

BlacKkKlansman (2018)

The Informer (1935)

Kuroneko (1968, Japan)

Once Upon a Time in Hollywood (2019)

Sons of the Desert (1933)

Victor/Victoria (1982)

The Westerner (1940)

Woodstock (1970)

Three of these Best Picture winners received 10/10 from yours truly: The Ascent, Sons of the Desert, and Woodstock. To my discredit, there are - for the second consecutive time - no silent films here. It is also the second consecutive Best Picture lineups without entries from the 1990s or 2000s. This is the first Best Picture lineup without a winner from the 1950s. It is, as a result of my seeing fewer feature-length films than usual this year, the most monolingual Best Picture field in a while. This field of ten runs the gamut of comedy, documentary (Woodstock is only the third documentary of 80 over the last eight years to be a Best Picture winner), horror, musical, American Western, war, family drama, and historical drama.

Best Comedy

Booksmart (2019)

Design for Living (1933)

The Great McGinty (1940)

Jewel Robbery (1932)

Jour de Fête (1949, France)

Sitting Pretty (1948)

Smokey and the Bandit (1977)

Sons of the Desert

Toy Story 4 (2019)

Victor/Victoria

Most of these had me bursting in laughter. Design for Living not Jewel Robbery may not have been gut-burstingly funny, but I appreciate the wittiness of ‘30s romantic comedies and so there get a spot here. Booksmart is the best pure comedy of 2019 and Smokey and the Bandit has been described by a few Southerners of not so much a comedy as it is a documentary of Southern culture in the 1970s. But Sons of the Desert, with Laurel and Hardy’s slapstick mastery, takes it away here. Fun fact: “Sons of the Desert” is the name of the international Laurel and Hardy fan club (its founding documents co-written by Stan Laurel).

Best Musical

Frozen II (2019)

The Happiest Millionaire (1967)

King of Jazz (1930)

Mary Poppins Returns (2018)

The Perils of Pauline (1947)

Rocketman (2019)

Thousands Cheer (1943)

Victor/Victoria

Oh this wasn’t close. Some films here may have packed more songs into their runtime (The Happiest Millionaire and Mary Poppins Returns), others were more fantastical (Rocketman), or dispensed with a plot altogether to concentrate on the music (Thousands Cheer)... but Victor/Victoria felt narratively decades of its time and was bolstered by an outstanding performance by Julie Andrews. Credit to Henry Mancini and Leslie Bricusse for their musical score, too.

Best Animated Feature

Frozen II

Fun and Fancy Free (1947)

How to Train Your Dragon: The Hidden World (2019)

Modest Heroes (2018, Japan)

Toy Story 4

There have been years where some category dries up in its nominees. This year, it was certainly animated feature. The wave of recent non-English language animated films that usually populate this category were severely diminished to just one last year: Modest Heroes. The weakest Toy Story film of the four - note that this bar is extremely high - is your winner, just edging HTTYD.

Best Documentary

The African Lion (1955)

Hale County This Morning, This Evening (2018)

Made in Vietnam (2017)

Minding the Gap (2018)

Pavarotti (2019)

Seadrift (2019)

Walk Run Cha-Cha (2019 short)

While I Breathe, I Hope (2018)

Woodstock

Yellowstone Cubs (1963)

A year that saw yours truly watch many more documentaries than usual sees Woodstock, directed by Michael Wadleigh, as the winner here. Woodstock perfectly immerses the viewer into the totality of the eponymous 1969 music festival of the same name and is one of the great concert films. Runners-up included the experimental Hale County This Morning, This Evening (a collection of contemporary images of black lives in Hale County, Alabama) and the excellent Minding the Gap (an observational glimpse into the lives of three friends from Rockford, Illinois who are all drawn to skateboarding and a devastating portrait of youth and masculinity in America) - both Oscar nominees and both shown on PBS earlier in 2019.

Congratulations to Walk Run Cha-Cha for being the first short film nominated in this category since 2015. I first saw it as part of the curatorial committee on Viet FIlm Fest this year and this New York Times film is now shortlisted as a potential Best Documentary Short Film nominee for the 92nd Academy Awards.

Best Non-English Language Film

The Ascent, Soviet Union

An Autumn Afternoon, Japan

Barnali (1963), India

The Garden of Mr. Vong (2017 short), Germany

Ginger and Fred (1986), Italy

Jour de Fête, France

Kuroneko, Japan

La Pointe Courte (1955), France

Pitfall (1962), Japan

Song Lang (2018), Vietnam

I may have seen fewer non-English language films this year, but there’s still a great selection here. In what was essentially a choice between The Ascent or An Autumn Afternoon, the only 10/10 recipient is the winner here. Vietnam has its first appearance in this category with Leon Le’s Song Lang - which is still making the film festival circuits.

Best Silent Film

Bobby Bumps and His Pointer Pup (1916 short)

Bobby Bumps at the Dentist (1918 short)

Bobby Bumps, Chef (1917 short)

Bobby Bumps in Their Master’s Voice (1921 short)

Bobby Bumps’ Last Smoke (1919 short)

Bobby Bumps Starts for School (1917 short)

The Curse of Quon Gwon: When the Far East Mingles with the West (1916 short)

Dr. Mabuse the Gambler (1922, Germany)

The Racket (1928)

Street Angel (1928)

As you can see, I didn’t see a lot of silent films this year. Dominated by Earl Hurd’s Bobby Bumps series of animated short films - Hurd innovated cel animation, a technique that would be used by pretty much everyone in hand-drawn animation for several decades - the winner is Fritz Lang’s sprawling crime epic, Dr. Mabuse the Gambler. The first Mabuse film is a solid, if imperfect, example of German Expressionism, a movement emphasizing darker stories and production/lighting design depending upon extremely angled sets and high-contrast lights and shadows.

Personal Favorite Film

Booksmart

The Farewell (2019)

House of Usher (1960)

The Moon-Spinners (1964)

Murder, She Said (1961)

One Foot in Heaven (1941)

Smokey and the Bandit

Sons of the Desert

Toy Story 4

The War of the Worlds (1953)

“I can hear the scratch of rat claws in the stone walls.” I mean, come on. How could one not appreciate Vincent Price’s straight performance in a fun, albeit loose, adaptation of Poe’s The Fall of the House of Usher? Such a great horror movie for an October evening and you don’t want to be scared out your wits. Runners-up were two other literary adaptations: Murder, She Said (adapted from Agatha Christie’s 4.50 from Paddington and starring a fantastic Margaret Rutherford as Ms. Marple) and The War of the Worlds (a chilling adaptation of H.G. Wells’ novel, with special effects convincing for its time and a change of setting to SoCal).

Best Director

Stuart Cooper, Overlord (1975)

John Ford, The Informer

Fritz Lang, Dr. Mabuse the Gambler

Spike Lee, BlacKkKlansman

Laurence Olivier, Henry V (1944)

Yasujirô Ozu, An Autumn Afternoon

Irving Rapper, One Foot in Heaven

Larisa Shepitko, The Ascent

Kaneto Shindô, Kuroneko

Michael Wadleigh, Woodstock

By no agenda at all, we have our first woman winner in Best Director. Shepitko directs her film with the utmost discipline and interest; it is to cinema’s misfortune that she died so young. Other considerations were Ford, Olivier, Ozu, and Wadleigh.

Best Acting Ensemble

An Autumn Afternoon

BlacKkKlansman

The Farewell

The Great McGinty

The Holly and the Ivy (1952)

O Brother, Where Art Thou? (2000)

Once Upon a Time in Hollywood

One Foot in Heaven

Victor/Victoria

The Whales of August (1987)

Standout performances alone don’t always triumph here, nor do big names. So when it comes to collective performances, there was a wealth of options from the 2019 Movie Odyssey. Just edging An Autumn Afternoon (recommended for those who have seen several Ozu films) and The Whales of August (which I would recommend for those who have seen plenty of Bette Davis, Lillian Gish, and Vincent Price) is The Farewell. What surprised me most about the movie was how well-directed it was. I came into it expecting it to be poignantly written, but the caliber of acting from the cast was astoundingly high.

Best Actor

Demián Bichir, A Better Life (2011)

Yul Brynner, Anastasia

Rudolf Klein-Rogge, Dr. Mabuse the Gambler

Fredric March, One Foot in Heaven

Marcello Mastroianni, Ginger and Fred

Victor McLaglen, The Informer

Laurence Olivier, Henry V

Vincent Price, House of Usher

Burt Reynolds, Smokey and the Bandit

Edward G. Robinson, Little Caesar (1931)

Somewhat forgotten amid more popular John Ford films is The Informer. And with that, mostly forgotten is Victor McLaglen’s performance. McLaglen was a major star who peaked in the late 1920s and 1930s, mostly playing Irish drunks even though he himself was of English origin. He was relegated to supporting roles in the 1940s and beyond. He’s a force of nature as Gypo Nolan in The Informer though, and it is his brute force and physical acting that carries him over the likes March, Olivier, Price, and Robinson (who is my second choice here).

Best Actress

Jane Alexander, The Great White Hope (1970)

Julie Andrews, Victor/Victoria

Constance Bennett, What Price Hollywood? (1932)

Ingrid Bergman, Anastasia

Janet Gaynor, Street Angel

Giulietta Masina, Ginger and Fred

Yûko Mochizuki, Farewell to Dream (1956)

Lupita Nyong’o, Us (2019)

Ann Rutherford, Murder, She Said

Sharmila Tagore, Barnali

What can she not do? We think of Julie Andrews so much as the governess or nanny who makes everything right in the end. For those who don’t know, Andrews stars in Victor/Victoria as Victoria Grant, a struggling song-and-dance lady who, going along with her friend Robert Preston’s get-rich-quick plans, plays a man named Count Victor Grezhinski who plays a woman. Confused? Then you probably haven’t seen the movie (thanks to Blake Andrews’ direction, the film sells the illusion even though we the viewer can see through the disguise). Behind Andrews are Bergman, Nyong’o, and Rutherford.

Best Supporting Actor

Mahershala Ali, Green Book (2018)

Walter Brennan, The Westerner

Jackie Gleason, Smokey and the Bandit

Tom Hanks, A Beautiful Day in the Neighborhood (2019)

Tim Blake Nelson, O Brother, Where Art Thou?

Brad Pitt, Once Upon a Time in Hollywood

Robert Preston, Victor/Victoria

Anatoly Solonitsyn, The Ascent

Akim Tamiroff, The Great McGinty

Eijirô Tôno, Farewell to Dream

Supporting categories tend to like villainous roles. In a faux supporting role, Walter Brennan - that raspy-voiced (because of his exposure to mustard gas while serving in WWI) coot who had the misfortune/fortune? to always look at least sixty or seventy years old - is “Judge” Roy Bean, a hanging judge who holds kangaroo courts in his lawless corner of Texas. Charismatic, out-of-touch, sexist, and silver-tongued is Brennan in this film... and never for a moment is he anything other than a delight to watch (as much as you may hate his character). Within striking distance are Brad Pitt and Akim Solonitsyn.

Best Supporting Actress

Amy Adams, Vice (2018)

Beulah Bondi, One Foot in Heaven

Doris Davenport, The Westerner

Helen Hayes, Anastasia

Holly Hunter, O Brother, Where Art Thou?

Regina King, If Beale Street Could Talk (2018)

Yoshiko Kuga, Farewell to Dream

Maureen O’Hara, Sitting Pretty

Kiwako Taichi, Kuroneko

Lesley Ann Warren, Victor/Victoria

The most recent Oscar winner for Best Supporting Actress does the same thing here for If Beale Street Could Talk. As the mother of the female lead in the film, King is an emotional scene-stealer from the first moment we meet her. Her character’s sojourn to Puerto Rico late in the film solidifies that. Far behind King is Yoshiko Kuga.

Best Adapted Screenplay

Yuri Klepikov and Larisa Shepitko, The Ascent

Charlie Wachtel, David Rabinowitz, Kevin Wilmott, and Spike Lee, BlacKkKlansman

Ben Hecht, Design for Living

Lulu Wang, The Farewell

Howard Sackler, The Great White Hope

Kaneto Shindo, Kuroenko

Dudley Nichols, The Informer

Ethan Coen and Joel Coen, O Brother, Where Art Thou?

Casey Robinson, One Foot in Heaven

F. Hugh Herbert, Sitting Pretty

One Foot in Heaven is a film with its Christian themes on its sleeve. Hell, the film does revolve around a Methodist minister, his family, and the community he serves over the course of a few decades. But it is a film with no need to proselytize, its heart understanding how human suffering can be tempered with mercy and forgiveness. Runners-up were BlacKkKlansman; The Farewell; and O Brother, Where Art Thou?

Best Original Screenplay

James Gray and Ethan Gross, Ad Astra (2019)

Kôgo Noda and Yasujirô Ozu, An Autumn Afternoon

Emily Halpern, Sarah Haskins, Susanna Fogel, and Katie Silberman, Booksmart

Federico Fellini, Tonino Guerra, and Tullio Pinelli, Ginger and Fred

Preston Sturges, The Great McGinty

Rian Johnson, Knives Out (2019)

Quentin Tarantino, Once Upon a Time in Hollywood

Christopher Hudson and Stuart Cooper, Overlord

Kôbô Abe, Pitfall

Oliver Hardy, Jack Barty, Stan Laurel, William A. Seiter, Glenn Tyron, and Eddie Welch, Sons of the Desert

Ozu’s final film shows that, though he usually revolved around familial dramas, never changed his signature visual aesthetic, and demanded little sensational acting, his films were always imbued with a deeply-ingrained humanity - asking complex questions about aspects of our familial or public lives that we would not give a second thought to. Ozu and his frequent collaborator Noda make those mundanities cinematic. That is why he is one of the greatest writer-directors who has ever lived.

Best Cinematography

Hoyte Van Hoytema, Ad Astra

Alfred Milotte and Elma Milotte, The African Lion

Vladimir Chukhnov and Pavel Lebeshev, The Ascent

Robert Krasker, Henry V

Joseph H. August, The Informer

Kiyomi Kuroda, Kuroneko

Roger Deakins, O Brother, Where Art Thou?

John Alcott, Overlord

Paul Ivano and Ernest Palmer, Street Angel

Frank V. Phillips, The Wild Country (1970)

In the history of WWII films, Overlord almost always never gets a mention. But this highly personal story of one young British soldier’s service on D-Day - and its shocking, but realistic ending - is beautifully shot. Runners-up include The Ascent and Kuroneko.

Best Film Editing

Norman R. Palmer, The African Lion

Uncredited, Dr. Mabuse the Gambler

Andrew Buckland, Michael McCusker, and Dirk Westervelt, Ford v Ferrari (2019)

George Hively, The Informer

Alain Resnais, La Pointe Courte

Ethan Coen, Joel Coen, and Tricia Cooke, O Brother, Where Art Thou?

Jonathan Gili, Overlord

Barney Wolf, Street Angel

Everett Douglas, The War of the Worlds

Thelma Schoonmaker, Jere Huggins, Martin Scorsese, Michael Wadleigh, Stanley Warnow, and Yeu-Bun Yee, Woodstock

Taking editing techniques that had been used but not pieced together so masterfully before give the Woodstock team the victory here. Their closest competition came from Ford v Ferrari, Overlord, and The War of the Worlds.

Best Adaptation or Musical Score

An Ton That and Leon Le, and Song Lang

T Bone Burnett, O Brother, Where Art Thou?

Alfonso Corelli and Milton Ager, King of Jazz

Robert Emmett Dolan, The Perils of Pauline

Ian Neil, Rocketman

Robert Lopez and Kristen Anderson-Lopez, Frozen II

Henry Mancini and Leslie Bricusse, Victor/Victoria

Marc Shaiman and Scott Wittman, Mary Poppins Returns

Robert B. Sherman and Richard M. Sherman, The Happiest Millionaire

Herbert Stothart, Thousands Cheer

Every song was an original in Song Lang. And with cải lương a receding artform in Vietnam, what an unlikely shot in the arm Song Lang is - the beauty of its melodies and especially those lyrics. This category, which advantages musical scores over adaptation scores, also saw Mancini and Bricusse nearly take this one.

Best Original Score

Terence Blanchard, BlacKkKlansman

Bronislau Kaper, The Red Badge of Courage (1951)

Alfred Newman, Anastasia

John Powell, How to Train Your Dragon: The Hidden World

Leonard Rosenman, Fantastic Voyage

Alfred Schnittke, The Ascent

Max Steiner, The Informer

Leith Stevens, The War of the Worlds

William Walton, Henry V

John Williams, Star Wars: The Rise of Skywalker (2019)

Not the best field for Original Score, but our winner ranks among the greatest film scores of all time. For the second straight year, a composer better known for their classical music work rather than film scoring has won. Following Ralph Vaughan Williams for 49th Parallel (1941) is fellow Englishman William Walton. For Olivier’s adaptation of Shakespeare’s Henry V, Walton was inspired by Elizabethan music, stunning magisterial fanfares. And, of course, there is the passacaglia “Death of Falstaff��. Walton beats Newman, Steiner, and Williams by a country mile.

Best Original Song

“Are We Dancing?”, music and lyrics by Richard M. Sherman and Robert B. Sherman, The Happiest Millionaire

“Crazy World”, music by Henry Mancini, lyrics by Leslie Bricusse, Victor/Victoria

“East Bound and Down”, music and lyrics by Jerry Reed, Smokey and the Bandit

“I Wish I Didn’t Love You So”, music and lyrics by Frank Loesser, The Perils of Pauline

“(I’m Gonna) Love Me Again”, music by Elton John, lyrics by Bernie Taupin, Rocketman

“Le Jazz Hot!”, music by Henry Macini, lyrics by Leslie Bricusse, Victor/Victoria

“The Next Right Thing”, music and lyrics by Robert Lopez and Kristen Anderson-Lopez, Frozen II

“The Shady Dame from Seville”, music by Henry Mancini, lyrics by Leslie Bricusse, Victor/Victoria

“Trường Tương Tư”, music and lyrics by Leon Le, Song Lang

“Woodstock”, music and lyrics by Joni Mitchell, Woodstock

Thank you all to those who participated in the preliminary and the final round of MOABOS this year!

Best Costume Design

René Hubert, Anastasia

Roger K. Furse, Henry V

Walter Plunkett, The Informer

Herman Rosse, King of Jazz

Yoshio Ueno, Kuroneko

Mary Zophres, O Brother, Where Art Thou?

Sarah Edwards, Ocean’s Eight (2018)

Edith Head and Waldo Angelo, The Perils of Pauline

Ghia Fam, Song Lang

Patricia Norris, Victor/Victoria

There were a handful of films I saw in 2019 that were revue musicals - something that, unless you’re an aficionado of musical theater history or know musical films, is unfamiliar to most people in 2020. A revue musical is a musical that features a collection of musical numbers that serve no narrative purpose when put together, often integrating dance or comedy sketches. Revue musicals were far more popular in the first half of the twentieth century. King of Jazz is an early two-strip Technicolor revue musical and its costume design reflects the extreme stylistic and cultural differences of its musical numbers. Behind King of Jazz are Anastasia and Song Lang.

Best Makeup and Hairstyling

Ma Kalaadevi Ananda and Tony Ward, A Beautiful Day in the Neighborhood

Uncredited, Dr. Mabuse the Gambler

Tony Sforzini and Vivienne Walker, Henry V

Jack P. Pierce, King of Jazz

Shigeo Kobayashi, Kuroneko

Louise McCarthy and Alan D’Angerio, Ocean’s Eight

Wally Westmore, The Perils of Pauline

Le Cam Huong, Song Lang

Greg Cannom, Kate Biscoe, and Patricia Dehaney, Vice

Paul Engelen, Harry Frampton, Peter Frampton, and Bobbie Smith, Victor/Victoria

Damn there was a lot of makeup in this movie, rendering certain actors unrecognizable. As much as despised Vice (more on that shortly), it takes the cake here. Also being considered was Dr. Mabuse the Gambler.

Best Production Design

John Graysmark, Andrej Andrejew, and William C. Andrews, Anastasia

Otto Hunte, Erich Kettelhut, Karl Stahl-Urach, and Karl Vollbrecht, Dr. Mabuse the Gambler

Jack Martin Smith, Dale Hennesy, Walter M. Scott, and Stuart A. Reiss, Fantastic Voyage (1966)

Paul Sheriff and Carmen Dillon, Henry V

Van Nest Polglase and Julia Heron, The Informer

John Myhre and Gordon Sim, Mary Poppins Returns

Anthony Masters, The Moon-Spinners

Cedric Gibbons, Daniel B. Cathcart, Edwin B. Willis, and Jacques Mersereau, Thousands Cheer

Rodger Maus, Tim Hutchinson, William Craig Smith, and Harry Cordwell, Victor/Victoria

Harper Goff, The Vikings (1958)

An absolutely ridiculous German Expressionist classic with ridiculous production design that would not have passed in an era with color. The amount of sets needed would have been mind-boggling. Behind Mabuse is Henry V (credit to the reconstruction of the Globe Theater).

Achievement in Visual Effects (all are winners because it would be unfair to compare the visuals of Ad Astra against 1953′s The War of the Worlds)

Ad Astra

Detective Pikachu (2019)

Fantastic Voyage

Ford v Ferrari

Godzilla: King of the Monsters (2019)

King of Jazz

Niagara (1953)

The War of the Worlds

Worst Picture

Gus (1976)

The Last Flight of Noah’s Ark (1980)

Vice

The World’s Greatest Athlete (1973)

Adam McKay’s conceit for The Big Short (2015) fails spectacularly with Vice - which I found neither funny nor enlightening. It is your “winner” over some pretty culturally insensitive, somewhat entertaining movies that folks who were creating Disney+ probably have not watched.

Honorary Awards:

Kevin Brownlow, for his efforts in silent film preservation

Earl Hurd, for innovating cel animation in film through the Bobby Bumps series

Robert Israel, for his modern-day film scores helping audiences connect to silent films

Jacqueline Stewart, for her scholarship on black cinema in the United States

FILMS WITH MULTIPLE NOMINATIONS (excluding Worst Picture... 48)

Fourteen: Victor/Victoria Nine: The Informer Eight: O Brother, Where Art Thou? Seven: The Ascent; Henry V; Kuroneko Six: Dr. Mabuse the Gambler; One Foot in Heaven Five: An Autumn Afternoon; BlacKkKlansman; King of Jazz; The Perils of Pauline; Smokey and the Bandit; Song Lang; Woodstock Four: Frozen II; Ginger and Fred; The Great McGinty; Once Upon a Time in Hollywood; Overlord; Sons of the Desert; Street Angel; The War of the Worlds Three: Ad Astra; The African Lion; Booksmart; The Farewell; Farewell to Dream; The Happiest Millionaire; Mary Poppins Returns; Rocketman; Sitting Pretty; Thousands Cheer; Toy Story 4; Vice; The Westerner Two: Barnali; A Beautiful Day in the Neighborhood; Design for Living; The Great White Hope; House of Usher; How to Train Your Dragon: The Hidden World; Jour de Fête; La Pointe Courte; The Moon-Spinners; Murder, She Said; Ocean’s Eight; Pitfall

Victor/Victoria’s nominations haul is a record for the Movie Odyssey Awards.

WINNERS (excluding honorary awards and Worst Picture; 28) 3 wins: The Ascent, Victor/Victoria; Woodstock 2 wins: An Autumn Afternoon; Dr. Mabuse the Gambler; The Informer; King of Jazz; Sons of the Desert; The Westerner 1 win: Ad Astra; The Ascent; Detective Pikachu; Fantastic Voyage; The Farewell; Ford v Ferrari; Henry V; House of Usher; Godzilla: King of the Monsters; If Beale Street Could Talk; Kuroneko; Niagara; Once Upon a Time in Hollywood; One Foot in Heaven; Overlord; The Perils of Pauline; Song Lang; Toy Story 4; Vice; The War of the Worlds

85 films were nominated in 26 categories.

#2019 Movie Odyssey Awards #My Movie Odyssey

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recentanimenews · 5 years ago

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Urusei Yatsura Invades Our Hearts with 38 Years of Sci Fi Hijinks

Thirty eight years ago today, the first episode of Urusei Yatsura debuted on Fuji TV, and anime history would never be the same. Based on the breakout hit manga by Rumiko Takahashi, Urusei Yatsura would go on to run for 195 TV episodes, 6 theatrical films, and 12 original animation videos, with the final animated installment to date being released in Japan in 2008.

The story of Lum, the invader girl from beyond the stars, has left an indelible stamp on the world of anime, but many of the younger generation of Western anime fans may wonder why this green-haired oni girl in the tiger-striped bikini has achieved such an iconic status. What makes Urusei Yatsura so special? What gives the series such longevity?

Urusei Yatsura, a pun that translates to “Those Obnoxious Aliens”, begins with a humble high school student: Ataru Moroboshi, whose name is another pun meaning “To Be Hit By a Falling Star." Ataru is perhaps the most unlucky human being in the galaxy, and his ill fortune is matched only by his lecherousness, for his one goal in life is to woo as many girls as possible.

A buffoon, a coward, and a creep, Ataru is a terrible protagonist whose complete lack of positive characteristics is overbalanced by an indefatigable pursuit of every remotely attractive woman to cross his path. One day, this would-be Lothario is selected at random to defend the Earth from an armada of alien invaders from Planet Oni by challenging their champion to a match of “oni gokko” (or “tag”), with the fate of humanity resting on the outcome of the game.

Unfortunately for Ataru, his opponent is Lum Invader, an alien princess and the daughter of the leader of the invasion force. Although she's a scantily-clad beauty with a strange accent - and thus a target for Ataru's lust - Lum is also capable of flying and firing bolts of lightning from her hands. Ataru is completely out-matched, but after his childhood friend and quasi-love interest, Shinobu, offers to marry Ataru if he succeeds in saving the Earth, Ataru resorts to new lows of dirty trickery in order to triumph.

When Ataru finally manages to grab Lum by the horns, he shouts out that he can finally get married, and Lum mistakes his enthusiastic declaration as a marriage proposal. And so Lum moves into the Moroboshi household, bringing her UFO, her friends and relatives, and all sorts of extraterrestrial weirdness along with her. Not wanting to be tied down to just one girl, Ataru constantly tries to ditch his new fiancée and go a-flirting, earning Lum's ire and a barrage of electric shocks for his intended infidelity.

This simple set-up carried Urusei Yatsura for 34 collected manga volumes and 5 years' worth of TV anime episodes, directed first by Mamoru Oshii (Ghost in the Shell) and then by Kazuo Yamazaki, and animated by Studio Pierrot and Studio Deen.

With a combination of crazy characters, science fiction strangeness, copious references to Japanese myths / folktales / urban legends, slapstick comedy, romantic antics, and terrible puns, the series won the hearts of anime fans for generations, to the point where even nearly forty years later, Urusei Yatsura still inspires new merchandise, such as novelty foods, clothing, and life-sized statues of Lum.

Urusei Yatsura is the ur-Takahashi teen romance. The sometimes tender, often antagonistic love / hate relationship between Lum and Ataru serves as the prototype for similar couples in Rumiko Takahashi's other series, such as Ranma and Akane in Ranma 1/2 and Inuyasha and Kagome in Inuyasha. But despite the long shadow that the series casts, younger fans outside of Japan might not know very much about it.

It's mostly a question of access: although North Carolina-based distributors AnimEigo released most of the series on VHS and all of the OAVs (except the 2008 “The Obstacle Course Swim Meet” special), TV episodes, and films (except Urusei Yatsura 2: Beautiful Dreamer) on DVD, their license to the series lapsed in 2011, and the DVDs were only initially available through a special pre-order system, so few fans can claim to own the entire series.

At the time of this writing, the only in-print anime of Urusei Yatsura in the United States is the Discotek Bluray and DVD release of Urusei Yatsura 2: Beautiful Dreamer, which is an outstanding film in its own right, but not really the best introduction to the madness that is Lum and company, if only because a lot of people will be left scratching their heads at the “Decadent Third Reich Cafe” joke, in which Ataru's home room class decides to sponsor a WWII-themed cafe for their school festival, complete with Nazi iconography and a functioning Panzer tank.

Old-school fans such as myself (I'm two weeks older than the premiere of the series) still hold out hope that someone will decide to rescue the license to Urusei Yatsura, but the series' age combined with a presumably high licensing cost (the series is still popular in Japan) makes that seem like an unlikely investment. For fans with the requisite resources, there's also a Bluray release in Japan.

But for the rest of us who want to get our sci fi romantic comedy fix, Viz Manga is re-releasing a remastered, English language version of Rumiko Takahashi's original Urusei Yatsura manga in omnibus form, so we can wish the series a happy 38th anniversary in our own special way.

Happy birthday, Urusei Yatsura, and thanks for the memories. May you never lose that spark.

Image copyright: (C) Rumiko Takahashi / Shogakukan

---------

Paul Chapman is the host of The Greatest Movie EVER! Podcast and GME! Anime Fun Time.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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whileiamdying · 2 years ago

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No Bears review – Jafar Panahi’s piercingly self-aware study of film-making and fear

‘A profoundly humane endeavour’: Jafar Panahi behind the wheel in No Bears.

The Iranian director, who was imprisoned in July, crafts a complex meditation on artistic creativity and invisible borders

Mark Kermode, Observer film critic @KermodeMovie Sun 13 Nov 2022 | 03.00 EST

Earlier this year, the Iranian auteur Jafar Panahi was detained and ordered to serve a six-year prison sentence – the latest politically motivated attempt to silence an artist who has been banned from making movies since 2010. Despite the ban, Panahi has remained a creative thorn in the side of the Iranian authorities. His provocatively entitled This Is Not a Movie (2011) was smuggled out of Iran on a USB drive hidden inside a cake and premiered to great acclaim at Cannes. His next two features, Closed Curtain (2013) and Taxi Tehran (2015), earned him a Silver and Golden Bear respectively at the Berlin film festival, while 3 Faces (2018) won best screenplay at Cannes.

This latest stripped-down work from the world’s most quietly defiant cineaste has already (deservedly) picked up the special jury prize at Venice and the award for cinematic bravery at the Chicago international film festival. Meanwhile, in Miami, where the director was given the film festival’s Precious Gem award, an audio message recorded in prison found Panahi wryly declaring: “I wish that I could make films instead of receiving awards” because “I have dreams that go beyond all the awards in the world.” And what dreams they are!

Given the circumstances of its creation, it’s no surprise that Panahi’s recent output has returned obsessively and self-reflexively to the subject of film-making itself. Here, for example, he once again plays a version of himself – a film-maker directing his latest feature by remote control. His new movie is being shot in Turkey and presents a close-to-life account of a couple, Zara (Mina Kavani) and Bakhtiar (Bakhtiar Panjei), who are facing separation as they attempt to escape to a new life in Europe. Panahi, who cannot leave Iran, is directing them over the web, via a computer screen. But rather than doing so from Tehran, where he had a half-decent internet connection, he has instead rented a room in a remote village near the border, placing him physically closer to the action, but also conjuring a creative barrier as his phone signal constantly drops in and out in almost slapstick fashion.

"Panahi retains the wit and humility to question his art with remarkable candour and self-deprecation."

When assistant director Reza (Reza Heydari) visits Panahi, the pair take a surreally tinged night trip to the Turkish border (a haunting no man’s land peopled by smugglers in speeding vehicles), and he invites the film-maker to step across the invisible line that divides his country from its neighbour. But Panahi has become embroiled in his own domestic drama, his camera having inadvertently drawn him into a dispute (“there will be blood”) between two men, both of whom are attempting to claim the hand of a local girl. Meanwhile, the actors in Turkey are starting to doubt the integrity of their director, whose docudrama threatens to tear them apart in real life, creating two parallel love stories that eerily mirror and reflect each other’s sinister power struggles.

“What about the bears?” asks Panahi as he takes an evening walk to the outskirts of the village, en route to a meeting where he must answer the charge of having taken an incriminating photograph – a photograph he insists does not exist. “There are no bears,” replies his companion, who has previously assured this metropolitan incomer that while “town people have problems with authorities, we have problems with superstition”. It’s all just “nonsense, stories made up to scare us. Our fears empower others. No bears!”

It’s a cute titular exchange that pithily encapsulates the key themes of the drama: the conflation of modern authority and archaic superstition, the town-country divide, the power of storytelling, the oppressiveness of fear and the absurdity of dogma. These are intimate personal scenarios with wider political resonances that reverberate throughout Panahi’s filmography.

Yet No Bears is also a piercingly self-aware portrait of an artist who is not afraid to depict himself and his craft as aloof or insular. Despite all that he has faced, Panahi retains the wit and humility to hold himself accountable – to question his art with remarkable candour and self-deprecation. Filtering his immense contribution to cinema through a deceptively incidental lens, he once again reminds us that movie-making can be a profoundly humane endeavour; at once comedic, tragic and truthful.

#Iran #Cinema #Iranian CInema #The Guardian #Mark Kermode #Review #No Bears #جعفر پناهی #Jafar Panahi #Berlinale #خرس نیست #Reza Heydari #Bakhtiar Panjei #Mina Kavani #مینا خسروانی

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aion-rsa · 4 years ago

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Christmas Movies on Disney+ Streaming Guide

https://ift.tt/2WazCa1

Like frozen fractals spiraling all around, winter is here once more, and with it is the most wonderful time of the year. Tinsel is being strung around trees, cookies are in the oven, and millions are practicing the hazardous art of exterior illumination. When the days are short, and the nights long, it’s the perfect time to lean into family tradition, and maybe watch a traditional classic movie or two.

Of course with everyone glued to the nostalgia emanating from what is sure to be a new family tradition—Disney+—you might be wondering what holiday gems are hidden in its streaming bag of goodies? Well, we’re here to answer that question and offer you a recommendation on the best holiday cheer to be had in the Mouse House.

Frozen (2013)

Disney+

Frozen, an animated movie you might have heard of, technically takes place during summer. But it sure doesn’t feel that way after Queen Elsa freezes the fjord and belts songs about the snowmen she and her sister want to build. Indeed, there is hardly a more festive film for the holidays than this celebration of self-love and familial love. Rather than being the story of a princess falling for a prince, Frozen is about the love between two sisters, Elsa (Idina Menzel) and Anna (Kristen Bell), and how that bond can transcend fear, isolation, and lifelong trauma like losing your parents at an early age.

Movies

Frozen 2: ‘Show Yourself’ Song Was Almost Cut from Movie

By David Crow

Movies

Frozen 2 Ending Explained

By David Crow

Fairly sophisticated stuff for an animated movie, Frozen became a bona fide classic in large part due to its songbook by Robert Lopez and Kristen Anderson-Lopez, with “Let It Go” standing out as an anthem for self-empowerment and the realization of identity. And if you overlook the fact you heard that song probably five thousand times, it still has that same resonance, which is why children are drawn to its message, as well as Elsa’ irresistible ice powers brought to dazzling life. When you factor in Anna’s own awkward charm, the power the two radiate together is warming in any season.

Home Alone (1990)

Disney+

Another holiday classic from Fox, Home Alone remains a millennial touchstone for this time of year, and a gift that keeps on giving. Yes, everyone remembers the end where Macaulay Culkin tortures two bumbling goons (Joe Pesci and Daniel Stern) as if they’re Elmer Fudd, but the movie has a lot more going for it than just slapstick sociopathy. Indeed, when Kevin McCallister isn’t being a sadist, this film has an earnest appeal about celebrating the fantasy of a kid living by himself at home.

When his parents leave Kevin McAllister home alone for Christmas—it was an accident!—he has a luxury house to himself that he lounges about as if it were a giant playground with free ice cream, pizza, and R-rated movie viewing parties. Things go a little pear-shaped though when crooks try to rob the joint, but he handles that in glib fashion, all while sweetly pining for his mother. In fact, as you get older, Catherine O’Hara’s trials and tribulations to get back home to her baby boy in time for Christmas are as amusing as Kevin’s hijinks. (John Candy! Polka music!! Polka Christmas music!?!) But probably the reason this is a real classic has a lot to do with John Williams’ eternally heartwarming score.

Home Alone 2: Lost in New York (1992)

Disney+

A prime example of a sequel just doing the same thing again but to lesser results, Home Alone 2 is nowhere near as good as the movie that spawned it. However, Lost in New York has its charms. For starters, once Kevin accidentally gets on the wrong flight in a sequence that is sweetly dated to pre-2001, he winds up checking into the Plaza Hotel. This leads to a mirthful new subplot involving Kevin outwitting hotel management, including a movie-stealing Tim Curry as the concierge. The film is also responsible for the groovy Darlene Love holiday standard, “All Alone on Christmas.”

Culture

Link Tank: Facts About Home Alone on Its 30th Anniversary

By Den of Geek Staff

Movies

Is Home Alone The Best Christmas movie of All Time?

By James Clayton

Otherwise, yeah, it’s pretty much the same movie with Kevin being even more sadistic on the crooks… even as he lets the biggest criminal of them all escape his grasp during Donald Trump’s cameo.

The Muppet Christmas Carol (1992)

Disney+

Michael Caine revealed the secret of playing Ebenezer Scrooge against Muppets is to act as if you’re doing Shakespeare in the Park. By playing his humbugging, anti-Christmas malcontent completely straight, he gives a whiff of legitimate menace to a Dickensian adaptation that features Kermit the Frog and Miss Piggy as struggling Victorian parents.

Movies

The Christmas Chronicles 2 Trailer Has Kurt Russell Back as Santa for Netflix Film

By Joseph Baxter

Culture

A Toy Store Near You Season 2 To Release on Christmas Day (Exclusive)

By Tony Sokol

Okay, so it’s not the best adaptation of Charles Dickens’ timeless classic, but it is a sweet one with a nice message and a few good songs to accompany its silliness.

Noelle (2019)

Disney+

We’ve seen movies about Santa’s wife and Santa’s brother, and a trilogy about Santa’s murderer claiming his job, but what about one focused on… Santa’s children? Such is the appeal of Noelle, one of the first films ever developed exclusively for Disney+. Written and directed by rom-com stalwart Marc Lawrence, this is a film about the difficulties in assuming the mantle of Santa Claus. Ostensibly that duty must fall on the latest Santa’s son, Nick Kringle (Bill Hader), but after he goes AWOL, it will become Noelle Kringle’s (Anna Kendrick) responsibility to find him and perhaps assume the title of Santa.

Grab a FREE TRIAL of Disney+, on us, right here!

It’s a pretty silly premise, but Kendrick and Hader are both winsome personalities who tend to elevate any material they’re given, and there might be something refreshing of the North Pole being viewed from the perspective of Noelle instead of St. Nicholas. With that said…. We haven’t quite gotten around to loading it up on our Disney+ yet either.

The Santa Clause (1994)

Disney+

Tim Allen really was on top of the world in the 1990s, wasn’t he? The star of ABC’s popular Home Improvement sitcom, and just a year away from becoming a Pixar legend in Toy Story, Allen could get any family entertainment greenlit. Thus enters Disney’s The Santa Clause, a movie that posits “what if Tim Allen became Santa?” That’s pretty much what happens when Allen’s schmo-y Scott Calvin inadvertently is responsible for the death of the previous Santa who slips off his roof.

The consequence of Scott’s mistake is he puts on the red and white outfit to finish Santa’s sleigh ride that night, much to the delight of his son Charlie (Eric Lloyd). Little does he know that by donning the suit, he has entered into a “Santa Clause” which means he becomes the big guy—literally so as he gains 100 pounds of weight and a white beard overnight. It’s still amusing now, but our favorite bit will always be David Krumholtz as the no-nonsense North Pole elf from Brooklyn.

The Sound of Music (1965)

Disney+

A movie that has sold more tickets than almost any other film ever made—only Star Wars and Gone with the Wind were seen by more people in theaters—The Sound of Music is a musical epic that’s as endearing as it is saccharine. With a sweeping plot that documents in the rosiest of tints, the Von Trapp family growing up on the eve of World War II in the Austrian Alps, this is an all-time classic from 20th Century Fox because of its wholesomeness, and because of its many great songs belted by Julie Andrews.

Christmas Movies and TV Specials: Full 2020 Schedule

By Den of Geek Staff

Movies

Christmas Movies: A Complete Holiday Streaming Guide

By Alec Bojalad and 1 other

In fact, one of them has become a Christmas classic. “A Few of My Favorite Things” is actually sung by Andrews’ Maria during a thunderstorm, and not Christmastime. But her inflections about “girls in white dresses with blue satin sashes, snowflakes that stay on my nose and eyelashes” are so joyous, it could only live on during the most joyful month of the year. And the movie does indeed mark the holidays, and every other major event in the lives of the Von Trapp family’s six children that sees a nun go from being their nanny to their new stepmother, spiriting them away from the Nazis. Happy holidays, kids!

Other Christmas Movies on Disney+

12 Dates of Christmas (2011)

Disney+

Beauty and the Beast: The Enchanted Christmas (1997)

Disney+

A Christmas Carol (2009)

Disney+

The Christmas Star (1986)

Disney+

The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe (2005)

Disney+

Disney Channel’s Epic Holiday Showdown (2020)

Disney+

Disney Channel Holiday House Party (2020)

Disney+ – Arriving Dec. 18

Disney Holiday Magic Quest (2020)

Disney+

Frozen II (2019)

Disney+

High School Musical: The Musical: The Holiday Special (2020)

Disney+ – Arriving Dec. 11

Home Alone 3 (1997)

Disney+

I’ll Be Home for Christmas (1998)

Disney+

Lego Star Wars Holiday Special (2020)

Disney+

Mickey’s Once Upon a Christmas (1999)

Disney+

The Nutcracker and the Four Realms (2018)

Disney+

One Magic Christmas (1985)

Disney+

Once Upon a Snowman (2020)

Disney+

Santa Buddies (2009)

Disney+

The Santa Clause 2 (2002)

Disney+

The Santa Clause 3: The Escape Clause (2006)

Disney+

Santa Paws 2: The Santa Pup (2012)

Disney+

Santa’s Workshop (1932)

Disney+

The Search for Santa Paws (2010)

Disney+

‘Twas the Night (2001)

Disney+

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newyorktheater · 6 years ago

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This month there are no Broadway openings, but ample glamour Off-Broadway. Freestyle Love Supreme, the improvisational hip-hop group that Lin-Manuel Miranda and Thomas Kail conceived in collaboration with Anthony Veneziale while they were working on “In The Heights,” had its debut at Ars Nova in midtown in 2004. Fifteen years later, the group inaugurates Ars Nova’s new Greenwich House home in the Village..

Meanwhile, MCC launches its newly constructed theater on West 52nd Street this month with two new shows, including a musical by the creative team behind Spring Awakening.

Another new musical, at Second Stage, comes from the Next to Normal composer, starring Kate Baldwin.

Also this month, a much-defended Sondheim musical is being revived. (See a video of Sondheim below.)

Jake Gyllenhaal and Tom Sturridge appear on the same bill in a pair of new plays, by Nick Payne and Simon Stephen respectively.

A new play at the Public Theter by Suzan-Lori Parks that features Daveed Diggs doesn’t start until March, so Diggs has time to appear as one of the “special and spontaneous guests” at Freestyle Love Supreme – and he’s not the only Hamilton alum who’s promised. (See February 21st)

Below is a selective list of (no Broadway), Off-Broadway, Off-Off Broadway and festival offerings in February, organized chronologically by opening date, with each title linked to a relevant website. Color key of theaters: Broadway: Red. Off Broadway: Black, Blue, or Purple... Off Off Broadway: Green. Theater festival: Orange To look at the Spring season as a whole, check out my Off Broadway Spring 2019 preview guide and my Broadway 2018-2019 season guide

February 2

Queen (APAC)

In this play by Madhuri Shekar, Sanam and Ariel are about to publish a career-defining paper about bees, after seven years of research, when Sanam stumbles upon an error that could cause catastrophic damage to their reputations, careers, and friendship. Now, both women are confronted with an impossible choice: look the other way and save the bees – or tell the truth and face the consequences?

The Glen (Theatre 54 at Shetler Studios)

Peter Hodges writes about the life of one Dale Olsen, from a private falsely accused of insubordination by an underhanded army major, through his affair with a possible spy in 1950s Berlin and back to his ultimate confrontation with his unforgiving mother and the secret she has hidden from him all his life. ”

February 6

The Trial of the Catonsville Nine (Transport at Abrons)

Created from the actual court transcripts of the 1968 trial of nine Catholic activists who burned draft files to protest the Vietnam War, this “radically re-imagined” production presented in partnership with the National Asian American Theatre Company (NAATCO) features an Asian-American cast.

February 8

Chinese Fringe Festival (La MaMa)

Three plays presented in Chinese with English subtitles: The Dictionary of Soul by the Physical Guerillas; Two Dogs by Meng Theatre Studio; and The Story of Xiaoyi Shanghai Huidiji Public Psychological Care Center

February 10

Mies Julie and The Dance of Death (Classic Stage Company)

Two Strindberg plays are presented in repertory. Mies Julie adapted by Yael Farber resets Strindberg’s “Miss Julie,” to a farmhouse in the Karoo of South Africa on the evening of the annual Freedom Day celebration. The Dance of Death, offered in a new version by Conor McPherson, is Strindberg’s bleak examination of marriage and the social institutions governing it.

The Light (MCC Theater)

A two-character play by Loy A. Webb about Rashad and Genesis on what should be one of the happiest days of their lives, but their joy quickly unravels when ground-shifting accusations from the past resurface

February 12

Neurology of the Soul (A.R.T./New York)

Untitled Theater Company No. 61 (UTC61) presents a new play by Edward Einhorn examining the nexus between neuroscience, marketing, art, and love. Set at a neuromarketing firm, it follows a neuroscientist who is trying to scientifically define love for advertising purposes and his wife, an artist who is using her brain scans as the basis of video self-portraits.

The Shadow of a Gunman (Irish Rep)

A new staging of Irish playwright Sean O’Casey’s 1923 drama about a young poet who gets pulled into the chaos of Irish War of Independence after a rumor spreads that he is an IRA assassin.

February 13

City of No Illusions (La MaMa)

A dark comedy set inside a funeral home that has become a refuge for two asylum seekers. The newest work from seminal theater company Talking Band. written and directed by Obie winner Paul Zimet,

February 14

Sea Wall/A Life (Public Theater)

Tom Sturridge and Jake Gyllenhaal appear separately in a pair of plays, Sturridge in Simon Stephen’s “Sea Wall,” a monologue about love and the human need to know the unknowable, and Gyllenhaal in “A Life,” and Gyllenhaal in Nick Payne’s A Life, a meditation on how we say goodbye to those we love most.

Spaceman (Loading Dock at Wild Project)

A woman’s solo journey to Mars explores the depths of mankind’s last true frontiers: outer space and a grieving heart.

February 19

youtube

Merrily We Roll Along (Roundabout’s Laura Pels)

Fiasco Theater reimagines Stephen Sondheim’s musical about a trio of showbiz friends who fall apart and come together over 20 years, going backwards in time.

By The Way Meet Vera Stark (Signature)

A revival of Lynn Nottage’s 2011 comedy about an African-American maid to an aging Hollywood who becomes a star herself – followed decades later by a panel discussing the impact that race had on her controversial career.

February 20

The Play That Goes Wrong (New World Stages)

The slapstick comedy that stars the set moves from Broadway to Off-Broadway

The Price of Thomas Scott (Mint on Theatre Row)

Elizabeth Baker’s 1913 comic drama about a businessman who is reluctant to sell his shop for conversion into a dance hall because of his objection to dancing.

February 21

Freestyle Love Supreme (Ars Nova at Greenwich House)

Conceived by Thomas Kail, Lin-Manuel Miranda, and Anthony Veneziale, this high-energy show is a blend of hip-hop, improvisational theater, music, and vocal stylings, all backed by live music from keyboards and beats. There will be “special and spontaneous guests” – including Lin-Manuel Miranda, James Monroe Iglehart, Christopher Jackson, Daveed Diggs.

Steven Skybell as Tevya and Ensemble sing “Tradition” (“Traditsye” טראַדיציע)

Fiddler on the Roof in Yiddish (Folksbiene at Stage 42)

This luscious production directed by Joel Grey moves Off-Broadway.

February 24

Hurricane Diane (New York Theatre Workshop)

In this play by Madeleine George directed by Leigh Silverman, Diane is a gardener who is actually the Greek god Dionysus, returning to the modern world to gather mortal followers and restore the Earth to its natural state.

February 25

youtube

Good Friday (The Flea)

In this play by Kristiana Rae Colón, a ricochet of bullets disrupts a fierce and funny feminist debate. Assaulted at every turn, a group of millennial women must decide whether they are ready to put their bodies on the line for each other.

Boesman and Lena (Signature)

In this revival of Athol Fugard’s 1969 play, the human need for kindness, hope and compassion is on display in the struggles of abusive Boesman and his long-suffering wife Lena, who encounter a stranger while wandering the South African wastelands. Stars Zainab Jah and Sahr Ngaujah

February 26

Alice By Heart (MCC Theater)

The creative team Duncan Sheik and Steven Sater (Spring Awakening) co-written and directed by Jessie Nelson (Waitress) presents a new take on Alice in Wonderland: In the rubble of the London Blitz of World War II, Alice Spencer’s budding teen life is turned upside down, and she and her dear friend Alfred are forced to take shelter in an underground tube station. When the ailing Alfred is quarantined, Alice encourages him to escape with her into their cherished book and journey down the rabbit hole to Wonderland.

February 28

youtube

Superhero (Second Stage)

A musical, with music and lyrics by Tom Kitt (Next to Normal) and a book by John Logan (Red), about “a fractured family, the mysterious stranger in apartment 4-B, and an unexpected hero… Starring Kate Baldwin and Bryce Pinkham

February 2019 New York Theater Openings This month there are no Broadway openings, but ample glamour Off-Broadway. Freestyle Love Supreme, the improvisational hip-hop group that Lin-Manuel Miranda and Thomas Kail conceived in collaboration with Anthony Veneziale while they were working on "In The Heights," had its debut at Ars Nova in midtown in 2004.

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libraryresources · 7 years ago

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Wikispaces: Youth Services Librarianship - Programming in Public Libraries

(Last revision: 2011-2013)

[By the time you see this, Wikispaces will have shut down due to financial troubles. This transcription (July 2018) is my attempt to preserve professional knowledge for the youth library field, until such a time that a new, updated resource becomes available! c: ]

Overview

Without programming in public libraries, the libraries would have less users (never being able to draw in new users), which would also mean less circulation, and they may even be less likely to be seen as an essential contributor in community involvement. Furthermore, if libraries are not seen as essential in their community, then they will receive less funding and support from government, children's, or educational organizations or the community itself. Therefore, without support of the community, there library may cease to exist.

To the library itself, programming is important because it can draw in users to the library who were not users in the first place, which then can increase circulation or even support for the library. Socially, the programming helps keep children and teens interested who already go to the library, and can show them that the library can be a fun and exciting place to hang out. Culturally, programming can be important because it can help users develop an appreciation of the different cultures within their community. Overall, the library can help serve the community by meeting health, educational, informational, or other needs.

Programming is a key factor to demonstrate to the community that the library cares about its users, and wants to meet their needs and show children that the library is a safe, fun environment where children can develop their minds through reading and exploration.

Best Practices

The American Library Association provides a list programming aspects it examines when it selects the winner of the annual ALA Excellence in Library Programming Award. This list requires that the program not only be high quality, but well planned, budgeted, and evaluated and that it fits a need in its community. These requirements double as a check list for any librarian planning a program:

“Clear statement of organization goals and objective

"Clear statement of the link between library objectives and community impact

"Identifying the audience for the project and developing a program directed at that audience.

"Documenting the need for the program, was the need well-defined

"The quality of the design of the program.

"The clearness of the action plan and calendar

"Whether the needed resources were available (including staff) to make the program a success.

"Whether the budget is adequate and reasonable for the program.

"Whether appropriate evaluation methods are being used.

"Additional areas that may be considered: the importance of the problem addressed; the seriousness of the proposal to the library's needs; whether the program improved delivery of services to user.”

From the ALA Excellence in Library Programming Award Application Guidelines (2012)

Additionally, the Association of Library Services to Children includes programming skills as one of its nine Competencies for Librarians Serving Children in Public Libraries. In addition to the marks of quality that the ALA awards committee searches for, the list competencies emphasize programming for children, parents, and caregivers and providing outreach and programming to frequently ignored and high need groups of children. It divides this competency into five basic points:

“Designs, promotes, presents, and evaluates a variety of programs for children of all ages, based on their developmental needs and interests and the goals of the library.

"Identifies and utilizes skilled resource people to present programs and information.

"Provides library outreach programs which meet community needs and library goals and objectives.

"Establishes programs and services for parents, individuals and agencies providing childcare, and other professionals in the community who work with children.

"Promotes library programs and services to underserved children and families.”

From the Competencies for Librarians Serving Children in Public Libraries (ALSC Education Committee, 2009)

For teens, the Young Adult Library Service Association touches on programming in their Competencies for Librarians Serving Youth under the Services area of competency. The three main points that they emphasize are that librarians should be capable of implementing and evaluating programs, should involve teens in planning programs, and should be aware of pop-culture and incorporate it into programs (Young Adult Library Services Association, 2010).

Important Terms

National Center for Education Statistics - This center is devoted to fulfilling a Congressional mandate to collect, analyze, and provide statistics on the condition of American Education so that government officials, federal agencies, state education agencies, educational organizations can use the information to support their own research or projects (NCES).

Anime - A Japanese style of animation that is highly stylized with colorful art, exaggerated poses, emotions, and even violence ( although a lot of the violence is slapstick in nature for younger audiences).

Programming - What Works

Programming for School Age Children

Lego Clubs - These clubs tend to be very popular in public libraries, especially with boys. Although having a Lego club doesn't seem to be as reading-oriented, it allows for boys to use their imagination's to create spaceships, castles, houses or whatever they can think of. Kids like these kind of programs because they have freedom to create whatever they want and even get to see their work displayed in their own libraries.

Battle of the Books (Quiz bowl) - In teams of six students, students will go head to head to battle each other in a jeopardy game of book knowledge. One student from each team at a time will have 30 seconds to provide an author's name, book title, or character name to answer question about a book. The winners will battle the other group of winners and so on until there is a champion team (Milton Public Library).

Programming for Teens

Craft Clubs - These clubs tend to attract girls more than boys, but everyone is welcome to attend. Craft club activities can range from making origami, to scrapbooking, to even creating mini books..

Anime Clubs or Graphic Novels - see Programming with Graphic Novels and Anime.

Cultural Programming

Cultural programming is important in a public library because it can make a minority group feel important and truly welcomed in the library. It can especially help minority children connect with other children within their own ethnicity or it can help children who are not a minority to open up their experience to other cultures and become appreciative of other cultures.

Latino/Latina

Silk Screen T-Shirt design:

At Arizona's Phoenix Public Library, silk screen t-shirt designs became a successful program for Latino children, because the YA staff hired a Latino artist who would perform hands-on workshops, teaching the kids to make t-shirts that represented some part of their Latino culture (Naidoo and Vargas 14).

Programming with Graphic Novels and Anime

In addition to utilizing more "traditional" young adult collections when programming, programming ideas also abound when considering using graphic novels and anime. These are some of the more popular genres being included in teen sections in public libraries, and it only seems natural to start creating programming around these unique collections. This section will expand a bit more on the Comics, Manga, and Graphic Novels section of the wiki, as well as including ideas involving anime titles. [Transcriber note: Page was not selected for transcription as it felt significantly outdated. I will provide links to more recent resources at a later date.]

Active vs. Passive Programming

As with all programming ideas, the level of involvement for library staff can vary depending on the program itself. For graphic novels and anime, there are a number of programming ideas that fall into both categories, giving librarians and paraprofessionals options when concerns like staff time, resources, and budget might stand in the way.

Active Programs

Some examples include:

Anime Screenings/Anime Festivals

Many graphic novels have counterparts in film, and screening these programs can be an easy way to get teens interested in reading certain titles. Anime programming is great to show in libraries because "[s]ome anime companies, most notably Funimation, have 'anime club' programs that will send libraries free screening DVDs" (Fletcher-Spear and Jenson-Benjamin 119). Additionally, many of the companies that will charge for a fee will be under the blanketed film license, like Disney (119). Though Fletcher-Spear and Jenson-Benjamin focus mainly on anime and manga, this can also be done with titles like Batman: The Animated Series and other superhero cartoons that have roots in comics.

Costume or Cosplay Parties

Cosplaying, which is "fan speak for costume contests" (120), allow teens to test their creative skills by dressing up as their favorite graphic novel character. Teens can vote among one another for Most Creative, Most "Realistic," etc. These parties can also carry themes of their own to go along with many of the graphic novel titles available, such as "Ninjas v. Pirates v. Zombies" and "Curses!," which features graphic novels with cursed characters (121).

Comic Book Trivia Nights

Trivia is an easy way to test teens' knowledge about any and all graphic novels and can be integrated into other larger programs or stand alone as a Jeopardy!-style program. Questions can span manga to traditional comics and even graphic novel works, meaning that questions should never be hard to come by.

Author or Artist Visits

Local and national authors and artists can speak on a variety of topics revolving around graphic novels and anime, as well as potentially teaching some workshops for teens. As with the trivia nights, these can be stand-alone programs if the authors are local, or can be part of larger programming if a "bigger" author or artist comes to visit. They could potentially do how-to-draw sessions, give advice on getting in the business, and hold Q&A sessions for the teens.

Create Your Own Comic Book

This program can be as simple as providing teens with the materials to make their own comics, such as paper and colored pencils, or could be integrated into a larger program "if partnered with a guest presenter on the topic" (124). Books on how-to-draw manga, comics, and graphic novels abound and may be helpful additions to the library's collection.

Graphic Novel Discussions

These can be similar to book clubs, where teens read the same title and then come together to discuss it, or perhaps done in a way which teens each read their own title then meet and booktalk their titles to one another, exposing teens to more than just one title at a time and giving them the opportunity to see what other titles are out there. This is a good opportunity to teach teens how to properly booktalk a book without revealing spoilers (125).

Mini-con

An anime and graphic novel conference on a much smaller scale, libraries can ask local vendors to set up shop to offer their wares. Mini-cons can also include some of the previously listed program ideas, like cosplay parties and author or artist visits, as well as some of the passive programs listed below. It's important to remember that "mini-cons are not for the faint of heart, as they are time-consuming to plan and can attract large crowds" (126). Only take on this programming if you have the appropriate funding and staff time to make it worthwhile and successful.

Passive Programs

Some examples include:

Character Design Contest

Falling in line with creating their own comic book, teens can create their own character and judge one another's creations in separate categories. It may be a good idea to hold this program before diving into the "Create Your Own Comic Book" program to give teens a chance to test their artistic abilities.

Displays

These can be done at any time, displaying teens' works throughout the year that has been done at some of the programming mentioned earlier, easily giving teens a sense of pride in their creations. Additionally, displays can be created using old graphic novels and manga that need to be thrown away, giving them second life (127).

Name that Character Contest

Teens' knowledge can be tested by creating a board of graphic novel characters and asking teens to fill out an answer sheet provided. Prizes can be awarded to whoever guesses the most correct answers. Variations of this include famous graphic novel couples and asking teens to pair them up with their significant other, or asking who is behind a famous masked character (128).

Superhero Death Match

A survey that is purely subjective, teens get to vote who would win in a battle between characters from two graphic novels (128). Battles can span genres and abilities, creating some interesting matchups for teens to vote for. If answers are provided in a March Madness-style bracket, teens can track and check up on their favorites and predict who will win overall.

Trivia Web Hunt

This can be as simple as placing question sheets next to the computer terminals in the teen section and asking teens to search for the correct answers. Prizes can be given either for the most number of correct answers or, since they will be researching them and it's possible that many of them will get all of them correct, prizes can be given for completion.

(All names for active and passive programming courtesy of Fletcher-Spear and Jenson-Benjamin.)

Digitally Enhanced Programming

With the increased use of digital media and social networking libraries must adapt to these new resources or risk becoming irrelevant. Herr-Stephenson et al. (2011) divide digital media in libraries into three separate categories, digital media as content, meaning the digital materials that a library circulates like e-books, digital audiobooks, e-readers, etc., digital media as outreach, like providing internet access and instruction for under privileged communities, and digital media as hook, such as offering appealing, cutting edge digital programs to attract teens into the library and improve library image. All of these uses for digital media can be incorporated into programming with ideas like inside the e-book discussions, digital video how-to workshops, and creating Facebook events to advertise programs. For the purpose of this article we will discuss ways to use digital resources to enhance or increase accessibility to non-digital programs that already exist. For programs that center on the technology itself, see technology programming.

For teens and youth that have a hard time making it into the library, such as those in spread out rural areas or for whom driving age or cost of transportation may be a concern, digital programming is a way to get them involved without actually requiring them to be at the library. It can also be used to extend programs outside of their designated meeting times and supplement traditional programming formats. And for all teens it can be a lesson in the appropriate use of and etiquette for technology and social networking.

If your library has funding to purchase e-readers or tablets to loan out to patrons then you may be able to have an e-reader book club and teen collection advisory, like Pam Harland’s book club in her article The High School Book Club- Now with Kindles! (2010). For libraries without these funds, incorporating technology and social media can still be a feasible and low cost option. These programs can be real time or not and many require only a computer with internet access. For those teens without home internet access, check to see if the websites you’re using can be accessed from school computers. Some programming ideas:

Google hang-outs

These are great for real time, face to face programs like a traditional book club discussion. One exciting perk is that you can easily invite guests from anywhere in the world, so check to see if the author of that month’s book or a related subject expert would be willing to speak for part of the meeting. The downside is that it requires participants to log in at a specific time and that they must have a strong enough internet connection to support the video feed. It also works best if the participants have their own cameras and microphones.

YouTube live stream

These are great for less participatory programming, like story-times or lectures. Though there is a chat feature that can be used for questions, be aware that with a large amount of guests it can slow down some internet connections and make it difficult for some to participate. After the stream, there is the option to save the recording and leave it on the library’s YouTube page to watch later, but if you choose this, be sure that there is no copyrighted material in your program and that everyone videotaped has agreed.

Goodreads and Facebook

These allow for discussions that can take place over the course of the month and can continue indefinitely, which makes them great supplements to a traditional book club as well. They are also great places to share relevant links. Either website will allow you to create a group for your specific program, but Goodreads has the advantage of being particularly book-centric and can also allow your library to display collection high lights and publish reviews. Goodreads may also be less controversial as it does not offer as many opportunities for sharing of inappropriate personal information and is less likely to be blocked on school computers. However, Facebook is better known and learning appropriate social networking behavior can be just as important as the content of the program.

Subtext

An app for the Apple iPad, subtext allows readers to share notes and have a discussion of a book inside the text of the book while they are reading. This is great for patrons who are short on time as it can be done while reading. It can also be more candid as it does not require participants to hold on to their thoughts for several weeks until the meeting. It is noteworthy that this is a high cost option, as each participant must have an iPad and a digital copy of the book being discussed.

Twitter

Twitter can be used to do a guest Q & A session, many publishers arrange for their authors to do them, but you could arrange one for any speaker you’d like. While participation in these is in real time, the questions and responses are archived on twitter, so others can read the discussion later. They also allow patrons who are only available for a portion of the scheduled time to participate, and they require either a phone with texting or a computer with internet, but not both. Twitter can also be used as a way for teen attempt taking their creation or programming viral by tweeting about their creation or program using designated hash tags and asking others to participate.

For more creative programming ideas using technology see David Lee King and Michael Porter’s “Community Connections” article in the October/September 2012 American Libraries.

Theoretical Problems or Concerns About Programming

One main concern about programming is that it can sometimes become very expensive depending how many children/teens the program allows for, due to the cost of materials per child/teen. That is why it is always a good idea to look into grants for programming. But even grants can be hard to obtain and they can be a lot of work to write, so it is always important to research the type of grant you may need for your program.

The following link has a list of grants that may be of use to a public library, especially "Light the Way: Outreach to the Underserved" provided by ALSC, MAE Trust (promotes reading for teens), Grants for Nonprofit Youth Programs (library and arts oriented grant), Partnership for a Nation of Learners ( seeks to meet community needs) and many more grants.

See http://www.libraryworks.com/LW_Grants/GrantsCurrent.aspx

Advice for Librarians When Creating or Choosing Programs for Your Library

Don't be afraid to fail

Sometimes if a program is new to your library it may not be successful right away. Programs can be unsuccessful for many reasons, they may not be reaching the right audience, or they may not meet the needs of your community, or there could be a similar program already in your community. The most important thing a librarian can do to help make a program a success is to promote the program through marketing.

Marketing, Marketing, Marketing!

Get the word out about your program. Create posters, flyers, make a note of it on your website and get the word out when you speak to patrons at check-out. Sending out fliers at schools or even getting the word out through a library newsletter can be a good idea.

Get to know your community

Before even creating or choosing a program for a library, a librarian must do their research on the community of the library, in order to make programming decisions suitable to the the ages of the users, cultural backgrounds, socio-economic status of users, and the needs of the community. In order to do so a librarian can study the demographics in their community through websites like the National Center for Education Statistics.

-Under "Data Tools" and "State/District Profiles, Comparisons and Mapping", a librarian can take a look at the "School District Demographics System Map," which will map out the different types of races or ethnicities, population, and housing in that community. See http://nces.ed.gov/surveys/sdds/ed/index.asp

Resources

American Library Association Cultural Communities Fund. (2012). ALA excellence in library programming award application guidelines. Retrieved from http://www.ala.org/programming/sites/ala.org.programming/files/content/2013%20Programming%20Excellence%20application%20guidelines%20and%20eligibility_FINAL_Sep2012x.pdf

Association of Library Services to Children Education Committee. (2009). Competencies for librarians serving children in public libraries. Retrieved from http://www.ala.org/alsc/edcareeers/alsccorecomps

Fletcher-Spear, Kristin, and Merideth Jenson-Benjamin. Library Collections for Teens: Manga and Graphic Novels. Bowie, MD: E L Kurdyla, 2011. Print.

Harland, P. (2010). The high school book club- now with kindles!. Teacher Librarian, 37(5), 57-59.

Herr-Stephenson, B, Rhoten, D., Perkel, D., & Sims, C. (2011) Digital media and technology in afterschool programs, libraries, and museums. Cambridge, Mass.: The MIT Press.

King, D., & Porter, M. (2012). Community connections. American Libraries, 43(9/10), 49.

Kunzel, B., & Hardesty, C. (2006). The teen-centered book club: readers into leaders. Westport, Conn.: Libraries Unlimited.

Library Works. 28 Nov. 2012 http://www.libraryworks.com/LW_Grants/GrantsCurrent.aspx

Milton Public Library. (2012). 28 Nov. 2012 <http://www.mpl.on.ca/childprograms.php>.

Naidoo, Jamie Campbell and Vargas, Luis Francisco. "Libraries Bridging The Borderlands Reaching Latino Tweens And Teens With Targeted Programming And Collections." Young Adult Library Services 9.4 (2011): 13-20. Library, Information Science & Technology Abstracts. Web. 27 Nov. 2012.

National Center for Education Statistics. School District Demographics System. 25 Nov. 2012. <http://nces.ed.gov/surveys/sdds/ed/index.asp>

Young Adult Library Services Association. (2010). YALSA’s competencies for librarians serving youth: Young adults deserve the best. Retrieved from http://www.ala.org/yalsa/guidelines/yacompetencies2010

[Tumblr transcriber: Camilla Y-B]

#wikispaces #Youth Library Services #Professional Development #library #librarian #library program

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rob-blog1234 · 7 years ago

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BUMPER CHRISTMAS EDITION TV HOT FILM PICKS!

Welcome to my Christmas film round up!

14 Days of TV trawled - Friday 22nd through to Jan 4th.

196 films. 42 HOT PICKS! for all your festive film needs and more.

Merry Christmas to you and yours. Let's put the telly on. I think there's a film on somewhere.

FRIDAY 22nd DECEMBER

HOT PICKS!

BBC1 @ 1345 Indiana Jones and the Last Crusade (1989) *****

The LAST Crusade. The third and last of the Trilogy. No fourth… Nope, definitely the Last Crusade… (weep). Spielberg! Why!?! You should have took advice from your own film title. A funnier and action packed END to the TRILOGY.

Film4 @ 0025 Source Code (2011) *****

Duncan Jones is a fantastic Director. After the great success of his 2009 directorial debut Moon, I was hot on his trail and looking forward to his next film. Source Code has bigger ambition and is an extremely entertaining film, it’s just not as Sci-Fi pure as Moon. Source Code is a complex, compelling and a great mystery. Not sure of the idea of the recent Warcraft film as there’s only so much Orc special effect extravagance a man can take, but I’ll still give it a pop based on his previous work.

Jake Gyllenhaal is Captain Colter Stevens, a soldier who wakes up in the body of an unknown man on a train, here begins the mystery of who he is and why he is here. Gyllenhaal is fantastic and Jones drip feeds the story and keeps the mystery running with great skill. This is one of my Top 10 films of 2011…. and I thought it was very believable… until Captain Colter Stevens used Bing as his search engine. :)

Best of the rest:

TCM @ 1740 The Hound of the Baskervilles (1959) ****

5* @ 1855 Dirty Dancing (1987) ***

Film4 @ 1905 Men in Black (1997) *****

Syfy @ 2250 The Signal (2014) ***

Quest @ 2300 The Omen (1976) *****

SATURDAY 23rd DECEMBER

HOT PICKS!

TCM @ 1305 What's Up, Doc? (1972) ****

Why it took me so many years to see this gem of a comedy I simply do not know. It’s also responsible for a serious crush on Barbara Streisand. This is a crazy comedy caper that really doesn’t take itself seriously. It almost verges on slapstick at some points. Its main strength lies in the interactions between the 2 leads - the situations they get themselves into and the carnage that ensues - it is a pleasure to watch. You’ll have a laugh on your lips and a smile on your face throughout. Classic screwball comedy.

Gold @ 1325 It's a Wonderful Life (1946) *****

This is one of the greatest Christmas films ever made - it defines Christmas. It is a feel good film - plain and simple. A perfect Christmas film. No matter how you are feeling - It’s a Wonderful Life is sure to lift the spirits. Merry Christmas!

Best of the rest:

TCM @ 0855 The Hound of the Baskervilles (1939) ****

C4 @ 0900 The Boxtrolls (2014) ***

ITV3 @ 1305 Willy Wonka and the Chocolate Factory (1971) *****

Film4 @ 1305 The Book of Life (2014) ****

ITV1 @ 1335 Harry Potter and the Philosopher's Stone (2001) ****

ITV1 @ 1630 Despicable Me (2010) ***

ITV2 @ 1910 Gravity (2013) *****

ITV1 @ 2000 The Hobbit: the Battle of the Five Armies (2014) ***

ITV4 @ 2100 The Fugitive (1993) ***

Film4 @ 2315 High-Rise (2015) ****

C4 @ 2320 Gladiator (2000) *****

TCM @ 2340 Mad Max Beyond Thunderdome (1985) ***

Film4 @ 0135 The Big Lebowski (1997) *****

CHRISTMAS EVE SUNDAY 24th DECEMBER

HOT PICKS!

C4 @ 1830 The Muppet Christmas Carol (1992) *****

Check out the Muppet’s take on the Christmas Carol. I adore this film, it’s full of all the great Muppet characters you know and love as they re-tell this classic Christmas story Muppet style! I dare you not to shed a tear during the rather emotional scene concerning Tiny Tim. It’s full of stunning sets and a host of great musical numbers, this is perfect Christmas film for the whole family to enjoy.

TCM @ 2210 Gremlins (1984) *****

Gremlins is a classic comedy horror. When a father gives a rather unusual pet to his son as a gift for Christmas he got a lot more than he bargained for. Billy has to stick to three important rules with his new pet. Don’t feed it after midnight, keep it out of bright light and keep it well away from water. When he inadvertently breaks these rules, his new pet multiplies and these new additions to the family prove to be quite a handful indeed. Madness, Mayhem and destruction quickly descend on the town as these “Gremlins” go on a rampage the town will not forget in a hurry.

It’s funny, sharp and with some splendid animatronics, Gremlins is a great fantasy adventure with almost slapstick style comedy that always gets a laugh. The stair lift scene will hold its crown as one of the best comedy death scenes put to film. Joe Dante has directed some brilliant films. This is certainly one of my favourites.

Film4 @ 2255 Predator (1987) *****

30 YEARS OLD! Amazing.

According to Letterboxd I’ve seen this outstanding film 18 times in the last 4 years. That’s not even taking into account the early days on VHS and the many wonderful times on TV where it was dubbed and cut to oblivion. It is one of my all-time favourite films and... I think I have a problem. I can’t stop buying it! I have 5 copies now: VHS, DVD, DVD double set with Predator 2, Blu Ray, and now 3D Blu Ray Steelbook. I am an addict. Why? Well - It's goddam awesome. That's why. Everything in this film works so wonderfully together. All I need now is the 3D Blu Ray in a life size Predator head box set to fulfil my crazy addiction. So, the film…

I watched it in 3D for the sixth time. The 3D doesn't really bring anything new to the film, as a conversion it still looked a little flat, I was hoping the jungle would really come alive and take me. But it did not detract from my enjoyment one little bit and I will admittedly always grab the glasses for a slice of 3D action if there is ever a choice.

This classic Arnie Sci-Fi Action-er is ultimately re-watchable. You’ve seen it hundreds of times, you quote each line seconds before they happen, you even know the sound of each and every gun shot and explosion as they are about to occur. This is my most quoted film, at least once a week I shoe horn a Predator quote into my everyday life: from “I’m gonna have me some fun” to “I wouldn’t wish that on a broke dick dawg” … Amazing.

The music is completely iconic. Alan Silvestri’s score is right up there with the greatest scores in film. Coupled with some fabulous sound effects. It’s quite simply perfect. It’s so apt and effective, driving the film forward with an urgency like no other. It gets your blood pumping and puts you right in the jungle maze with them. It’s as if the Jungle just came alive and took him… Sorry.

This is Arnie’s finest hour. Yes he’s fantastic in Total Recall but here he is doing what he does best. Big, bold, mumbling muscle. Wielding a gun as large as a child in one hand and with a list of one liners at the ready, he storms this performance. He is together with a crack team of commandos - an eclectic mix of characters played by an equally eclectic mix of actors. Carl Weathers has either been airbrushed within an inch of reality or is wearing so much make up at the start of this film. His face is just too smooth, almost like he’s made of putty or like the jungle came alive and paint shopped him. Jesse Ventura’s larger than life character just fits right in here. And of course the late and great Sonny Landham as the ju-ju bag fondling tracker whose lines are just amazing, such a mix of muscle must have been hell for McTiernan to direct, but boy did he do well! In such a difficult terrain he pulled it out of the bag in momentous style.

This crack team go on a rescue mission in the Central American jungle. The mission goes from bad to worse as they soon realise a dangerous alien predator is hunting them down one by one. It’s tense, fast paced and full to the brim with enough action and bullets to take down a small country. It has got some great shocks and splattered with some well-placed gore as the team gets picked off in an array of bloody violent ways. It’s ultimately thrilling and will always stand tall as one of the great Action Sci-Fi Thrillers of all time!

“GET TO DER CHARRPARR!” (Sorry, I couldn’t resist!)

Film4 @ 0105 It Follows (2014) *****

Don’t miss David Robert Mitchell’s superb modern Horror on Film4. After a sexual encounter - Jay can’t escape the feeling something is after her. Something relentless. So - yes, it’s probably some statement about safe sex.. but it’s so much more! It’s not often I throw 5 stars at a Horror movie. This one pushed all my buttons. So… why so good? Well, in the eternal struggle of the genre to produce new ideas that move away from either pure paranormal jump scares or intensely shocking gore-fests - It Follows steps confidently to one side with a suspense filled, tension busting, atmospheric, and 80’s saturated thriller. The awesome soundtrack keeps the film bubbling over literally all the way through… I need to buy this soundtrack. It’s bloody fantastic! It’s all wrapped up in such a stylish way, I can’t wait to watch it again. Hit Record!

Best of the rest:

C5 @ 0920 Gone with the Wind (1939) *****

More4 @ 1245 The Jewel of the Nile (1985) ***

ITV1 @ 1255 Harry Potter and the Chamber of Secrets (2002) ***

Film4 @ 1500 Jingle all the Way (1996) ***

C5 @ 1615 Scrooge (1951) ****

Spike @ 1630 Butch Cassidy and the Sundance Kid (1969) ****

ITV2 @ 2100 Casino Royale (2006) ****

Film4 @ 2100 Anchorman: the Legend of Ron Burgundy (2004) ****

Syfy @ 0100 Akira (1988) *****

CHRISTMAS DAY MONDAY 25th DECEMBER

HOT PICKS!

BBC1 @ 1320 Toy Story 3 (2010) *****

Another great success for Pixar, they really know how to pull the heart strings of an audience both young and old. Toy Story 3 lives up to the hype with its wonderful characters who we know and love gallivanting through the superbly written story with plenty of drama, comedy, laughs, thrills and, of course, heart wrenching emotion that concludes this great trilogy.

Woody and Buzz are put through their paces when they are accidentally packed off to a nursery, here we are introduced to a host of new characters that all have great merit, especially Ken, Mr. Pricklepants and Chuckles the Clown, who all add some great comedy moments to an already funny film. However I was a little creeped out by Big Baby and the cymbal banging monkey - a little intense for the younger of viewers… and of course me. All the characters are once again excellently voiced by a huge list of equally huge names - but most importantly they become the characters completely - so you are never detracted from the film with the realisation of the voice behind the character which can so often mar the full immersion into an animated story.

As soon as our favourites decide to escape we are thrown into their action packed ride to freedom. The direction, animation and pace are all top notch, never does the story lose pace or interest.

I originally watched this in 3D - which I must add is not a necessity. I thought it would have been another film that suffers with the whole “being created specifically for 3D” and it almost becoming the driving force behind various scenes but I am thankful that Pixar focused purely on the film and didn’t sell out for an obvious 3D showcase.

I was looking for a reason to not give Toy Story 3 the full 5 stars but I could find no such reason. It’s a great success, my favourite of the trilogy and has once again proved the Pixar team are masters of animation and storytelling.

C4 @ 1435 Scrooged (1988) *****

One of my favourite Christmas films of all time: Scrooged. In the pilot seat of this version of the Christmas Carol is the hilarious Bill Murray. He plays the bitter and twisted film executive Frank Cross who is in charge of the TV networks big Christmas Day TV program. He gets visited by three rather different takes on the Christmas Ghosts, from the cigar smoking foul mouthed taxi driver Ghost of Christmas Past to the angelic looking but rather violent Ghost of Christmas Present, you are in for a brilliant ride through Frank’s life. The characters really make this film a success - all of them are perfect, backed by a fantastic script and great directorial vision from Richard Donner - he’s squeezed in enough jokes, tenderness and a hell of a lot of heart that will certainly get you in the Christmas spirit.

C4 @ 1750 Home Alone (1990) *****

Macaulay Culkin accidentally gets left behind by his family over the Christmas holidays and defends his house against two of the worst burglars in history. No matter how annoying the little rascal is and whatever time of year, nothing can ruin this classic family adventure. It is Christmas after all!

Horror @ 2100 Big Trouble in Little China (1986) *****

If I’m ever in doubt of what film to watch to put a huge smile on my face and forget about the woes of the real world then I always reach for Carpenter’s classic Big Trouble in Little China. Most importantly this film is a whole lot of fun. It’s full of laugh-out-loud moments with an absurdly funny script and always raises smiles.

Kurt Russell is Jack Burton, an all American action-hero-wannabe. He’s a fast talking, macho, gambling, truck driver with tons of gloriously cheesy one liners. He agrees to help out an old friend by driving him to the airport to meet his fiancé who…guess what… gets kidnapped… from here Jack gets tangled up in a web of martial-art-fantasy-madness in San Francisco’s China Town.

This is one of the most entertaining Carpenter films that somehow manages to walk the very fine line of cheesy-but-good. It somehow walks this line so well it’s become a true cult classic. It quite simply cannot be missed.

…Okay. You people sit tight, hold the fort and keep the home fires burning. And if we’re not back by dawn… call the president.

Film4 @ 2100 Kingsman: the Secret Service (2015) ****

On release I wasn’t too fussed about this and let it pass me by unwatched. A film that on the surface looked like - just another Spy movie rehash, with a chavvy kid ultimately redeeming himself - it just felt a bit off. Then on recommendation I caught up with it on Blu Ray release - and was very happy I did too!

Matthew Vaughn - who we have to thank for Kick-Ass, Stardust and X-Men First Class - bring us into the crazy world of Kingsman - a Secret Spy organisation here to save the world. It unashamedly mimics the likes of Bond - constantly referring to itself as being “not that kind of movie” and has such huge set pieces and layered with tons of action - you will be hooked from the out. It’s funny too - it has plenty of comedy that made me chuckle. It’s sometimes silly but keeps its feet on the ground just enough to stay credible. It was a riot on my first watch and it holds up to repeat viewings. Need some fun on TV tonight? Get this on the telly.

Best of the rest:

ITV1 @ 0925 National Lampoon's Christmas Vacation (1989) ***

Film4 @ 1100 Arthur Christmas (2011) ***

C5 @ 1305 Singin' in the Rain (1952) *****

ITV1 @ 1510 Harry Potter and the Prisoner of Azkaban (2004) ****

C4 @ 1630 Dumbo (1941) ****

TCM @ 1655 Willy Wonka and the Chocolate Factory (1971) *****

Film4 @ 1700 Romancing the Stone (1984) ****

More4 @ 1800 Miracle on 34th Street (1947) *****

TCM @ 1855 Gremlins (1984) *****

ITV2 @ 1945 Skyfall (2012) ****

ITV4 @ 2100 The Dirty Dozen (1967) ****

5* @ 2100 There's Something About Mary (1998) ****

Sky1 @ 2200 The Rock (1996) ****

Film4 @ 0120 The Warriors (1979) ****

ITV1 @ 0145 The Dam Busters (19540 ****

Sony @ 0225 Little Miss Sunshine (2006) *****

BOXING DAY TUESDAY 26th DECEMBER

HOT PICKS!

Film4 @ 1455 Paddington (2014) ****

Who would have expected a live action / CGI cross over of the much loved story of Paddington would work - but it absolutely does. It’s charming, heart-warming and walks the line of sentimentality that never goes too far, it honours the original material and brings an altogether joyful experience to all that watch it. A sure hit with children and adults alike, with enough sequences of absurd action and moments of effective comedy that keep the flow continuously. A truly lovely film. Don’t miss it.

ITV1 @ 1530 ET the Extra Terrestrial (1982) *****

This magical story of a boys love for a lost alien is truly heart-warming and one of Spielberg’s finest films. The family dynamic works wonderfully addressing really grown up themes with a rich and realistic platform that springs an unmissable story of friendship, love and loss. A childhood adventure full of heart and accessible to the whole family. It’s amazing that after all this time that little plastic turd like creature still makes me shed a tear.

BBC1 @ 1545 Mary Poppins (1964) *****

A truly magical story. One of my all-time favourite Disney films. The songs are all iconic and always inspire a sing-a-long. After watching the very impressive Saving Mr. Banks and learning more about this films difficult transition to the big scene, it seemed rude not to immediately watch Mary Poppins. It's big, bright and bold sets, larger than life characters, amazing songs and choreography and most importantly a very strong story, give this Disney a real edge over its peers. Magical for kids and adults alike.

C4 @ 1800 Back to the Future (1985) *****

Numerous filmmakers have attempted to construct a story and explain the most difficult and almost incomprehensible subject of Time Travel but the one that manages to nail it with surprising ease is Robert Zemeckis in this family action packed adventure Back to the Future!

This is my all-time favourite film and is complete cinematic enjoyment. We follow the unlikely friendship between school teenager Marty McFly and the eccentric scientist Dr. Emmett Brown. As Doc reveals his latest experiment, the iconic nuclear powered DeLorean time machine, things turn dangerous as the gun-toting terrorists Doc ripped off to get the plutonium, arrive on the scene. In an attempt to escape Marty jumps in the DeLorean and is sent back to the year 1955. We follow Marty’s adventures as he attempts to get back home to 1985.

Oh - and check out my Christmas Jumper! Secret Santa WIN. Thanks Rebecca Carver. :)

ITV1 @ 1840 Jurassic World (2015) ****

I could watch Bryce Dallas Howard running across rough terrain in her heels all day long. Welcome to Jurassic World - in a universe where previous massive disasters at creating dinosaur parks are completely ignored... again. It's a bigger, better and more exciting park but the money mad corporate suits want bigger, scarier and more dangerous. What could possibly go wrong? Well it does - obviously and Star Lord and our ginger high-heeled Howard go about saving the day. With enough nods to the amazing original it keeps the show on the road, by no means reaching the standard of Jurassic Park it is still a lot of fun and very worth a gander.

TCM @ 1910 Airplane! (1980) *****

Essential comedy viewing. Airplane! stands tall as one of the funniest classic comedies to date. Yes - it’s politically incorrect in parts but this 80’s comedy has hundreds of reasons to be forgiven. Leslie Nielsen’s ability to dead pan jokes was phenomenal. This disaster spoof is one of the best comedy greats and will surely remain up there with the best for many years to come… and don’t call me Shirley.

Film4 @ 2100 Ex Machina (2014) *****

I can’t believe this was Alex Garland’s directorial debut. He was the writer on 28 days Later and Sunshine - so here’s his directorial debut and it’s unmissable. It’s hard to even think this is his first film at the helm. The film oozes beauty in every shot - the clinical setting and awesome camera work produce some fantastic visuals in what is in essence a very tight and small set with 3 main characters in the most part. Ex Machina is one of the best Sci-Fi films to come out in recent years. It follows Domhnall Gleeson as Caleb, a 26 year old coder for the world’s largest internet company. He wins a competition to spend a week at the private mountain retreat of the company CEO - Nathan (Oscar Issac). Nathan is a recluse and the social interactions between the two are fascinating. Caleb finds out that he is to participate in an experiment interacting with the world’s first true artificial intelligence, housed in the body of a beautiful robot girl played by Alicia Vikander. This is true Sci-Fi. It could very easily be set right now. It’s only a matter of time before one of the big players launch something truly stunning. Thought provoking, brilliantly story telling that keeps your eyes glued to each interaction and the wonderful script wraps its way right through you. It lingers long after the credits roll. Don’t miss this. Look out for the trailer for his next step into Sci-Fi that I for one am very excited about… Annihilation.

Best of the rest:

TCM @ 0855 Kind Hearts and Coronets (1949) *****

ITV1 @ 0925 Ferris Bueller's Day Off (1986) *****

C5 @ 1150 Chariots of Fire (1981) ****

TCM @ 1215 Singin' in the Rain (1952) *****

TCM @ 1415 Willy Wonka and the Chocolate Factory (1971) *****

ITV2 @ 1435 A Bug's Life (1998) ****

TCM @ 1615 The Dirty Dozen (1967) ****

C4 @ 1620 The Little Mermaid (1989) *****

ITV2 @ 1640 Despicable Me (2010) ***

ITV2 @ 1900 Uncle Buck (1989) ****

Sky1 @ 2100 Minority Report (2002) *****

W @ 2100 The Beach (2000) ****

Syfy @ 2100 Serenity (2005) ****

More4 @ 2100 The Green Mile (1999) ****

Sony @ 2100 A Few Good Men (1992) ****

5* @ 2100 Robin Hood: Prince of Thieves (1991) *****

C5 @ 2200 Dirty Dancing (1987) ***

C4 @ 2310 Four Weddings and a Funeral (1994) ****

Film4 @ 2310 X-Men: First Class (2011) ****

Horror @ 0040 They Live (1988) ****

Film4 @ 0145 The Breakfast Club (1985) ****

WEDNESDAY 27th DECEMBER

HOT PICKS!

Film4 @ 1100 ParaNorman (2012) ****

Check out this impressive stop motion animated adventure from the makers of the dark and quirky Coraline. I was immediately taken aback by the sheer detail - it is beyond comprehension. With Norman having over 40,000 different printed facial expressions you can see the level of detail they were aiming for here. You’d be forgiven for not realising this is stop motion animation. With a cracking script and great balance of comedy, horror and drama this is definitely one to stick on your watch list.

Norman is an 11 year old boy who can see, hear and talk to the dead. We follow him on his personal journey against adversity and ultimately on to saving the town.

This is an extremely well presented animated feature. Slightly scary for very young viewers but a welcomed darker side to the genre.

C4 @ 1630 Back to the Future Part II (1989) *****

Check out this wonderful vision of the present day in BTTF2. An amazingly ambitious paradox filled second film in the trilogy. Equally intelligent and makes time travel easily accessible to all ages, one thing of note is what the first film had in amazing character credibility the second focuses heavily on style. It’s all about a visuals. However you feel this compares to the amazing original - it still stands strong as a brilliant, solid, fascinating and downright exciting sequel in one of the greatest adventure trilogies put to film.

ITV4 @ 2205 Jaws (1975) *****

The birth of the blockbuster. Spielberg’s suspense filled thriller is packed with shocks and surprises. Such a simple premise executed perfectly. With such iconic music, both kids and adults alike can’t stop themselves humming the tune as they creep up on someone in a swimming pool with their hand on their head like a rudimentary fin. Classic. One of the best. Perfect holiday film fodder.

Best of the rest:

TCM @ 0955 The Dirty Dozen (1967) ****

BBC1 @ 1420 Shrek 2 (2004) ****

BBC1 @ 1610 Big Hero 6 (2014) ****

Film4 @ 1635 Scrooged (1988) *****

C5 @ 1655 The Guns of Navarone (1961) ****

Film4 @ 1845 Super 8 (2011) ****

E4 @ 1930 I, Robot (2004) ****

Syfy @ 2100 Waterworld (1995) ****

ITV1 @ 2000 Harry Potter and the Goblet of Fire (2005) ****

5* @ 2200 Django Unchained (2012) *****

C4 @ 2305 East is East (1999) ***

TCM @ 2325 Apocalypse Now (1979) *****

Horror @ 0055 We are Still Here (2015) ***

THURSDAY 28th DECEMBER

HOT PICKS!

5* @ 1505 The Burbs (1989) *****

Tom Hanks is in his comedy prime starring as Ray Peterson in this hilarious 80’s comedy classic. It’s way up there in my favourite Hanks comedy performances.

Ray is on holiday from work and to the annoyance of his wife decides to spend his vacation investigating the odd goings on of his creepy new next door neighbours: The Clopeks. When an old man who lives at the end of the street appears to be missing, Ray, together with some other neighbours in his street, are certain the Clopeks have something to do with it. They go on a mission to find proof.

It’s absolutely hilarious throughout and the characters are all nothing short of superb - from Rick Ducommun’s “Art Weingartner”, the childish, gossip-mongering buffoon, to Bruce Dern’s “Rumsfield”, the paranoid ex-Army, flag flying Lieutenant. It really is a neighbourhood full of quirky and interesting characters that fill this film with top class comedy situations, both verbal and physical - I adore the scene at the beginning of the film where Art is eating all the food in Ray’s house and accidentally eats some dog food. Subtle and priceless physical comedy. It’s perfectly timed and laugh out loud funny. It’s just one example of this films comedy credentials.

This film always hits the spot and shows Tom Hanks at his very best. It’s a great bit of fun, ultimately re-watchable, and so very quotable. This is a film guaranteed to put a smile on your face. Watch this.

TCM @ 2140 Full Metal Jacket (1987) *****

I’ve had many discussions regarding people’s favourite War movie? …and this is mine. Kubrick’s Full Metal Jacket is superb. It’s full of classic Kubrick shots and some stellar performances making this a true bonafide classic. The film has 2 clear parts; the first part of the film goes through the marine training from day one of their induction, with a powerful opening scene of each character getting their heads shaved, removing their identity. This training part of the film is bar far the highlight of the movie. The second part, although different is extremely complimentary and deals with their introduction to real army life out in their new various roles, specifically focusing on “Joker” in his role as war correspondent for the Stars and Stripes publication. The film shows the Vietnam War from their perspective and how their lives are consumed by it. It is full of interesting characters, particularly Private Pyle played by the brilliant Vincent D'Onofrio. Lee Ermey’s wild eyed and aggressive drill instructor is almost cartoon in his extremes and pushes the new recruits to the very limit of their capabilities… and in some cases beyond. Kubrick’s Full Metal Jacket is a triumph of cinema and a much watch film. Like War films? Love this.

BBC2 @ 2330 Alan Partridge: Alpha Papa (2013) ****

I’ve always been a fan of Steve Coogan’s Alan Partridge, and here we get him in a feature length comedy, packed full of genuinely funny, well written, splendidly timed jokes. The film follows Alan as he gets mixed up in a hostage situation at his local radio station after a corporate take-over pushes a DJ over the edge. Laugh out loud comedy whether you are a fan of Partridge or not - this will get you smiling from ear to ear.

Best of the rest:

BBC1 @ 0900 Pirates! An Adventure with Scientists! (2012) ***

Film4 @ 1100 Jingle all the Way (1996) ***

BBC1 @ 1420 Shrek the Third (2007) ***

BBC1 @ 1610 How to Train your Dragon 2 (2014) ***

TCM @ 1815 The Lord of the Rings: the fellowship of the Ring (2001) *****

ITV1 @ 2000 Harry Potter and the Order of the Phoenix (2007) ****

ITV2 @ 2100 Casino Royale (2006) ****

Spike @ 2100 Enter the Dragon (1973) ****

Sony @ 2100 Little Miss Sunshine (2006) *****

ITV4 @ 2105 The Fugitive (1993) ***

C4 @ 2305 About a Boy (2002) ****

Sony @ 0130 A Few Good Men (1992) ****

FRIDAY 29th DECEMBER

HOT PICKS!

BBC1 @ 0900 Monsters Vs. Aliens (2009) ****

I originally watched this purely to get a 3D fix and yes the 3D is excellent as it was made around that concept. I didn’t expect much but I really quite enjoyed this film - mainly down to the tons of movie references packed into this and there were some surprising laugh out loud moments. The one liners from Seth Rogen, Will Arnett and Stephen Colbert are great. It’s definitely no Pixar and really works when watched in 3D and as a 2D film it still holds up well.

BBC1 @ 1425 Up (2009) *****

Yet another amazing Pixar. I really don’t know how they keep doing it. They have set their standards so high that although you don’t want them to - you kind of expect them to fail…. This is definitely not the case with the bizarre story of Up. Amazing animation - a great score and most importantly a great story makes this a top class animation. I was concerned about its bizarre premise but the story is close to perfect and has a great balance of fun, hilarity and the classic Disney sadness / tragedy from loss. Full of smart dialogue and the addition of “Dug” the dog is comedy at its best. This sad at times Pixar is both tender and funny. A classic Pixar success.

ITV2 @ 2000 Skyfall (2012) ****

Skyfall succeeded as it did not feel the need to carry on the story of its previous films - as it kicks off with an amazing car chase we know we are in for a treat. This film does not disappoint and it’s a darker more realistic Bond film that has kept up nicely with current times. After we all witnessed the fantastic Bourne Trilogy our tastes for this style of film got a bit more grown up. Mendes does a sterling job with Skyfall and has reassured me the franchise still has a lot of life left in it. Admittedly it does go a bit “Home Alone” towards the final act but I love the fact Bond films have almost no CGI. A great entry to the Bond franchise.

ITV1 @ 2000 Harry Potter and the Half-Blood Prince (2009) ****

If you want big battles, wizardry and spell bounding excitement - you do get a couple of crowd pleasers but this instalment of the Potter films focuses more on relationships. It's full of teenage crushes, giggling looks, teenage kisses and romance which was funny in places but also a little more for the teenage audience. In fact the scene where Ron’s sister kneels down to tie Harry’s shoe lace is pure awkward hilarity.

I have not read the books and I did feel the need for certain clarifiers to some partly explained and explored sub plots. There is a hell of a lot going on in this film. It just about gives enough of everything to keep confusion at bay. It is one of the more busy Potter films.

As always it looks amazing, today’s standard of CGI has allowed for this wonderful fantasy world to feel completely real. The young cast have all grown into their roles and give this film quality clout. I was also particularly impressed with Daniel Radcliffe in this film, especially during the scene where he took the luck potion - It was nice to see something different from him.

Although originally this was not one of my favourite Potter films it was more than good enough to keep the buzz alive, but now after numerous watches this Potter holds strong, and what small things frustrated the first time round, now seem altogether more whole and this has become a quality instalment to the Potter series I always enjoy returning to.

Best of the rest:

ITV3 @ 1030 Willy Wonka and the Chocolate Factory (1971) *****

Film4 @ 1100 Rango (2011) ****

C5 @ 1320 Labyrinth (1986) ****

TCM @ 1515 The Lord of the Rings: the Fellowship of the Ring (2001) *****

Film4 @ 1630 Arthur Christmas (2011) ***

C5 @ 1710 Footloose (1984) ***

ITV2 @ 1755 A Bug's Life (1998) ****

TCM @ 1840 Bullitt (1968) ****

More4 @ 2100 The Green Mile (1999) ****

Spike @ 2100 Fury (2014) ****

Horror @ 2100 The Mist (2007) ****

BBC1 @ 2115 Gone Girl (2014) ****

TCM @ 2255 Black Hawk Down (2001) ****

Film4 @ 2300 Predator (1987) *****

ITV4 @ 2320 Total Recall (1990) *****

SATURDAY 30th DECEMBER

HOT PICKS!

5* @ 1335 Teen Wolf (1985) *****

Teen Wolf always holds a place in my heart… I love it a little more than it deserves, but who cares. Michael J. Fox is Scott Howard, an average kid who plays for his unsuccessful school basketball team and works part time for his Dad in the local Hardware store. He is fed up of being so average and craves for excitement and success, but he could have never prepared for what happens next. Scott soon realises he comes from a family of Werewolves as one night at a party he begins to go through changes that alter the course of his school life, basketball success and relationships with his family and friends, forever. Teen Wolf is a great bit of 80’s family fun; Michael J. Fox is in his prime and really makes this film a success. With a great 80’s soundtrack and a superb story, Teen Wolf has everything you need for Weekend film escapism. It’s great fun, full of comedy and certainly has the feel good factor.

BBC1 @ 2000 Avengers: Age of Ultron (2015) ****

Whedon managed to cram in a shed load of oldies but goldies, a fair few newbies and a shed load of robot Ultrons and somehow still made this a coherent and enjoyable MCU spectacular. Well done Whedon. It stuck to the age old Marvel formula resulting in a huge over the top sky battle of world ending CGI nonsense - but it was very good wasn't it. You know you loved it. Expectations were set to ridiculous levels and it still came out relatively unscathed by critics and fans alike. In more recent times I am happy to see the MCU films taking on new directions - with Thor Ragnarok and Deadpool taking a step out of the box is a refreshing change. Avengers: Age of Ultron was a fantastic sequel to a fabulous first film.

Film4 @ 2310 The Guest (2014) ****

Adam Wingard dished out a very entertaining romp with 2014’s The Guest. It leans on my love of the 80’s and combined with a cool synth-filled-soundtrack and some nice visuals this hits all my spots.

A soldier arrives at the home of the Peterson family and claims to be a friend of their son who died in action. He is welcomed into their home but soon suspicion arises in the household and some seemingly accidental deaths are coincide with his arrival. Its twists may not be the subtlest but it all gels rather nicely with some good quality action and tension. Watch this.

Best of the rest:

5* @ 1525 *batteries not included (1987) ****

ITV3 @ 1545 The Wizard of Oz (1939) *****

TCM @ 1645 Bullitt (1968) ****

ITV1 @ 2000 Harry Potter and the Deathly Hallows: Part 1 (2010) ****

ITV2 @ 2100 Bridesmaids (2011) ***

W @ 2100 The Beach (2000) ****

Film4 @ 2100 Men in Black 3 (2012) ***

TCM @ 2100 Black Hawk Down (2001) ****

Sky1 @ 2200 Minority Report (2002) *****

Syfy @ 2250 Serenity (2005) ****

ITV1 @ 2300 The Mask (1994) ****

Spike @ 2305 Enter the Dragon (1973) ****

C4 @ 2320 Speed (1994) ****

ITV4 @ 0005 The Dirty Dozen (1967) ****

TCM @ 0000 Goodfellas (1990) *****

Film4 @ 0115 Taxi Driver (1976) *****

NEW YEARS EVE SUNDAY 31st DECEMBER

HOT PICKS!

C5 @ 1700 The Lego Movie (2014) ****

Hilarious, heartfelt a wonderful story of the underdog reaching his true potential. It's a machine gun gag reel of monstrous proportions, you will struggle to keep up from laugh to laugh. Excellently visualised - albeit quite frenetic - Lord and Miller have created something that instead of being an overly long toy advertisement - is a re-watchable comedy classic. This is NOT just for kids - it bridges the age gap amazingly and this should not be dismissed as a simple kids film. Get it on your watch list. The Lego Movie is responsible for me shouting "SPACESHIP" whenever there is mention of a spaceship or in fact any situation involving hysteria. Its fallen short for me many times with strange sideways glances - but for fans of The Lego Movie - one of my favourite scenes is Spaceman redemption. I will continue to shout it until I'm old and grey. Awesome.

ITV1 @ 1950 Harry Potter and the Deathly Hallows: Part 2 (2011) *****

A very satisfying final act to one of the greatest film franchises ever. A suitably grand vision for this final chapter with spectacular action sequences. Everyone gets their moments here and all that troubles me now is how many different types of elaborate limited Blu ray box sets I’ll be wasting my money on… I already have 2!

Film4 @ 2335 An American Werewolf in London (1981) *****

It’s only in the last 7 years that I saw this film for the first time and I was concerned that I had missed the boat and it would be horrendously outdated, but I was pleasantly surprised. It barely shows its age at all!

The story begins with two American back packers on the remote moors of England that lose their way as they turn to a local village for help they find a rather unaccommodating group of villagers and they soon realize they are well and truly on their own. As they cross the moors they are attacked by a huge wolf like creature! The villagers appear to be covering up the true horrors of their encounter.

It has a real interesting mix of horror and comedy that is really quite subtle. The lighter moments offset the horror in a real complimentary way and the 80’s “moon” related soundtrack seemed rather odd to start with but adds yet another layer to the overall experience. Unlike today’s heavy reliance on CGI, director John Landis had to rely on physical effects and make up when putting together the transformation scene. It is an absolutely amazing job - every elongation of limbs and warping of body parts is done with amazing skill that looks very realistic and quite horrifying even to today’s standards.

Overall, the film is based on a very simple idea but is executed in a very accomplished way. If you haven’t seen this film, push it to the top of your to do list.

Best of the rest:

C4 @ 1355 We Bought a Zoo (2011) ***

Film4 @ 1420 Scrooged (1988) *****

C5 @ 1455 Groundhog Day (1993) *****

Syfy @ 1800 Waterworld (1995) ****

Film4 @ 1855 Home Alone (1990) *****

E4 @ 1900 I, Robot (2004) ****

5* @ 2100 There's Something About Mary (1998) ****

Film4 @ 2100 Kingsman: the Secret Service (2015) ****

TCM @ 2100 Goodfellas (1990) *****

ITV4 @ 2200 Total Recall (1990) *****

Sony @ 2305 A Few Good Men (1992) ****

TCM @ 2350 Airplane! (1980) *****

Film4 @ 0130 Quadrophenia (1979) ****

NEW YEARS DAY MONDAY 1st JANUARY

HOT PICKS!

ITV2 @ 1900 Uncle Buck (1989) ****

John Hughes has given us some fantastic 80’s films and here’s one of my favourites: Uncle Buck. John Candy plays Buck, who gets called in to look after his niece’s and nephew due to a family emergency. This unlikely Baby Sitter struggles with his new family role but it always ends in comedy results. It’s lovely, light-hearted, laugh out loud funny with some really memorable scenes - particularly the mole scene. John Candy is comedy gold and I just adore Amy Madigan as Buck’s girlfriend. Need a comedy to watch? Watch this.

Sony @ 0055 Sunshine (2007) *****

Don’t miss Danny Boyle’s splendid venture into the space Sci-Fi genre: Sunshine. I love this film. It pulls from so many influences from Science Fiction greats such as Alien, 2001, and even Event Horizon. The film is set 50 years in the future, a team of astronauts are sent on a mission to reignite the dying sun. They are Earth’s last hope of survival.

Sunshine relies heavily on the quality of the cast to drive this through and they all do a sterling job. Particularly Cillian Murphy and Chris Evans. They all capture the essence of how 16 months cooped up in a confined space must make you feel. The mission takes a turn when they find the original lost ship from a failed mission in a decaying orbit around the sun. This is the beginning of a string of unfortunate and strange events that put not only their lives but their mission to save the world as well.

Boyle dishes out some seriously tense scenes and towards the end of the film it changes from Sci-Fi to Horror as certain things are revealed. Although not everyone welcomed these changes, I think they worked really well and it was a good twist ultimately carrying film to conclusion. Sunshine is a thrilling and very gripping Sci-Fi feast from a great British Director. A must see film.

Best of the rest:

ITV1 @ 0615 Flash Gordon (1980) ***

ITV1 @ 1310 Hugo (2011) ***

ITV3 @ 1315 The Wizard of Oz (1939) *****

Film4 @ 1435 Paddington (2014) ****

5* @ 1700 Robin Hood: Prince of Thieves (1991) *****

ITV2 @ 1705 Despicable Me (2010) ***

C4 @ 1730 Mrs. Doubtfire (1993) ****

E4 @ 1900 Titanic (1997) ****

ITV1 @ 2000 Spectre (2015) ***

5* @ 2000 Ace Ventura: Pet Detective (1994) ****

Dave @ 2200 Kill Bill: Vol 2 (2004) ****

Syfy @ 2200 The Thing (1982) *****

TCM @ 2310 Blade (1998) ***

TUESDAY 2nd JANUARY

HOT PICK!

Spike @ 2300 Fury (2014) ****

There are plenty of war films with the same old formula, and this film does follow a rather formulaic approach, but here we focus solely on a U.S. Sherman tank crew. Not since the amazing Kelly’s Heroes had I seen a film focus on these tanks. A history lesson in itself for the ignorant and uneducated - the Nazi Tiger tanks they are up against completely and utterly out gun them and with armour so strong - the Sherman’s found it extremely difficult to stop them. Comparatively this film is nothing like the almost light hearted, satirically barbed Kelly’s Heroes, here we have a film attempting to capture the realism of war, the death, the squalor and the sheer inhumanity. It does this very well.

It’s dark, rich colour palette and beautifully framed cinematography certainly keep your eyes glued to the screen. The poor Sherman crews did not have much hope. We are taken deep inside the belly of “Fury” the Sherman tank with crew of 5 led by Don “Wardaddy” Collier played by Brad Pitt. Never before have I seen such oddly perfect hair styling in a war zone since Clint Eastwood’s barnet in Where Eagles Dare.

The claustrophobia of the tank is captured really well but it also somehow creates space with every odd angle when we see times where this crew felt secure in their new found home. The performances are the icing on the cake here with everyone pulling out performances to be very proud of. Not a film that will survive a re-watch mainly down to its bleakness, but never the less a film I am very pleased to have seen.

Best of the rest:

Film4 @ 1445 Antz (1998) ****

Film4 @ 2100 Die Hard 2 (1990) ****

TCM @ 2100 Blade (1998) ***

WEDNESDAY 3rd JANUARY

HOT PICK!

Comedy @ 2100 21 Jump Street (2012) ****

I’m a difficult customer when it comes to comedy but 21 Jump Street hit all the right notes for my difficult tastes. What a great surprise this film was! The trailer looked a little silly, Channing Tatum has had a fair share of negative press, everyone is getting a bit fed up of Jonah Hill these days - it just seemed like a dud from the start. I was very wrong indeed - Even on repeat watches it still stands up really well. Tatum and Hill are a hilarious pairing and they bounce the equally great script around with great comedy timing. It has 100’s of quotable one liners but most importantly it’s all wrapped up with real heart.

THURSDAY 4th JANUARY

HOT PICKS!

Film4 @ 1245 Rango (2011) ****

An absolutely stunning animation. You can certainly see why this won an Oscar. It’s visually flawless. This clever Western is packed with references to the greats and still manages to deal an original and always entertaining animation. It’s thick with interesting characters driving the story, Rango packs an emotional punch. One for adults to enjoy that will also keep the kids entertained.

Film4 @ 2310 Stoker (2013) *****

Park Chan-Wook’s first English language film is a stunning success. Mysterious and beautiful - I was completely hooked to the story at each and every perfectly placed turn. The amazing visuals are nothing short of breath-taking. Chung-Hoon Chung’s eye for Photography cannot be matched and this film seriously showcases his talent. The films pace is refined, almost cautious, never rushing the audience, always delicate and thoughtful, and thanks to the fantastic central cast this very simply story always seems thick, lush and robust to the very end. Experiencing this at the cinema was fantastic and it immediately became one of my favourite films of the year. After then seeing all the average reviews and even some negative press I approached my Blu ray re-watch with baited breath. This was all the more rewarding the second time around. Now on multiple watches I just become more appreciative. The use of sound is fantastic and as important as the visuals. This really is a feast for the senses. It firmly stamped its mark as number 2 in my top films of 2013. I always just want to stay right there and watch it all over again.

Best of the rest:

5* @ 1600 *batteries not included (1987) ****

TCM @ 1630 The Cruel Sea (1952) ****

Film4 @ 1855 Men in Black 3 (2012) ***

ITV2 @ 2100 22 Jump Street (2014) ****

TCM @ 2300 Mad Max (1979) *****

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londontheatre · 7 years ago

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Aisha Jawando as Cinderella and Kat B and Tony Whittle as the Ugly Sisters in Hackney Empire’s Cinderella 2017

Hackney Empire today announces casting for its highly anticipated 2017 Christmas pantomime, Cinderella, having last been staged at the venue in 2011. Established West End performer Aisha Jawando (Motown the Musical, Beautiful) will be stepping into the glass slippers of the title role. She will be joined by Hackney Empire pantomime legends Tony Whittle and Kat B as the Ugly Sisters. Peter Straker (Hair, Tommy) will reprise the role of Baron Hardup, having last played the role in 2011, Darren Hart (Justin’s House, Gigglebiz) will play Buttons and writer and director Susie McKenna (Cats, Ragtime) will also be taking on the role of Wicked Stepmother. Making their Hackney Empire pantomime debuts will be West End performers Stephane Anelli (Saturday Night Fever, Singing in the Rain) as Dandini and Chris Jenkins (Billy Elliot, War of the Worlds) as Prince Charming. The production will also feature Sharon D Clarke and Clarke Peters as the voices of Duchess and Duke Mouse.

The cast will also include Chloe Ames, Thomas Audibert, Andrew Carthy, Raffaella Covino, Sinead Long and Dale White. Cinderella will run from Saturday 18 November – Sunday 31 December with press night on Thursday 23 November.

Marking their 19th pantomime for Hackney Empire, Cinderella will be written and directed by Susie McKenna with original music by Steven Edis. The award-winning team has been the creative force behind London’s number one pantomime for nearly two decades and will once again be bringing a classic story bang up to date.

This Christmas, Harlem meets Hackney in the classic rags to riches tale of Cinderella. In true Hackney Empire style that brings West End value at East End prices, this magical, family pantomime will be packed with glittering sets, big song and dance numbers, slapstick comedy plus a flying horse, all played out in the beautiful Victorian Theatre.

Aisha Jawando (Cinderella) was most recently seen as Martha Reeves in the original London cast of Motown the Musical and Carmen in The Life (Southwark Playhouse). Other stage credits include Legally Blonde (Leicester Curve), Fela (National Theatre), Disney’s The Lion King (West End) and Beautiful (West End).

Aisha Jawando and Clapton the Horse in Hackney Empire’s Cinderella 2017 Credit Perou

Tony Whittle (Ugly Sister) returns to Hackney Empire following his role as King Eric of the Undecided in last year’s production of Sleeping Beauty. Tony has starred in many previous pantomimes at Hackney Empire including Dick Whittington, Jack and the Beanstalk, Aladdin and Mother Goose. Other stage credits include Twelfth Night, The Merry Wives of Windsor, Kiss Me Kate, all for Regent’s Park Open Air Theatre, Singin’ in the Rain (UK Tour) and Les Miserables 25th Anniversary concert at the O2.

Kat B (Ugly Sister) is a regular on the Hackney Empire stage, with previous appearances including Jack and the Beanstalk, Mother Goose, Puss in Boots, Dick Whittington, Cinderella, The Wiz, A Christmas Carol, Aladdin and last year’s pantomime Sleeping Beauty. Kat is best known for his antics on MTV Base where he has presented numerous shows around the world. His film and television credits include Waterland and Street Wise (BBC) and the Richard Blackwood Show (Channel 4). Kat is also the resident host of the Real Deal Comedy Jam and a regular on the Jongleurs Circuit.

Peter Straker (Baron Hardup) first shot to fame in 1968 when he starred as Hud in the original London production of Hair. Since then Peter has starred in countless West End productions including Hot Stuff, The Rocky Horror Show, The Rat Pack and most recently Tommy, plus classical roles including Julius Caesar (Old Vic) and Measure for Measure (National Theatre). Peter is also known for his work with Freddie Mercury, including on the tracks Barcelona and The Great Pretender. He was last seen on the Hackney Empire stage in 2011’s production of Cinderella.

Darren Hart (Buttons) makes his return to Hackney Empire after starring in last year’s pantomime Sleeping Beauty. His other theatre credits include Mother Goose and Jack and the Beanstalk (Hackney Empire), Lonely Londoners (National Theatre Studio), Home, Clockwork, Cinderella and Red Riding Hood (all Theatre Royal Stratford East), That Face (Soho Theatre), Henry IV parts 1 & 2 and His Dark Materials (both National Theatre). Television credits include regular appearances in Justin’s House and Gigglebiz (both BBC).

Susie McKenna (Wicked Stepmother / Director / Writer) has written and directed critically acclaimed pantomimes since 1998, since first starting as a principle boy in Nottingham Playhouse pantomimes. Her most recent directing credits include The Silver Sword, a musical adaptation of Ian Serraillier’s novel, written by Susie and Steve Edis. Other credits include Blues in the Night, A Midsummer Night’s Madness (Hackney Empire, New York and Edinburgh Festival) and Once on this Island (Hackney Empire, Birmingham Rep, Nottingham Playhouse). She was nominated for the League of Professional Theatre Women’s Guild/Coigney International Theatre Award for developing international links. She has also worked as an actor for over 30 years and credits include Chicago, Cats, Ragtime and The Witches of Eastwick in the West End, TV shows such as Mr Bean and Casualty and films such as Cats, Jack and Sarah and Muppets Most Wanted.

Stephane Anelli (Dandini) is an established stage performer with credits including Tony Manero in Saturday Night Fever (UK Tour and West End), Sinatra (London Palladium), Fiddler on the Roof (Sheffield Crucible), On the Town (London Coliseum), Never Forget (Savoy Theatre), Legally Blonde (Savoy Theatre), Ragtime and A Midsummer Night’s Dream (both Regent’s Park Open Air Theatre) and Singin’ in the Rain (Palace Theatre and UK Tour).

Chris Jenkins (Prince Charming) marks his Hackney Empire pantomime debut this year, having starred in Milton Keynes’ pantomime Dick Whittington in 2016. West End theatre credits include War of the Worlds (Dominion), Billy Elliot (Victoria Palace), Spamalot (Playhouse Theatre) and The Umbrellas of Cherbourg (Gielgud Theatre).

Cinderella will have Production Design by Lotte Collett, Musical Direction by Mark Dickman, Lighting Design by Paul Anderson, Sound Design by Adam Fisher, Choreography by Richard Roe, Assistant Direction by Matt Dempsey and Creature Design by Scott Brooker.

http://ift.tt/2k2XkVN LondonTheatre1.com

#IFTTT #LondonTheatre1.com

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kansascityhappenings · 8 years ago

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Comedy icon Jerry Lewis dies at 91

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LOS ANGELES — Jerry Lewis, the manic, rubber-faced showman who jumped and hollered to fame in a lucrative partnership with Dean Martin, settled down to become a self-conscious screen auteur and found an even greater following as the tireless, teary host of the annual muscular dystrophy telethons, has died. He was 91.

Publicist Candi Cazau says Lewis died Sunday morning of natural causes at age 91 in Las Vegas with his family by his side.

Lewis’ career spanned the history of show business in the 20th century, beginning in his parents’ vaudeville act at the age of 5. He was just 20 when his pairing with Martin made them international stars. He went on to make such favorites as “The Bellboy” and “The Nutty Professor,” was featured in Martin Scorsese’s “The King of Comedy” and appeared as himself in Billy Crystal’s “Mr. Saturday Night.”

Jerry Lewis attends the ‘Max Rose’ photocall during The 66th Annual Cannes Film Festival at the Palais des Festivals on May 23, 2013 in Cannes, France. Photo by Stuart C. Wilson/Getty Images

In the 1990s, he scored a stage comeback as the devil in the Broadway revival of “Damn Yankees.” And after a 20-year break from making movies, Lewis returned as the star of the independent drama “Max Rose,” released in 2016.

In his 80s, he was still traveling the world, working on a stage version of “The Nutty Professor.” He was so active he would sometimes forget the basics, like eating, his associates would recall. In 2012, Lewis missed an awards ceremony thrown by his beloved Friars Club because his blood sugar dropped from lack of food and he had to spend the night in the hospital.

In his 90s, he was still performing standup shows.

A major influence on Jim Carrey and other slapstick performers, Lewis also was known as the ringmaster of the Labor Day Muscular Dystrophy Association, joking and reminiscing and introducing guests, sharing stories about ailing kids and concluding with his personal anthem, the ballad “You’ll Never Walk Alone.” From the 1960s onward, the telethons raised some $1.5 billion, including more than $60 million in 2009. He announced in 2011 that he would step down as host, but would remain chairman of the association he joined some 60 years ago.

His fundraising efforts won him the Jean Hersholt Humanitarian Award at the 2009 Oscar telecast, an honor he said “touches my heart and the very depth of my soul.” But the telethon was also criticized for being mawkish and exploitative of children, known as “Jerry’s Kids.” A 1960s muscular dystrophy poster boy, Mike Ervin, later made a documentary called “The Kids Are All Alright,” in which he alleged that Lewis and the Muscular Dystrophy Association had treated him and others as objects of pity rather than real people.

“He and his telethon symbolize an antiquated and destructive 1950s charity mentality,” Ervin wrote in 2009.

Responded Lewis: “You don’t want to be pitied because you’re a cripple in a wheelchair, stay in your house!”

He was the classic funnyman who longed to play “Hamlet,” crying as hard as he laughed. He sassed and snarled at critics and interviewers who displeased him. He pontificated on talk shows, lectured to college students and compiled his thoughts in the 1971 book “The Total Film-Maker.”

“I believe, in my own way, that I say something on film. I’m getting to those who probably don’t have the mentality to understand what … ‘A Man for All Seasons’ is all about, plus many who did understand it,” he wrote. “I am not ashamed or embarrassed at how seemingly trite or saccharine something in my films will sound. I really do make films for my great-great-grandchildren and not for my fellows at the Screen Directors Guild or for the critics.”

In his early movies, he played the kind of fellows who would have had no idea what the elder Lewis was talking about: loose-limbed, buck-toothed, overgrown adolescents, trouble-prone and inclined to wail when beset by enemies. American critics recognized the comedian’s popular appeal but not his aspirations to higher art; the French did. Writing in Paris’ Le Monde newspaper, Jacques Siclier praised Lewis’ “apish allure, his conduct of a child, his grimaces, his contortions, his maladjustment to the world, his morbid fear of women, his way of disturbing order everywhere he appeared.”

The French government awarded Lewis the Chevalier of the Legion of Honor in 1983 and Commander of Arts and Letters the following year. Film critic Andrew Sarris observed: “The fact that Lewis lacks verbal wit on the screen doesn’t particularly bother the French.”

Lewis had teamed up with Martin after World War II, and their radio and stage antics delighted audiences, although not immediately. Their debut, in 1946 at Atlantic City’s 500 Club, was a bust. Warned by owner “Skinny” D’Amato that they might be fired, Martin and Lewis tossed the script and improvised their way into history. New York columnists Walter Winchell and Ed Sullivan came to the club and raved over the sexy singer and the berserk clown.

Lewis described their fledgling act in his 1982 autobiography, “Jerry Lewis in Person”: “We juggle and drop a few dishes and try a few handstands. I conduct the three-piece band with one of my shoes, burn their music, jump offstage, run around the tables, sit down with the customers and spill things while Dean keeps singing.”

Hollywood producer Hal Wallis saw them at New York’s Copacabana and signed them to a film contract. Martin and Lewis first appeared in supporting roles in “My Friend Irma” and “My Friend Irma Goes West.” Then they began a hit series of starring vehicles, including “At War With the Army,” ”That’s My Boy” and “Artists and Models.”

But in the mid-1950s, their partnership began to wear. Lewis longed for more than laughs. Martin had tired of playing straight man and of Lewis’ attempts to add Chaplinesque pathos. He also wearied of the pace of films, television, nightclub and theater appearances, benefits and publicity junkets on which Lewis thrived. The rift became increasingly public as the two camps sparred verbally.

“I knew we were in trouble the day someone gave Jerry a book about Charlie Chaplin,” Martin cracked.

On July 24, 1956, Martin and Lewis closed shop, at the Copa, and remained estranged for years. Martin, who died in 1995, did make a dramatic, surprise appearance on Lewis’ telethon in 1976 (a reunion brokered by mutual pal Frank Sinatra), and director Peter Bogdonavich nearly persuaded them to appear in a film together as former colleagues who no longer speak to each other. After Martin’s death, Lewis said the two had again become friendly during his former partner’s final years and he would repeatedly express his admiration for Martin above all others.

The entertainment trade at first considered Martin the casualty of the split, since his talents, except as a singer, were unexplored. He fooled his detractors by cultivating a comic, drunken persona, becoming star of a long-running TV variety show and a respected actor in such films as “Some Came Running,” ”The Young Lions” and “Rio Bravo.”

Lewis also distinguished himself after the break, revealing a serious side as unexpected as Martin’s gift for comedy.

He brought in comedy director Frank Tashlin for “Rock-a-bye Baby,” ”Cinderfella,” ”The Disorderly Orderly,” ”The Geisha Boy” and “Who’s Minding the Store?”, in which he did a pantomime of a typist trying to keep up with Leroy Anderson’s speedy song “The Typewriter.”

With “The Bellboy,” though, Lewis assumed the posts of producer, director, writer and star, like his idol Chaplin. Among his hits under his own direction was the 1963 “The Nutty Professor,” playing a dual Jekyll and Hyde role, transforming himself from a nerdy college teacher to a sexy (and conceited) lounge singer, Buddy Love, regarded as a spoof of his old partner Martin.

He also directed “The Patsy,” ”The Errand Boy,” ”The Family Jewels” and “The Big Mouth.” Lewis’ more recent film credits included such low-budget releases as “Arizona Dream,” co-starring Johnny Depp, and “Max Rose,” which came out in 2016. He had a guest shot on television’s “Mad About You” and was seen briefly in Eddie Murphy’s remake of “The Nutty Professor.”

He was born Joseph Levitch in Newark, New Jersey, on March 16, 1926. His father, billed as Danny Lewis, was a singer on the borscht and burlesque circuits. His mother played piano for Danny’s act. Their only child was often left alone in hotel rooms, or lived in Brooklyn with his paternal grandparents, Russian Jewish immigrants, or his aunts in New Jersey.

“All my life I’ve been afraid of being alone,” Lewis once said. In his later years the solitude haunted him, and he surrounded himself with an entourage at work and at home.

Joey Levitch made his professional debut at age 5, singing the Depression tearjerker “Brother, Can You Spare a Dime?” to great applause. He recalled that he eventually lost all interest in school and “began to clown around to attract people’s attention.”

By 16, Jerry Lewis (as his billing read) had dropped out of school and was earning as much as $150 a week as a solo performer. He appeared in a “record act,” mouthing crazily to the records of Danny Kaye, Spike Jones and other artists. Rejected by the Army because of a heart murmur and punctured eardrum, Lewis entertained troops in World War II and continued touring with his lip-sync act. In 1944 he married Patti Palmer, a band vocalist.

The following year he met Martin, on a March day in 1945 in Manhattan, Broadway and 54th to be exact. Lewis was on his way to see an agent, walking with a friend, when his friend spotted an “incredibly handsome” man wearing a camel’s hair coat. Lewis and Martin were introduced and Lewis knew right off that this new acquaintance, nine years older than him, was “the real deal.”

“‘Harry Horses,’ I thought,” Lewis wrote in the memoir “Dean and Me,” published in 2005. “That was what we used to call a guy who thought he was smooth with the ladies. Anybody who wore a camel’s-hair overcoat, with a camel’s-hair belt and fake diamond cuff links, was automatically Harry Horses.”

Lewis couldn’t escape from small-time bookings. The same was true of Martin, who sang romantic songs in nightclubs. In 1946, Lewis was playing the 500 Club, and the seats were empty. Lewis suggested hiring Martin to bolster the bill, promising he could do comedy as well as sing.

Fame brought him women and Lewis wrote openly of his many partners. After 36 years of marriage and six sons, Patti Lewis sued her husband for divorce in 1982. She later wrote a book claiming that he was an adulterer and drug addict who abused their children. Son Gary became a pop singer whose group, Gary Lewis & the Playboys, had a string of hits in 1965-66.

In his late 50s, Lewis married Sandra Pitnick, 32, a former airline stewardess. They had a daughter, Dani, named for Jerry’s father.

from FOX 4 Kansas City WDAF-TV | News, Weather, Sports http://fox4kc.com/2017/08/20/comedy-icon-jerry-lewis-dies-at-91/

from Kansas City Happenings https://kansascityhappenings.wordpress.com/2017/08/20/comedy-icon-jerry-lewis-dies-at-91/

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