#steven noonan

[mr-boundless]

Doctor Who - the Logic of the One

starring: Steven Noonan as the First Doctor, Maureen O'Brien as Vicki and Jim Broadbent as the One

[demigodofhoolemere]

YES!!!

[thedoctorwhocompanion]

Reviewed: Big Finish’s Doctor Who, Once and Future – The Martian Invasion of Planetoid 50

Reviewed: Big Finish’s #DoctorWho, Once and Future – The Martian Invasion of Planetoid 50

Entering the latter half of Big Finish’s Doctor Who 60th anniversary event, the fifth chapter of Once and Future sees the Tenth Doctor (David Tennant) encounter some fan favourites, Missy (Michelle Gomez) and the Paternoster Gang – Madame Vastra (Neve McIntosh), Jenny Flint (Catrin Stewart) and Strax (Dan Starkey). Oh yes! Before I resume, I would like to share a personal anecdote. On 28th July,…

[companion-showdown]

Who is your favourite companion?

ROUND 2 MASTERPOST

propaganda under the cut

Oliver Harper

Such a brilliant character. When Big Finish decided to make a new companion for the First Doctor era I was excited and wondered how it would go. They did a spectacular job of combining a character that was so very perfectly 60s but that the TV show of the time could never do. If you've not heard the trilogy he is in, go and listen to it. Otherwise enjoy this brief, spoilery summary of why he is awesome. In his first story we open with Oliver finding out the police are hot on his trail and caught an associate of his. No longer feeling a part of his world of stock trading this made Oliver suddenly the only contemporary human who could see through the disguise of invading alien slave traders (including his bosses) and so helped the Doctor and Steven defeat them and ended up joining them in the TARDIS eager to get away and hoping his new friends never find out his horrible secret. What makes him brilliant and such a perfect story of the 60s that could only be told by the show all these years later is his crime. Oliver was simply gay. And when Steven and the Doctor find out he is surprised to find them totally and whole heartedly supporting and accepting of him and to learn it's not a crime in the future. The dynamic between them was beautiful and the conversations they had so moving. And then BF killed him off in his third story after leaving no room for gaps between his trips in the TARDIS and broke my fucking heart. I love him and I still wish they'd retcon his death and bring him back for full cast stories with Purves and Noonan. (@hartnellwho /@elden-12 )

Liv Chenka

no propaganda submitted

[brokehorrorfan]

RoboCop 2 will be released on 4K Ultra HD + Blu-ray on June 18 via Scream Factory. The 1990 sci-fi action sequel was the final film directed by Irvin Kershner (Star Wars: The Empire Strikes Back).

Comic book legend Frank Miller (The Dark Knight Returns, Sin City) and Walon Green (Eraser) wrote the script. Peter Weller returns to star with Nancy Allen, Dan O'Herlihy, Tom Noonan, Belinda Bauer, and Gabriel Damon.

RoboCop 2 has been newly scanned in 4K from the original camera negative with Dolby Vision and DTS-HD Master Audio 5.1 Surround and 2.0 Stereo. Special features are listed below.

Disc 1 - 4K UHD:

Audio commentary with author/CG supervisor Paul M. Sammon

Audio commentary with RoboDoc: The Creation of RoboCop documentarians Gary Smart, Chris Griffiths, and Eastwood Allen

Disc 2 - Blu-ray:

Audio commentary with author/CG supervisor Paul M. Sammon

Audio commentary with RoboDoc: The Creation of RoboCop documentarians Gary Smart, Chris Griffiths, and Eastwood Allen

Corporate Wars: The Making of RoboCop 2 – Interviews with director Irvin Kershner, producer Jon Davidson, actors Tom Noonan, Nancy Allen, Galyn Görg, executive producer Patrick Crowley, associate producer Phil Tippett, cinematographer Mark Irwin, and author/CG supervision Paul M. Sammon

Machine Parts: The FX of RoboCop 2 – Interviews with Phil Tippett, Peter Kuran, Craig Hayes, Jim Aupperle, Kirk Thatcher, Paul Gentry, Don Waller, Justin Kohn, Randal Dutra, and Kevin Kutchaver

Interview with RoboCop armor fabricator James Belohovek

Interview with comic book writer Steven Grant

OCP Declassified – Archival production and behind-the-scenes videos including interviews with director Irvin Kershner and actors Peter Weller and Dan O’Herlihy, and a look at the filming of some deleted scene

Theatrical trailer

Teaser trailers

TV spots

Still Galleries – deleted scenes, behind-the-scenes photos, stills, posters and lobby cards

When Detroit's descent into chaos is further compounded by a police department strike and a new designer drug called "Nuke," only RoboCop (Peter Weller) can stop the mayhem. But in his way are a sinister corporation and a bigger and tougher cyborg with a deadly directive: take RoboCop off the streets … permanently.

Pre-order RoboCop 2.

[01sentencereviews]

“New-To-Me” - Feb 2023

LA Plays Itself (1972, Fred Halsted)

A Self-Induced Hallucination (2018, Jane Schoenbrun)

Valley Girl (1983, Martha Coolidge)

Flower Fairy (1905, Gaston Velle)

The Lord of the Rings: The Return of the King (2003, Peter Jackson)

What Happened Was… (1994, Tom Noonan)

Emerald (2007, Apichatpong Weerasethakul)

Pillow Talk (1959, Michael Gordon)

The Hedge Theater (2002, Robert Beavers)

Center Jenny (2013, Ryan Trecartin)

+++

Aline (2020, Valérie Lemercier)

The Anthem (2006, Apichatpong Weerasethakul)

EO (2022, Jerzy Skolimowski)

The Lord of the Rings: The Two Towers (2002, Peter Jackson)

Luminous People (2007, Apichatpong Weerasethakul)

M Hotel (2011, Apichatpong Weerasethakul)

Modern Romance (1981, Albert Brooks)

Phantoms of Nabua (2009, Apichatpong Weerasethakul)

Sex Garage (1972, Fred Halsted)

Significant Other (2022, Robert Olsen & Dan Berk)

Speak No Evil (2022, Christian Tafdrup)

Tuesday (2015, Charlotte Wells)

The Woman King (2022, Gina Prince-Bythewood)

New Releases:

Knock at the Cabin (M. Night Shyamalan)

Magic Mike’s Last Dance (Steven Soderbergh)

The Outwaters (Robbie Banfitch)

Pamela, A Love Story (Ryan White)

[noprivatemeanings]

Books I've read in 2023

'Crying in H Mart' by Michelle Zauner

'The Tea Dragon Society' by K. O'Neill

'A Certain Hunger' by Chelsea G. Summers

'How to Break Up with Your Phone' by Catherine Price

'The Metamorphosis' by Franz Kafka

'Animals Eat Each Other' by Elle Nash

'Coming Out Autistic' edited by Steven Fraser

'The Very Secret Society of Irregular Witches' by Sangu Mandanna

'We Swim to the Shark' by Georgie Codd

'Passing' by Nella Larsen

'The Service' by Frankie Miren

'What I Want to Talk About: How Autistic Special Interests Shape a Life' by Pete Wharmby

'The Inland Sea' by Madeleine Watts

'Mating in Captivity: Reconciling the Erotic and the Domestic' by Esther Perel

'Let Them Eat Chaos' by Kae Tempest

'Introducing Existentialism' by Richard Appiganesi

'The Silence Project' by Carole Hailey

'Cursed Bunny' by Bora Chung

'Sunshine' by Melissa Lee-Houghton

'The Delicacy' by James Albon

'Are Prisons Obselete?' by Angela Y. Davis

'The Beginning of the World in the Middle of the Night' by Jen Campbell

'Square Eyes' by Luke Jones and Anna Mills

'Chess Queens: The True Story of a Chess Champion and the Greatest Female Players of All Time' by Jennifer Shahade

'Making Cocoa for Kingsley Amis' by Wendy Cope

'The Housekeeper and the Professor' by Yōko Ogawa

'The Artificial Silk Girl' by Irmgard Keun

'Because Internet: Understanding the New Rules of Language' by Gretchen McCulloch

'Esc & Ctrl' by Steve Hollyman

'The Doors of Perception' by Aldous Huxley

'Sedating Elaine' by Dawn Winter

'Different, Not Less: A Neurodivergent's Guide to Embracing Your True Self and Finding Your Happily Ever After' by Chloé Hayden

'The Appendix' by Liam Konemann

'Food Isn't Medicine: Challenge Nutrib*llocks & Escape the Diet Trap' by Dr Joshua Wolrich

'Didn't Nobody Give a Shit What Happened to Carlotta' by James Hannaham

'Lies We Sing to the Sea' by Sarah Underwood

'Julia and the Shark' by Kiran Millwood Hargrave with Tom de Freston

'Who Will Run the Frog Hospital?' by Lorrie Moore

'Disability Visibility: First-Person Stories from the Twenty-First Century' edited by Alice Wong

'This Is How You Lose the Time War' by Amal El-Mohtar and Max Gladstone

'Small Bodies of Water' by Nina Mingya Powles

'The Cassandra Complex' by Holly Smale

'French Exit' by Patrick deWitt

'Sundial' by Catriona Ward

'Don't Hold My Head Down: In Search of Some Brilliant Fucking' by Lucy-Anne Holmes

'Girl, Woman, Other' by Bernardine Evaristo

'The Love Factor' (So Little Time #8) by Rosalind Noonan

'Paris: The Memoir' by Paris Hilton

'All Systems Red' (The Murderbot Diaries #1) by Martha Wells

'Intimations' by Zadie Smith

'Cultish: The Language of Fanaticism' by Amanda Montell

'Motherthing' by Ainslie Hogarth

[byneddiedingo]

Marilyn Monroe and Jane Russell in Gentlemen Prefer Blondes (Howard Hawks, 1953)

Cast: Jane Russell, Marilyn Monroe, Charles Coburn, Elliott Reid, Tommy Noonan, George Winslow, Marcel Dalio, Taylor Holmes, Norma Varden, Howard Wendell, Steven Geray. Screenplay: Charles Lederer, based on a musical comedy by Joseph Fields and Anita Loos. Cinematography: Harry J. Wild. Art direction: Lyle R. Wheeler, Joseph C. Wright. Costume design: Travilla. Film editing: Hugh S. Fowler. Songs by Jule Styne and Leo Robin.

Given the sexism and vulgarity that underlies the teaming of Marilyn Monroe and Jane Russell -- two women best known at the time for their bodies, not for their talents as actresses or singers -- it's gratifying that Gentlemen Prefer Blondes turned out to be a landmark film in both their careers. Some of it has to do with the director, Howard Hawks, who despite his reputation for womanizing created some of the most memorable roles for such actresses as Katharine Hepburn, Jean Arthur, Rosalind Russell, Lauren Bacall, and many others. Certainly neither Russell nor Monroe ever showed more wit and liveliness than they do here, even though Monroe is playing the gold-digging ditz part that she came to resent, especially after having to play it again the same year in How to Marry a Millionaire (Jean Negulesco), and Russell is stuck with the wise-cracking sidekick role. Both stars are paired with lackluster leading men, Elliott Reid and Tommy Noonan, but while it might have been fun to see someone like Cary Grant in Reid's part, that kind of casting would probably have thrown the film off-balance. Better that we have Charles Coburn's bedazzled old lech, young George Winslow's precocious appreciation of Monroe's "animal magnetism," and Marcel Dalio's judge overwhelmed by Russell's hilarious impersonation of Monroe's Lorelei Lee. The production numbers, choreographed by Jack Cole, costumed by Travilla, and filmed by Harry J. Wild in a candy-store Technicolor that we'll not see the like of again, are exceptional showcases for Russell and Monroe: The former's baritonish growl blends perfectly with the latter's sweet and wispy soprano (though some of Monroe's high notes were provided by Marni Nixon).

[byneddiedingo]

Cast: Jane Russell, Marilyn Monroe, Charles Coburn, Elliott Reid, Tommy Noonan, George Winslow, Marcel Dalio, Taylor Holmes, Norma Varden, Howard Wendell, Steven Geray. Screenplay: Charles Lederer, based on a musical comedy by Joseph Fields and Anita Loos. Cinematography: Harry J. Wild. Art direction: Lyle R. Wheeler, Joseph C. Wright. Costume design: Travilla. Film editing: Hugh S. Fowler. Songs by Jule Styne and Leo Robin.

GENTLEMEN PREFER BLONDES (1953) | dir. Howard Hawks

[moviereviews101web]

Nyctophobia (2024) Movie Review

Nyctophobia – Movie Review Director: Kim Noonan Writer: Koji Steven Sakai (Screenplay) Cast Bianca D’Ambrosio (High Heat) Chiara D’Ambrosio (Bandit) BJ Tanner Dana Powell (Bridesmaids) Sean O’Bryan (Olympus Has Fallen) Dean McDermott (Due South) Plot: Twin sisters Rose and Azalea and their friend Brooks find themselves trapped in a supernatural blackout in which monsters are real. Their…

[moviesandmania]

NYCTOPHOBIA Found footage horror - trailer and UK release date

‘Be afraid of the dark’ Nyctophobia is a found footage horror film in which twin sisters and their friend are trapped in a supernatural blackout. Directed and co-produced by Kim Noonan – making his feature directorial debut – from a screenplay by co-producer Koji Steven Sakai. Also produced by Lisa D’Ambrosio, Brian S. Tedeschi, Vicki Vass and Stanley Yung. Executive produced by Pascal Counts,…

[webseriesviral]

The common wisdom that “the book is usually better than the film” is as true of children’s literature as of its adult counterpart: cinema is stacked with adaptations of children’s classics that may be perfectly proficient, but haven’t the inspired individuality of the works at their source.Devotees of Roald Dahl have learned this a lot over the years. His offbeat humour and offhand storytelling style, so irresistible to kids, rarely translates all the way to screen — it’s thwarted such titans as Steven Spielberg, who whiffed with The BFG (Netflix), though Wes Anderson’s droll Fantastic Mr Fox succeeded by inventing eccentricities of its own. Best of all, Nicolas Roeg’s very adult sense of the macabre proved a delicious fit for The Witches (Amazon Prime), notwithstanding a simplified, studio-mandated happy ending.‘A small miracle’: Spike Jonze’s Where the Wild Things Are. Photograph: Warner Bros./AllstarThe somewhat clunkily titled Roald Dahl’s Matilda the Musical, which hits Netflix this weekend, falls somewhere in between: adapted from the hit stage musical, so already once removed from the text, it’s bright and lively and exuberantly performed, particularly by a thundering Emma Thompson as wicked headmistress Miss Trunchbull. That will secure it repeat play in many a household, though Matthew Warchus’s film dials down the book’s perverse darkness and melancholy. I prefer it to Danny DeVito’s broadly Americanised 1996 version, but a great screen Matilda eludes us still.What are the children’s films, then, that stand up to the books they’re drawn from? Not a huge success when released, Spike Jonze’s beautiful, bittersweet adaptation of Maurice Sendak’s Where the Wild Things Are is a small miracle: a film that doesn’t stick to the letter of its source but to its roaming, curious spirit, with an intense interest in children and how they absorb and invent stories. Also on the more philosophical side: animator Mark Osborne’s loyal, loving stop-motion take on Antoine de Saint-Exupéry’s The Little Prince (Netflix), a text that has previously defeated film-makers who have tried to make it more narratively tidy. (A dreary musical version from the 1970s is best forgotten.) Osborne’s film trusts in young viewers to empathise with abstract ideas, to unpack metaphors for themselves.Extravagant children’s fantasy is a challenge to film: the risk of cramping or negating readers’ vivid mental images is high. Films of Philip Pullman’s Northern Lights and CS Lewis’s Narnia books felt more dutiful than sparked by imagination; of the respectable Harry Potter films (which all landed on Netflix last month), I think only Alfonso Cuarón’s Harry Potter and the Prisoner of Azkaban takes flight independently of the book. (Years before, Cuarón delivered a ravishing, definitive version of Francis Hodgson Burnett’s A Little Princess; I’d trust him with any treasured volume.)But I retain a fondness for German director Wolfgang Petersen’s mad, sometimes visionary 1984 adaptation of Michael Ende’s The NeverEnding Story, with its fearlessly nightmarish imagery and ornate world-building; and also anime legend Hayao Miyazaki’s swirling, fanciful take on Diane Wynne Jones’s Howl’s Moving Castle (Netflix). Still, the gold standard for applying one unique fantastical vision to another might be Czech auteur Jan Švankmajer’s jaggedly surrealist Alice (Amazon), a loose, feverish spin on Lewis Carroll, combining live action and expressionistic stop-motion. It won’t be for all children, but it’s richer than Disney’s various attempts.Noah Hathaway as Atreyu in The NeverEnding Story. Photograph: Constantin Film/AllstarTalking animals, a staple trope of children’s literature, can be harder to present on screen than on the page, though Paul King’s two Paddington films (BBC iPlayer) – already enjoying national-treasure status – and Babe, Chris Noonan’s wry Dick King-Smith adaptation, make it seem wholly natural. In animation, of course, the illusion is a little easier to pull off: see Don Bluth’s immersive rodent quest The Secret of NIMH or the noble rabbits of Martin Rosen’s exquisitely visceral, parental-guidance-very-much-required Watership Down.Back in the real world, Lionel Jeffries’s beloved version of E Nesbit’s The Railway Children (BBC iPlayer) is most striking today for the modesty of its storytelling, as it trusts children’s interest in the everyday. Ditto Agnieszka Holland’s wonderful, stately telling of The Secret Garden, shorn of the needless sparkly fantasy applied to the more lavish 2020 version. Even among books for older children, few are adapted today with the perceptive tough-mindedness of Kes, Ken Loach’s unimprovable film of Barry Hines’s A Kestrel for a Knave – though recently, in a sea of mushy YA adaptations, George Tillman Jr’s The Hate U Give stood out for its integrity and ambition in presenting ugly adult realities to young viewers. It’s a rare and tricky balance to strike: in cinema, taking on children’s fiction definitely isn’t child’s play.All titles are available to rent on multiple platforms unless otherwise specifiedAlso new on streaming and DVDAvatar: The Way of Water. Photograph: Moviestore Collection Ltd/AlamyAvatar: The Way of Water (Disney) James Cameron’s watery mega-sequel finally comes to DVD and Blu-ray, though it’s hard to imagine how well it’ll play minus the eye-popping 3D of its cinema release – even on the big screen, the roving immersiveness of its underwater spectacle was doing a lot to cover for its thin, recycled story and one-ply characters.God’s Creatures (BFI) Complex, anguished performances by Emily Watson, Paul Mescal and Aisling Franciosi are the standout virtue of this solemn Irish village drama, in which a prodigal son’s return to the fold aggravates lingering trauma in others. It’s handsome and absorbing, though missing the original, dynamic cinematic spirit of directors Anna Rose Holmer and Saela Davis’s previous film, The Fits.Pacifiction (New Wave) Iconoclastic director Albert Serra obliquely tackles Tahiti’s legacy of colonialism in this meandering, gradually hypnotic study of a shady French official (a superb Benoît Magimel) wheeling and dealing his way around the island. Serra demands your patience, but rewards it with some dazzling, sensual coups de cinéma. [ad_2] Read More

[rebeleden]

Watch "Manchester's Gooch Gang Steven Fiddler Curtis Warren Noonans Marvin Herbert | Podcast 414" on YouTube

[knochensammler]

Gentlemen Prefer Blondes (1953)

[companion-showdown]

Who is your favourite companion?

ROUND 1 MASTERPOST

propaganda under the cut

Oliver Harper

Such a brilliant character. When Big Finish decided to make a new companion for the First Doctor era I was excited and wondered how it would go. They did a spectacular job of combining a character that was so very perfectly 60s but that the TV show of the time could never do. If you've not heard the trilogy he is in, go and listen to it. Otherwise enjoy this brief, spoilery summary of why he is awesome. In his first story we open with Oliver finding out the police are hot on his trail and caught an associate of his. No longer feeling a part of his world of stock trading this made Oliver suddenly the only contemporary human who could see through the disguise of invading alien slave traders (including his bosses) and so helped the Doctor and Steven defeat them and ended up joining them in the TARDIS eager to get away and hoping his new friends never find out his horrible secret. What makes him brilliant and such a perfect story of the 60s that could only be told by the show all these years later is his crime. Oliver was simply gay. And when Steven and the Doctor find out he is surprised to find them totally and whole heartedly supporting and accepting of him and to learn it's not a crime in the future. The dynamic between them was beautiful and the conversations they had so moving. And then BF killed him off in his third story after leaving no room for gaps between his trips in the TARDIS and broke my fucking heart. I love him and I still wish they'd retcon his death and bring him back for full cast stories with Purves and Noonan. (@hartnellwho /@elden-12 )

Cass Fermazzi

no propaganda submitted

Dalek Test Subject 2

no propaganda submitted

Bliss

no propaganda submitted

[nosferdoc]