#theatrical cut: 120 min

[endwithajadestrick]

Complaining About the Pacing in Ahsoka

I know that I am being a real (medium-sized) curmudgeon about this, but I have chosen to embrace it. Manager, I would like to log some complaints re: the latest episode of Ahsoka.

Spoilers ahead:

This is more of a general gripe, but it really hit me this episode that this show is so slowly paced. Every episode could have been half the runtime without cutting any character beats or plot information. This feels especially apparent when you consider that most Clone Wars and Rebels episodes really are about half the length of one Ahsoka episode, about 20 vs. 40 mins. And episodes of those series are not light on plot or action. Clones and Rebels were, however, plotted more around mini arcs, usually of 2-3 episodes (because they were gearing those shows for kids), which would necessitate that the writers' room keep things tight. You set your board, get in, and get out. But Ahsoka only has one story arc for its eight-episode run and just not enough depth of character drama or pace of action to fill that runtime out. (It is probably worth mentioning here that Dave Filoni is the only credited writer on the series.)

You can especially feel the ponderous slowness in the establishing shots. Why do they go on for so long! It's usual to have a shot or two giving us an idea of the landscape our heroes are in, but in most films and shows those shots only come out to a few seconds of screen time--because we don't need them to be longer in order to get the information they're supposed to transmit. Further environmental detail can be picked out while you are watching your characters do other things.

This episode spends about two minutes just showing us Sabine walking through the Noti village. I know that doesn't sound like a lot of time, but in TV time a lot can happen in two minutes. For example:

Here's a compilation of the Finn vs Captain Phasma fight moments from The Last Jedi.

It is 2 minutes and 34 seconds long--including bits that were cut from the theatrical version of the film! How many beats, actions, and dramatic reversals are fit into those couple of minutes? Quite a few!

By contrast, nothing happens during Sabine's introduction to the Noti village. We aren't seeing anything with each changing shot that feels new or emphasized like it's information that we're going to need to remember later on. It's just wasted time, and I feel like it's anecdotally emblematic of a larger problem with the show. Lots of dead air between actions, wasted time that could have been trimmed in the writing or editing phase.

The first Star Wars movie is about two hours long, and I reckon about as much happens in that film as has happened so far in Ahsoka, which is about twice that length (around 260 mins to New Hope's 120). It's easy to overlook in light of all the other cool stuff A New Hope has going for it, but a lot of what makes that first movie work so well as an action adventure is how fast it's taking you from moment to moment, non-stop from gun fight, to character meeting, to escape, to subterfuge, a brief respite where our guys philosophize, and so on. Ahsoka is already working with a lot less charm and verve in front of and behind the camera than that film. It really can't afford to be lackadaisical with its pacing.

As stated above, I am a curmudgeon, and a lot of my problems with this show can probably be chalked up in part to the fact that it just didn't get me in its pocket out the gate. I wasn't especially charmed or intrigued by anything going on in episodes one or two, and I was subsequently less inclined to roll with the rough bits further down the line.

I want to be on board with it, and it has a lot of aspects I genuinely enjoy that make me believe that with a little spit and polish the finished product could have been shaped into something genuinely fun. I like Ray Stevenson's Baylan Skoll (Titus Pullo stans, arise!). His ambiguous schemes for the future are genuinely intriguing and ominous, and he feels like a fresh take on the dark-sider baddy, next to the cackling Emperor, cold-blooded cyborg Darth Vader, and rage monster Kylo Ren. He's very "I am the only one who can truly see the big picture." Oh ho, betcha you can't! But, as the kids say, let him cook.

I also think Eman Esfandi was perfectly cast as the live-action Ezra. In just a couple minutes of presence, he exudes warmth and charm (though I could have done without the blue contact lenses. They just look wrong, and would anyone have cared that Ezra's eyes are brown now?).

But none of what should be the big beats in this show have really landed for me so far, including this week's big reunion between Sabine and Ezra. Seriously girl, you gambled with the fate of your entire galaxy for just the shot at saving this man, and the most you can summon upon seeing him again for the first time in (checks official calendar) "9 to 12 years" is some middlingly witty banter and a lukewarm hug? I'm not someone who thinks that Ezra and Sabine's relationship is/should be romantic, but come on. Tears should have been shed! This has been Sabine's raison d'etre for the whole show. This, not becoming a Jedi, is what we are told she really cares about. If she won't get emotional about it, why should I?

And for the record, I don't want to put the blame for this on either Esfandi or Liu Bordizzo. I suspect that it's a writing and directing problem. And on that note, this week's episode was directed by Jennifer Getzinger, an experienced TV director with a pretty solid track record, whose resume includes both high emotional melodramas and prestige series, so... paging Mr. Filoni?

There are numerous talented actors and artists who have given a lot to this show, and many fans ready and eager to give it love. I just wish that the story were giving as much back to them.

[amoralto]

What do you think about the upcoming new Let It Be movie?

My thoughtful (if disorganised and near-hysterical) answer: I remain cautiously ambivalent. In a way I feel the same I’ve felt about the recent Super Deluxe Edition releases, where I am “happied” by whatever I can get, very much so, but I’m also exasperated in a pathetically hand-wringing fannish way that the estate is still trickling out outtakes in unbearably curated fashion as accessories to new mixes, when all I’ve ever really wanted is for them to release comprehensive collections of their session recordings - every take, every flub, every silly piece of silly studio chatter, everything. (Roll it out album by album, sell every volume in a fancy multi-disc box set for a small fortune, I don’t care, I’m willing to pay for it, and I expect many others would be too.) But alas! They haven’t, and they don’t look like they will in the near future, and so I can’t bring myself to hope for much with the Let It Be film either.

And especially not with Let It Be, by virtue of its medium, as a manipulated assemblage of curated footage, edited and cut and spliced together, in leading and misleading and distorted ways. (As all documentaries arguably are.) Even with the footage run through a supposedly more gracious filter, it will still be just that - filtered, reassembled, recut, and still an (in)effectively incomplete picture, inevitably subject to the confirmation biases and various lazy/shallow/poisonous interpretations rife in mainstream music journalism.

Which just has me wringing my hands with even more, not only because these sessions have been a bit of a preoccupation of mine for a while so I’m even more of an invested headcase than usual, but because the Get Back/Let It Be sessions arguably deserves the most reexamination in its greater perspective, and certainly the most correction and care. And it’s probably not going to get it, or at least not nearly enough. And of course I understand it has to be this way - the general public won’t be interested in going through 55~ hours of video recordings and 140~ hours of audio recordings (which means there are still at least 40-50 more hours of unreleased tapes than what has been leaked and circulated on bootleg for decades), and the logistics of mass-releasing such an enormous amount of material is laughable. But as I said, I am a headcase about this, and where the general public and even the general fans may take this new recut version of the film on some measure of faith, I probably won’t be able to bring myself to. 

Also, every time I can stomach to take a tentative browse of mainstream music journalism or certain major music discussion forums and the narrow, cynical, simplistic narratives that are still being perpetuated about the Beatles in general and these sessions in particular, I find myself sadly resigned to the reality that many people’s minds may never be expanded or changed, no matter how the film is cut, or how the sessions are framed. If there’s “too much” inclusion of jokes and jollity and the fun the band really did have, it’ll trigger complaints of “whitewashing”, all the blame of which will almost certainly be placed upon “shrew-like control freak historical revisionist” Paul. If there’s any inclusion at all of previously-unseen tension or argumentative exchanges (which are really just ultimately sad attempts to relate and communicate emotionally with each other), it’ll only reinforce the absolutist perceptions held by some people of the sessions being wholly disastrous and wholly awful with no ���real” joy and jollity anywhere, not to mention their perceptions of, well, “shrew-like control freak historical revisionist” Paul.

Basically, the very reframing, the very act of recutting of the film in and of itself, will be (and already is) seen by many people as a rewriting of history. Which is sad and silly, because in this case the history should be rewritten; it’s just that however well it’s written, it’s still at the mercy of being read, and how, and by who.

(Insert tangential essay/foaming rant here about how/why people insist on interpreting the Beatles and their dynamics through the shlocky paradigm of the Stereotypical Rock Band when they don’t remotely fit the archetypes, and hey, have you ever considered that humans and also human relationships are tangled and complex? And that humans are capable of resenting and loving each other at the same time? And that maybe a lot of the things John “I Said That But I Was Lying” Lennon has said should never be taken literally or at face value or as nothing but the timeless truth? Etc.)

All that being said, I will, as noted at the start, take whatever I do get. Remastered HD footage is just a nice thing to have, for one, and I’d be overjoyed to see video footage of some of the session audio I’ve clipped and transcribed in the past, if any of it even makes it into the final film. (Anything from January 13th especially and hell, the 24th and 25th too, but now I really am hoping for too much at this point. Now that I think of it, I should probably motivate myself to clip and transcribe more interesting bits and pieces from the sessions, in the lead up to the release of the film.)

My glib unserious (haha, unless...?) answer: Damn it, Peter Jackson, you took my job. 😭

[seven-oomen]

I've almost finished the curator's cut recording. Going back in theatrical to record the other ending and some middle scenes as well but man I think this is the most work & effort I've ever put into a video.

I will have like 15 hours of recorded footage to go through and will end up with like 90-120 min of footage 🤣😂

[mcbastardsmausoleum]

DAWN OF THE DEAD LIMITED EDITION 4K UHD RELEASE & LIMITED EDITION BLU-RAY RELEASE on  November 16th 2020

This Autumn, Second Sight Films presents the horror release to end all horror releases. Fans, aficionados and collectors are in for a treat as horror maestro George A. Romero’s long-awaited, highly anticipated Dawn of the Dead, finally gets the home entertainment release it deserves. Widely acknowledged to be one of the greatest horror films of all time, this seminal work has been painstakingly restored and arrives in two separate format releases: Dawn Of The Dead Limited Edition 4K UHD and Dawn Of The Dead Limited Edition Blu-ray on November 16th 2020. Both Box Sets arrive in stunning packaging featuring the original iconic poster art plus newly commissioned artwork inside. These include a whopping four discs – with three versions of the film: The Theatrical Cut, The Extended (‘Cannes’) Cut and The Argento Cut, plus stacks of special features that take in new and archive interviews, including the previously unreleased The Lost Romero Dawn Interview. With commentaries and documentaries galore, soundtrack CDs and a stunning brand new 160-page hardback book Dissecting the Dead complete with brand new writing, this is a veritable treasure trove and a must have for any collector. Please see list in full below. The film originally arrived 10 years after the seminal Night of the Living Dead and ushered in a new era of zombie films. It showed Romero once again ahead of the curve, mixing biting political satire with state-of-the-art-gore for a genre defining masterpiece that packs as much of a punch today as it did 40 years ago. With a zombie epidemic escalating, a small band of survivors seek refuge in that shrine to capitalism, the shopping mall. But the undead, still possessed by an instinctive desire to consume, have had the same idea...What follows is a nail-biting thrill-ride and fight to survive. Oh, and watch out for those helicopter blades! DAWN OF THE DEAD LIMITED EDITION 4K UHD RELEASE SPECIAL FEATURES UHD DISC 1: THE THEATRICAL CUT (127 mins) - NEW 4K scan and restoration of the Original Camera Negative by Second Sight at Final Frame New York and London supervised and approved by DoP Michael Gornick - Presented in HDR10+ - Audio: New restoration of the original OCN Optical presented in Mono 1.0, Stereo 2.0 and 5.1. - Commentary by George A. Romero, Tom Savini, Christine Forrest - NEW commentary by Travis Crawford - NEW optional English subtitles for the hearing impaired UHD DISC 2 – THE EXTENDED (‘CANNES’) CUT (137 mins) - Produced using 4K scan of the Theatrical Cut Original Camera Negative and 4K scan of the Extended Cut Colour Reversal Internegative - Presented in HDR10+ - DTS-HD Master Audio 1.0 Mono - Commentary by Richard P. Rubinstein - NEW optional English subtitles for the hearing impaired UHD DISC 3 – THE ARGENTO CUT (120 mins) - 4K scan of the Interpositive by Michele De Angelis at Backlight Digital, Rome - Audio: DT-HD Master Audio Mono 1.0 / Surround 5.1 / Stereo 2.0 - Commentary by Ken Foree, Scott Reiniger, Gaylen Ross, David Emge - NEW optional English subtitles for the hearing impaired BLU-RAY DISC 4: SPECIAL FEATURES - NEW Zombies and Bikers – With John Amplas, Roy Frumkes, Tom Savini, Christine Forrest, Tom Dubensky, Tony Buba, Taso Stavrakis and a whole host of zombies and bikers! (59 mins) - NEW Memories of Monroeville A tour of the mall with Michael Gornick, Tom Savini, Tom Dubensky and Taso Stavrakis (34 mins) - NEW Raising the Dead: The Production Logistics (25 mins) With Michael Gornick, Christine Forrest, John Amplas, Tom Dubensky (23 mins) - NEW The FX of Dawn with Tom Savini (13 mins) - NEW Dummies! Dummies! – An interview with Richard France (12 mins) - NEW The Lost Romero Dawn Interview: previously unreleased archive interview (20 mins) - Super 8 Mall Footage by zombie extra Ralph Langer with option of archive commentary by Robert Langer and new commentary by Ralph Langer (13 mins) - Document of the Dead: The Original Cut (66 mins) - Document of the Dead: The Definitive Cut with optional commentary by Roy Frumkes (100 mins) - The Dead Will Walk 2014 Documentary (80 mins) - Trailers, TV and Radio Spots (TBC) LIMITED EDITION CONTENTS AUDIO CD DISC 1 - The Goblin Soundtrack – 17 tracks including Alternate and Bonus Tracks AUDIO CD DISC 2 - Dawn of the Dead: A De Wolfe Library Compilation Part 1 AUDIO CD DISC 3 - Dawn of the Dead: A De Wolfe Library Compilation Part 2 PLUS - Rigid box with lid featuring the original iconic artwork - Two inner digipaks - Dissecting the Dead – 160 page hardback book featuring 17 new essays, archive article and George A. Romero interview plus original marketing, artwork and merchandise images and behind-the-scenes stills. - Dawn of the Dead: The novelisation book by George A. Romero and Susanna Sparrow with exclusive artwork DAWN OF THE DEAD LIMITED EDTION BLU-RAY RELEASE SPECIAL FEATURES BLU-RAY DISC 1: THE THEATRICAL CUT (127 mins) - NEW 4K scan and restoration of the Original Camera Negative by Second Sight at Final Frame New York and London supervised and approved by DoP Michael Gornick - Audio: New restoration of the original OCN Optical presented in Mono 1.0, Stereo 2.0 and 5.1. For further information or any press materials please contact: Debbie Murray at Aim Publicity 020 8292 2818 / debbie@aimpublicity.com - Commentary by George A Romero, Tom Savini, Christine Forrest - NEW commentary by Travis Crawford - NEW optional English subtitles for the hearing impaired BLU-RAY DISC 2 – THE EXTENDED (‘CANNES’) CUT (137 mins) - Produced using 4K scan of the Theatrical Cut Original Camera Negative and 4K scan of the Extended Cut Colour Reversal Internegative - DTS-HD Master Audio 1.0 Mono - Commentary by Richard P. Rubinstein - NEW optional English subtitles for the hearing impaired BLU-RAY DISC 3 – THE ARGENTO CUT (120 mins) - 4K scan of the Interpositive by Michele De Angelis at Backlight Digital, Rome - Audio: DT-HD Master Audio Mono 1.0 / Surround 5.1 / Stereo 2.0 - Commentary by Ken Foree, Scott Reiniger, Gaylen Ross, David Emge - NEW optional English subtitles for the hearing impaired BLU-RAY DISC 4: SPECIAL FEATURES - NEW Zombies and Bikers – With John Amplas, Roy Frumkes, Tom Savini, Christine Forrest, Tom Dubensky, Tony Buba, Taso Stavrakis and a whole host of zombies and bikers! (59 mins) - NEW Memories of Monroeville A tour of the mall with Michael Gornick, Tom Savini, Tom Dubensky and Taso Stavrakis (34 mins) - NEW Raising the Dead: The Production Logistics (25 mins) With Michael Gornick, Christine Forrest, John Amplas, Tom Dubensky (23 mins) - NEW The FX of Dawn with Tom Savini (13 mins) - NEW Dummies! Dummies! – An interview with Richard France (12 mins) - NEW The Lost Romero Dawn Interview: previously unreleased archive interview (20 mins) - Super 8 Mall Footage by zombie extra Ralph Langer with option of archive commentary by Robert Langer and new commentary by Ralph Langer (13 mins) - Document of the Dead: The Original Cut (66 mins) - Document of the Dead: The Definitive Cut with optional commentary by Roy Frumkes (100 mins) - The Dead Will Walk 2014 Documentary (80 mins) - Trailers, TV and Radio Spots (TBC) LIMITED EDITION CONTENTS AUDIO CD DISC 1 - The Goblin Soundtrack – 17 tracks including Alternate and Bonus Tracks AUDIO CD DISC 2 - Dawn of the Dead: A De Wolfe Library Compilation Part 1 AUDIO CD DISC 3 - Dawn of the Dead: A De Wolfe Library Compilation Part 2 PLUS - Rigid box with lid featuring the original iconic artwork - Two inner digipaks - Dissecting the Dead – 160 page hardback book featuring 17 new essays, archive article and George A. Romero interview plus original marketing, artwork and merchandise images and behind-the-scenes stills. - Dawn of the Dead: The novelization book by George A. Romero and Susanna Sparrow with exclusive artwork Title: Dawn of the Dead Limited Edition UHD Cat.No.: 2NDBR412 Release Date: November 16th 2020 Cert: 18 Region: FREE Pre-order here: bit.ly/Dawn4KUHD Title: Dawn of the Dead Limited Edition Blu-ray Cat.No.: 2NDBR412 Release Date: November16th 2020 Cert: 18 Region: B Pre-order here: bit.ly/DawnBluRay

https://mcbastardsmausoleum.blogspot.com/2020/09/dawn-of-dead-zombie-movie-to-end-em-all.html

[popradar]

Beyond Fest 2019 in Hollywood from Sept. 25 - Oct. 8

2019 Beyond Fest poster design by ILOVEDUST: ilovedust.com — Beyond Fest returns to the Egyptian Theatre in Hollywood from Wednesday, Sept. 25 to Tuesday, Oct. 8. The lineup includes 39 features including the West Coast premieres of Parasite, Jojo Rabbit, Dolemite is My Name, Color out of Space, The Lodge and the world premiere of Mister America.

The festival is one of the largest genre film festivals (horror, sci-fi, fantasy, thriller) in the country with proceeds benefitting the nonprofit film institution, American Cinematheque.

Tickets go on sale on Saturday (Sept. 7) at 10 a.m. SO GET ON IT: Many programs will sell out, so check out the entire 2019 program and guests, with films listed alphabetically.

Tickets run $12 - $25. Some screenings are free.

View the schedule chronologically.   

BLISS Director: Joe Begos Country: USA Runtime: 80 min. Year: 2019 GUESTS: Director Joe Begos and cast in person

COLOR OUT OF SPACE West Coast Premiere Director: Richard Stanley Country: USA Runtime: 111 min. Year: 2019 GUESTS: Director Richard Stanley and Elijah Wood, Daniel Noah, Josh Waller in person

COME TO DADDY West Coast Premiere Director: Ant Timpson Country: Canada | New Zealand | Ireland | USA Runtime: 93 min. Year: 2019 GUESTS: Director Ant Timpson and Elijah Wood in person

DANIEL ISN’T REAL West Coast Premiere Director: Adam Egypt Mortimer Country: USA Runtime: 96 min. Year: 2019 GUESTS: Director Adam Egypt Mortimer and Elijah Wood, Daniel Noah, Josh Waller in person

DOLEMITE IS MY NAME West Coast Premiere Director: Craig Brewer Country: USA Runtime: 118 min. Year: 2019 GUESTS: Writers Larry Karaszewski and Scott Alexander in person

DOLEMITE Director: D’Urville Martin Country: USA Runtime: 90 min. Year: 1975

THE EVIL DEAD: REIMAGINED 4K Restoration West Coast Premiere Director: Sam Raimi Country: USA Runtime: 85 min. Year: 1981 GUESTS: Featuring live performance from Joe LoDuca

THE EXORCIST Director’s Cut Director: William Friedkin Country: USA Runtime: 128 min. Year: 1973 GUESTS: Director William Friedkin in person

THE FOG Director: John Carpenter Country: USA Runtime: 89 min. Year: 1980 GUESTS: Tom Atkins in person

GIRL ON THE THIRD FLOOR West Coast Premiere Director: Travis Stevens Country: USA Runtime: 93 min. Year: 2019 GUESTS: Writer/Director Travis Stevens, Phil Brooks and Elissa Dowling in person

HALLOWEEN III: SEASON OF THE WITCH Director: Tommy Lee Wallace Country: USA Runtime: 98 min. Year: 1982 GUESTS: Tom Atkins in person

IN SEARCH OF DARKNESS World Premiere Director: David A. Weiner Country: UK Runtime: 240 minutes Year: 2019 GUESTS: To be announced

JENNIFER’S BODY Director: Karyn Kusama Country: USA Runtime: 102 min. Year: 2009 GUESTS: Director Karyn Kusama and Megan Fox in Person

JOE BOB BRIGGS’ “HOW REDNECKS SAVED HOLLYWOOD” Special Event Country: USA Runtime: 120 min. Year: 2019 GUESTS: Joe Bob Briggs in Person

JOJO RABBIT West Coast Premiere Director: Taika Waititi Country: Germany | USA Runtime: 108 min. Year: 2019

LITTLE MONSTERS West Coast Premiere Director: Abe Forsythe Country: Australia | UK | USA Runtime: 94 min. Year: 2019

THE LIVING DEAD AT MANCHESTER MORGUE 4K Restoration West Coast Premiere Director: Jorge Grau Country: Spain | Italy Runtime: 93 min. Year: 1974

THE LODGE West Coast Premiere Director: Severin Fiala, Veronika Franz Country: UK | USA Runtime: 100 min. Year: 2019

THE LONG GOODBYE Director: Robert Altman Country: USA Runtime: 113 min. Year: 1973 GUESTS: Elliott Gould in Person

MISTER AMERICA World Premiere Director: Eric Notarnicola Country: USA Runtime: 90 min. Year: 2019 GUESTS: Tim Heidecker and Gregg Turkington in person

NATURAL BORN KILLERS (Closing Night) Director: Oliver Stone Country: USA Runtime: 118 min. Year: 1994 GUESTS: Director Oliver Stone, Juliette Lewis, Woody Harrelson and Don Murphy in person

NIGHT OF THE CREEPS Director: Fred Dekker Country: USA Runtime: 88 min. Year: 1986 GUESTS: Tom Atkins in person

PARASITE West Coast Premiere Director: Bong Joon-ho Country: South Korea Runtime: 132 min. Year: 2019 GUESTS: Director Bong Joon-ho in person

SAMURAI MARATHON 1855 West Coast Premiere Director: Bernard Rose Country: Japan | UK Runtime: 103 min. Year: 2019 GUESTS: Director Bernard Rose and actor Danny Huston in person

TAMMY AND THE T-REX West Coast Premiere Director: Stewart Raffill Country: USA Runtime: 82 min. Year: 1994 GUESTS: Director Stewart Raffill, producer Diane Kirman and actor John Goff in person

VFW West Coast Premiere Director: Joe Begos Country: USA Runtime: 92 min. Year: 2019 GUESTS: Director Joe Begos, William Sadler in person

Second Screen — Spielberg Theatre

1BR (Free Screening) US Premiere Director: David Marmor Country: USA Runtime: 90 min. Year: 2019 GUESTS: Director David Marmor and Producer Alok Mishra

BLOOD & FLESH: THE REEL LIFE AND GHASTLY DEATH OF AL ADAMSON (Free Screening) US Premiere Director: David Gregory Country: USA Runtime: 100 min. Year: 2019 GUESTS: Director David Gregory in person, Director of Photography Jim Kunz and Producer Nicole Mikuzis in person

DRACULA VS. FRANKENSTEIN (Free Screening) Director: Al Adamson Country: USA Runtime: 91 min. Year: 1971 GUESTS:Actor Zandor Vorkov, Actor/Producer/Stuntman Gary Kent, Actor/Producer/Stuntman Jon ‘Bud’ Carson, Actor/Producer Ken Osborne and Cinematographer Mike Ferris in person

JUDY & PUNCH (Free Screening) West Coast Premiere Director: Mirrah Foulkes Country: Australia Runtime: 105 min. Year: 2019

KILLER CROCODILE (Free Screening) Director: Fabrizio De Angelis Country: Italy Runtime: 90 min. Year: 1989

MADMAN (Free Screening) Director: Joe Giannone Country: USA Runtime: 88 min. Year: 1981

MARY (Free Screening) Special Screening Director: Michael Goi Country: USA Runtime: 84 min. Year: 2019

MEMORY: THE ORIGINS OF ALIEN (Free Screening) LA Premiere Director: Alexandre O. Philippe Country: USA Runtime: 95 min. Year: 2019

MOOCH GOES TO HOLLYWOOD (Free Screening) Theatrical Premiere Director: Richard Erdman Country: USA Runtime: 51 min. Year: 1971

PAGANINI HORROR (Free Screening) Director: Luigi Cozzi Country: Italy Runtime: 88 min. Year: 1989

PORTALS (Free Screening) World Premiere Director: Gregg Hale, Liam O’Donnell, Eduardo Sánchez, Timo Tjahjanto Country: USA Runtime: 85 min. Year: 2019

SWALLOW (Free Screening) West Coast Premiere Director: Carlo Mirabella-Davis Country: USA | France Runtime: 94 min. Year: 2019

THE VAST OF NIGHT (Free Screening) West Coast Premiere Director: Andrew Patterson Country: USA Runtime: 89 min. Year: 2019

[stupendousbananatiger]

EP 12 | You Knock on My Door (Sen Çal Kapımı) 12.Bölüm/Episode 12 [ENGSUB] FOX Türkiye

Watch You Knock on My Door (Sen Çal Kapımı) Season 1 Episode 12 1–2–3–4–5–1–7–8–9–10 Full Episode You Knock on My Door (Sen Çal Kapımı) Temporada 1 Capítulo 12 Sub English / Español 2020 ➤ http://watchepisode.online-tvs.com/series/383383/1/12 VISIT HERE ➤➤ http://watchepisode.online-tvs.com/series/383383/1/12

Finally in the end Serkan made his declaration of love. Now it is Eda's turn. But it is not going to be easy to obtain Eda's declaration. Serkan waits patiently in order to hear that Eda is in love with him. Now we also have to deal with keeping this a secret from the families. Since Eda's aunt learned about the engagement agreement, she cannot tell her that she and Serkan and now a real couple in love. With Eda's insistence, Serkan agrees to keep this a secret. But they and their relationship is going to go through many adventures while they keep this secret.

🎬 You Knock on My Door (Sen Çal Kapımı) Episode 12 Online Free 🎬

Title : You Knock on My Door Episode Title : Episode 12 Release Date : 30 Sep 2020 Runtime : 120 minutes Genres : Comedy , Drama , Romance Networks : FOX Türkiye

You Knock on My Door (Sen Çal Kapımı)

Eda, who ties all her hopes to her education, confronts Serkan Bolat, who cuts off her international education scholarship and leaves her with high school diploma. Serkan Bolat offers Eda to give her scholarship back if she pretends to be his fiance for two months. Although Eda rejects the offer of this man as she hates him, she has to accept it when the conditions change. While pretending to be engaged, Serkan and Eda begin to experience a passionate, challenging relationship that will make them forget all they know right. Because love is difficult. And that's why it's amazing.

Show Info

Network: Turkey FOX Türkiye (2020 - now) Schedule: Wednesdays at 20:00 (120 min) Status: Running Language: Turkish Show Type: Scripted Genres: Drama Comedy Romance

With dozens of films genre being released each year, a typical one that gets overlooked by the more popular ones (action, drama, comedy, animation, etc.) is the subgenre category of religious movie. These films (sometimes called “faith-based” features) usually center around the struggles and ideas of a person (or groups) identity of a religious faith, which is, more or less, has a profound event or obstacle to overcome. While not entirely, the most commonplace religious type movies focus on the religion of Christianity, sometimes venturing back into the past in cinematic retelling classic biblical tales, including famed epic films like Ten Commandments and Ben-Hur (the original 1959 version) to some more modern endeavors from Hollywood like Risen, The Young Messiah, and Paul, Apostle of Christ. Other Christian “faith” films finds a more contemporary setting to tell its story, with some being “based on a true-life account” like the movies Unconditional, Heaven is Real, Unbroken, I Can Only Imagine, Indivisible, and Miracles from Heaven, while others might find inspiration from literary novels / fictionalized narratives like The Shack, Overcomer, War Room, and Same Kind of Different as Me. Regardless, whether finding inspiration from true life, references from the bible, or originality, these movies usually speaks on a person’s faith and the inner struggle he or she has within or one society’s views, spreading a message of belief and the understand of one’s belief. Now, after the success of 2018’s I Can Only Imagine, directors Andrew and Jon Erwin (the Erwin Brothers) and Lionsgate studios release the 2020 faith-based film / music biopic feature I Still Believe. Does the film walk a fine line between its religious aspects and cinematic entertainment or does the movie get entangled in its own faith-based preaching?

THE STORY

Its 1999 and Jeremy Camp (K.J. Apa) is a young and aspiring musician who would like nothing more than to honor his God through the power of music. Leaving his Indiana home for the warmer climate of California and a college education, Jeremy soon comes across one Melissa Henning (Britt Robertson), a fellow college student that he takes notices in the audience at a local concert. Falling for cupid’s arrow immediately, he introduces himself to her and quickly discovers that she is attracted to him too. However, Melissa holds back from forming a budding relationship as she fears it will create an awkward situation between Jeremy and their mutual friend, Jean-Luc (Nathan Parson), a fellow musician and who also has feeling for Melissa. Still, Jeremy is relentless in his pursuit of her until they eventually find themselves in a loving dating relationship. However, their youthful courtship with each other comes to a halt when life-threating news of Melissa having cancer takes center stage. The diagnosis does nothing to deter Jeremey’s love for her and the couple eventually marries shortly thereafter. Howsoever, they soon find themselves walking a fine line between a life together and suffering by her illness; with Jeremy questioning his faith in music, himself, and with God himself.

THE GOOD / THE BAD

Sorry if this sounds a bit familiar pieces from my review of I Can Only Imagine, but it definitely says what I feel about these films. While I am a devout Christian (not a crazy zealot or anything like that) for my bases of religion and my outlook beliefs in life, I’m not a huge fan of the “faith-based” feature films. That’s not to say that they’re bad or that I find them deplorable to the other more popular movie genres out there, but sometimes they can a bit preachy and corny / honky in their religious overtones and overall dramatic direction. Personally, I like the more biblical tales that Hollywood as put over, with Cecil B. Demile’s The Ten Commandments and William Wyler’s Ben-Hur; both of have proven to stand the test of time within filmmaking. Of course, Hollywood’s recent trend of put out more “remakes” movies puts an overcast on those biblical epics with 2014’s Exodus: Gods and Kings and 2016’s Ben-Hur; both of which failed to capture a sense of cinematic integrity and had a messy religious outlook in its zeal aspect. Of late, however, Hollywood as retreated more into contemporary pieces, finding narratives that are, more or less, set in a more “modern” day and age to their Christian-faithful based features. As I mentioned above, some have found success in their literary forms (being based on a book and adapted to the big screen), but most derive their inspiration from true life accounts, translating into something that’s meant to strike a chord (with moviegoers) due to its “based on a true story” aspect and nuances. Again, some are good (as I liked Unbroken and The Shack), while others kind of become a bit too preachy and let the religious overtures hamper the film, making them less-than desirable to mainstream audiences or even members of their own faiths. Thus, these religious-esque films can sometimes be problematic in their final presentation for both its viewers and in the film itself; sometimes making the movie feel like a TV channel movie rather than a theatrical feature film. This brings me around to talking about I Still Believe, a 2020 motion picture release of the Christian religious faith-based genre. As almost customary, Hollywood usually puts out two (maybe three) films of this variety movies within their yearly theatrical release lineup, with the releases usually being around spring time and / or fall respectfully. I didn’t hear much when this movie was first announced (probably got buried underneath all the popular movies news on the newsfeed). My first actual glimpse of the movie was when the film’s movie trailer was released, which looked somewhat interesting to me. Yes, it looked the movie was gonna be the typical “faith-based” vibe, but it was going to be directed by the Erwin Brothers, who directed I Can Only Imagine (a film that I did like). Plus, the trailer for I Still Believe premiered for quite some time, so I kept on seeing it a lot of time when I went to my local movie theater. You can kind of say that it was a bit “engrained in my brain”. Thus, I was a bit keen on seeing it. Fortunately, I was able to see it before the COVID-19 outbreak closed the movie theaters down (saw it during its opening night), but, due to work scheduling, I haven’t had the time to do my review for it…. until now. And what did I think of it? Well, it was pretty “meh”. While its heart is definitely in the right place and quite sincere, I Still Believe is a bit too preachy and unbalanced within its narrative execution and character developments. The religious message is clearly there, but takes too many detours and not focusing on certain aspects that weigh the feature’s presentation. As mentioned, I Still Believe is directed by the Erwin Brothers (Andrew and Jon), whose previous directorial works include such films like Moms’ Night Out, Woodlawn, and I Can Only Imagine. Given their affinity attraction religious based Christian movies, the Erwin Brothers seem like a suitable choice in bringing Jeremy Camp’s story to a cinematic representation; approaching the material with a certain type of gentleness and sincerity to the proceedings. Much like I Can Only Imagine, the Erwin Brothers shape the feature around the life of a popular Christian singer; presenting his humble beginnings and all the trials and tribulations that he must face along the way, while musical songs / performance taking importance into account of the film’s narrative story progression. That’s not to say that the movie isn’t without its heavier moments, with the Erwin, who (again) are familiar with religious overtones themes in their endeavors, frame I Still Believe compelling messages of love, loss, and redemption, which (as always) are quite fundamental to watch and experience through tragedy. This even speaks to the film’s script, which was penned by Erwin brothers playing double duty on the project, that has plenty of heartfelt dramatic moments that will certainly tug on the heartstrings of some viewers out there as well as provide to be quite an engaging tale of going through tragedy and hardship and finding a redemption arc to get out of it. This is especially made abundantly clear when dealing with a fatal illness that’s similar to what Melissa undergoes in the film, which is quite universal and reflective in everyone’s world, with the Erwin Brothers painting the painful journey that Melissa takes along with Jeremy by her side, who must learn to cope with pain of a loved one. There is a “double edge” sword to the film’s script, but I’ll mention that below. Suffice to say, the movie settles quickly into the familiar pattern of a religious faith-based feature that, while not exactly polished or original, can be quite the “comfort food” to some; projecting a wholesome message of faith, hope, and love. Personally, I didn’t know of Jeremy Camp and the story of he and Melissa Henning, so it was quite a poignant journey that was invested unfolding throughout the film’s proceedings. As a side-note, the movie is a bit a “tear jerker”, so for those who prone to crying during these dramatic heartfelt movies….get your tissues out. In terms of presentation, I Still Believe meets the industry standard of a religious faith-based motion pictures. Of course, theatrical endeavors like these don’t really have big budged production money to invest in the film’s creation. Thus, filmmakers have to spend their money wisely in bringing their cinematic tales to life on the silver screen. To that effect, the Erwin Brothers smartly utilized this knowledge in the movie’s creation; budgeting the various aspects of the background and genetic theatrical make-up that feel appropriate and genuine in the film’s narrative. So, all the various “behind the scenes” team / areas that I usually mention (i.e. production designs, set decorations, costumes, and cinematography, etc.) are all relatively good as I really don’t have much to complain (whether good or bad) about them. Again, they meet the industry standard for a faith-based movie. Additionally, the musical song parts are pretty good as well. As mentioned, I really didn’t know anything about Jeremy Camp, so I couldn’t say what songs of his were good, but the songs that are presented in the film were pretty decent enough to certain highlight points throughout the movie. Though they are somewhat short (assuming not the whole song is being played), but still effectively good and nice to listen to. Might have to check out a few of the real songs one day. Lastly, the film’s score, which was done by John Debney, fits perfect with this movie; projecting the right amount of heartfelt tenderness in some scenes and inspirational melodies of enlightenment in others. Unfortunately, not all is found to be pure and religiously cinematic in the movie as I Still Believe gets weighed down with several major points of criticism and execution in the feature. How so? For starters, the movie feels a bit incomplete in Jeremy Camp’s journey. What’s presented works (somewhat), but it doesn’t hold up, especially because the Erwin Brothers have a difficult time in nailing down the right narrative path for the film to take. Of course, the thread of Jeremy and Melissa are the main central focus (and justly so), but pretty much everything else gets completely pushed aside, including Jeremy’s musical career rise to stardom and many of the various characters and their importance (more on that below). This also causes the film to have a certain pacing issues throughout the movie, with I Still Believe runtime of 116 minutes (one hour and fifty-six minutes) feeling longer than it should be, especially with how much narrative that the Erwin Brothers skip out on (i.e. several plot chunks / fragments are left unanswered or missing). Additionally, even if a viewer doesn’t know of Jeremy Camp’s story, I Still Believe does, for better or worse, follow a fairly predictable path that’s quite customary for faith-based movie. Without even reading anything about the real lives of Jeremy and Melissa prior to seeing the feature, it’s quite clearly as to where the story is heading and what will ultimately play out (i.e. plot beats and theatrical narrative act progression). Basically, if you’ve seeing one or two Christian faith-based film, you’ll know what to expect from I Still Believe. Thus, the Erwin Brothers don’t really try to creatively do something different with the film…. instead they reinforce the idealisms of Christian and of faith in a formulaic narrative way that becomes quite conventional and almost a bit lazy. There is also the movie’s dialogue and script handling, which does become problematic in the movie’s execution, which is hampered by some wooden / forced dialogue at certain scenes (becoming very preachy and cheesy at times) as well as the feeling of the movie’s story being rather incomplete. There’s a stopping point where the Erwin Brothers settle on, but I felt that there could’ve more added, including more expansion on his music career and several other characters. Then there is the notion of the film being quite secular in its appeal, which is quite understandable, but relies too heavy on its religious thematic messages that can be a bit “off-putting” for some. It didn’t bother me as much, but after seeing several other faith-based movies prior to this (i.e. I Can Only Imagine, Overcomer, Indivisible, etc.), this particular movie doesn’t really rise to Cursed in Love and falls prey to being rather generic and flat for most of its runtime. As you can imagine, I Still Believe, while certainly sincere and meaningful in its storytelling, struggles to find a happy balance in its narrative and execution presentation; proving to be difficult in conveying the whole “big picture” of its message and Jeremey Camp’s journey. The cast in I Still Believe is a mixed bag. To me, none of the acting talents are relatively bad (some are better than others…. I admit), but their characterizations and / or involvement in the film’s story is problematic to say the least. Leading the film’s narrative are two protagonist characters of Jeremy Camp and Melissa Henning, who are played by the young talents of K.J. Apa and Britt Robertson respectfully. Of the two, Apa, known for his roles in Riverdale, The Last Summer, and The Hate U Give, is the better equipped in character development and performance as the young and aspiring musical talent of Jeremy Camp. From the get-go, Apa has a likeable charm / swagger to him, which make his portrayal of Jeremy immediately endearing from onset to conclusion. All the scenes he does are well-represented (be it character-based or dramatic) and certainly sells the journey that Jeremy undergoes in the movie. Plus, Apa can also sing, which does lend credence to many of the scene’s musical performance. For Robertson, known for her roles in Tomorrowland, Ask Me Anything, and The Space Between Us, she gets hampered by some of the film’s wooden / cheesy dialogue. True, Robertson’s performance is well-placed and well-mannered in projecting a sense of youthful and dewy-eyed admiration in Mellissa, especially since the hardships here character undergoes in the feature, but it’s hard to get passed the cringeworthy dialogue written for her. Thus, Robertson’s Melissa ends up being the weaker of the two. That being said, both Apa and Robertson do have good on-screen chemistry with each other, which certainly does sell the likeable / loving young relationship of Jeremy and Melissa. In more supporting roles, seasoned talents like actor Gary Sinise (Forest Gump and Apollo 13) and musician singer Shania Twain play Jeremey’s parents, Tom and Terry Camp. While both Sinise and Twain are suitable for their roles as a sort of small town / Midwest couple vibe, their characters are little more than window dressing for the feature’s story. Their screen presence / star power lends weigh to the project, but that’s pretty much it; offering up a few nuggets to bolster a few particular scenes here and there, which is disappointing. Everyone else, including actor Nathan Parsons (General Hospital and Nadia: The Secret of Blue Water) as musical talent and mutual friend to both Jeremy and Melissa, Jean-Luc Lajoie, young actor Reuben Dodd (The Bridge and Teachers) as Jeremy’s handicapped younger brother, Joshua Camp, and his other younger brother, Jared Camp (though I can’t find out who played him the movie), are relatively made up in smaller minor roles that, while acted fine, are reduced to little more than just underdeveloped caricatures in the film, which is a shame and disappointing.

FINAL THOUGHTS

The power of faith, love, and affinity for music take center stage in Jeremy Camp’s life story in the movie I Still Believe. Directors Andrew and Jon Erwin (the Erwin Brothers) examine the life and times of Jeremy Camp’s life story; pin-pointing his early life with his relationship Melissa Henning as they battle hardships and their enduring love for one another through difficult times. While the movie’s intent and thematic message of a person’s faith through trouble times is indeed palpable as well as the likeable musical performances, the film certainly struggles to find a cinematic footing in its execution, including a sluggish pace, fragmented pieces, predicable plot beats, too preachy / cheesy dialogue moments, over utilized religious overtones, and mismanagement of many of its secondary /supporting characters. To me, this movie was somewhere between okay and “meh”. It was definitely a Christian faith-based movie endeavor (from start to finish) and definitely had its moments, but it just failed to resonate with me; struggling to find a proper balance in its undertaking. Personally, despite the story, it could’ve been better. Thus, my recommendation for this movie is an “iffy choice” at best as some will like (nothing wrong with that), while others will not and dismiss it altogether. Whatever your stance on religious faith-based flicks, I Still Believe stands as more of a cautionary tale of sorts; demonstrating how a poignant and heartfelt story of real-life drama can be problematic when translating it to a cinematic endeavor. For me, I believe in Jeremy Camp’s story / message, but not so much the feature.

[recentanimenews]

Aniplex of America Promo Showcases "Sword Art Online the Movie -Ordinal Scale-" Home Video Release

The holiday rush of big home video releases is hitting Aniplex of America with Sword Art Online anime movie Ordinal Scale, which is due on December 19th. To make that final month's wait a little more difficult, they've published a preview of what to expect from the Blu-ray/DVD.

  Following the wildly successful theatrical release, the Blu-ray & DVD release of Sword Art Online the Movie -Ordinal Scale- arrives 12/19! Featuring the beloved characters from the smash hit series that captured gamers and anime fans everywhere, Sword Art Online the Movie -Ordinal Scale- unveils a brand new story by original author Reki Kawahara in this epic continuation of the original series! Immerse yourself in Kirito and Asuna’s new augmented reality adventure with this brand new Blu-ray & DVD release just in time for the holiday season!

  Story: The NerveGear, the world’s first dedicated full-dive device developed by the genius programmer, Akihiko Kayaba in 2022…a revolutionary machine that opened up infinite possibilities for the world of VR (Virtual Reality). 4 years later…. A next-generation, wearable multi-device called the Augma has been released to compete with the NerveGear’s successor, the Amusphere. A cutting-edge machine boasting the ability to enhance AR (Augmented Reality) to the maximum, the Augma offers a safe, user-friendly experience, as it can be used while the player is awake, making it an instant hit. Its most popular title is an ARMMORPG developed exclusively for the Augma, “Ordinal Scale (a.k.a. OS).” Kirito is about to join Asuna and the others as an Ordinal Scale player, but they’re about to find out that it isn’t all fun and games…

For more information, please visit the official product listing on website: http://ift.tt/2zJolBA

  Spoken Languages: Japanese & English Subtitles: English & Spanish Aspect ratio: 16:9 widescreen Episodes: Feature Movie Number of Discs: 2 (a Blu-ray & CD) Total Run Time: approx. 120 min. Rating: 16 UP *Brief nudity and some violence. Parental guidance suggested.  Bonus Contents ■ Audio Commentary by Creators and Japanese Cast: (Tomohiko Ito, Shingo Adachi, Reki Kawahara, Yoshitsugu Matsuoka, Haruka Tomatsu and Sayaka Kanda) ■ Special Short Animation: Sword Art OFFline –Ordinal Scale– * Bonus contents subject to change. * Bonus contents include English subtitles.  Bonus Materials & Package ■ Bonus Music CD: - “Ubiquitous dB –Special ver.-” by Asuna Yuuki (cv: Haruka Tomatsu), Keiko Ayano (cv: Rina Hidaka) - “Break Beat Bark! –special ver.-" by Rika Shinozaki (cv: Ayahi Takagaki), Shino Asada (cv: Miyuki Sawashiro) - “longing –movie ver.-,” “delete –movie ver.-" and “smile for you –movie ver.-" by Yuna (cv: Sayaka Kanda) ■ Deluxe Booklet (60 pages) ■ Bushiroad’s Weiß Schwarz Exclusive Collectible PR Card Included! (while supplies last) ■ Rigid Box * Bonus contents subject to change.  SRP: $79.98 Retail Price: $69.98

------ Follow on Twitter at @aicnanime

By: news+feed@crunchyroll.com

[recentanimenews]

Aniplex Of America Outlines Plans For "Anohana," "Monogatari" And "Sword Art Online" Blu-rays

 Aniplex of America announced at their industry panel at Otakon today their plans for a number of home video releases, including an Anohana set, Sword Art Online: Ordinal Scale, and more Monogatari! G

  Anohana Blu-ray Box Set

Available on 10.31.2017

http://ift.tt/2nRjTOG

Disc Spec ■ Spoken Language: English & Japanese ■ Subtitles: English ■ Aspect Ratio: 16:9 Widescreen ■ Episodes: 11 ■ Number of Disc: 2 Blu-ray Discs ■ Total Run Time: Approx. 256 min. ■ Rating: 13 UP Bonus Contents ■ Textless Opening & Ending ■ Web Previews ■ Trailers and Commercials ■ English Dub Teaser ■ English Dub Trailer ■ English Dub Bloopers ■ English Dub Commentary * Bonus contents subject to change. * Bonus contents include English subtitles. Bonus Materials & Package ■ 60-page Deluxe Booklet ■ Rigid Box ■ Package Illustrated by Masayoshi Tanaka (Character Design) * Bonus contents subject to change.

SRP $149.98 Sales Price $119.98

INTRODUCTION

When we were kids, we were always together.

I was a leader of the group. I was confident. I wasn't afraid of anything. Until that day that I said something to her — something I would regret for a long time.

I didn’t mean to hurt her. I just thought I would apologize the next day. But that “next day” never came. We all drifted apart, closing off our little wounded hearts.

Time passed, and one summer day a miracle happened. She appeared before me out of the blue.

“I have a wish that I want you to grant for me.”

However, she didn’t remember what her wish was. And so, to realize her “wish,” we will reunite once again at our secret base.

  STAFF

Original Story: CHO HEIWA BUSTERS

Director: Tatsuyuki Nagai

Screenplay: Mari Okada

Character Design / Chief Animation Director: Masayoshi Tanaka

Art Director: Tsutomu Ishigaki

Art Setting: Koki Fukushima

Prop Design: Yukie Hiyamizu

Color Design: Kazuko Nakashima

Editor: Shigeru Nishiyama

CG Director / Director of Photography: Shinji Nasu

Sound Director: Jin Aketagawa

Sound Effects: Katsuhiro Nakano

Sound Engineer: Ayumu Anzai

Sound Production: Magic Capsule

Music: REMEDIOS

Music Production: Aniplex Inc. / FUJI PACIFIC MUSIC, Inc.

Chief Producers: Hiroyuki Shimizu / Koji Yamamoto

Producers: Shunsuke Saito / Noriko Ozaki

Animation Producer: Mikihiro Iwata

Animation Production: A-1 Pictures

Produced by ANOHANA Project / Aniplex Inc. / Fuji Television Network, Inc / Dentsu Inc.

  CAST (Japanese/English):

Jinta "Jintan" Yadomi: Miyu Irino / Griffin Burns

Meiko "Menma" Honma: Ai Kayano / Xanthe Huynh

Naruko "Anaru" Anjo: Haruka Tomatsu / Erica Lindbeck

Atsumu "Yukiatsu" Matsuyuki: Takahiro Sakurai / Ray Chase

Chiriko "Tsuruko" Tsurumi: Saori Hayami / Erica Mendez

Tetsudo "Poppo" Hisakawa: Takayuki Kondo / Kaiji Tang

Atsushi Yadomi: Mitsuru Ogata / Kirk Thornton

Toko Yadomi: Sayaka Ohara / Laura Post

Jinta (Child): Mutsumi Tamura / Tara Sands

Atsumu (Child): Asami Seto / Michelle Ruff

Tetsudo (Child): Aki Toyosaki / Abby Trott

Haruna: Kaoru Mizuhara / Cherami Leigh

Aki: Yui Makino / Brianna Knickerbocker

Manabu Honma: Makoto Yasumura / Chris Smith

Irene Honma: Fuyuka Ohura / Karen Strassman

Satoshi Honma: Kaoru Mizuhara / Marianne Miller

  Voice Director & ADR Script Writer: Patrick Seitz

  KIZUMONOGATARI PART 3: REIKETSU Blu-ray

Coming 11/21

THE ORIGIN STORY OF THE MONOGATARI SERIES - THE FINALE OF THE TRILOGY MOVIE!

This highly anticipated film has brought together an all-star creative team including Director Tatsuya Oishi (Series Director of BAKEMONOGATARI), Character Designer Akio Watanabe (Monogatari Series), Chief Director Akiyuki Shimbou (Madoka Magica, Monogatari Series, NISEKOI) and Studio SHAFT (Madoka Magica, Monogatari Series, NISEKOI).

PART 3: REIKETSU STORY

With help from Meme Oshino, the apparition specialist, Koyomi defeats the three powerful vampire hunters: Dramaturgy, Episode and Guillotinecutter. Koyomi takes back all the limbs of Kiss-Shot-Acerola-Orion-Heart-Underblade in order to become a human again.

Disc Spec

Spoken Language: Japanese

Subtitle: English

Aspect ratio: 16:9 Cinemascope

Episode: Movie

Number of Disc: 2 discs (Blu-ray Disc + Soundtrack CD)

Total Run Time: approx. 82 min.

Rating: 16 UP

Bonus Contents

■ Theatrical Trailer

■ PV & CM Collections

Bonus Contents

■ PART 3: REIKETSU Original Soundtrack CD

■ Deluxe Booklet

■ Pin-up Postcard Set

■ Package Illustrated by Akio Watanabe (Character Design)

Price

SRP: $89.98

Retail Price: $69.98

    KOYOMIMONOGATARI Blu-ray Set

Coming 12/19

Disc Spec ■ Spoken Language: Japanese ■ Subtitle: English ■ Aspect Ratio: 16:9 Cinemascope ■ Episodes: 12 short episodes ■ Number of Disc: 2 Blu-ray discs ■ Total Run Time: approx. 150 min. ■ Rating: 16 UP Bonus Contents ■ PV & CM Collections Bonus Materials & Package ■ Deluxe Booklet ■ Pin-up Postcard Set ■ Package Illustrated by Akio Watanabe (Character Design)  *Bonus materials subject to change

SRP $89.98 Sales Price $69.98

Introduction “You’re looking for a horror story? I wish I got one for you.” Untold stories… one per month for one year… Taking place between other Monogatari stories, a chapter not yet told surrounds Koyomi Araragi and the strange happenings he gets pulled into over the course of a year. With one episode told per month, the story unravels in this 12 episode-long series of shorts.

      Coming 12/19 After its overwhelmingly successful worldwide theatrical release, Sword Art Online the Movie -Ordinal Scale- makes its debut on Blu-ray and DVD!  STORY The NerveGear, the world’s first dedicated full-dive device developed by the genius programmer, Akihiko Kayaba in 2022…a revolutionary machine that opened up infinite possibilities for the world of VR (Virtual Reality). 4 years later…. A next-generation, wearable multi-device called the Augma has been released to compete with the NerveGear’s successor, the Amusphere. A cutting-edge machine boasting the ability to enhance AR (Augmented Reality) to the maximum, the Augma offers a safe, user-friendly experience, as it can be used while the player is awake, making it an instant hit. Its most popular title is an ARMMORPG developed exclusively for the Augma, “Ordinal Scale (a.k.a. OS).” Kirito is about to join Asuna and the others as an Ordinal Scale player, but they’re about to find out that it isn’t all fun and games…

  Sword Art Online the Movie -Ordinal Scale- Limited Edition Blu-ray

Description Spoken Languages: Japanese & English Subtitles: English & Spanish Aspect ratio: 16:9 widescreen Episodes: Feature Movie Number of Discs: 2 (a Blu-ray & CD) Total Run Time: approx. 120 min. Rating: 16 UP *Brief nudity and some violence. Parental guidance suggested.  Bonus Contents ■ Audio Commentary by Creators and Japanese Cast: (Tomohiko Ito, Shingo Adachi, Reki Kawahara, Yoshitsugu Matsuoka, Haruka Tomatsu and Sayaka Kanda) ■ Special Short Animation: Sword Art OFFline –Ordinal Scale– * Bonus contents subject to change. * Bonus contents include English subtitles.  Bonus Materials & Package ■ Bonus Music CD: - “Ubiquitous dB –Special ver.-” by Asuna Yuuki (cv: Haruka Tomatsu), Keiko Ayano (cv: Rina Hidaka) - “Break Beat Bark! –special ver.-" by Rika Shinozaki (cv: Ayahi Takagaki), Shino Asada (cv: Miyuki Sawashiro) - “longing –movie ver.-,” “delete –movie ver.-" and “smile for you –movie ver.-" by Yuna (cv: Sayaka Kanda) ■ Deluxe Booklet ■ Rigid Box * Bonus contents subject to change.  SRP: $79.98 Retail Price: $69.98

  Sword Art Online the Movie -Ordinal Scale- Standard Edition Blu-ray

Description Spoken Languages: Japanese & English Subtitles: English & Spanish Aspect ratio: 16:9 widescreen Episodes: Feature Movie Number of Disc: 1 Blu-ray disc Total Run Time: approx. 120 min. Rating: 16 UP *Brief nudity and some violence. Parental guidance suggested.  Bonus Contents ■ Audio Commentary by Creators and Japanese Cast: (Tomohiko Ito, Shingo Adachi, Reki Kawahara, Yoshitsugu Matsuoka, Haruka Tomatsu and Sayaka Kanda) ■ Special Short Animation: Sword Art OFFline –Ordinal Scale– * Bonus contents subject to change. * Bonus contents include English subtitles.  SRP: $49.98 Retail Price: $39.98

  Sword Art Online the Movie -Ordinal Scale- Standard DVD

Description Spoken Languages: Japanese & English Subtitles: English & Spanish Aspect ratio: 16:9 widescreen Episodes: Feature Movie Number of Disc: 1 DVD disc Total Run Time: approx. 120 min. Rating: 16 UP *Brief nudity and some violence. Parental guidance suggested.  SRP: $39.98 Retail Price: $29.98

      ------- Scott Green is editor and reporter for anime and manga at geek entertainment site Ain't It Cool News. Follow him on Twitter at @aicnanime.

By: news+feed@crunchyroll.com