Are you a fan of the horror classic, Friday the 13th? Then this is the Jason Voorhees – inspired pin for you! His Name Was Jason enamel pin is currently live on the site! Make Mrs. Voorhees proud and pick up a pin today! Exclusive to Headstone City!
Love slasher flicks like the Friday the 13th series? We have just the enamel pin for you!
Inspired by the classic slasher flick, Friday the 13th and it’s sequels, Headstone City has brought you the perfect Jason Voorhees pin for your collection. Jason is available in both classic Jason and NES Jason. Both pins glow in the dark.
Soft enamel pin is 1.9″ and arrives with back board. Visit Jason Voorhees at Headstone City and pick on up today!
Friday the 13th Trading Cards
Trading cards inspired by the horror film series; Friday the 13th.
Remember the horror wax pack trading cards from the ’70s and ’80s? Well now you can have your very own Friday the 13th versions of those wax packs.
Choose either Friday the 13th, Friday the 13th Part 2 or get both! Jason Voorhees and Pamela Voorhees are waiting!
Trading cards are 2.5″ by 3.5″, printed on 16 pt. cardstock with a matte/dull finish. Full color, front and back.
Sorry, stale bubble gum not included.
Get your Friday the 13th horror movie trading cards at HeadstoneCity.com!
Horror is chock full of amazing masks. We’ve selected some of the top horror movie contenders from the plethora of fright flicks throughout the years. We’ve got four top horror films covered. Friday the 13th, The Texas Chainsaw Massacre, Halloween and Scream. Michael Myers has his inside-out William Shatner mask. Leatherface wears a literal leatherface from his poor victims. Jason managed to secure his hockey mask in Part 3. Last but not least, Ghostface wears an actual Halloween mask from Fun World costume. So what do you think, which mask should reign number 1?!


Free Streaming Easy A in HD Format.Now you can enjoy Easy A in high quality with duration 92 Min and has been aired on 2010-09-10 with MPAA rating is 737.
- Original Title : Easy A
- Movie title in your country : Easy A
- Year of movie : 2010
- Genres of movie : Comedy,
- Status of movie : Released
- Release date of movie : 2010-09-10
- Companies of movie : Screen Gems, Olive Bridge Entertainment,
- Countries of movie : United States of America,
- Language of movie : English,
- Durationof movie : 92 Min
- Average vote of movie : 6.5
- Youtube ID of movie : KNbPnqyvItk
- Translation of movie : EN,RU,DE,FR,DA,HU,NL,ES,ZH,TR,PT,SV,FA,IT,PL,BG,FI,CS,SK,HE,RO,EL,
- Actors of movie :Juliette Goglia (Eighth Grade Olive), Jake Sandvig (Anson), Malcolm McDowell (Principal Gibbons), Dan Byrd (Brandon), Stacey Travis (Marianne's Mom), Yoshua Sudarso (Eric Ling (uncredited)), Thomas Haden Church (Mr. Griffith), Stanley Tucci (Dill Penderghast), Lisa Kudrow (Mrs. Griffith), Amanda Bynes (Marianne), Penn Badgley (Woodchuck Todd), Aly Michalka (Rhiannon), Cam Gigandet (Micah), Johanna Braddy (Melanie), Emma Stone (Olive Penderghast), Patricia Clarkson (Rosemary Penderghast)
Movie plot of Easy A :
Play full Easy A in HD Quality with movie summary "After a little white lie about losing her virginity gets out, a clean cut high school girl sees her life paralleling Hester Prynne's in "The Scarlet Letter," which she is currently studying in school - until she decides to use the rumor mill to advance her social and financial standing." in top video format. Free Streaming Easy A in Best Quality by viewing the download link.
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... Play Full Easy A in Best Look 720p ...
Director : Will Gluck, Screenplay : Bert V. Royal
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Tags: lie, highschool, school, teen movie, sexy comedy, rumor,


We hope you enjoyed our Opening Night screening of the Foreign Feature film from Germany,
The Ugly Truth.
The filmmakers graciously allowed the film to remain available for viewing throughout the weekend.
We truly thank them.
And congratulate them for winning in their category.
The Ugly Truth
Directed By: Krishna Ashu Bhati
Mona, her husband Theo and daughter Hanna live in an idyllic villa on the outskirts of Berlin. When the attractive 18 years old daughter of a friend comes to visit, the profound problems and fragility of the small family reveal, as a tragic downward spiral takes its inevitable course.


It is a known fact that the shooting of Naga Chaitanya’s upcoming film Majnu is going on a brisk pace. Latest update reveals that the makers have decided to release the first look of the film on the 19th of this month.
Shruthi Haasan, Anupama Parameswaran and Ayesha Sharma play female leads in this coming of age love story. Chandoo Mondeti of Kartikeya fame is directing this film. Keep watching this space for more updates on this project.
- Nizam Collections: F2 continues dream run; VVR registers Zero share
- Maharshi gets a tentative release date?
- Mega fans happy with Charan’s prompt response to bust rumors
- Kiara confirms drastic changes in Arjun Reddy’s Hindi remake
- After 5 straight flops, Mehreen relishes F2’s success


A dissipated pianist (Louis Jourdan) arrives home late one night after being challenged to a duel early that morning. Upon his arrival, his servant (Art Smith) gives him a letter. The letter chronicles the lifelong love for the musician by the letter's writer (Joan Fontaine), who is dying. Max Ophuls' elegant and tragic tale of an obsessive love that's never returned in kind is his greatest American film and with the possible exception of the exquisite THE EARRINGS OF MADAME DE..., perhaps his greatest film period. On the technical level alone, it's an awesome achievement. The detailed recreation of 19th century Vienna by art director Alexander Golitzen (SPARTACUS), the set decorations by Russell Gausman and Ruby Levitt, the meticulous costumes of Travis Banton and the polished B&W cinematography of Franz Planer (BREAKFAST AT TIFFANY'S) are impeccable. But it's not just a handsome costume picture. Ophuls' portrait of the compulsive passion of its heroine is probably matched only Hitchcock's VERTIGO in its intensity and ultimate tragedy. Fontaine gives one of her very best performances, far more believable here as a 14 year old than in THE CONSTANT NYMPH. With Mady Christians and Howard Freeman.


Radhe: Your Most Wanted Bhai, presented by Salman Khan Films in association with Zee Studios, continues to create ripples and amass record-breaking viewership with its super-successful hybrid format. Superstar Salman Khan aka Radhe goes up against menacing heavyweights in the mass entertainer and gives us a glimpse of the towering line-up of villains lead by the talented Randeep Hooda.
Rana (Randeep Hooda) and his gang Girgit and Lota essayed by actor Gautam Gulati and former Bhutanese army officer, Sangay Tsheltrim are both savage and cool. Talking about his antagonists says Salman Khan, “The villains in our film are very strong characters. They are a gang of 3 who enter Mumbai city and think they can overturn it and they do. They are powerful, they go on a killing spree.”
Adds director Prabhudeva, “Gautam and Sangay’s characters in the film are like mad people. They will do anything. They react but Rana does not. He has a leadership quality to him.”
While there’s no questioning that Randeep Hooda is a terrific actor, Salman Khan does comment that after working with him in Sultan, Kick and Radhe, he believes this is his finest work.
Salman Khan says, “Randeep has played this ruthless and brutal character so well. Every time he comes on the screen; his presence is both cool and scary. This film is the best that I’ve worked with Randeep.”
Randeep Hooda adds, “My character Rana enjoys doing what he does out of sadistic pleasure. It’s the kind of role where you have to believe what you are doing. Once the director decides, there’s no questioning why, all that’s left is to figure out how to do it best. I hope people love him and hate him at the same time.”
Starring Salman Khan in and as ‘Radhe- Your Most Wanted Bhai’ along with Disha Patani, Randeep Hooda and Jackie Shroff in pivotal roles, the movie is presented by Salman Khan Films in association with ZEE Studios, produced By Salma Khan, Sohail Khan and Reel Life Production Pvt. limited.
‘Radhe: Your Most Wanted Bhai’ is out in theatres and on ZEE’s pay-per-view service ZeePlex on Zee5’s OTT platform and all leading DTH operators.


New Girl has recently entered its fourth season in the US and the show remains a favourite with critics. Ratings wise the future of the show doesn’t look great, especially as the fourth season is averaging ratings of around 2.5 million compared to 6 million in the first season. Regardless the show has a cult following and the third season is being released on DVD in the UK.
New Girl: The Complete Third Season contains 23 episodes across 3 discs. The action picks up after Cece’s (Hannah Simone) almost wedding with Jess (Zooey Deschanel) and Nick (Jake Johnson) vacationing in Mexico as they give their relationship another try. Jess and Nick’s will-they-won’t-they drama turns into an actual relationship this season but there are plenty of obstacles in the way of their happiness. Will they stay together for the whole season? That would be telling wouldn’t it?
Alongside that continuing storyline Schmidt (Max Greenfield) struggles to choose between the newly single Cece and Elizabeth (Merritt Weaver) and things come to a head in the third episode Double Date. Who will he choose? Elsewhere Winston gets a real job and Jess’ parents visit again in episode Birthday.
There are plenty of special guest stars over the season including Taye Diggs, Linda Cardellini, Jamie Lee Curtis, Rob Reiner, Angela Kinsey, Adam Brody and Dreama Walker. The season also marks the return of Damon Wayans Jr. as Coach on a recurring basis.
Highlights of the season include Exes where Jess tries to prove to Nick that people can be friends with their exes, Sister and Sister II which feature Jess’ troublesome older sister whom she has to pick up from jail, and season finale Cruise where various members of the group try to make amends with one another.
The charm of New Girl is the ensemble cast. Zooey Deschanel shines brightly as Jess whilst Max Greenfield regularly steals the show as the cocky and over-zealous Schmidt. Jake Johnson, Hannah Simon and Lamorne Morris provide superb support and the group plays off against one another throughout the show creating a really great chemistry.
Special features on the release include two featurettes (The Happy Hook-Up Heartbreak Guide to New Girl, Drop That Name), deleted and extended scenes, and a gag reel.
New Girl is a sweet comedy that is always entertaining but not particularly laugh-out-loud funny. Despite being a mainstream show it feels quirky and definitely doesn’t tread the usual US sitcom formula. New Girl continues to be a show we can take or leave but the ensemble cast are the main reason the show is worth tuning into.


(Source: Philippine Inquirer -- www.inquirer.net -- 11-27-99)
Joaquin's 'Portrait' now a classic
By Ambeth R. Ocampo
(Editor's Note: The INQUIRER countdown to the end of the 20th century on Dec. 31, 1999 celebrates with a procession of native artifacts that speak of the nobility and pride of the Filipino race.)
FIRST published as ''an elegy in three scenes'' in the Women's Weekly Magazine in 1952, Nick Joaquin's play Portrait of the Artist as Filipino eventually ended up in book form in 1952, 1966, and 1979.
Considered the most important Filipino play in English and one of the pioneers of realism in Philippine theater, Portrait has been translated into Filipino twice: By Alfred Yuson in 1969, and recently by Bienvenido Lumbera in 1992. Called Larawan in Filipino, Joaquin's play has taken on a new life under many directors who include: Lino Brocka (1979), Behn Cervantes (1982), Nonon Padilla (1989), and Anton Juan (1993).
It is in film that the play has been preserved in the original English. Lamberto V. Avellana (19151991) artistic director of the Barangay Theater Guild first staged Portrait in 1955 and directed the film of the same title 10 years later with Daisy H. Avellana and Naty CrameRogers playing the lead roles of Candida and Paula. Screened in the Frankfurt Film Festival in 1967, Portrait is now considered a classic.
In 1976 Nick Joaquin was declared National Artist for Literature and Lamberto Avellana National Artist for Film and Theater.
Joaquin's synopsis of the play further shortened to fit the available space in today's Countdown goes:
''Bitoy Camacho, an old friend of the Marasigans, pays them a visit one afternoon after many years of absence. He is greeted by the two daughters of Lorenzo Marasigan, a famous painter, who in his declining years has been living in isolation and abject poverty. Recently, he finished his latest and perhaps last major work of art, a painting he entitled Portrait of the Artist as Filipino. The sisters Paula and Candida welcome Bitoy. They reminisce about the past and the good old days . . . Tony Javier, a young musician renting a room in the house, comes home from work and is surprised . . . Tony confides to Bitoy . . . his frustrated efforts in convincing the sisters to sell the painting to an American client.
''In the second act, Don Lorenzo is visited by Manolo and Pepang--the older brother and sister of Candida and Paula. They plan to transfer their father to a hospital and sell the house. They have invited Don Perico, a senator . . . to convince their younger sisters. Don Perico appeals to both sisters to donate the painting to the government in exchange for a handsome pension that would relieve them of their burden. The sisters remain firm and indifferent . . . during the debate the senator is forced to examine his life realizing too late that he has betrayed his true vocation as an artist--poet . . . Forlorn and devastated by remorse, [the senator] bids the sisters farewell.
''Manolo and Pepang quarrel with their younger sisters . . . [who] are forced to reveal why their father painted the picture. They had confronted him a year before, and in pain accused him of having wasted their lives. As a reaction he painted his last work of art and then attempted to commit suicide.
''Alone Candida . . . tells Paula of her frustration in job seeking. Tony Javier rushes in with news about his American client who has doubled his offer [for the painting] . . . In a moment of weakness, Paula abandons the house and joins Tony.
''The third act begins with Bitoy remembering the Octobers of his youth and the feast of La Naval de Manila . . . A group of visitors to the Marasigan home inquire about rumors that the painting and Paula have disappeared forcing Candida to admit what happened and accuses herself of masterminding the crime . . . Paula enters and admits to having destroyed the portrait. Crushed, Tony accuses the two women of condemning him back to poverty . . . He leaves cursing them. In the meanwhile the two sisters reconcile . . . and reaffirm their decision to remain in the house with their father . . . Bitoy in a monologue ends the play with a prayer deciding to dedicate his life to the preservation of Intramuros and its historical past through art and memory.''


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Welcome to Theatre 360!
Theatre 360 is a nationally recognized children’s theatre group that provides students ages 3 – 19 with a performing arts education. In Los Angeles and New York, Theatre 360 has earned a reputation for first-rate productions and training that has fostered thousands of talented artists through the years. We prepare and educate our students to succeed in college auditions.
Students involved in Theatre 360 form strong bonds of friendship from throughout the community. They immerse themselves in acting, voice, dance, and technical theatre. They work hard and have fun along the way. But most important, Theatre 360 helps students realize and develop their creative and professional selves in a supportive atmosphere.


The Master of Ballantrae (film)
|The Master of Ballantrae|
|Directed by||William Keighley|
|Written by||Herb Meadow
Harold Medford (add. dialogue)
|Based on||The Master of Ballantrae
by Robert Louis Stevenson
|Music by||William Alwyn|
|Edited by||Jack Harris|
|Distributed by||Warner Bros.|
|5 August 1953 (USA)|
|Box office||$2 million (US rentals)
1,814,822 admissions (France)
The Master of Ballantrae is a 1953 British Technicolor adventure film starring Errol Flynn and Roger Livesey. It is a loose and highly truncated adaptation of the Robert Louis Stevenson novel of the same title. In eighteenth century Scotland, two sons of a laird clash over the family estate and a lady.
At the Durrisdeer estate in Scotland in 1745, Jamie Durie (Errol Flynn), his younger brother Henry (Anthony Steel) and their father Lord Durrisdeer (Felix Aylmer) receive news of the Jacobite rising. Their retainer, MacKellar (Mervyn Johns), recommends that one brother join the uprising while the other remains loyal to King George II, so that whichever side wins, the family's status and estate will be preserved. Both brothers want to go. Jamie insists on tossing a coin for the privilege and wins, despite the opposition of his fiancée, Lady Alison (Beatrice Campbell).
The rising is crushed at the Battle of Culloden. Evading British soldiers, Jamie falls in with an Irish adventurer, Colonel Francis Burke (Roger Livesey). They return secretly to Durrisdeer to obtain money for passage to France.
When Jamie's commoner mistress, Jessie Brown (Yvonne Furneaux), sees him kissing Lady Alison, she betrays him to the British. Jamie is shot and falls into the sea. Henry becomes the heir to the estate on the presumption that Jamie is dead. Believing his brother betrayed him, a wounded Jamie and Burke take ship with smugglers to the West Indies, where they are captured by pirates led by French dandy Captain Arnaud (Jacques Berthier).
Jamie goes into partnership with Arnaud. When they reach the port of Tortugas Bay, they see a rich Spanish galleon captured by fellow buccaneer Captain Mendoza (Charles Goldner). Arnaud agrees to Jamie's proposal that they steal the ship. However, once they have seized the galleon, Arnaud turns on Jamie. Jamie kills Arnaud in a sword duel and takes command. They sail for Scotland.
Jamie returns to the family estate, rich with pirate treasure, to find a celebration in progress for Henry's betrothal to Alison. Unable to contain himself, Jamie confronts his brother, despite the presence of British officers. A fight breaks out, in which Henry tries to aid Jamie. The unequal fight ends with Jamie and Burke condemned to death. Jessie helps them escape, at the cost of her own life. Alison elects to go with Jamie to an uncertain future.
- Errol Flynn as Jamie Durie
- Roger Livesey as Colonel Francis Burke
- Anthony Steel as Henry Durie
- Beatrice Campbell as Lady Alison
- Yvonne Furneaux as Jessie Brown
- Felix Aylmer as Lord Durrisdeer
- Mervyn Johns as MacKellar
- Charles Goldner as Captain Mendoza
- Ralph Truman as Major Clarendon
- Francis de Wolff as Matthew Bull, Arnaud's Quarter Master
- Jacques Berthier as Captain Arnaud
- Gillian Lynne as Marianne, a dancer favored by Mendoza
Warner Bros announced on 7 September 1950 that they would make the film, with shooting to take place in England. The following year it was announced that Joe Gottesman would be producer and Herb Meadow was doing the adaptation.
The Washington Post called the film "a chaotic tale deserving of his [Flynn's] undisputed prowess."
- 'The Top Box Office Hits of 1953', Variety, 13 January 1954
- 1954 French box office figures at Box Office Story
- WALD, KRASNA BUY ZOLA STORY RIGHTS: R.K.O. Producers to Do New Film on 'The Human Beast' --Mature Injured on Set Special to THE NEW YORK TIMES.. New York Times (1923-Current file) [New York, N.Y] 08 Sep 1950: 25.
- Drama: Hollywood's Invasion of Europe Spreading; Lanza Start Slated Schallert, Edwin. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 11 Oct 1951: B9.
- 'Master of Ballantrae' Will Star Errol Flynn; Russell Set at Disney's Schallert, Edwin. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 07 Apr 1952: B9.
- FLYNN WILL PLAY PIRATE IN ENGLAND: To Be Starred in 'Sea Rogue,' Based on Stevenson Story, for Warners in Summer By THOMAS M. PRYORSpecial to THE NEW YORK TIMES.. New York Times (1923-Current file) [New York, N.Y] 07 Apr 1952: 20.
- Drama: Anthony Steel Enacts Brother in 'Ballantrae;' Bobby Van Speeds Along Schallert, Edwin. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 05 July 1952: A7.
- Tony Thomas, Rudy Behlmer & Clifford McCarty, The Films of Errol Flynn, Citadel Press, 1969 p 194
- MOVIELAND BRIEFS. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 06 Oct 1952: B8.
- FILMLAND BRIEFS Los Angeles Times (1923-Current File) [Los Angeles, Calif] 14 July 1952: B8.
- Master of Ballantrae' at Paramount H. H. T.. New York Times (1923-Current file) [New York, N.Y] 6 Aug 1953: 16.
- Flynn's 'Ballantrae' Has Real Scotch Kick Scheuer, Philip K. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 6 Aug 1953: B9.
- A Nifty Chemise And Errol Flynn By Richard L. Coe. The Washington Post (1923-1954) [Washington, D.C] 31 July 1953: 39.
- Thomas Pryor, 'ERROL FLYNN ENDS PACT AT WARNERS: ACTOR AND STUDIO AGREE TO PART -- STAR MADE 35 FILMS IN 20 YEARS ON LOT', New York Times (1923-Current file) [New York, N.Y] 20 Mar 1954: 10.
- The Master of Ballantrae at the TCM Movie Database
- The Master of Ballantrae at the Internet Movie Database
- The Master of Ballantrae at AllMovie
- The Master of Ballantrae at the American Film Institute Catalog


The Advent Calendar
by Hope Madden
Who needs a new Christmas horror story?
I do. Y’all can have your Hallmark romances but give me a little yuletide carnage and I’m filled with holiday cheer.
This Christmas season, writer/director Patrick Ridremont comes through with the Belgian horror The Advent Calendar.
It’s been three years since the accident that put Eva (Eugénie Derouand) in a wheelchair, but it’s still sometimes tough for her to tolerate the ableism and ignorance of those around her. Luckily her bestie Sophie (Honorine Magnier) cheers her with a visit and a gift — an antique wooden advent calendar she picked up in Germany.
There are rules. There is candy. There will be blood. (But there is candy, so how bad can it be?)
The “be careful what you wish for” storyline is as vintage as the ornate and impressive prop, but cursed object horror can be powerful when done well. Ridremont does it well, allowing time for his ensemble to develop their characters. And though the film skirts cliché, Ridremont respects his audience’s ability to keep up. We’re not spoonfed.
Better still, Eva has depth enough as a character that when she finally moves willingly toward doing the wrong thing, you feel her resignation more than her selfishness.
Derouand portrays Eva’s bitterness and longing so clearly that the film never has to bow to montage or flashback. And when the time comes to get spooky, The Advent Calendar delivers.
There’s plenty of blood, but it’s the way it’s meted out that ramps up tensions. We start off with people we’re trained to want to see picked off, but viewer beware: there’s a beautiful mutt in danger here as the cursed object worms its way into Eva’s life.
The FX are not as impressive as the performances, unfortunately, but the creature itself is creepy as hell. Better still, his existence and the origin of the Advent Calendar are left a bit to the imagination. It’s a clever sleight of hand, Ridremont taking advantage of our familiarity with his subgenre when he needs to, while still leaving behind the tangy taste of mystery.


Luxurious and comfortable home theater sofa brings ultimate home movie theater experience. This red leather theater room sofa redefine comforts and sense of beauty of home theate seating. It provides maximum cozy for its amazing features.
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2. Power theater recliner sofa with power headrest
This theater room power recliner sofa allows you to adjust to the perfect position for optimal relaxation during your favorite films or favorite TV shows. With just a press of a button, you can adjust the angle of both the sofa and the headrest to find the best position for your body. This personalized level of comforts not only makes it easier to sit through longer movies or multiple episodes back-to-back, but also helps prevent the neck strain and discomfort that can often come with traditional seating options.
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Another great feature of this theater recliner sofa is that it comes equipped with convenient built-in storage compartments to keep all your essentials close at hand. It is perfect for storing snacks, drinks, and other essentials so you don’t have to interrupt your movie watching experience.
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The inaugural DESIblitz Film Fusion festival is a 10-day event coming to Birmingham this June. A first of its kind, the festival focuses on promoting and elevating Punjabi, Pakistani and Sports films.
The indie festival targets underrepresented groups and communities, young and mature audiences. Providing a platform for alternative and language-based cinema, the festival aims to promote diversity and culture that is stimulating, educational, and inspiring, with an exciting film programme, talent, discussions, and short film competition.
Categories for the festival are feature films, documentaries and short films, including animations.
Films will be shown at live venues including ‘ODEON Luxe Birmingham Broadway Plaza’ and ‘Mac Birmingham: Midlands Arts Centre’.
The DESIblitz Film Fusion is a specialised film festival produced by the multi-award-winning web publication DESIblitz.com.
Established in 2008, DESIblitz has earned its publication status by growing tremendously with its large UK and international reach, especially in South Asia and North America.
The ethos of the festival is to increase awareness of films related to specific Desi storylines that need their narratives unveiled and told to new and existing audiences.
Created and curated in Birmingham, United Kingdom, DESIblitz Film Fusion has been developed to provide a fantastic opportunity for niche, and independent filmmakers to showcase their creative film talents.
DESIblitz Film Fusion Festival has been made possible with support from Film Hub Midlands through funds from the National Lottery. Film Hub Midlands support people to watch, show, and make films in the Midlands.


While Performing Play, Trinity Regional Students Learn about Gardening
Posted on 06/01/2016
What could be more appropriate for spring than a musical about a garden? The Third Grade classes at Trinity Regional School had a great time performing the play “How Does Your Garden Grow” on May 27, 2016. The entire play takes place in a garden setting surrounded by flowers, weeds, and vegetables. The play teaches the important lesson that children have the ability to grow and nourish just like the seeds in the garden.


The 15 Saddest Anime Scenes Of All Time
There's nothing like a sad scene to make you emotionally invested in an anime. These emotional moments may also compel you to throw your computer out the window, tears streaming as you yell at the series for making you experience actual feelings.
Naturally, the saddest anime scenes often revolve around the most poignant anime deaths. For example, Maes Hughes's funeral in Fullmetal Alchemist: Brotherhood is one of those sequences seared into your mind forever. Though loss plays a part in many of these devastating anime scenes, not all of anime's most heart-wrenching moments involve death. When a young abuse victim cries over experiencing kindness for the first time, it's enough to build a lump in your throat.
In some cases, these depressing scenes come from anime with tragic themes in general. In addition to the infamous death scene, Clannad comes chock-full of other somber moments. Other instances involve anime with a rather lighthearted or adventure-oriented tone, making the devastation all the more earth-shattering.
If you thought you would never cry over Pokémon, you should watch the final battle in the first movie one more time. For people who love emotional roller coasters as much as physical ones, these devastating anime scenes will send you on the ride of your life.
- Photo: Lerche
Although the premise of Assassination Classroom involves a bunch of kids trying to murder their teacher, it's still devastating when he dies.
The reason they try to kill their teacher, whom they call Korosensei, is because he threatens to destroy the planet in a year unless someone can stop him. In exchange for not obliterating Earth immediately, he demands to instruct Class 3-E of Kunugigaoka Junior High School.
The former teacher of this class was a woman Korosensei met in the experimental laboratory. She turned him into a deadly time bomb. Korosensei wants to use his remaining time to help these kids believe in their power and inherent worth by training them as assassins.
His lessons work startlingly well, and by the time the students have to kill Korosensei to save the planet, he already helped each one of them reach their fullest potential. Not one member of Class 3-E wants Korosensei to die, so when his student Nagisa takes responsibility and does the job, the whole class openly sobs. The soaring music and starry visuals underscore the misery of the scene.
- Photo: Studio Bones
The death of Maes Hughes traumatized practically the entire anime community. If you weren't affected, chances are you didn't watch it. At Hughes's funeral, the surviving loved ones display all their raw, emotional pain. Whether it's Roy Mustang saying he understands the Elrics' reasons for human transmutation, or Elicia, Hughes's young daughter, sobbing as they're covering her daddy in dirt, the funeral is a devastating scene.
- Photo: A-1 Pictures
The end of Your Lie in April is as beautiful as it is excruciating. As Kaori Miyazono undergoes a risky surgery, Kousei Arima performs without her at a music competition. When Kaori appears beside him on violin, he knows this means her surgery was unsuccessful. The presence is an apparition.
Kousei must keep playing, knowing full well one of his closest friends is gone. You will never again listen to Chopin's "Ballade No. 1 in G minor, Op. 23" without crying.
After the heartwrenching final collaboration between Kaori's ghost and Kousei, he receives a letter. It reveals Kaori's untold love for Kousei. On top of the death, there's a deep sense of regret about how the two never connected as they should have.
- 42,089 VOTESPhoto: Kyoto Animation
Clannad is notoriously one of the saddest anime ever. Arguably the most painful moment happens during the death of Ushio, the young daughter of protagonist Tomoya. As if a child dying in her father's arms weren't heartbreaking enough, the family history behind her death adds additional layers to the sadness cake.
Ushio's mother Nagisa dies giving birth to her. Losing his beloved wife drives Tomoya, already not the most emotionally stable person, into a tailspin. He can't function well enough to raise his daughter, so he leaves Ushio with her grandparents while he gets his act together.
When Tomoya finally decides to come back, Ushio develops the same disease that caused Nagisa to die from the strain of childbirth. She doesn't have long to live. Tomoya tries to fulfill his daughter's last wish: a trip with her father. Unfortunately, Ushio dies before they venture a great distance.
- Photo: Studio Ghibli
Any scene involving a child dying automatically qualifies as devastating, but Setsuko’s death takes it to another level. Setsuko and her older brother Seita struggle to survive in post-WWII Japan, but the strain proves too much for the little girl.
When Seita finally manages to get his hands on food, he tries to feed his sister - but it’s too late. Setsuko dies while he prepares rice for the two of them. When Seita lies down next to his sister's corpse, it’s nearly impossible not to cry.
- Photo: Studio Pierrot
Asuma’s death is sad on its own, but it feels particularly heartwrenching to watch his loved ones react to it. The way Shikamaru Nara takes in the news is especially somber. At first, he tries not to show any visible reaction, instead choosing to bottle up his sadness. Knowing the dangers of refusing to mourn, his father, Shikaku, provokes him into expressing his emotions. Shikamaru bursts into tears.
Shikaku then leaves his son alone to mourn in private, saying, “Let it all out... I’ll pick up the pieces.” What an amazing father! The careful animation, a restrained color scheme, and moving soundtrack add to the pathos of the scene. If you watch knowing what happens to Shikaku later in the anime, you'll feel even worse.


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|Other names||Kent State University|
Bill Kerby was a screenwriter for several Hollywood films and television series who wrote and co-wrote the 1970s films Hooper and The Rose.
Kerby received a B.A. from Kent State University in 1962 and an M.F.A. from UCLA; where he was a Louis B. Mayer grant winner and teaching assistant, graduating in 1969.
He served in the United States Marine Corps, 1955–58, and was an actor and Welfare Investigator in New York City in the early 1960s. He also taught at Sherwood Oaks School, in Los Angeles, in the 1970s, and the Summer writers' workshop at the National Film and Television School of England from 1985 to 1990.


I believe this is an example of how love is presented in the play as Macbeth is in love with the idea of his success. Macbeth goes to great risks in order to obtain his power, some of these risks even consist of killing and sacrifice. In order for Macbeth to stay true to the word of the Witches, he takes matters into his own hands. Therefore, Macbeth needs to kill the current king in order for him to seize the title. In Act 1, Scene 4, Macbeth quotes “Let not light see my black and deep desires.” This quote speaks about the desire Macbeth has to kill King Duncan as he claims that no light is shining, therefore, no one is able to see the gruesome desires within him (the murder of Duncan).
King Hamlet’s ghost informs Hamlet that he must, “Revenge his foul and most unnatural murther.” (Murder.) He says that it was a “…Murther most foul.” These words cause Hamlet to feel the desire to seek revenge. He wants to know the true story of his father’s death and then he will speedily exact the revenge his father’s ghost
She encourages Macbeth to kill king Duncan in order to ensure that he will be king. She is cruel and insults his manhood. She is motivated by greed and evil. She even tells Macbeth that the blood on his hands will wash away after he kills king duncan. As the events of the play take place and she plans and participates with Macbeth in the murders of king Duncan and his chamberlains, she begins to struggle with guilt and the conflict between good and evil.
It is not a manichean word: “our life is a mingled yarn, good and evil together” (All’s Well that Ends Well). In short,driven to becoming King, Macbeth will kill all and any that get in his way. He puts his faith in the words and prophesies of three witches, after their first one (that he will become Thane of Cawdor) comes through. Macbeth's wife, Lady Macbeth, is instrumental is Macbeth's ambition, egging him on when he fears he has gone too far, and scheming of
She emasculates Macbeth and challenges his bravery, which to him is the essence of a being a man, "coward." Compelling her husband by giving him an ultimatium, be a coward or kill the king. Macbeth succumbs to evil and in doing so, betrays his King. God 's divine order is disturbed as Macbeth challenges God by killing the God appointed King and assuming the role for himself in his quest for power. Later on in the play, Macbeth asserts his right over Lady Macbeth, flipping their dynamic, and distances himself from her,"be innocent of the knowlded dearest chuck."
I am afraid to think what I have done; look on 't again I dare not” (Shakespeare 169). Macbeth is expressing his guilt to Lady Macbeth by saying that he refuses to let the recurring thought of the murder come across his mind once again. He is too scared to keep reliving the moment over and over. This is another instance that leads to Lady Macbeth being more guilty as a result of making Macbeth eliminate Duncan. In this, the reader can tell that Macbeth wasn’t sure he wanted to murder Duncan to the guilt due to the guilt that Macbeth expresses throughout the
One line that states Macbeth is forceful is when Macbeth states “To become king myself, I’m either going to have to step over him or give up, because he’s in my way”. One line that states Macbeth is avarice is when Macbeth says “Now I’m decided, and I will exert every muscle in my body to commit this crime.” which he referring to killing King Duncan so that he can be King next because that is what the three witches told him. Both Macbeth and Hermia make bad decisions
Here Macbeth realises that what the witches have told him are still a fantasy, yet he starts to think about murdering the king to become king himself. Macbeth even admits that his actions are restrained by his thoughts and speculations; that the only things that matter to him are things that do not really exist. Being king is what matters to him the most at the moment, but it is yet to be a reality as he thinks he must kill the king for him to claim his crown. At this point, Macbeth has a selfish aspiration and he starts to show his corrupted nature. The witches never mention murder, yet Macbeth jumps to that conclusion.
His Sewell 1 actions are understandable because his father was killed and he is planning his revenge slowly yet surely against his uncle. Even though his father tells him not to hurt his mother “ Against thy mother aught. Leave her to heaven and to those thorns that i her bosom lodge to prick and sting her.” (1.5.86-8). This is when Hamlet is started to be questioned of whether he has truly lost his mind. His other cause for insanity comes from Ophelia.
By Act III, Macbeth has accepted Banquo posses a great threat to his kingdom and is no longer his friend. The witches ' prophecies come back as Macbeth questions whether his actions were for his benefit or those of Banquo 's sons. Macbeth 's soliloquy reveals the extent of his character 's change: power and guilt have consumed his conscience, he 's become deranged and paranoid over irrational fears, and he displays characteristics opposite of those from earlier acts. All these elements expose a new Macbeth. Power has corrupted Macbeth 's mind.


$, also known as Dollars and in the UK as The Heist, is a 1971 American caper film starring Warren Beatty and Goldie Hawn, and distributed by Columbia Pictures. The movie was written and directed by Richard Brooks and produced by M.J. Frankovich. The supporting cast includes Gert Fröbe, Robert Webber and Scott Brady. The film was partly shot in Hamburg, Germany, which forms the primary location of the film and was supported by the Hamburg Art Museum and Bendestorf Studios.
Dawn Divine: He could have killed me too, you know? Joe Collins: That's right. Dawn Divine: I hate him! Joe Collins: Damn waste of time! Dawn Divine: I don't care! I could kill him! Joe Collins: Hey, stealing's a business, not a crusade.


The director alleges that jury members are
The actor will play the role of Jayaram's father in Kamal's Nadan
Reenu Mathews, is teaming up with the superstar for the second time in Shibu Gangadharan’s film
She is working on her second film with Mammootty
Joy Mathew’s Shutter heads to International Film Festival of India 2013
Six Malayalam movies are among the 26 feature films that have been selected to the Indian Panorama section of the 44th International Film Festival of India
Reenu Mathew pairs up with the actor yet again.
Latest Buzz is that Prithviraj will act in Shutter's Hindi remake


**** Winner - Best Feature Film - Videoscream Film Festival, USA 2018
**** Winner Best In Show - IndieFest Film Awards, USA 2017
**** Winner Best Feature - Independent Horror Awards, USA 2017
**** Winner Best Actor Steven Berkoff - Independent Horror Awards, USA 2017
**** Distribution Rewired - Edinburgh International Film Festival 2017
**** Winner Best Horror Feature - Underground Indie Festival, USA 2017
**** Winner Best Film - Genre Celebration Festival, China 2017
**** Winner Best Actor Steven Berkoff - Tabloid Witch Awards, USA 2017
**** Winner Best Actor Steven Berkoff - Diabolical Horror Film Festival, 2017
**** Winner Best Actor Steven Berkoff - Halloween International Film Festival, Canada
**** Winner Best Actor - Steven Berkoff - Bloodstained Indie Film Festival, China 2017
**** Winner Best Actor - Steven Berkoff - UK Film Festival, London 2017
**** Winner Best Costume Design Hannah Campbell - FEARnyc, 2017
**** Winner Best Production Design Felix Coles - FEARnyc, USA 2017
**** Winner Best In Genre - Erie International Film Festival, USA 2017
**** Winner Best Horror Film - The Calcutta International Cult Film Festival, India 2018
In Competition - Shanghai Film Festival, China 2018
Honorable Mention - Hollywood Horrorfest, LA 2018
Semi Finalist - DarkVeins Horror Film Festival, Italy 2017
In Competition - LUSCA Caribbean Int Fantastic Film Festival 2017
Nominated for Best Film, Steven Berkoff Best Actor, Henry Goodman Best Supporting Actor, Best Cinematography - British Horror Film Festival, UK 2017
Nominated for Best Film - Bloodstained Indie Film Festival, China 2017
Official Selection - Desmond District Demons Film Festival, Michigan 2017
Nominted for Best Feature, Best Sound Design - Diabolical Horror Film Festival, USA
Official Selection - UK Film Festival 2017
“The Tell-Tale Heart” is a short story by Edgar Allan Poe first published in 1843. It is told by the Master who endeavors to convince the viewer of his sanity, while describing a murder he committed. The victim was an old man with a “vulture- eye” as the Master calls it. The murder is carefully calculated and the murderer hides the body by dismembering it and hiding it under the floorboards. Ultimately the Master’s guilt manifests itself in the form of the sound— possibly hallucinatory—of the old man’s heart still beating under the floorboards.
Steven Berkoff has been an undisputed theatrical legend since the 1970s. Throughout his extraordinary career as a theatrical rebrand, performer, writer and director he has railed against safe, mediocre and superficial theatre. His theatrical craftsmanship, his physicality and tremendous voice work has been honed to razor sharpness over a career spanning five decades and it is breathtaking to watch.
Film Festival Review - Tabloid Witch Awards, Santa Monica - 2017
Edgar Allan Poe's Tell Tale Hearthas been adapted too many times to track -- on stage, TV, radio, short films -- both as student and professional projects. But no one has ever tried to stretch Poe's brief tale into a feature length film. Until now.
Remarkably, the adaptation stays faithful to the source material. The final scene with the arrival of the police introduces some new dialog into the story, but Poe's first person narrative tale is stretched to feature length mostly by Berkoff's pregnant pauses and onscreen busywork.
The film is justly titled Steven Berkoff's Tell Tale Heart. As the madman obsessed with "the old man's eye," Berkoff is nearly the sole performer, dominating the film's 80 minutes in what is essentially a one man show. A heavy burden. Yet his presence is so magnetic and intricately nuanced that we are compelled to watch.
Berkoff avoids the temptation to chew scenery. His lunatic's psychosis simmers beneath the surface, then bubbles over as his speech quickens, tone intensifying, and then simmers down again. About to strike, but pulling back as he struggles to appear sane. Until the opportune moment.
More than any other film this year, Steven Berkoff's Tell Tale Heart's success or failure depended on its lead actor. In a sense, the film is Berkoff and Poe. And in Berkoff, Poe has received a memorable performance for his unforgettable work.
Tell Tale Heart
Tell Tale Heart
Starring: Steven Berkoff, Henry Goodman, Hugh Skinner, Dudley Sutton
Director: Stephen Cookson
Writer: Steven Berkoff
Adaptation: Stephen Cookson
Co-Producer: Peter Keegan
Log-Line: A live-in caretaker becomes obsessed with getting rid of the Old Man he cares for because of his "evil eye."
Genre: Gothic Thriller


Back to Events
Post Film Discussion - A Tale of Love and Darkness
October 1st 2:15pm
Join us for a discussion of A Tale of Love and Darkness following the 2:15 p.m. screening on Saturday, October 1, led by Christopher Wood.
Held in our lower lobby, post-film discussions at The Grand Cinema offer audience members the opportunity to discuss new films and expand their movie-going experience beyond the screen in a fun environment. Look for new discussions every week!
"There are many lovely and memorable moments in this film, which is in every way the opposite of a vanity project." - A. O. Scott, The NYTimes, Full Review


Hear “The Tell-Tale Heart” performed by Terrence Mann, “The Black Cat” performed by Rene Auberjonois and “The Raven” performed by Rene Auberjonois, Fionnula Flanagan, Isaiah Sheffer and Harris Yulin.
About Selected Shorts
There is a theme to each Selected Shorts episode and performance. Several stories are presented around each theme. The stories are always fiction, sometimes classic, sometimes new, always performed by great actors from stage, screen and television who bring these short stories to life. Evenings are often co-hosted by writers, literary producers, and other interesting characters and always headed by our fearless leader and founder, Isaiah Sheffer.


How rich is Laurence Wachowski?
Laurence Wachowski Net Worth:
|Birth date:|| June 21, 1965 |
|Birth place:|| Chicago, Illinois, USA |
|Height:||5' 10½" (1.79 m)|
|Profession:|| Writer, Producer, Director|
|Education:|| Whitney M. Young Magnet High School, Bard College|
|Spouse:|| Karin Winslow (m. 2009), Thea Bloom (m. 1993–2002)|
|Parents:|| Lynne Luckinbill, Ron Wachowski|
|Siblings:|| Lilly Wachowski, Julie Wachowski, Laura Wachowski|
|Awards:|| Saturn Award for Best Director, Prometheus Special Award|
|Nominations:|| German Film Award for Best Feature Film, German Film Award for Best Direction, Hugo Award for Best Dramatic Presentation, Hugo Award for Best Dramatic Presentation, Long Form, Nebula Award for Best Script, Saturn Award for Best Writing, German Film Award - Audience Award for Best Film, Amanda Award for Best Foreign Film in Theatrical Release, Mainichi Film Concours Readers' Choice Award for Best Foreign Language Film, Las Vegas Film Critics Society Award for Best Screenplay|
|Movies:|| The Matrix, Cloud Atlas, The Matrix Reloaded, Jupiter Ascending, The Matrix Revolutions, V for Vendetta, Speed Racer, Bound, Assassins, The Animatrix, Ninja Assassin, The Matrix Revisited, Final Flight of the Osiris, Kid's Story, The Second Renaissance Part 1, The Second Renaissance Part 2|
|TV shows:|| Sense8|
Laurence Wachowski net worth, wiki & biography:
Lana Wachowski, once known as Larry Wachowski, is an American film director and producer having a net-worth of US$125 million. He’s got all this through truly being a co-originator, along with his brother Andi Wachowski of the Matrix film celebrity, and co-director of the 2012 film Cloud Atlas. He went to Kellogg Elementary School, in Chicago, Beverley Hill place, and graduated from Whitney from Whitney Young High School, a public school situated in Chicago, Illinois, in the year 1983.
Lana Wachowski Net Worth $125 Million
An avid player of the videogame Dungeons and Dragons, he dropped out of Emerson College before graduating and helped brother Andy run a carpentry company in Chicago, Illinois. Infamous for being a cross-dresser or a transitioning sex man, he co-wrote a romantic novel labeled CN-9, that has been set in the Iraq war. Lana is now busy filming Jupiter Ascending, which is said to be according to an original science-fiction adventure screenplay.


East WillyB … a new web series named after colonial Bushwick
First let me say East Williamsburg doesn’t exist. Much like Bedford Stuyvesant Heights and East New York Gardens, East Williamsburg is a creation of overzealous realtors and real estate developers looking to make a buck off of the continuously hot housing market in Brooklyn so renaming neighborhoods has been all the rage. ‘East WillyB’ however is a very real and well done web series following a group of Brooklyn locals who strive to either fight or flow with the impending neighborhood changes while dealing with their own issues in comedic fashion.
Now a series based in BK isn’t anything new… The popular HBO series ‘Girls’ is filmed in Greenpoint, Williamsburg and Bushwick as well. However if anyone watches ‘Girls’ (and I binge watched both seasons on a stormy self depreciating weekend) you’ll notice that aside from the sometimes on point sometimes cliche and self absorbed writing there is nary a “minority” to be found in the show (I know season two opened up with Donald Glover aka Childish Gambino bka Girls season two token). Unless of course you count background characters or guys on the train who are automatically menacing and to be cringed at for whatever reason.
hey I’m just on a train
OMG a black guy *clutches purse*
‘Girls’ represents in a sense what ‘East WillyB’ seems to be raging against while trying to adapt to as well.
With ‘Girls’ the Jay Z line off of ‘Brooklyn (We Go Hard)’ comes to mind… “With no history in my borough they borrow”. And that is exactly what the HBO show does. If anything it glamorizes the indifference these self entitled protagonists represent which sad to say is scary accurate. And while the neighborhoods in ‘Girls’ are just sets and the show can easily take place anywhere else trust fund puppies roam free, ‘East WillyB’ makes Bushwick a character in the series, each shot drenched in authenticity.
‘East WillyB’, created by Julia Grob and Yamin Segal, consciously rides the line between accepting and rejecting gentrification as the series lead Willie, played by Flaco Navaja, struggles with how to monetize his bar with the new wave of hipster clientele while remaining true to community and personal roots. All the while supporting characters have their own dreams of optimization.
The current season was achieved through crowd funding, but I’d like to imagine what some substantial backing from the likes of an HBO would do for the show. That withstanding ‘East WillyB’ has pulled their own fair share of notable supporters ranging from Andre Royo of ‘The Wire’ and Caridad ‘La Bruja’ De La Luz and a recent episode features Bushwick and Williamsburg natives Actor Rick Gonzalez and Rapper Joell Ortiz respectively.
‘East WillyB’ claims stake to a story and tells it from our perspective all while paying homage to their origins (I’m reading a lot into a comedy I know, but it’s true). As the story goes change is inevitable, but like ‘East WillyB’ demonstrates we can either watch it happen or take initiative to influence that very change.
Catch their episodes which release weekly at http://www.youtube.com/user/EastWillyB


The Good Wife: Alicia throws plates at Eli in midseason premiere promo
When The Good Wife returns in January, it doesn’t appear as if Alicia will get over Eli’s betrayal too quickly.
At the end of the midseason finale, Eli (Alan Cumming) confessed to Alicia (Julianna Margulies) that he had wiped Will Gardner’s (Josh Charles) crucial voicemail, in which he said he loved her and would do anything to be with her. In the last moments of the episode, Alicia tells Eli to get out — but in the clip from the midseason premiere, the confrontation doesn’t end there: In her rage, Alicia kicks over furniture, tosses plates at Eli’s head, and slams the door after his exit.
WANT MORE EW? Subscribe now to keep up with the latest in movies, television, and music.
Watch the promo above.
The Good Wife returns Sunday, Jan. 10, on CBS.
Julianna Margulies, Josh Charles, and Chris Noth star in the legal/family drama.


Is life subject to a series of random events or is it all preordained fate?
The Blue Room Theatre addressed this heady question in Saturday”s performance of “Recent Tragic Events,” a quirky comedy/drama that centers on the Sept. 11, 2001 terrorist attacks.
This offbeat tale by Craig Wright is timely indeed, as the nation deals with the five-year anniversary of this tragic event.
Blue Room artistic director Joe Hilsee navigates a strong cast of Jennifer McAfee, Erik Pederson, John-Steven Swim, Michelle Smith, Delovely Delisa — and a sock puppet — through this play about chance, coincidence, fate and free will.
Before the play begins the Stage Manager (played by Delisa) had an audience member flip a coin to determine how the play will proceed.
The play is set on Sept. 12, 2001 and takes place in the Minneapolis apartment of Waverly (McAfee), an attractive blonde ad executive. She is getting ready for a blind date with Andrew (Pederson), a nerdish airport bookstore manager.
Andrew arrives and Waverly is not ready. Still in a robe and turban-style towel on her head, she beckons her guest inside — despite the fact that she preoccupied trying to reach her twin sister, Wendy, in New York.
Waverly tries to find out where Wendy was when the Twin Towers were jettisoned. That question hangs in the air throughout the play.
Blind dates are always awkward. No exception here. However, Andrew and Waverly are book buffs, so a little conversation about authors helps break the tension, somewhat.
Enter Ron (Swim), Waverly”s stoned-out neighbor and his latest gal-pal, Nancy (Smith), wearing nothing but a T-shirt that covers her. Nancy doesn”t say much, but no matter, Ron takes up the slack.
The second act opens with the foursome playing a college-type card game that involves hand signals and beer guzzling.
The beer was supplied by a visit from Waverly”s great aunt, the author Joyce Carol Oates.
Towards the end, the “link” between Waverly, Andrew and 9/11 is finally made. The show ends when the stage manager orders “Fade to black.”
The Blue Room”s production of “Recent Tragic Events” under Hilsee”s direction nicely projected the response that was felt by these four people — or five, if you count the sock.
McAfee was believable in her desperation concerning her sister. She drew the audience back to the drama of 9/11.
Pederson developed his character nicely as the play progressed and came into full stride during the last scene with McAfee.
Smith is to be commended for both of her roles — the silent and scantily clad Nancy and her philosophical sock puppet. You really have to see this to appreciate it.
Swim owned every scene he was in. He was hilarious as a stoner and a drunk and held his own in a philosophical debate with the puppet.
Delisa did a wonderful job as stage manager, but the coin toss was an element of the play that Wright could have left out.
Amber Miller”s set design and Rob Wilson”s lighting made this play flow smoothly.
The Blue Room”s choice to produce “Recent Tragic Events” proved its commitment to bringing thought-provoking theater to Chico. The events surrounding 9/11 are an emotional land mine.
“Recent Tragic Events” is one of the best plays I have seen at the Blue Room.
The Blue Room Theatre presents “Recent Tragic Events,” 7:30 p.m. Thursdays to Saturdays through Sept. 23 with an additional performance Sept. 24 at the playhouse, 139 W. First St., Chico. Tickets $8 Thursdays, $12-$15 all other days, are available at the box office, by phone at 895-3749 or at www.blueroomtheatre.com.


Johnny Depp made his head-turning debut as Captain Jack Sparrow in Pirates of the Caribbean franchise film series, starting with the 2003 fantasy supernatural swashbuckler film The actor then reprised his role in the four follow-up sequels, each grossed millions of dollars.
However, his co-star Keira Knightley, who played the role of the daughter of Governor Weather by Swann, Elizabeth Swann, once disclosed that she felt stuck playing this character. It was a golden opportunity for her to work in this massive movie at age 17, and she shot to megastardom with her extraordinary performance. Despite the fame she received depicting this role, the actress claimed that at such an early age, she felt constrained playing this lusty character on the silver screen.
has played varied roles throughout his decades-long legendary career. However, his portrayal of Captain Jack Sparrow in the Pirates of the Caribbean franchise film series remains a fan favorite. Each sequel of this beloved franchise is packed with adventure and an intriguing plot and features a star-studded ensemble cast.
Hollywood actress Keira Knightley, who played the role of Elizabeth Swann in the series, once made a bombshell revelation, saying that she detested playing this character in the movie. In a candid interview with Harper’s Bazaar, she revealed she felt stuck playing this role,
claimed that depicting this role was incredibly difficult as it had many drawbacks. She received massive fame for nailing this character on the silver screen. However, at the same time, she felt constrained playing this role. The actress reprised her role in only two sequels of the lucrative franchise: (2006) and ( 2007).
After her appearance in the Pirates of the Caribbean film series, the actress went on to showcase her talents and cinematic genius in the romantic drama (2005), for which she received an Oscar nomination for Best Actress and then starred in 2007 war drama .
In an interview, Keira Knightley gushed about working with her Pirates of the Caribbean film co-star Johnny Depp. The actress claimed that Depp is such a lovely star,
Gore Verbinski-directed film boasts an A-list star ensemble cast featuring Johnny Depp, Geoffrey Rush, Orlando Bloom, and Keira Knightley.
is available for streaming on Amazon Prime Video.


Footscray Film Circle
Podcast: The Footscray Film Circle Podcast
Hosts: Daniel and David
Category: TV & Movies
Sub-Category: Film & TV Reviews
First Episode: 2022
The Australian movie podcast! Unpretentious (but just wanky enough), the Footscray Film Circle podcast is the podcast that deep dives into the world of Australian movies, be they beloved classics, forgotten failures, overlooked gems or outright fiascos. Join hosts Daniel and David as they chat, critique and over-analyse a different Australian movie selection each fortnight.


In Drama we made up a play about a girl Jo who becomes possessed by her friends late father, we got the idea from a story that Miss Risk read out to the class, the story was like a mystery story and contained clues to why this person called Jo was found at the waste ground, the clues where little like, her posters were torn off the walls and her mirror was smashed into pieces in which her mother saw and followed to find the girl at the site, we made sure we used the clues in our play as well as other ideas that we came up with such as, my friend Charlotte came up with the idea of using a ouiga board for the possession and another friend that I worked with called Nina came up with the idea of the destroyed, haunted house were the wasteland currently is.
We all came up with many ideas, some which we could not use because we found them hard to do or they became confusing to the audience, one of these ideas was that we inserted flash backs and forwards, as if the audience was seeing what the girl went through to see where she is now but we got confused doing it so we figured if we were confused and we knew what was going on in the play, we realised that an audience who had never even seen the play before would have no idea what was going on so we had to cut those scenes out. In my play I worked in a small group, which consisted only of four people, those people were: Nina Elliott Charlotte Ireland Zoe Hammett And of course myself, the parts we played were significant and individual to the actress and character in the play. Charlotte played the part of Jo’s friend, Sophia; she is a shy girl she dresses very girly and acts sweet and innocent, Sophia is really a very nice girl she has just been bought into the wrong crowd of people.
She lives with her Mum and her Step-Dad near Jo’s house. Sophia and her Mum have recently been falling out over the fact that Sophia wants to know her real father, her mother is too scared to tell her because Sophia might find out the secret of what really happened and she doesn’t know how her new husband (Sophia’s Step-Dad) will react, Sophia only wants to know a few things about him, she doesn’t see the problem she just wants too know, What he looked like, his name and most importantly weather or not he is still alive, She is a very curious character and is quite easily pushed into things, Sophia is almost a complete opposite of My character.
The character I play is Jo, a girl with a few problems (although she doesn’t like to admit it) She dresses in a gothic style and doesn’t care what people think or say about her, she doesn’t care about other peoples feelings just as long as she gets what she wants and she would never do anything for anyone else if she doesn’t see what she can get out of it. She is definitely a character that most people would call a bully. The people she hangs around with are outcasts like herself, they have been disowned by their old friends because things like the way they look, act or their insecurity problems, all they really have friend wise now is each other. Although Jo tries to hide it she really loves the super natural but because of her gothic style she hides her emotions (Well except her sarcasm)
My friend Nina played the part of Lavender another of Jo’s out-casted friends; she is more ‘down to earth’ and mellow, she dresses like a hippy but also like Jo loves the super natural but unlike Jo she does hide it; she studies it, she studies a lot of what she is into and is dying to know what has been covered up in the small village they live in (if anything at all) Lavender is the one who brings the ouiga board to school and catches Jo’s attention with it. Lavenders mother doesn’t mind at all about her looking and studing things like that as long as she doesn’t try them inside the house that is what brings it all to Jo’s house because no way would Sophia even touch the thing let alone let it into the house and that is one thing she was not going to be pushed into.
Zoe played the part of police woman and the mother to all three girls, she didn’t want a main part and we did not give her one because she is away a lot of the time from lessons which is the only time we would get to rehearse it. I choose the people I did to work with because I know them well and they are my friends, I knew they would have very good ideas to contribute to the play and I know how very talented they are at acting I knew that whatever the part maybe that they would be capable of reaching out and helping me construct the play from every tiniest detail of reactions and facial expressions, the people I choose to work with encouraged me and each other when we need help, we helped with constructive criticism and by being not only actresses but directors as well.
The play was about a young girl named Jo who was found at the wasteland near her home, we made up a play showing how she got to that stage and what happened afterwards, In the first scene Jo’s friend Sophia is arguing with her mother about the whereabouts of her real father, when the scene changes to school we see the first appearance of Jo and her friend Lavender, Lavender is reading a book and Jo is looking impatient, they talk about the whereabouts of Sophia until she turns up at which the subject is changed to ouiga boards and they all end up agreeing to meet up at 6 at Jo’s house. Then comes another scene between Sophia and her mother, her mother is about to tell her something but then her Step-Dad walks in the house and her mother stops. The scene changes to Jo’s room where they attempt the ouiga board only to conjure up a spirit which possess Jo to tear all her posters down smash her mirror and write on the wall in her own blood she then stumbles to the waste ground where the taunting screams of ghosts make her faint.
The scene at school Jo comes in late her friends are scared of her by the way she acted and ask her why her mum let her to school where she explains she blamed it on them, Sophia refuses to use the board again while as Lavender is pushed into it, Lavender then goes on to ask her mother about what happened to her friend, her mum tells her that her friend has been possessed and Sophia mother finally tells her of her father, his name, his looks and the fact that he is no longer alive. Lavender and Jo are about to use the ouiga board again when Sophia walks in, the spirit in Jo awakens again and everyone figures out that the spirit is Sophia’s Father, Sophia shoots Jo in the arm causing her to collapse in pain, there is then scenes of the after effects. The scene where Jo is put into the “special care” unit the police take Sophia away, Lavender is put under a protection unit where she is given a new name address and identity, and then as a last scene they show Sophia what she has meant to have done to her friend where Jo is talking to herself and going crazy locked up in a padded cell.
My character is quite lazy and doesn’t seem bothered by those around her, she slumps in her chair in the 1sst scene and in the second scene you see her she’s sitting on her bed grumpily, the expressions show that she tries to maintain a high authority, the voice and accent she speaks in is quite nasty but isn’t really an accent there and if there is id have to say it is a London accent. The way my character moves, when u do see her walking you can tell that she doesn’t really like what she is doing and she shuffles her feet, she is not a very active person and remains in a grumpy, sad mood through out the whole play except when she is possessed when she becomes psycho and angry and her expressions tell the other people in the play that she doesn’t like them and she gives them evils.
As time went on while I was practising my piece I came more familiar with my character, I found out that the more she looked like she didn’t worry about anything the more she seemed it and the more she acted it, people commented that when I was in my part and dressed up as my character I seemed like I was actually gothic and the way I acted was as if a real gothic person would act and that the comments I made where really sarcastic, In my final performance we performed it quite well but not as well as it could have been, we made some changes at the end to try and make it better but it ended up because we didn’t have enough time to practise this part, it all went wrong. What we tried doing was too add a music scene at the end with all the end consequences mimed and only turning the music down at one point to hear what the police officers are saying to Lavender.
The idea of our piece at first to me was to pass a drama exam but as time went on I realised that our play could be actually passing on a message to the audience, the message to me that was being passed onto the audience was that things are not always easy and that people need to work things out and that playing with ouiga boards is not a game but is a serious business that can have very serious effects. I think my character displayed an attitude of soloism amongst her friends I think the audience realised that she gained the respect and that all the events seemed to revolve around her house and that it was her friends that she dragged into it and that if it wasn’t for her none of the events would have happened.
Overall I was happy with the play that we performed, I felt my character role was important to the piece and I felt that I played this role well, my friends in my group encouraged me when I needed it and gave me constructive criticism when I needed it, I felt like I have learnt a lot about how bad life can get from this play, I have learnt that even though peoples lives might look cheerful inside they might be hurting more then anyone else. I have also learnt more dramatic skills and feel that these will help me in the future for when I perform other roles. I have learnt that in a play the characters mood at the beginning is how the audience interprets them through out the entire play. I am really happy with the play e have produced and hope that my future performances will be just as good or better.


Tug Of War: Foreign Fire
Edward III, Henry V, Henry VI, Part 1
June 12, 2016
at Chicago Shakespeare Theater
by William Shakespeare
adapted and directed by Barbara Gaines
June 12, 2016
at Chicago Shakespeare Theater
by William Shakespeare
adapted and directed by Barbara Gaines
by Stuart Sherman
Edward III ruled England for half a century, and so successfully by the standards of his time that one historian has dubbed him “the perfect king.” But Shakespeare, being Shakespeare, is most deeply interested in his imperfections: the moments of ferocity, cunning, and failed compassion that undergird the image of perfection.
For Edward’s contemporaries, his claim to perfection had much to do with the forcefulness by which he asserted his right to rule France as well as England, claiming that crown through his French mother. But in the play’s opening moments this “right” quickly becomes a complicated thing: a matter not so much of actual entitlement as of visceral desire. Edward grounds his claim not so much in the will of God, or even the rule of law (though both receive his lip-service), as in the art of the deal.
The play goes on to gauge the power of this moral undertow—the tug of violent conquest against other, often better impulses—in part by staging and restaging a common scene of medieval war: the besieging and surrender of foreign cities. In a world where towns were walled like fortresses, and city gates could be stoutly secured, sieges entailed a confession of temporary, tactical paralysis on both sides. The aggressors sought to starve the townspeople into submission rather than incur the far higher cost, in blood and treasure, of invasion; the townspeople hoped to hold out until allied forces from far away might arrive to vanquish the besiegers. Suspense was intrinsic to the operation. In states of siege, time itself is potentially everyone’s ally, and everyone’s enemy.
Shakespeare values siege scenes as a galvanic visual shorthand for moral complexities. The invaders stand their ground on the stage proper, confronting the city gates (as represented by the rear-stage wall). The city’s beleaguered leaders appear on high, walking the parapets (the stage’s balcony) of their town walls. The audience is located, in Shakespeare’s theaters as in ours, at every level from ground to balcony; following the tense transactions from varying perspectives, they succumb readily enough to sudden shifts in feeling, as the gates open and close, dispensing with their wonted unpredictability new players onto the stage as the antagonists below and above argue their cases for submission and for mercy.
The king besieges Calais with an ominous volatility: we watch as he oscillates between impulses of pity and of punitive violence. Even at those moments when he opts for compassion, he is calculating the move’s political value, its potential for burnishing his image and intimidating his French foes.
And yet the oscillation itself must count for something. In the play’s most sustained and moving siege scenes (the ones with Shakespeare’s intricate emotional fingerprint most firmly upon them), Edward liberates the virtuous, married Countess of Salisbury from a sexually threatening siege by the King of Scotland—only to besiege her almost instantly with his own insistent adulterous desire. In these siege scenes, as in those at the city gates, Edward comes to embody not an illusory perfection, but the more fragile possibilities for intermittent, sometimes effectual human change: that by seeing and laying siege to our own errors, we may make things better for a time.
For Shakespeare’s audience, that intermittency would have been conspicuous at play’s end, where Edward and his heir celebrate a shared and signal victory in France. The audience would have known, as the characters do not, that the heir, for all his promise, would pre-decease his father, that the victories would soon evaporate, and that hereditary throne-claims in both France and England would become messily entangled once again. In Shakespeare’s plays, and in the flickering tradeoffs they track between seeming perfection and human mutabilities, the mutabilities tend to win.
In Henry V, Shakespeare meshes Henry’s attainments with his imperfections so subtly as to make of the warrior-monarch a kind of binary Rorschach test: some generations have viewed him as pure hero, others as heartless tactician. In Shakespeare’s time, popular tradition had already integrated the two types; it depicted Henry as a bad-boy prince turned flawless king. His imperfections, by this reckoning, lay mainly in his impishness—a trait whose impact Shakespeare had traced, comically and compellingly, in the prince’s interactions with Falstaff and with his own father, Henry IV, throughout the two plays of Henry IV (not included in our Tug of War) that led up to this one. At the start of Henry V, two high and putatively pious clergymen celebrate the king’s reformation as a done deal.
But another deal is pending. For Shakespeare’s audience, Henry V’s golden reputation remained grounded in the fact that he, to a greater extent than any previous English king including Edward, had managed by battle to clinch his claims to France. Yet here, as in Edward III, Shakespeare anatomizes the brokerage that leads to war. The clergymen agree to endorse, with all their Church’s moral heft, their king’s right to the French crown--as long as the king will grant the Church perpetual possession of rich real estate. This schizoid blend of piety and property is soon mirrored in the language of the king himself. When the now-confident Henry describes the coming war in France as if it were a deadly game of tennis, Shakespeare imbues his speech with a radically uneasy mix of boyish charm and killer instinct.
In the play’s great siege scenes, Shakespeare reenacts this doubleness. Standing at the gates of Harfleur, Henry threatens the already shattered townspeople with utter destruction; his words encompass the most horrific account of war’s depradations, its human costs, in all of Shakespeare. Yet in speeches at this same site and elsewhere, Henry insists on the intrinsic gentleness of his men so movingly, and describes their conduct in battle so dazzlingly, that even pacificists within earshot might feel, however fleetingly, the impulse to join up. Henry urges his listeners to become, first, actors (they must “imitate the actions of the tiger”); and, much later, storytellers, recounting their tales to their grandchildren by the family fireplace. The king is, in short, admonishing his followers to do in their lives the things—acting, storytelling—that Shakespeare and his company are doing here and now onstage. At such moments, the playwright deliberately makes the tug toward heroism difficult for his audience to resist.
Yet even in the play’s climactic love scene, the Rorschach’s puzzlements remain intact. While wooing Princess Katherine of France, Henry deftly presents himself as a disarmingly clumsy Prince Charming: tongue-tied, tentative, self-deprecating, solicitous. Yet the threat of willful conquest, so conspicuous in the encounters between Edward III and his countess, persist in this scene too—in the king’s covert confidence, and in the princess’s growing awareness that she is the already-granted bargaining chip in a deal just done between her father and her future husband.
Radiance and rapacity: the blur between the two suffuses the whole play. Shakespeare’s Chorus reappears at intervals, praising to the skies that “star of England,” that “mirror of all Christian kings” whose name the play takes as title, and whose triumphs it depicts hypnotically. But for Shakespeare, counterpoint is all in all. In the down-to-earth scenes he dovetails with the Chorus’s exaltations, he calls this monarch’s stardom into constant question.
The First Part of Henry VI
Imperfection, at its Latin roots (“not-thoroughly-made”), means incompletion; to be imperfect is to be unfulfilled. Nowhere in all his works does Shakespeare offer a more achingly attentive exploration of incompletion than in the aptly named Henry VI, Part One.
The play opens with an untimely funeral: Henry V has died, aged 35, fighting follow-up battles in France; though he had clinched his claim to the French crown, he never in the end got a chance to wear it. By play’s end, two other phenomenally gifted, fiercely devoted young warriors, each in their way a mirror-image of the lost king, will see their lives cut shorter still than his. The play deliberately devours its young.
And yet the least complete, most stunted life of all may be that of the title character—even though he still has two more plays to go. Henry VI was nine months old when his father died. He is of course absent from the opening funeral where his uncles, reeling at the loss of their loved king, receive news of further losses still: their hold on France is rapidly unraveling. The funeral devolves into an orgy of recrimination, each uncle blaming others for what’s gone wrong.
Hence our sense of the new king’s incompletion. By the time he makes his first appearance, strikingly late in the play, he seems at times to be drowning in a sea of inimically self-interested mentors: uncles who seek to deploy him in their cutting contests with each other. The ways he handles this predicament, here and later on, will become central to our assessment of his character and kingship. For the moment, though, he is living in a near-Carrollian inverso-sphere. This king does not rule; he is ruled.
Topsy-turvydom marks other moments too. In this play, the siege scenes unfold not as paralysis but with an almost giddy hyper-kinesis, as city of Orleans changes hands, between the military genius Joan of Arc and the venerable soldier John Talbot, again and again in rapid-fire succession. The siege becomes a see-saw; for the audience the ride is fast, bumpy, and by turns funny and tragic.
Gender too turns upside down this time round. The besiegers in this play are for the most part not strutting men, but skilled French women. Joan takes possession of the parapets with a theatrical electrifying wit and swagger. (Her chosen sobriquet, “Joan la Pucelle”—Joan the Virgin—captures her complexity; to English ears, “pucelle” sounded very close to “puzel”: whore.) The Countess of Orleans deals in tactics more subtly psychological; Shakespeare portrays her as a medieval Circe. (Try thinking of her scene with Talbot as Edward-and-his-countess played out in reverse). As for Princess Margaret, who comes on late but unforgettable, her motives can at times feel as fathomless as her cunning is profound. She will figure formidably in four whole plays (we’ll see the other three next fall); Shakespeare makes her, in this respect, the longest-lived character Shakespeare created.
Henry VI, Part One is among Shakespeare’s earliest plays; it may have been his very first. It was gutsy in an untried playwright to start with such shard-like materials: a truncated funeral; a stunted king; a scrappy, scrambled tale of war. Of course he makes the mix work brilliantly. But he is also hitting his stride—discovering the arts of imperfection that will become his lifelong métier.
“Piece out our imperfections with your thoughts,” the playwright urges us as we embark on Henry V, today’s middle play. He is worrying partly about practicalities. In a theater company that contains only a few actors (and no horses), realistic battle scenes will be impossible. He’s begging that the audience use its imagination to supply all that’s missing from the stage.
But he is also asking something more, posing a question central to all theater. On stage as in life, flaws abound. If all humans display imperfections (and they do), then actors are doomed to do so doubly: imperfect not only in their life but in their art—for what mortal can possibly achieve perfection in so profound and precarious an enterprise? Part of the theater’s perfection as a medium must consist in its actors’ capacities to register human imperfections, with empathic accuracy, in real time.
Amid that alchemy, “your thoughts” count for much. “Think this through with me,” the Grateful Dead long sang in their glorious communal anthem “Uncle John’s Band.” Shakespeare, in effect, is asking that we do the same. And so are all the characters—kings, queens, countesses, commoners, and suffering soldiers—of his history plays, now long dead but implicitly grateful for these few hours’ resurrection, during which they and we can think through—and perhaps think past—the imperfections that shape our histories.


Re: Inhumans in development?
After reading WoK and being some way into RoK, I just think The Inhumans work much better in the cosmic world. On Earth, they always seem a bit stifled, but if they do make a movie I gues the first one would have to be on Earth just to get the background of the characters out there.
But for me the quicker they get The Inhumans into space the better, they just seem to take on a new level in the cosmic world.
2014 movie ratings out of 10:
1)X-Men: DOFP-10(2)Interstellar-9.5(3)Dawn Of The Planet Of The Apes-9.5(4)Guardians Of The Galaxy-9.5(5)Gone Girl-9(6)Captain America: TWS-9(7)Edge Of Tomorrow-9(8)How To Train Your Dragon 2-9(9)WOWS-8.5(10)Godzilla-8(11)Neighbours-8(12)Amazing Spider-Man 2-7.5(13)Lego Movie-7.5(14)Transformers: AOE-7.5(15)Robocop-7.5(16)Sin City: ADTDF-7(17)300:ROAE-7(18)The Equalizer-7(19)MWTDITW-7(20)47 Ronin-6(21)Monuments Men-5(22)Ride Along-5(23)I, Frankenstein-3


8MM, starring Jaggesh in a negative role, is now in its last leg of shooting. While debutante director A Harikrishna has roped in Vasishta Simha to play a cop, the first time director also brings another surprise along. He has roped in producer and actor, Rockline Venkatesh for the film. The actor is said to be playing a prominent character in the film, and the details of the role will be revealed by Harikrishna by November end.
Rockline, who recently ventured into Malyalam with Mohanlal’s Villain as a producer, as actor, he makes a mark in a Tamil film, Naachiyaar directed Bala, which also featuresJyothika and GV Prakash. The producer is not new to acting, and of late, he has been part of films that portrays him in unique roles. So what Harikrishna has in store for Rockline in 8MM is something we have to wait and see.


You can't see the eyes of the demon, until him come callin'
Predator 2 is directed by Stephen Hopkins and stars Danny Glover, Ruben Blades, Gary Busey, Maria Conchita Alonso, and Bill Paxton. Kevin Peter Hall reprises his role as the eponymous Predator.
Almost nothing about John McTiernan's Predator was begging for a sequel, but here we are anyway with Predator 2. The Predator has ditched the jungle as his hunting ground and is now taking the hunt to the big city. One slight problem though: all of the suspense and horror to be had in the original Predator is gone. Now the Predator finds himself in a serviceable-at-best, sci-fi action film that attempts to also be horror by throwing in a few cheap jump scares. Arnold Schwarzenegger refused to return for the sequel, claiming a dislike for both the new director and the new script, and going as far as stating that taking the Predator into an urban environment was a bad idea. Originally, there was not supposed to be any sequel at all, but screenwriters Jim Thomas and John Thomas wanted to wait and see how successful the Predator comic book series would be before they would give any consideration to a Predator sequel. When the comic books turned out to be a smash hit, producer Joel Silver convinced Fox to proceed with a sequel, which, as of 2018, turned out to be the first of three sequels.
The story of Predator 2 takes place during 1997 in a heat-stricken Los Angeles. In addition to the heat, LA is enduring a turf war between Colombian and Jamaican drug cartels. The movie opens with a shootout between the Colombians and the LAPD, while a Predator watches the carnage from the rooftops. Lieutenant Michael Harrigan (Danny Glover) arrives on the scene and helps the police push the Colombians back into their hideout. However, just before Harrigan and the police can storm the building, the Predator sneaks in and slaughters all of the Colombians. Later on, the Predator strikes again and slaughters several Jamaican cartel members. Harrigan and his team, comprised of detectives Leona Cantrell (Maria Conchita Alonso), Danny Archuleta (Ruben Blades), and Jerry Lambert (Bill Paxton), realize that there may be a connection to the killings, as the Predator leaves behind skinned corpses at each crime scene. However, a DEA task force, led by Special Agent Peter Keyes (Gary Busey), impede Harrington's efforts towards tracking down the secret assassin, leading Harrington to believe that Keyes has his own agenda in mind.
The strangest thing about the story is how the Predator doesn't really belong here. Never mind that this is all happening in a baking hot Los Angeles instead of a steamy jungle or some other place that seems prime for the Predator to appear in. What exactly is it about two warring drug cartels that screams, "technologically advanced alien hunter?" The Predator is just some neutral third-party in this drug war, and because he's an extra-terrestrial, he's the deadliest of the bunch. Any further exploration that Predator 2 does of the Predator's origins is completely disjointed from the main story, as if Jim Thomas and John Thomas were busy writing a different movie while they waited to for the Predator comic books to make bank, and then when the comic books did turn out successful, they didn't want to scrap the movie they already started, so they just found a way to sneak the Predator into the script. Whatever the case, Predator 2 feels more like a crime movie that just happens to have the Predator in it instead of....well, a Predator movie.
- Though Predator 2 represents something of a major dip in quality when compared to the first film, the action it provides is still entertaining enough. The kills are still bloody, though not as high on the nasty scale. The Predator does get to show off a few cool new tricks, such as changing his thermal vision to better match his surroundings. Too bad that the majority of thermal vision shots we see are entirely pointless; the Predator just watches people have a conversation, and we get no impression that the Predator's eavesdropping is going to build up to anything later on. I'm glad Kevin Peter Hall came back to work in the Predator suit again; he makes the creature's movements look realistic and make it look like the Predator has some mobility to him, as opposed to the stiff limitations brought on by CGI.
- The bad writing goes beyond the nonsensical plot (nonsensical because it's supposed to center on the Predator); it also presents weak characters who aren't that much fun to watch. Bill Paxton is the obvious comic relief, except he has neither nothing funny to do nor nothing funny to say. Maria Conchita Alonso and Gary Busey are....there. They fire a few bullets and have separate encounters with the Predator. I guess that counts for something. But Danny Glover, oh boy. The fact that he's one of those cliched obsessed cops is forgivable, but the way that Glover goes about saying his lines and just the overall way he presents himself: it's not good. Glover is incredibly uptight throughout the whole movie, attempting to recapture the macho from Schwarzenegger and everybody in the first movie by unloading petty insults to everyone that pisses him off even a little bit, and by resolving a tough situation by any violent means necessary, such as punching a reporter who starts following him. The Predator singles out Glover's character only because of how obsessed he is, but I assure you, watching some random cop go up against a Predator is nowhere near as exciting as watching a brawny man like Schwarzenegger face off against one. In short, Glover doesn't have much to work with other than acting obsessed and angry all the time, and it doesn't seem like anyone cared to make his character stand out more.
If there's anything else outside of some decent action that Predator 2 has going for itself, it's that the film has developed a cult following over the years. I, however, don't see exactly what it is about this movie that makes it deserving of cult status; there's no memorable dialogue, and the plot is senseless. There's also nothing resembling unintentional hilarity, and if Predator 2 was unintentionally hilarious, then, my gosh, would I have a lot more nice things to say! The whole thing is a far cry from the muscle, the action, and the horror in the first film, being hampered by a flimsy lead performance from Danny Glover and a script that makes the Predator seem like he's in the wrong movie. It's a good sci-fi action time waster, at best and if you look at it on its own. But given what this movie is supposed to follow up on, Predator 2 can only be viewed as a colossal disappointment.
Recommend? No. You might enjoy it if you loved the first movie, but that's no guarantee.
Here you'll find my reviews on just about any film you may have seen. I try to avoid major spoilers as much as possible. I structure my reviews in the following way:


Jan. 27 (UPI) -- AARP the Magazine announced Wednesday that it plans to present The Midnight Sky actor and director George Clooney with its Movies for Grownups Career Achievement Award.
"We are delighted to honor George Clooney, whose mastery -- and wit -- make him one of the most talented and beloved actors of our day, and a director who'd be famous even if we'd never seen him onscreen," American Association of Retired People CEO Jo Ann Jenkins said in a statement. "The combination of his smarts, hard work and experience shows just how wrong stereotypes about aging are."
The 2021 Movies for Grownups Awards ceremony is to be broadcast March 28 on PBS.
Clooney, 59, is also the winner of two Oscars, a BAFTA and three Golden Globes, including the Cecil B. DeMille award.
His credits include The Facts of Life, ER, One Fine Day, Out of Sight, From Dusk Till Dawn, Ocean's Eleven, Syriana, Good Night, and Good Luck, Michael Clayton, Up in the Air, Fantastic Mr. Fox, The Descendants and Gravity.


Poetic, Lyrical and Poignant The Puppetmaster of Lodz
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Few Broadway musicals are more beloved than The Sound of Music, and now you can see it live in a production by Lyric Opera of Chicago, with Hollywood star Billy Zane stepping into the role of Captain von Trapp. It's the story of Maria, an aspiring nun who takes a job as governess to the widowed Captain von Trapp's seven children. As she gradually earns the heart of the family -- and their father -- the von Trapps are threatened by the rise of the Nazis, and must figure out how to escape Austria. "My Favorite Things," "Edelweiss," "Do-Re-Mi," "Climb Ev'ry Mountain," "The Lonely Goatherd" and the soaring title song are just a few of the unforgettable melodies in this classic work of musical theater. The cast includes opera stars Christine Brewer and Elizabeth Futral, Jenn Gambatese of Broadway's Wicked and All Shook Up, and Edward Hibbert of Frasier. Learn More
Reviews & Ratings
After escaping from Auschwitz, Finkelbaum, a once-revered puppetmaster, has barricaded himself in an attic. Now in 1950, he is not convinced that the war is over and sees any attempt to lure him out as merely a ruse to recapture him. In an attempt to bring his lost family back to life, he prepares for his greatest puppet show ever – the story of his life. Ultimately hopeful, moving and eminently theatrical, this beautifully articulated story will enjoy heightened poignancy upon our stage.


TTFB: Karanlik Gece [Black Night] [OmeU], TR 2022, R: Özcan Alper, mit Berkay Ates, Sibel Kekili, Cem Yigit Üzümoglu ,113 Min
The film tells the story of Ishak, a lonely Saz musician wandering through the night clubs of Anatolia who is forced to return to his hometown after 8 years of self-exile. It is also the story of Ferhat, a deranged outcast who wanders alone in the woods, and of Sirma, a city woman who visits the small town from time to time to take care of her sick father.
It is the story of a trauma, a disappearance which is known to all but discussed by none, of the young man, Ali, a forest ranger who arrived in town eight years ago before disappearing without a trace. A story of deeds buried deep in the past, a secret shared by Ishak and his childhood friends which comes back to haunt him, his friends, his community and the whole land, setting the course for an inevitable collision.