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Chi Kuan-Chun attracts the emperor's eye with his good deeds and
fighting skills. He goes off on a trip to Taiwan with the naïve
emperor. After two good opening fights the story becomes a travelogue
for Taiwan complete with learning the customs. The emperor's money
solves all the awkward situations they get into until a group of
bandits notices them.
The pace of this movie is unbearable slow. In between the fights the
only thing that happens is deciding where to go and what to eat. The
emperor's toady is annoying and the voice dub for the character is
twice as annoying.
Somehow I stuck through it to the end. Even the best final fight in
history could not make up for the previous 70 minutes. Ultimately this
movie is why we have fast forward. Use it for the entire middle
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There are some truly inventive and inspiring gems among all the creative virtual-tourism and experiential live streams that travel and hotel companies are coming up with in these days of isolation. But some of us would still rather lose ourselves in the plot (and high production values) of a classic film—especially one that scratches our itch for travel.
Even for those who don’t share my great love for Turkish culture, cuisine and history, Istanbul is an undeniably cinematic city. No wonder it has been a backdrop for—sometimes even a character in—award-winning and crowd-pleasing films for decades. Here are seven good ways to pass a few hours of your quarantine.
From Russia With Love (1963)
Directed by Terence Young, From Russia with Love is the second film in the James Bond series. In this blockbuster, Bond (Sean Connery) comes to Istanbul to retrieve a cryptography device and assist with the defection of a Soviet consulate clerk. But it turns out that this mission is a plan of Bond’s enemy, SPECTRE. Parts of the film take place in Istanbul, and some characters are Turkish. It is also possible to see the famous train of that era, the Orient Express.
Nearly 50 years later, the Bond franchise returned to Turkey. Directed by Sam Mendes, Skyfall has an impressive cast, with Daniel Craig (Bond) joined by Judi Dench, Javier Bardem and Ralph Fiennes. It’s one of the most prominent movies filmed in Istanbul in recent years, and the opening scene is a stunner, with Bond traversing the city’s rooftops on a motorcycle. The Hagia Sophia, Sultanhamet Square and the Grand Bazaar all make appearances.
The International (2009)
In this political thriller directed by Tom Tykwer, a Manhattan assistant district attorney (Naomi Watts) and an Interpol agent (Clive Owen) try to bring justice to the world’s most powerful bank. Their mission takes them to Berlin, Milan, New York and Istanbul. The final scene takes place at the Grand Bazaar, and noted Turkish actor Haluk Bilginer appears in the film.
Ben Affleck’s many-award-winning historical drama is set during the Iranian revolution, when militants took 60 Americans hostage at the American Embassy. Six of them avoid capture and are sheltered in the home of the Canadian ambassador. The film is based on the memoirs of Tony Mendez (played by Affleck), who prepared a plan to save these Americans. Some of the action takes place in Turkey, and there are scenes of the Zuhuratbaba District in Bakirkoy, the Grand Bazaar and the Hagia Sophia.
Taken 2 (2012)
This is a French-made, English-language action thriller directed by Olivier Megaton and starring Liam Neeson. The title was translated into Turkish as “Takip: Istanbul.” In the center of the film, the protagonist is kidnapped in Istanbul, in retaliation for his role in rescuing his daughter from an earlier kidnapping. The other protagonist of the film is, of course, Istanbul.
The Water Diviner (2014)
Russell Crowe directed and stars in, along with Olga Kurylenko and Yilmaz Erdogan, this story of an Australian farmer who travels to Turkey after World War I to find his three sons, who never returned. The journey takes him from Istanbul to Gallipoli and back.
The Journey (2019)
Okay, this one was promotional. But it was a project from filmmaker Ridley Scott, in collaboration with Turkish Airlines to celebrate the carrier’s 85th anniversary and the new airport in Istanbul. The short film takes viewers on a journey through Istanbul’s most iconic landmarks.
For previews of scenes from some of these films, check out this video.


Prequels, sequels, remakes--whatever...they usually fail.
"Carrie Fisher says she's signed up to Star Wars sequel"
More than four decades after first playing Princess Leia, actor says she will be returning for the seventh film in the blockbuster series
March 7th, 2013
Carrie Fisher has said she will reprise her role as Princess Leia in the new series of Star Wars films being planned by Disney, according to the Hollywood Reporter.
Fisher, Mark Hamill (Luke Skywalker), and Harrison Ford (Han Solo), have all been tipped to return to the long-running space opera ever since the studio announced its $4.05bn (£2.7bn) purchase of all rights from creator George Lucas in October. However, the writer, actor and comic's comments in an interview with Palm Beach Illustrated are the first indication she is confirmed to star. Asked if she would be returning to the saga, Fisher replied simply: "Yes". She then joked that Leia would these days reside in "an intergalactic old folks' home", adding: "I just think she would be just like she was before, only slower and less inclined to be up for the big battle."
However, the actor's comments have since been described as "a joke" by her representative, who said; "Nothing has been announced."
Fisher becomes the first member of the iconic trio of actors who headlined the first three Star Wars films between 1977 and 1983 to claim involvement in Star Wars: Episode VII and its successors. The new movie is being directed by Star Trek's JJ Abrams and is written by Toy Story 3's Michael Arndt. Hamill recently said he had discussed returning to play Luke with Lucas, while Ford has been heavily tipped to return despite keeping tight-lipped on the subject.
Fisher, who was just 19 when she began filming 1977's debut Star Wars movie, joked in November that she would love to marry Harrison Ford's Han Solo but was not sure the relationship would last. "I like the idea of being Mrs Solo, and we've just fought and fought and I killed him – but I'm sorry," she told host Aisha Tyler on US TV show The Chat. "I probably had an affair with some general."
Fisher went through a well-publicised period of addiction during the late 70s and has admitted taking cocaine of the set of 1980's The Empire Strikes Back. She documented her experiences in the semi-autobiographical novel Postcards from the Edge, which was made into an Oscar-nominated film in 1990. The actor revived her career in the late 80s with comedies such as The Burbs and When Harry Met Sally, but has since worked mostly as a comedian and Hollywood script editor. Her one-woman play Wishful Drinking ran on Broadway in 2009 and she has voiced the character Angela in TV comedy Family Guy.
Disney confirmed last month that it will make a number of spinoff films to sit alongside its previously announced sequel trilogy. Rumours have suggested some could be set within the timeline of the original trilogy and feature characters such as Yoda, Solo, Darth Vader and bounty hunter Boba Fett.


I wouldn't say the 'Insidious' franchise is a staple of the horror genre, but it did set the groundwork for James Wan to take it over. After directing 'Saw', it wasn't until 'Insidious' that we saw his talent in the genre shine, which paved the way for one of the best horror franchises of the 2010s, 'The Conjuring'. Still, the franchise potential of 'Insidious' was always there - 'Chapter 2' came out three years later, and although it was taking place directly after the first film with the core cast, it was extremely lacklustre. 'Chapter 3' saw the franchise breaking off from the original family and set before the events of the first film but again missed the mark, and along with the fourth film 'The Last Key' both felt like they were just slapping the 'Insidious' branding on a cheap horror product. The franchise potential was fading - but now, five years later and over ten years since the franchise began, the original cast is returning in 'The Red Door'.
'INSIDIOUS: THE RED DOOR' TRAILER
A decade after the events of 'Chapter 2', Dalton (Ty Simpkins, 'Jurassic World', 'Iron Man 3') is heading off to college. Along with his dad, Josh (Patrick Wilson, 'Aquaman', 'The Conjuring 2'), he doesn't recall the hauntings they went through years prior. Renai (Rose Byrne, 'Peter Rabbit', 'Instant Family') and Josh have broken up but remain on good terms, and while his relationship with his son oldest son is tense, Josh drives him to college in an attempt to reconnect. This doesn't go to plan and the two still have a long way to go to reunite. During an art class, Dalton paints a red door which leads him on a journey into his past as he begins to piece together what he has forgotten.
A huge chunk of the run time is dedicated to Josh and Dalton's broken relationship and Dalton adjusting to college life - I mean, my synopsis of the film barely mentions any kind of hauntings.
While a step up from the last entry in the franchise, 'Insidious: The Red Door' is a very paint-by-numbers modern horror film. Its horror elements are extremely lacking, it's just packed with jump scares. While it offers some hints of creativity they always play out exactly how you would think. A huge chunk of the run time is dedicated to Josh and Dalton's broken relationship and Dalton adjusting to college life - I mean, my synopsis of the film barely mentions any kind of hauntings. This is a horror film in a very bare-minimum way. Trying to think back about what horror moments stood out is a challenge, with the film offering nothing memorable.
There are some positives; this is Patrick Wilson's directorial debut, and he does a fine job, but horror is a challenging beast and with this weak script, it's no wonder nothing stood out. He is also giving another great performance; he almost never misses in terms of his acting, and this is another prime example of his talent. Rose Byrne and Lin Shaye both return, but to have them on the poster is false advertising - especially in the case of Shaye - they are glorified cameos at best.
There isn't much to take away from 'Insidious: The Last Door'; it's bland jump scare after bland jump scare. It's an M-rated horror film that serves to please the teenage crowd who want a thrill. It's not a satisfying continuation of these characters yet it's also not painful to sit through. It's the ultimate "fine" horror venture.


Liam Neeson may be pushing 60, but he's showing no signs of slowing down. Despite his age, the Academy Award-nominated actor and former boxer proved that he was still a bankable action hero with the surprise hit Taken (2008) and is currently filming Taken's untitled sequel.
But, before he squares off on the big screen against kidnappers in Istanbul, Neeson will be fighting the frigid, sub-arctic tundra and a pack of ravenous wolves as an "oil-rig roughneck" whose plane crashes in the remote Alaskan wilderness in The Grey. The first trailer for the movie dropped back in September, and now a second, longer trailer has been released that ups the action with more death-defying thrills, spills, and chills (brrr), including more of Neeson doing an impersonation of Wolverine that is so impressive it makes Hugh Jackman look like a choir boy. watch the new trailer >> Posted 12.04.11 by BrentJS


Music world has Beliebers and Directioners.
Kdrama world has Healerites and more recently, Bloodmates.
Blood the k-drama has reached its 10 episode mark and I’ve been following the drama all the way. So yes I’m officially a Bloodmate.
Does that mean I’m 100 per cent happy with the drama? Maybe not. As a drama about day-walking vampires working in the medical field does it have its winning moments? Yes, massively yes.
Watching Blood has opened my eyes to a lot of issues that can bog down a drama that has everything: great premise, awesome ensemble cast, cool OST and just an overall edgy vibe? On the surface and possibly on paper Blood could be the perfect drama.
In reality it still has a long way to go and thankfully there are 10 more episodes to try and turn things from so-so to hell-yeah.
One thing I like about Blood is how it seems to just not care. Like, “I’m this crazy drama with a plot going sideways and I’ve got all this great material to work with but I’d rather just let it figure itself out.” Exactly. This is what the drama seems to be telling you and it’s like asking you to shove it or love it.
But I do love the drama and just wish for it to get past itself and just shine. Because it has such potential (and yeah even at its half-way mark a drama still has room to grow and excel).
I want very much for Blood to succeed mostly because so many naysayers believe that it can’t/won’t. And because I’m a Ku Hye Sun fan and I don’t like how her acting is getting slammed. My worry is that she’s having to work with a relatively “new” actor co-star Ahn Jae-Hyun who’s also never had a lead role before.
And yet both Ku Hye sun and her co-star have such great personal charisma. Now if they can simply merge and let it flow as one then there’ll be magic. I’ll definitely keep watching to find out. I just might be in for a nice surprise.


Dawns . A baby breaks the silence .
Of rocks and needles
For the past decade the German doctor Volker Schoeffl and his wife Isabelle have been coming to Laos. The country, squeezed in between Thailand, Vietnam and Cambodia is one of the poorest in the world. Once a year the two doctors perform difficult operations, teach and support the local team and bring new equipment to the hospital. Not only do they work though. Both are astonishing climbers and so they spend their free time setting up new routes all accross the country.
After a terrible accident, Marie finds herself trapped in a space-time loop which she can’t escape from. To get out, she will have to face her new traumatic reality.
A tragic love story of lust, betrayal, and murder told in reverse.
I’ll Be With You
The surgeon Carlos Rigoni and his daughter Malena are in the living room of their house, watching a recording of the news of their own car accident. While the news passes, the fate of both seems to be at stake.
Orlando Bryant Jr
A self-righteous husband risks his and wife safety as he goes to confront a dangerous drug dealer who is plaguing the council estate with drugs.
Joel Constantine and Liz Austin who is a cohabiting couple, are residents of the Grizedale estate and as the former contemplates how they are both down on their luck, Liz tries to stay positive about their lives.
Joel makes an over exaggerated comment about the area they live in which Liz points out. This leads to an argument between the couple but in the middle of all the shouting, they hear loud music coming from a car which is unusual for that time of day.
They go out onto the balcony and they see Reece standing by a car doing a drug deal. Joel, fed up of seeing Reece doing drug deals, goes to confront him and when he does, he is provoked and punches Reece, knocking him to the ground. Despite her best efforts, Liz fails to prevent the altercation and drags Joel back inside.
Another argument ensues between Joel and Liz and the former really oversteps the mark by saying that no one asked Liz to be there. Seeing that his wife is visibly upset, Joel tries to reason with her to no avail. He goes out onto the balcony to get fresh air but when he walks out he enters into a stare down, as he sees Reece looking up at him with menace.
AGAINST ALL ODDS
Against All Odds is a short documentary that follows three of AFC Bournemouth’s most influential characters throughout the clubs darkest days. Furthermore it explore the clubs plight from a fans perspective, giving a multi faceted recollection of this incredible journey.
Guillaume Enard and Jonathan Delerue
Once a ruthless war lord who won his land by his sword, Mort-Lieu is now a sick old man. A mysterious knight appears ; Mort-Lieu believes the stranger is Death himself coming to get him. Facing his own end, Mort-Lieu has to confront his legacy.
POOMA – SOLDIER
A LOVE-HATE RELATIONSHIP BETWEEN TWO MEN ENDS UP IN A BLOODY BATTLE.
Harun Güler is a Berlin based director and artist.
His work ranges from fashion film and music videos to video installations, exploring the boundaries of documentary and fiction while carefully blurring the line between art and commerce.
Born and raised in Germany by Turkish parents, Güler’s main area of interest remains masculinity and traditions in the everyday, framed within a more specific Middle Eastern context.
His professional background is video editing and post production in Munich, Istanbul and London.
His work has featured on: NOWNESS, SHOWstudio, Berlin Fashion Film Festival, BAFTA qualifying Aesthetica Short Film Festival i.a.
WONDERWALL is a short film/narrative cinematic music video, which tells the story of unconditional love that helps overcome the loss of a loved one and helps one cope with grief.
A musical story follows a young man whose heart has been broken due to the lost of a loved one, and he is trying to escape reality. But his surreal experience while in the Chernobyl exclusion zone gives him a chance to discover himself.
Two puppets, a prince and a princess, are protagonists of a fairy tale story.Of this story we are only allowed to know the finale, the moment of the kiss that decree the happy ending. But something goes wrong: the one who manages the puppets decides to get in half. Will our hero succeed in kissing the princess?
As the Earth Turns
Richard H. Lyford
“As the Earth Turns” (Unreleased 1938 film, available for the first time in 80 years!)
Current list of Festivals, Awards and Nominations: http://edhartmanmusic.com/news/update:__festival_and_winners_list_as_the_earth_turns/
(Note: 5.1 Surround available for theatrical showing)
In 1937, in Seattle, a twenty-year old budding filmmaker using his own equipment, had already created 58 plays and 9 never released, award-winning films. This director would go on to work for Disney Studios, and direct and edit a 1950 Academy Award Documentary. Richard H. Lyford’s films have developed a following among film-historians, since his early “amateur” films are some of the first “indie” films ever created outside of Hollywood. Lyford experimented with special effects, and models, and was becoming an excellent director. His final, and most challenging, film of this era was “As the Earth Turns”, his screenplay based on “The Man Who Rocked the Earth” by Arthur Train and Robert Williams Wood, 1915.. It was filmed in the Pacific Northwest, in and around Seattle.
“As the Earth Turns”, is presented for the first time after 80 years of development! To finish his vision, a professionally mixed orchestral soundtrack, by NW film composer, Ed Hartman has been added to the presentation.
“As the Earth Turns” is a 45 minute, sci-fi film that foresaw WWII, future-technology, climate change, and the extreme need for peace, as the world was drifting back into world war again. The main character, “PAX” (“Peace” in Latin), is played by Lyford, himself, a scientist who desperately wants peace. He uses climate changing science to keep mankind from war. The lead actors are both male and female. The lead actress, Barbara Berger (AKA Barbara Berjer) portrays a hard working newspaper reporter. Her strong character, “Julie Weston” leads the hunt for the villain all the way to the end of the film. Berger had a long career on Broadway and television (ironically including “As the World Turns”).
The acting is dramatic, professional and realistic. Lyford used early homemade FX including controlled dynamite explosions and miniature models similar to those used in “Flash Gordon” (1936 Serial). His make-up work was excellent (he loved Lugosi and horror films) and his framing of the picture is mature and developed. Lyford was very capable of directing his acting troupe, as well. A legendary location in Seattle, “Gasworks” was used for PAX’s lair. The film has similar themes to “Things to Come”(1936), “In Like Flint” (1967), and even a little “Austin Powers” (1997). Some of the dialogue seems to come out of the TV series “Star Trek” (1966), and even “Dr. Strangelove”(1964). The film was shot in B&W, but the last scene was shot color for dramatic purpose, foreshadowing “Wizard of Oz” in 1939.
“As the Earth Turns” is an example of a true “indie” film, completely shot outside of Hollywood. It is an amazing educational film for any filmmaker to learn from. This filmmaking had no sophisticated technology available. It has multiple-exposure sequences (including a very professional title sequence), “day for night” shooting, simple transitions, and intense editing between live action and miniature model sequences. Richard Lyford did his best with very limited resources. This film is a great lesson for anyone in media creation, today.
This Jelly Doughnut Feeling
In „This Jelly Doughnut Feeling”, the shy and dreamy cartoonist Anna is confronted with a cheeky, high-tech smart speaker which wants to help her wake up and take her life into her own hands.
This entertaining story mixes cartoon animation with life action scenes. With a comedic and sarcastic look, Anna’s relationship, her professional life and her way of dealing with problems is shown and very creatively staged.
Kanuki Jungle, September 1907.
Liam Loyld Powell the adventurer is chased by his old enemy, Professor Wathkins. Liam has discovered the secret to get to the famous Chikuzo’s treasure and will protect his discovery from the professor despite the challenges that Liam must faces.
Apurba Pal Arko
This story is not about a girl who was raped. It’s not about her forced-marriage with the rapist at the same day. It’s not about the society that forced her. And not about the rapist husband and his “want-to-rape-the girl-tonight” friends either.
This is about a girl who was reborn the same day.
My Week with Maisy
Retired and conservative Mrs Foster is starting chemotherapy and is understandably anxious. The last thing she needs, is to have to share the treatment room with a ‘know it all child’ who wants to grow up to be a lesbian! But a series of life lessons from this cheeky 9 year old, give her much more than just a glimmer of hope!
A dinner party kicks off with the last guest to arrive, the oddly named Asparagus Tips. Upon introducing herself we soon gather that her name comes from her asparagus hands. After the starter doesn’t go according to plan she steps up to the plate, literally, and offers her tips for the party. A delicious delight that everyone wants more of, mostly at the disadvantage of poor Asparagus Tips.
Maintenance worker by day, pro-boxer by night, Jerome Conquest lives in the city of ‘Rocky’ and comes from one of Philadelphia’s most dangerous neighborhoods, Strawberry Mansion. When Conquest loses his best friend, Calvin, to street violence, he turns to boxing as a way to improve his life, which begins a story of redemption, not only for him but for his struggling community.
Frankie De Leonardis
A Russian astronaut awakes on an ISS space module after an accident. His attention is caught by outside knockings . Someone has come to welcome him, although it might all be just his Imagination, or maybe not
Nazi Colonel Wilhelm Brauer endures a crisis of faith when Hitler’s order to kill the disabled will result in the death of his Down syndrome son Max. Wilhelm decides to escape with Max, but to do so, he must bring the one person who can communicate with him: a Jewish boy with polio whose parents are in hiding.
A director with a broken heart directs a break up scene and has a breakdown.
Tammy is breaking up with Tim and Tim starts to cry – well that’s how the scene is supposed to go. But the actor playing Tim can’t make himself cry so the director steps into the role, a role he knows too well. Using the scene to relive his recent traumatic breakup, the director has a lot to get off his chest. A comedy short film written and directed by Aaron Lucas (and not based on true events).


This was a fun ride. Intense and suspenseful. The writing was solid all the way through (except maybe the finale). The cast was top notch. The characters so well designed by the writers and so well created by the actors.
There is no redemption in this story. It's rough til the end.
This is how a poor title choice can kill an otherwise good show. It was a funny show with a great cast. The dynamics between "the wives" were hilarious and not the (usually) cliche you would expect given the title. It really deserved 3 seasons.
Unfortunately for those of us in the US we were stuck with catty commentators who didn't know the difference between Belgium and the Netherlands. And we couldn't vote. Nor were we able to get the Justin Timberlake performance. The only US performance was banned in the US. But we were in it for the contestants anyway. (Justin's performance can be seen on the SVT version of the show.)
Petra Mede is my new favourite TV presenter. The voting system is odd - the people voted for Russia, the judges choose Australia so the Ukraine won.
This is the show the Big Bang Theory wishes it could be.
This show is so hilarious I forget that they actually use a laugh track. They really didn't need it. Smart comedy and great for binge watching.
Moss is especially brilliant. Douglas gets a bit old but everyone else is great. Also, they ended at the right time. When it was still funny. And didn't drag it on long after they ran out of material like most TV shows.


After graduating from film school he works as a director of photography for several years. His career as a director starts in 1996, completing three short-films: C4 (1996), The Operating Theatre (Max au Bloc) (1998) and The Divine Inspiration with lead actor Keir Dullea (star of Stanley Kubrick’s 2001 – A Space Odyssey). The films participate in more than one hundred festivals worldwide and win several awards.
In 2008, he directs his first feature, Family Values (Affaire de Famille), with French star actors André Dussollier and Miou-Miou. The film wins the Best Screenplay Prize by the French National Cinema Center and the Best European Film Award at the Avignon Film Festival.
In 2013 he directs On the Edge of the World (Au bord du monde) a feature-length documentary about the homeless people of Paris. The film premieres at the Cannes Film Festival in the selection of the ACID, wins the Grand Prize of the International Francophone Film Festival in Germany and is shown at the National Gallery of Art in Washington DC.
Currently, Claus Drexel writes the screenplay of his third feature-film.
Claus Drexel will present his fim, Au Bord du Monde, in national premiere at Pelicam.


Akhilandakoti Brahmanda Nayaka Full Video Song: One of the most awaited movie of Nagarjuna Om Namo Venkatesaya is going to hit the big screens on February 10, 2017. As the release date is near the movie makers are busy with the promotional activities of the movie. Recently an audio launch event had been arranged in a grand manner and the trailer and the audio had received a huge response from the audience. Now the makers had released a video song from the movie. Watch the song below
Om Namo Venkatesaya is the upcoming Tollywood most awaited devotional and biographical Drama movie in which Nagarjuna is playing the main lead essaying the character of Hathiram Bhavaji who was a die hard devotee of Lord Venkateshwara. The movie is the directorial venture of K Raghavendra Rao and the music for the movie is composed by MM Keeravani.
We can’t ignore the fact that the combination of Raghavendra Rao, MM Keeravani and Nagarjuna had always given a good music in devotional genre and the movies that had came in the combo of these three like Annamaya, Sri Rama Dasu and Shirdi Sai music had played a major role in the hit of the movie. The movie makers had already released the audio of the movie and the songs of the movie had got huge response.
Meanwhile as the movie release is getting nearer the makers had released a video song from the movie. The video song titled Akhilandakoti had been released by the makers. The lyrics for the song was composed by Vedavyas and the song was crooned by Sarath Santhosh and Sree Nidhi. You can watch this beautiful song from the movie below.


Guess who’ll be playing the game of ‘Mankatha’ with Ajith Kumar? It’s none other than the hottie Trisha. She has shared a wonderful onscreen chemistry with ‘Thala’ Ajith Kumar in both the films ‘Ji’ and ‘Kireedom’. This time, they’ll be far better than their previous excellent shows. Although Trisha has been signed by Cloud Nine Productions, she has maintaining a low profile as she says, “Let them make the official confirmations and this is purely a sentimental factor.”
The actress seems to be fed up with the prototyped roles of running behind the heroes and falling for them. Trisha’s role in ‘Mankatha’ will be a prominent one and of course, Trisha openly admits that Ajith Kumar is the hottest actor she has ever worked with.
Ajith Kumar will start shooting for the film shortly as there are few other actors to be confirmed for the shooting.


A teenage girl, Myrna Chitundu, dreams of becoming a doctor someday. She dreams of leaving the dusty African town of Blancville behind her and really changing the world, but she knows it will take a lot of hard work. Her hard work pays off when she is admitted to the Royal Academy – the first girl to ever be admitted to the prestigious all boys’ school.
But everything changes when Myrna discovers she is pregnant. Suddenly her well-ordered life begins to unravel. When an offer of marriage from a wealthy older man is presented to her family, Myrna knows what she must do – the bride price is too great for her family to refuse. Setting her own hopes and dreams aside, Myrna accepts marriage to a man she has met only once, who will take her far from the only home she has ever known.
This sweeping novel of hope and redemption follows the life of three generations of Chitundus as they discover the powerful bond of family, faith, and love is not easily broken.


The Truman Show
A film by Peter Weir, starring Jim Carey.
Review by Alan Steinfeld
Peter Weir has always tried to make movie that deals with upsetting the way we think reality is.
From his première picture The Last Wave to Picnic at Hanging Rock to this current and most commercial attempt at paradigm shifting. It's not very often that Hollywood produces a movie that is about breaking through the illusion of the fabricated Hollywood America that we live in. But The Truman show is such a movie.
The film staring Jim Carey is about a man whose whole life has been watched on television, from the time of his birth on upwards. He lives in a society that is totally fabricated for his benefit, played by a cast of actors whose only role is to perpetrate that live in an artificially created bio-physio dome of a world. Fake world he thinks is real life. Form his wife to his best friend everyone is acting a part for the benefit of the 24 hour a day viewing audience.
And for Truman Burbank it’s a perfect life, perhaps a little, too perfect which gets him a bit suspicious. And his becoming aware of the illusion is what starts him on a quest where he has to risk it all in order to break out of the Maya into something that is more real.
This is really the story of every initiate on the road to truth and the breaking down of the walls of the old paradigm no matter how comfortable in order to discover the true nature of the reality in which we live. Somewhere in the movie a character tells Truman "reality is only what we make it to be". But Truman intuitive urges that there is more and that there is a mystery worth pursuing is the message that New Agers and those stuck in the old paradigm come away with. Like Groundhog's Day with Bill Murray, this is a comedy that has deep spiritual significance as we begin to wake up to the higher potentials of ourselves. It leaves us searching for the answer of how we can perceive through the current state of reality to higher modes of consciousness?
Jim Carey is a humorous and sympathetic character that finally in this movie he doesn't quite go over the top. We can almost sympathize with his struggle to know the greater mysteries of the world he inhabits.
Rumi says (in Coleman's Barks translation of a poem he calls
Every day he goes up to his attic to look at his work-shoes and worn-out coat.
This is his wisdom, to remember the original clay
and not get drunk with ego and arrogance."


THE FRENCH LETTER KING
ENTREPRENEUR WITH A DIFFERENCE.
tells the story of Tommys early life, his risks, his time in prison, his marriage and affairs. The relationship with his only son is also explored
SECRETS OF THE FRENCH LETTER KNG.
The Secrets Of The French Letter King.
Reveals the the joy and tragedies from 1945-1962
reveals secrets of the factory and personal family history


Ragini Nandwani, who has completed the shoot of Mohanlal-starrer Peruchazhi, says it is a dream come true to work with the Mollywood superstar.
“He is a senior artiste and it was a learning experience for me to watch him act every scene with so much passion,” says Ragini, who plays Mohanlal’s love-interest, an Anglo Indian from Los Angeles, in the film.”Initially I was nervous to act opposite such a big star, but the shoot went well. The best part was to watch him perform every small scene with so much energy. He is a complete actor. It was indeed a learning experience for me,” she says.
Ragini was taken by surprise when the actor cooked for the entire team. “Apart from being a good actor, he’s an amazing cook too! Everything about him is an eye-opener for a newcomer like me,” says Ragini, adding that she had a great time on the set of Peruchazhi. She didn’t have any Malayalam dialogues in the political satire, but says she would like to learn the language.


A boy. A girl. A lake, a boat. A conversation that doesn’t strike at the heart of the things that really matter, and then a single spoken phrase that brings everything crashing down. With just five short, devastating words, the boy destroys his relationship with the girl — spits on the affection she shows him — and the damage he inflicts is all the more brutal given how calmly he speaks to her. ‘The End of Something’ is a masterpiece of understatement, of reticence, and of compressed structure: everything that precedes those five words gives them an incredible charge, so that, despite their brevity, they send shockwaves through the entire story and bring the drama to a turning point. And that’s not all. After the girl leaves him, the boy comes to feel that he has done wrong, and he convinces himself that he can win her back. He makes plans to apologise, to return their relationship to the way it was before he spoke. But the story knows more than the boy does. Look at the title. It’s definite and final. There will be no new beginning. The words the boy can’t see — words that are given only to the reader — suggest the unwritten aftermath of the story, the unavoidable consequences of the words the boy chose to speak.
from In Our Time, Boni & Liveright 1925; reprinted in The First Forty-Nine Stories


1994's The Lion King remains one of the great animated films of all time -- so great, in fact, that it spawned two direct-to-video sequels, a TV spinoff and a Broadway musical, all with varying degrees of success. Now, Disney is offering an all-new animated special The Lion Guard: Return of the Roar, which takes place after the original film and in the middle of its 1998 sequel The Lion King II: Simba's Pride. Thankfully, it looks like the franchise is back on track for a new generation.
In The Lion Guard -- which will become an ongoing series in January -- we meet Kion (voiced by Max Charles), the second-born cub of Simba and Nala. But while Kion's older sister Kiara (Eden Riegel) is on track to become the Queen of Pride Rock, Kion himself has yet to discover who he will grow up to be. That is until he unlocks the power of the Roar, which signifies his leadership of the Lion Guard -- sworn protectors of the Pride Lands.
Perhaps the most enticing part of the special is how it introduces new lore into the Lion King world while also shedding new light on old characters. As Simba explains to Kion, the previous Lion Guard was led by Scar, who, as it turns out, also possessed the power of the Roar. But when the Guard refused to help Scar overthrow his older brother Mufasa, Scar used the Roar to destroy them and, in doing so, lost the Roar completely. So basically the Roar is the Force of the Lion King universe; it can be used for both good and evil.
Right off the bat, it's cool to see the show pay tribute to the original Lion King. In addition to incorporating Scar and Mufasa into the history of the Lion Guard, the series features fan-favorite characters like Timon, Pumbaa, Rafiki and Zazu. Though most of the original voice cast is missing from this series, it does include plenty of A-listers: Rob Lowe as Simba, Gabrielle Union as Nala and Ernie Sabella reprising his role as Pumbaa. But the showstopper here is James Earl Jones, who returns to voice the booming spirit of Mufasa in a small but pivotal role. That's not to mention the little references to the movies, like Timon and Pumbaa's bug-eating habits and Kion's mention of "Can You Feel the Love Tonight," which he and his family call "the talk."
As for the new characters, well, they're definitely aimed at a younger audience -- particularly Kion's honey badger buddy Bunga (Joshua Rush), whose wacky antics are grating from the start. Meanwhile, the series' main villain, a teenage hyena named Janja (Andrew Kishino), doesn't pose nearly the same threat as, say, Scar or Zira; mainly, he just gets laughed out by his henchmen while various insects crawl all over him.
However, it's important to note that The Lion Guard is an original project from Disney Channel's sister network Disney Junior, which means the series is mostly aimed at children. Obviously, I can't speak to how much a kid will enjoy The Lion Guard -- I suspect a lot -- but I doubt that most adults will want to tune in week to week.
In terms of the special, though, I'd say The Lion Guard is worth checking out, especially if you're a longtime fan of The Lion King. For TV, the art direction is gorgeous, and the hand-drawn line quality definitely lends a sense of nostalgia to the series (despite the occasional CG element or Flash-looking animation). The special also includes three original songs (composed by Beau Black), which are both catchy and very much in keeping with Elton John and Tim Rice's songs from the original film.


Granted, there is nothing remotely official about Krrish 3, but it looks set to become the highest-grossing Indian film ever, thanks to its astute knowledge of American movie trends and ability to rip them off shamelessly.
The beauty of knock-offs is that nobody can really complain if SuperBatman decides to look like Ben Affleck while snapping some dude’s neck, because basically the character just got made up and can do that without any canon telling him no. And nobody knows yet what happens to a frog-dude when he gets struck by lightning.
Check out the trailer after the jump. It transcends language…you decide if that’s good or bad.


'Sparkle' Sisters on Building an 'Authentic' Family Dynamic (Video)
Jordin Sparks, Carmen Ejogo and Tika Sumpter tell THR that "family is everything" in the Sony/TriStar remake.
The setting may have changed, but one aspect that holds true in Salim Akil’s Sparkle remake is the love of a family.
In her final acting role, Whitney Houston (Emma) plays a devout, overprotective mother to three aspiring singers, embodied by Jordin Sparks (Sparkle), Carmen Ejogo (Sister) and Tika Sumpter (Dee). The sisterly trio, dubbed “Sister and Her Sisters” in the film, speak with The Hollywood Reporter about how the built an “authentic” family dynamic on-screen.
“It kind of just happened naturally,” says Ejogo. “I feel like it’s real in the way that it reflects how sisters really are… It’s not always like, ‘Oh, I love you,’ there’s all kind of stuff that goes on and we totally went through that.
“When you are working on a film for six to eight weeks, you are in each other's hair the whole time,” she adds. “It starts to get like a real family dynamic just by the nature that you are together the whole time and I think that's on the screen so it feels authentic.”
In THR’s review of the film, critic Todd McCarthy writes, “Evidently recognizing that the earlier script was a connect-the-dots affair with little meat on its bones, screenwriter Mara Brock Akil has not only brought the action forward by 10 years but made well-judged decisions about how to revise and moderately enrich the main characters, most of whom bear the same names as before.”
For more from the “sisters,” and a look at the film’s retro fashion, watch the video above.
Sparkle opens nationwide on Friday, Aug. 17.
Email: Sophie.Schillaci@thr.com; Twitter: @SophieSchillaci


Outside of DC and Warner Brothers, this could also signal the end of Drax in the Guardians of the Galaxy franchise as Bautista was likely seeking out another franchise long-spanning role, which could have made him too busy to play The Destroyer. Drax could in fact be one of the characters expected to die in Guardians of the Galaxy Vol. 3
The rumors of Dave Bautista pursuing Bane began to rise when he tweeted himself at Warner Brothers saying “It won’t come to you so get after it!!,” implying that he was with them for a role, which many assumed to be Bane
— Shadow Person Dave Bautista (@DaveBautista) December 10, 2019
A fan tweeted at Bautista about him playing Bane, which the actor actually addressed and confirmed that he indeed sought out the part, but was unsuccessful:
Unfortunately it’s not. Tried my best🤷🏻♂ https://t.co/Dfn6UGzzlb
— Shadow Person Dave Bautista (@DaveBautista) July 31, 2020
Another rumor that has circulated on the Internet for a while has been Dave Bautisa vying for the role of Bane, which the actor finally addressed on Twitter.


En route to meet his fiancée, Katherine Grant (Sylvia Sidney), gas station owner Joe Wilson (Spencer Tracy) is arrested on flimsy circumstantial evidence for the kidnapping of a child. Gossip soon travels around the small town, growing more distorted through each retelling, until a mob gathers at the jail. When the resolute sheriff (Edward Ellis) refuses to give up his prisoner, the enraged townspeople burn down the building, two of them also throwing dynamite into the flames as they flee the scene. Unknown to anyone else there, the blast frees Wilson, but kills his little dog Rainbow, who had run in to comfort him in the cell.
The district attorney (Walter Abel) brings the main perpetrators to trial for murder, but nobody is willing to identify the guilty, and several provide false alibis. The case seems hopeless, but then the prosecutor produces hard evidence: newsreel footage of twenty-two people caught in the act.
However, Katherine is troubled by one piece of evidence. The defense attorney had tried to get his clients off by claiming that there was no proof Joe was killed, but an anonymous letter writer had returned a partially melted ring belonging to Joe. Katherine notices that a word is misspelled just as Joe used to spell it.
She discovers that Joe escaped the fire and that Joe's brothers are helping him get his revenge by concealing his survival and framing the defendants for his murder. She goes to see Joe and pleads with him to stop the charade, but he is determined to make his would-be killers pay. However, his conscience starts preying on him and, in the end, just as the verdicts are being read, he walks into the courtroom and sets things straight.
Norman Krasna was inspired to write the story after reading about a lynching in The Nation. He pitched the idea to Samuel Marx and Joseph Mankiewicz at MGM who were attracted to it. Krasna says he never actually wrote the story down, he verbally pitched it to Mankiewicz who then dictated it. A number of changes were made from Krasna's story to the final script.
Fury was Lang's first American film, and is considered by critics to have been compromised by the studio, which forced Lang to tack on a reconciliation between Tracy's character and his girlfriend at the end. The film was a major departure for MGM, which at the time was known for lavish musicals and glitzy dramas – the expensive production features expansive and stylised sets to create its gritty world and its style is more in keeping with the social issue films associated with Warner Brothers, such as I Am a Fugitive from a Chain Gang.
The part of Wilson's dog Rainbow was played by Terry, the same Cairn Terrier who played Toto in The Wizard of Oz.
The film received an Academy Award nomination for Best Writing, Original Story. Frank Nugent, in a review for the New York Times praised it as "[a] mature, sober and penetrating investigation of a national blight." In 1995, this film was selected for preservation in the United States National Film Registry by the Library of Congress as being deemed "culturally, historically, or aesthetically significant."
The movie was very popular, earning domestic rentals of $685,000 and $617,000 overseas. According to MGM records, the final profit was $248,000.


Once Upon a Time in America: A former Prohibition-era Jewish gangster returns to Brooklyn over 30 years later, where he once again must confront the ghosts and regrets of his old life.
|Ratings:||IMDB: 8.4/10 Metascore: N/A RT: 89%|
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سعر جرام الذهب في السعوديه للبيع The Coolidge Corner Theatre hosted actress Liv Ullmann on Tuesday, May 24 for a special 50th anniversary presentation of Ingmar Bergman’s seminal 1966 film, “Persona.” Following a brief introduction and the 35mm film screening, Ullmann was interviewed by Boston Globe film critic Ty Burr about her role in the film and her relationship with the acclaimed director.
الربح من التداول في الفوركس Constantly ranked among the best films of all time and known as a landmark in arthouse cinema, the Swedish psychological drama revolves around two women: Elisabet (Ullmann), an actress who has decided to stop speaking, and Alma, the innocent young nurse charged with taking care of her in a remote seaside house. Once alone, the women find themselves increasingly unable to separate their identities from one another’s, creating a surreal exploration of the human psyche.
http://www.arelentlesspursuit.com/?poter=%D9%83%D8%A8%D9%81-%D8%A7%D8%B4%D8%AA%D8%B1%D9%8A-%D8%A7%D8%B3%D9%87%D9%85-%D9%81%D9%8A-%D8%A7%D9%84%D8%B3%D9%88%D9%82-%D8%A7%D9%84%D8%B3%D8%B9%D9%88%D8%AF%D9%8A&f9f=29 كبف اشتري اسهم في السوق السعودي “It’s simple, it is so simple,” Ullmann said of the notoriously layered film in her introduction to the screening. “It’s about connecting. Films connect us to who we are deep inside and tell us why we are. Here, one woman goes silent because she is afraid of life and disconnects, though what she most wants is connection.”
كيفية تعلم بيع وشراء الاسهم Ullmann revealed the screening would be her first time viewing the film since its original release, a move that elicited an audible gasp from the audience. The Norwegian actress exhibited the kind of casual elegance that could only be brought about by experience as she took the stage afterward for the Q&A session.
http://www.itic.com.au/?samovararabov=%D8%B4%D8%B1%D8%A7%D8%A1-%D8%A7%D8%B3%D9%87%D9%85-%D8%A8%D9%86%D9%83-%D8%A7%D9%84%D8%B1%D8%A7%D8%AC%D8%AD%D9%8A&edb=1a شراء اسهم بنك الراجحي “This movie was the best thing to ever happen to me artistically, and the best thing to happen with a friend and the father of my child,” Ullmann said, referring to her romantic involvement with the late Bergman at the time of production. “I am tremendously grateful to have known him.”
http://www.riosmartin.com/?bilozir=%D8%A7%D9%84%D8%A7%D8%B3%D8%AA%D8%B9%D9%84%D8%A7%D9%85-%D8%B9%D9%86-%D8%A7%D9%84%D8%A7%D8%B3%D9%87%D9%85-%D9%81%D9%8A-%D8%A7%D9%84%D8%A8%D9%86%D9%83-%D8%A7%D9%84%D8%A7%D9%87%D9%84%D9%8A&5a7=7d الاستعلام عن الاسهم في البنك الاهلي Burr kept his questions concise enough to draw out what any film enthusiast would like to know from Ullmann, but open-ended enough for the erudite actress to go beyond her experience with the film and into her other work in the industry. Nevertheless, Ullmann teased the audience with personal anecdotes and trivia from the set.
aktualne kursy walut forex “I read somewhere that I had 14 or so words in the film, which of course is not true,” the 77-year-old actress said. “I only have one word in the movie, which is ‘nothing.’ I can say this for sure because 50 years ago, I know I never said anything else.”
jobba hemifrån 2017 Ullmann also shared an interesting anecdote–an ironic incident of life imitating art involving Bibi Andersson, the Swedish actress playing opposite Ullmann in Persona.
“She had a stroke and for seven years we cannot talk to each other,” Ullmann said. “I talk to her now; it’s like she has my part. I know that she knows who I am. She is alive and she would have enjoyed sitting here with me and experiencing this.”
http://greenspacecambria.org/?binop=%D8%AA%D8%AC%D8%A7%D8%B1%D9%87-%D9%81%D9%88%D8%B1%D9%83%D8%B3&fc8=e8 تجاره فوركس Photo by Juan A. Ramirez


29th Annual Festival of Films from Iran
From February 2 through March 3, the Gene Siskel Film Center presents the "29 th Annual Festival of Films from Iran," presenting Chicago premieres of eight films by directors working within and outside of Iran. We open with the U.S. premiere of the documentary MOUTH HARP IN A MINOR KEY: HAMID NAFICY IN/ON EXILE by Maryam Sepehri. The film examines the experience of exile through the life and career of noted film historian and cultural critic Hamid Naficy, author of "A Social History of Iranian Cinema." On February 2, the audience is invited to a post-film reception sponsored by the Muslim American Leadership Alliance .
The films in this year’s series represent transgressive jabs at the status quo in many forms, from the goofy, scathing SLY, a thinly-disguised satire on a hardline former Iranian president, to PIG, which has rude comic fun with the plight of blacklisted Iranian filmmakers. SHEEPLE, a raucous action film, makes subjects including the underworld drug trade and a family honor killing fodder for black comedy.
I WANT TO DANCE, by veteran director Bahman Farmanara, is released following a three-year ban for violating a religious and social dictate. His new TALE OF THE SEA couches references to protest and societal unrest in a drama of marital discord, with popular female stars Fatemeh Motamed-Arya and Leila Hatami.
RONA, AZIM’S MOTHER, portrays a family crisis exacerbated by a law that discriminates against immigrants in Iran. In an opposite take on family matters, the romantic comedy REZA takes a rare light-hearted approach to the dilemma of couple’s separation, despite the fact that they appear to be made for each other.
The Gene Siskel Film Center thanks the many individuals, companies, and agencies in Iran and in the U.S. whose invaluable efforts, good will and support have made this year’s festival possible. Special thanks to: Mohammad Atebbai, Iranian Independents; Farabi Cinema Foundation; Katayoon Shahabi, Noori Pictures; Armin Miladi, Daricheh Cinema; and Nasrine Médard de Chardon, DreamLab Films. Special thanks to promotional partner Kodoom.
Mouth Harp in a Minor Key: Hamid Naficy In/On Exile
2017, Maryam Sepehri, Iran/USA, 62 min.
Exile as a radically transformative experience is the theme of this documentary tracing the journey of Hamid Naficy from his boyhood growing up in Iran under the Shah to the 1979 Revolution, when he was studying in the U.S., to his present as the foremost historian of Iranian cinema and renowned authority on Iranian diaspora culture. Filmmaker Sepehri explores the impact of history before and after the Islamic Revolution on the generation of those whose lives are divided between early life in the homeland and an adulthood in permanent exile in the West. The film delineates Naficy’s unique role as an interpreter of the experience in all of its complexity. In English and Persian with English subtitles. DCP digital.
Preceded by ELLIS ISLAND (1969, Hamid Naficy, USA, 38 min.), a time-capsule documentary of life in a California student hippie commune. Digital video. (BS)
Rona, Azim's Mother
Rona, Mader-e Azim
2018, Jamshid Mahmoudi, Iran/Afghanistan, 89 min.
With Mohsen Tanabandeh, Fatemeh Mirzaei
“Solemn, heartfelt, and movingly acted…crafts memorable images that remain steeped in the everyday.”--Sarah Ward, Screen Daily
A family betrayal brings urgency to an adult son’s sacrificial love for his aged mother in this deeply emotional drama by the Iranian-Afghan director/producer team of Jamshid and Navid Mahmoudi, Iran’s answer to the Dardenne brothers. Afghanistan’s submission for 2019 Oscar consideration, the film powerfully foregrounds an Afghan immigrant family’s love for their matriarch Rona (excellent first-time actress Fatemeh Hosseini) when a health crisis threatens her life and tears at the fabric of their togetherness. A boisterous, music-filled party introduces the extended clan, but the jollity is short-lived when Rona’s unexpected diagnosis sends them reeling, and puts eldest son Azim (Tanabandeh, OFFSIDE), a serious and modest sewer worker, at the center of an expensive backstreet quest that will underline the second-class status of immigrants in Iran. In Persian and Dari with English subtitles. DCP digital. (BS)
2017, Mani Haghighi, Iran, 108 min.
With Hasan Majuni, Leila Hatami
“A dizzy DayGlo meta-comedy.”--Jessica Kiang, Variety
“A farce in Farsi…takes a jokes first, social comment second approach.”--Amber Wilkinson, Eye for Film
Wacky is a term not often applied to an Iranian film, but PIG ventures into new territory with this wild, farcical black comedy about a blacklisted filmmaker. Hassan (Majuni), a slovenly egocentric director whose oeuvre consists of sleazy slasher films, has been banned from working by the government. When a serial killer begins targeting and beheading all of Iran’s banned filmmakers, ignoring Hassan, he feels his artistic integrity insulted. Director Haghighi (MEN AT WORK)--who cheekily portrays himself as one of the beheaded and stages his own funeral-- spins out subplots as wacky as the Felliniesque bug-spray commercials his disgruntled anti-hero is reduced to directing on the QT. Surreal musical numbers, extravagant fantasy sequences, and Hassan’s jealous plot against the director who has dared to offer his mistress Shiva (Hatami) a role make for a bizarre and spicy mix that reflects obliquely on Iran’s proclivity for censuring its filmmakers. In Persian with English subtitles. DCP digital. (BS)
2018, Alireza Motamedi, Iran, 94 min.
With Alireza Motamedi, Sahar Dowlatshahi
“Whimsical originality…every turn of this offbeat comedy undercuts audience expectations.”-- Deborah Young, Hollywood Reporter
This fresh and unexpected take on the romantic comedy delivers a thoroughly enjoyable look at an accidental ladies’ man navigating the mysteries of female attraction when his capricious wife Fati (Dowlatshahi) calls it quits. Reza (director Motamedi), a big blonde teddy bear of an Isfahan architect, is clueless when his wife of nine years asks for a divorce. He gamely follows through to please her, and the amiable pair don hostile faces to indicate their seeming incompatibility to the judge. At loose ends, Reza finds that women find him, including Violet (Setareh Pesyani), the winsome café owner he consoles in a crisis. Dating lurches along, but irrepressible Fati has a way of dropping back into his life at the most inopportune moments. A bonus factor is the film’s Isfahan setting, shown off to alluring advantage by Ali Tabrizi’s cinematography. In Persian with English subtitles. DCP digital. (BS)
I Want to Dance
2015, Bahman Farmanara, Iran, 95 min.
With Reza Kianian, Saber Abar
Banned for three years, this gentle subversive comedy was finally permitted release under the censored title I WANT TO, since public dancing is officially forbidden in Iran. Nima (Kianian), an aging author, seeks relief from his writer's block. One day a mysterious CD is thrust into his hands by a panhandling street urchin, and an infectious dance tune that only he can hear becomes embedded in his head. Dance he does, whenever the lively tune kicks in, spreading crazy joy in the streets in the face of public malaise and the grim ills of depression and addiction discovered closer to home in his own family. Nima is soon hauled off in a straitjacket, but the dance aftermath spreads in unexpected places. Kianian’s astonishingly nimble and sprightly performance aptly embodies the rebellious spirit of Farmanara’s quasi-musical about a society in which it is more acceptable to be insane than to be happy. In Persian with English subtitles. DCP digital. (BS)
Maghz-kaye Koochak Zang-Zadeh
2018, Houman Seyedi, Iran, 102 min.
With Navid Mohammadzadeh, Farhad Aslani
“A zany plunge into parodied violence Indian-style…well-choreographed and sustained action scenes.”--Deborah Young, Hollywood Reporter
An over-the-top comic gangster film is an anomaly in Iranian cinema, making SHEEPLE, with its lean, mean satirical streak and copious gunplay, a genre standout. Nominated for thirteen awards at Tehran’s Fajr Film Festival, and winner of four, including the Best Film audience award, this raucous taboo-breaker has clearly found favor with a hometown crowd hungry for homegrown action. Bullying drug lord Shakoor (Aslani) oversees a gang that sells crystal meth produced by his stable of slave laborers, including children. Bringing up the rear in this rotten- to-the-core empire is loser brother Shahin (Mohammadzadeh), the film’s swaggering but cowardly anti-hero. Gang warfare takes a backseat to a crisis of family honor when sister Mona (Marjan Etefaghian) lifts her scarf to give a man a peek at her striped ponytail, and a phone video of the event goes viral. In Persian with English subtitles. DCP digital. (BS)
2018, Kamal Tabrizi, Iran, 90 min.
With Hamed Behdad, Vishka Asayesh
“A nothing’s-sacred spoof…a hoot to watch.”--Deborah Young, Hollywood Reporter
This thinly disguised and entirely fictional satirical profile of the rise to power of Iran’s former hardline president Mahmoud Ahmadinejad is yet another jab at the status quo by director Tabrizi, whose 2004 comedy hit THE LIZARD lampooned Iran’s Islamic clergy. Tabrizi may play fast and loose with the biographical details, but the portrait is unmistakable, with lookalike actor Behdad as Samadi, a buffoonish yokel and stridently moralistic accidental politician who launches his campaign for Parliament from his ramshackle house where chickens run free. The right-wing self-proclaimed revolutionary plans to boost his public profile by disrupting a rock concert. The stunt goes awry in a way that works hilariously in his favor and serves to make him the clueless pawn of cynical powers who note the potential populist appeal of a man who is easily manipulated. In Persian with English subtitles. (BS)
Tale of the Sea
2018, Bahman Farmanara, Iran, 97 min.
With Bahman Farmanara, Fatemeh Motamed-Arya, Leila Hatami
“The filmmaker’s most personal and touching film to date.”--Deborah Young, Hollywood Reporter
Veiled references to the year 2009, when Iran erupted in waves of political demonstrations that were ultimately crushed by brutal violence, permeate this poetic, mystery-filled story of a man teetering on the edge of mist-shrouded madness and facing the imminent death of his marriage. Writer Taher Mohebi, played by director Farmanara (A HOUSE BUILT ON WATER; SMELL OF CAMPHOR, SCENT OF JASMINE), is a man in poor health who has just been released from an asylum to the care of his much younger wife Jaleh (Motamed-Arya). She is close to the limit of endurance for their life in a remote seaside retreat, and for her husband’s solitary reveries, secret meetings, and suspected past infidelities. When young Parvaneh (Hatami), adult daughter of an estranged friend, arrives unannounced with a life-altering revelation, it proves a turning point in more than marriage. In Persian with English subtitles. DCP digital. (BS)


New Delhi, Mar 3 (ANI): Chitrangada Singh is teaming up with director Sudhir Mishra again for her next film 'Inkaar', and the actress says she is looking forward to the film.
Singh plays a woman in the corporate world who suffers from sexual harassment at the workplace. The film also stars Arjun Rampal as the male lead.
"I am really looking forward to 'Inkaar', the film is releasing in May. It is a superb script just like Sudhir's other films. It's about a love story stuck in a sexual harassment case. I am very excited about it," Singh said.
However, before that, fans will see the 35-year-old sizzle on the screen with her item number in Shirish Kunder's 'Joker'. (ANI)
Read More: Delhi | Arjun Nagar | Ram Sagar Mishra Nagar Po | Pure Wade Singh | Katra Gulab Singh | Sarai Murar Singh | Kota Shiv Pratap Singh | Oeni Mishra | Gularia B Singh | Mainthna Inder Singh | Mohmand Pur Rai Singh | Saraiyan Mahipat Singh | Raipur Deo Singh | Majra Anand Singh | P.a. Singh | Badsara Ram Singh | Arjun Dumari | Laxmipur Mishra | Arjun Guri | Mishra Batrahan | Biri Rampal


Milita Norwood went through her golden years as quietly as she could, a retired British servant who’d given to her country proudly and humbly.
Then that shoe everybody talks about fell. Heck, two shoes. An anvil.
Red Joan is taken from a real-life tale, they say, though the movie directed by Trevor Nunn from Lindsay Shapero’s screenplay is based on a novel by Jennie Rooney. So, wiggle room.
Which is what Norwood runs out of, piece by piece as the government puts together the pieces of what she did back then in university.
Judi Dench is pretty darn great as the elderly Joan, as she’s called in the big screen version, anguished for sure as she pieces together the past and attempts to justifies her ties to the communist leanings, to herself and her son.
Sophie Cookson equals that work as the young Joan, a smart scientist running in elite circles who ends up serving men with big dreams and perhaps crooked directions.
The moral dilemmas then and now are many and deep.
What had she wrought? What should she do? What prices should be paid?
Pain travels. So does pride. Morality, too. Interesting to witness one woman’s ramifications.


William Shatner to make live appearance with Oklahoma screening of 'Star Trek II: The Wrath of Khan'
TULSA - Golden Globe-winning actor and "Star Trek" icon William Shatner will appear live at an Oklahoma screening of the "Star Trek II: The Wrath of Khan" Feb. 13 at Tulsa's Brady Theater, 105 W M.B. Brady Street.
After the screening of the beloved 1982 film on the big screen, attendees will take in a live conversation with Shatner, who famously played Captain James T. Kirk in the original "Star Trek" TV and film series.
Shatner will share fascinating and humorous stories from his career spanning more than 50 years as an award-winning actor, producer, director and writer.
Fans will also have a chance to participate in a question-and-answer session, according to a news release.
Tickets start at $39.50 plus applicable service fees and go on sale at 10 a.m. Friday at www.bradytheater.com, 800-514-6849 and Brady Theater Box Office.
A limited number of VIP tickets will be available, which include premium seating and a photo opportunity with Shatner.
The event is produced by Mills Entertainment and The Backlot Project.
Shatner has cultivated a career spanning more than half a century as an award-winning actor, director, producer, writer, recording artist, and horseman. In 1966, Shatner originated the role of Captain James T. Kirk in the television series "Star Trek," a show that spawned a feature film franchise where Shatner returned as Captain Kirk in seven of the Star Trek movies, one of which he directed.
He’s won Emmy Awards and a Golden Globe for his portrayal of lawyer Denny Crane on both "The Practice" and "Boston Legal." He received four more Emmy nominations as well as other Golden Globe and SAG Award nods.
His love of music inspired him to record the critically acclaimed album "Has Been." Shatner’s book "Leonard: My Fifty-Year Friendship with a Remarkable Man" appeared on the New York Times Bestseller list, and his newest book, "Spirit of the Horse: A Celebration in Fact and Fable," was released in May 2017.
Shatner continues to act, write, produce and direct, while still making time to work with charities and further his passion in equestrian sports. He and his wife, Elizabeth, and three married children live in Los Angeles.
For more information on the Tulsa event, go to bradytheater.com.


Friday July 19, 2013 / 8:00pm (Preview)Kimberly Akimbo
General Admission Special
How was your experience?
Went to the preview night, and was thoroughly impressed with the entire production! The play is amazing! The actors were brilliant! I laughed, I teared up, I got angry...I felt the emotions. The staff were very kind and helpful. I highly recommend this theatre company and play to everyone!


Author and film scholar J. M. Tyree introduces Maysles brothers' SALESMAN and Coen brothers' THE BIG LEBOWSKIJ. M. (Josh) Tyree is a film scholar, college professor, and former Cleveland resident (and one-time Cinematheque volunteer) who...
at the Cleveland Institute of Art
11610 Euclid Avenue
Cleveland, OH 44106


A hallucinatory biopic that breaks all cinematic conventions, Walker, from British director Alex Cox, tells the story of nineteenth-century American adventurer William Walker (Ed Harris), who abandoned a series of careers in law, politics, journalism, and medicine to become a soldier of fortune and, for many months, the dictator of Nicaragua. Made with mad abandon and political acuity—and the support of the Sandinista army and government during the contra war—the film uses this true tale as a satirical attack on American ultrapatriotism and a freewheeling condemnation of “manifest destiny.” Featuring a powerful score by Joe Strummer and a performance of intense, repressed rage by Harris, Walker remains one of Cox’s most daring works.
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Poor kid. Just dropped an entire large of bad genetics with extra cheese and pepperoni.
Wow! I haven’t heard this phrase used… well… since I watched the movie “donkey punch”
It’s exactly what you’d think it’s about… except a group of kids accidentally kill someone doing it and it turns into a slasher flick.


Playwright and poet Inua Ellams didn’t write “Barber Shop Chronicles.” He stole it.
He was intrigued after a friend gave him a flier advertising a course to teach barbers the basics of mental health counseling. What was it that could turn a haircutting session into a confessional? “I packed clothes and backpacked to Africa and went to various countries,’’ he says. “I listened to African men and transcribed their stories. I didn’t make them up. I met them.”
Ellams, who lives in London, crisscrossed the continent, eavesdropping in barbershops in South Africa, Ghana, Uganda, Zimbabwe, and his native Nigeria. The play, which comes to the American Repertory Theater’s Loeb Drama Center Dec. 5 to Jan. 5, moves back and forth from London to several African capitals, and the scenes are linked with music and dance that celebrate African culture and identity.
A dozen actors play 30 characters who chatter and bicker while getting their hair shorn and their beards trimmed. The banter is seemingly casual, but as the play unfolds over the course of a single day, the men discuss such issues as the relationships between fathers and sons, masculinity, child abuse, and power.
They tell the same jokes in London and Kampala. “In London, there are not safe places for black men to gather without the threat of harassment by law enforcement,” Ellams says. “Walking in the street is not safe. Soccer matches have been unsafe for black men, who have bananas thrown at them. In barbershops, we can be loud and noisy. We can enjoy ourselves and express ourselves. We can be free.”
The barbershop, one character says, is “a beacon for the community where men come to be men.”
The play was a runaway hit at London’s National Theatre and the West Yorkshire Playhouse, but the concept is not new to American audiences familiar with the “Barbershop” film series. In a controversial scene from the first film, Cedric the Entertainer scandalizes his clients when he disses African-American icons, concluding, “If we can’t talk straight in a barbershop, we can’t talk straight nowhere else.”
The men in Ellams’s play engage in similar debates, whether they’re expressing varying points of view about such African political figures as Nelson Mandela and Robert Mugabe or arguing over trivial matters like the difference between a sports fan and a mere supporter. Some of the men are adamant about their style preferences. One client wants an “aerodynamic” do. Another frets over an ingrown hair.
One character expresses angst over the imminent birth of his first child. How, he wonders, does one act as a father? Another recalls his own father’s biting words: “I’m not your friend. I’m your father.” It could be a line from an August Wilson play.
The men depicted in “Barber Shop Chronicles” are not figments of Ellams’s imagination. Some are based on people he met or knows. Others are amalgamations of folks he’s overheard in his travels. In one scene, the characters discuss an obsessed Ghanaian professor who spent nine years writing a Swahili-to-Spanish dictionary. Ellams put it in the play because it was such a beautiful example of the power of language. But the man wasn’t apocryphal. The playwright actually met the professor when he shared the stage with him during a panel discussion at a London university. “I said, ‘I thought you were a myth,’ ’’ Ellams recalls. “I was there as a poet and he was there as an academic to talk about the importance of language in translation. So much of our culture is locked in language.”
Serendipity aside, Ellams is quick to say that he sees himself as an interpreter. The play is not autobiographical, especially since he is balding and doesn’t frequent his local barbershop except as an eavesdropper. “I don’t come from a broken home,’’ he says, adding that his father cut his hair after his family moved to London when he was 12. “I was never lacking a father figure. I grew up in Nigeria with black African men as strong role models. There is no artistic angst, but these conversations are real.”
While their barbershops are clearly safe havens, the play does not overtly address police brutality against black men. Actor Maynard Eziashi, who was in the original London production and will be appearing at the ART, says that is by design. “Part of the reason is that it is so common for black men in particular,” he says. “Inua listened to what men had to say, and a lot of black men didn’t talk about it. It is just a normal, everyday occurrence.”
In this climate, the men ponder what it means to be masculine, what it means to walk around in black skin where they hear the n-word frequently or, in South Africa, are taunted by cries of “kaffir,” a similar slur. But the play isn’t just for men: Women know what it is like to sit in a chair and lean on a stylist with strong shoulders. “I think a lot of women wonder what happens to their boyfriends and brothers when they go to sit in a hot, smelly room,” Ellams says. “There are many women whose fathers left their families, and I hope they get a deeper insight into black masculinity.”
In one scene, an aspiring young actor tells his barber that he is having trouble figuring out how to portray a certain role. He is really wrestling with self-definition. Eziashi, a middle-aged actor who now sports “a bald hairstyle,” can relate to that quest. “In the world in which we live today, we are all just struggling with how to be an individual. It is difficult,” he says. “Who am I? Am I a black man or just a man? Am I more than that? That is something the play echoes. Mostly, I just try to be me.”
Barber Shop Chronicles
Presented by the American Repertory Theater. At the Loeb Drama Center, Cambridge, Dec. 5-Jan. 5. Tickets from $25, 617-547-8300, www.americanrepertorytheater.org
Patti Hartigan can be reached at firstname.lastname@example.org.


The Dramatic Works of William Shakespeare: Accurately Printed from the Text of the Corrected Copy Left by the Late George Steevens, Esq., with Glossarial Notes and a Sketch of the Life of Shakespeare, 2 tomas
M'Carty & Davis, and H.C. Carey & I. Lea, 1824
Kiti leidimai - Peržiūrėti viską
The Dramatic Works of William Shakespeare Accurately Printed from ..., 2 tomas
Visos knygos peržiūra - 1837
The Dramatic Works of William Shakspeare Accurately Printed from ..., 2 tomas
Visos knygos peržiūra - 1851
Achilles Ajax Alarum Antony Apem Apemantus art thou bear blood brother Brutus Cæsar Cassio Cleo Coriolanus Cres crown Cymbeline daughter dead dear death Desdemona Diomed dost doth duke Enter Exeunt Exit eyes fair farewell father fear fool friends Gent give Gloster gods grace hand hath hear heart heaven hither honour i'the Iago Julius Cæsar Kent king lady Laertes Lear live look lord Lucius madam Marcius Mark Antony ne'er never night noble o'the Othello Pandarus Patroclus peace Pericles poor pr'ythee pray prince queen Rich Rome Romeo SCENE soldiers Somerset soul speak stand Suff Suffolk sweet sword tears tell thee there's thine thing thou art thou hast Timon tongue Troilus Tybalt unto villain Warwick weep What's wilt words York
428 psl. - O, there be players that I have seen play, and heard others praise, and that highly, not to speak it profanely, that neither having the accent of Christians nor the gait of Christian, pagan, nor man, have so strutted and bellowed that I have thought some of nature's journeymen had made men, and not made them well, they imitated humanity so abominably.
129 psl. - Love thyself last: cherish those hearts that hate thee; Corruption wins not more than honesty. Still in thy right hand carry gentle peace, To silence envious tongues. Be just, and fear not. Let all the ends thou aim'st at be thy country's, Thy God's, and truth's; then if thou fall'st, O Cromwell, Thou fall'st a blessed martyr!
431 psl. - Why, look you now, how unworthy a thing you make of me. You would play upon me ; you would seem to know my stops ; you would pluck out the heart of my mystery ; you would sound me from my lowest note to the top of my compass : and there is much music, excellent voice, in this little organ ; yet cannot you make it speak. 'Sblood, do you think I am easier to be played on than a pipe ? Call me what instrument you will, though you can fret me, you cannot play upon me.
453 psl. - scapes i' the imminent, deadly breach ; Of being taken by the insolent foe And sold to slavery ; of my redemption thence, And portance in my travel's history, Wherein of antres vast and deserts idle, Rough quarries, rocks, and hills whose heads touch heaven. It was my hint to speak, such was the process ; And of the Cannibals that each other eat, The Anthropophagi, and men whose heads Do grow beneath their shoulders.
235 psl. - Who is here so base that would be a bondman? If any, speak; for him have I offended. Who is here so rude that would not be a Roman? If any, speak; for him have I offended. Who is here so vile that will not love his country? If any, speak; for him have I offended. I pause for a reply.
307 psl. - This play has many just sentiments, some natural dialogues, and some pleasing scenes, but they are obtained at the expense of much incongruity. To remark the folly of the fiction, the absurdity of the conduct, the confusion of the names and manners of different times, and the impossibility of the events in any system of life, were to waste criticism upon unresisting imbecility, upon faults too evident for detection, and too gross for aggravation.
418 psl. - Oft breaking down the pales and forts of reason, Or by some habit that too much o'er-leavens The form of plausive manners ; that these men, Carrying, I say, the stamp of one defect, Being nature's livery, or fortune's star, Their virtues else, be they as pure as grace, As infinite as man may undergo, Shall in the general censure take corruption From that particular fault : the dram of eale Doth all the noble substance of a doubt To his own scandal.
225 psl. - Why should that name be sounded more than yours ? Write them together, yours is as fair a name ; Sound them, it doth become the mouth as well ; Weigh them, it is as heavy ; conjure with 'em, Brutus will start a spirit as soon as Caesar.
239 psl. - I could weep My spirit from mine eyes ! There is my dagger, And here my naked breast ; within, a heart Dearer than Plutus' mine, richer than gold ; If that thou be'st a Roman, take it forth ; I, that denied thee gold, will give my heart ; Strike, as thou didst at Caesar ; for I know, When thou didst hate him worst, thou lovedst him better Than ever thou lovedst Cassius.


Secrets are coming to a head and there will be some definite fallout soon. This is good because our couples are stagnating (although Joon-ho and Soon-shin are adorable.)
AGB Nielson Nationwide had this episode coming in at 22.9%.
episode 43 recap
Yeon-ah pretends that she’s not going to threaten Mi-ryeong; she disguises her threat as a plea. She begs Mi-ryeong to break Joon-ho and Soon-shin up. In return, she won’t tell the world about Mi-ryeong’s role in Chang-hoon’s accidental death.
We go from Yeon-ah’s annoying face to utter cuteness: Joon-hon won’t let go of Soon-shin’s hand. She asks him to release her hand, but he reminds her of her promise to never run away. She points that people are staring and might take pictures. He teases that it’s because he’s so handsome. TRUE DAT!
Then his mother calls, guh, and he cuts off the call. He lies to Soon-shin that it was an employee and proceeds onto more cuteness.
Mi-ryeong is reliving the night when Chang-hoon died and is so shaky that she takes out a bottle of pills to calm herself. She really is a self-medicator. Luckily, Soon-shin comes home and takes the sedatives from her. She asks her to stop taking them and invites her downstairs to eat to relieve her stress.
But Mi-ryeong is too preoccupied to eat and she outright asks if Soon-shin is dating Joon-ho. She admits it hasn’t been for long. Hwang congratulates her because he knew Joon-ho couldn’t be dating Yeon-ah. He wonders who spread the rumor. Mi-ryeong worries about what will happen if people find out; a star’s life isn’t her life. She has to focus on her image. Soon-shin understands and promises to be careful.
Chan-woo and Yoo-shin come out to go to work. Gil-ja reminds her that tonight is kimchi making night and Yoo-shin adorably promises to be there. Which totally means that she WON’T.
I am proved right at work when a work problem comes up that she has to take care of.
Mi-ryeong struggles over what to do about Yeon-ah. Hwang brings juk that Soon-shin made for Mi-ryeong and Mi-ryeong finally admits Soon-shin was raised right. He is happy they are getting closer and advises her to start being a good mother to her daughter.
In-sung reports that Soon-shin’s role in the drama is getting bigger. Also, she got a movie offer. He advises that Joon-ho make his relationship with Yeon-ah clear: there is no relationship; then make his relationship with Soon-shin clear or else it will be bad for her.
Hoity toity actress points out that Soon-shin’s getting more lines and pities Yeon-ah. She points out that Yeon-ah isn’t as close to Mi-ryeong anymore. Nice, lady. That’s nice. I don’t like Yeon-ah, and I thought that was mean. Then she brings up Joon-ho dating Soon-shin and Yeon-ah goes out to avoid it. She runs into the annoying Reporter Park and they go for a chat. He asks her about being Mi-ryeong’s daughter and not being as close as before. He wants to know everything about Mi-ryeong, especially about an accident.
Next thing we know, Mi-ryeong sees Yeon-ah walking out with the reporter and they go for a chat. Why must everyone always relocate to the most random places for a chat? They seem to be in a restaurant, but isn’t Yeon-ah…filming?
Anywho, Mi-ryeong asks Yeon-ah why she’s threatening her. Yeon-ah denies it and says she should understand her if she ever thought of her as a daughter. Guh. Mi-ryeong wonders if Joon-ho would return to Yeon-ah who is in complete denial. Mi-ryeong wonders when she became so spiteful and Yeon-ah says that she’s always been that way, just like Mi-ryeong. I see gears turning in the older woman’s head. Does she finally get how horribly she acts?
She tells Yeon-ah to do what she wants because she won’t be afraid. She regrets not noticing how horrible Yeon-ah is.
YES! That’s the best thing she’s done thus far! Now she needs to take care of it before Yeon-ah does, but that was the best thing she’s done thus far. YAY!
As the cast and crew leave the restaurant, Young-hoon overhears the two gossipers talking about Soon-shin stealing Joon-ho from Yeon-ah. Young-hoon stops the gossiping and kicks them out. D’aw. You rock. Soon-shin tells him he didn’t have to do that and that she’ll take it as a penalty for her popularity. Then he mentions that he heard about her relationship with Joon-ho and promises to be there for her if Joon-ho is mean. Aw.
Boyfriendless Chan-mi teases her for smiling too much around a single person and In-sung steps in to say there are plenty of men available. He might be near her. Then he takes her face in his hands to make her look at him. Hehe. They are cute.
They all go for beer at the chicken place and Bok-man fusses over Soon-shin (while B2st’s “Shadow” plays in the background!!!! Because I’m shadow! Shadow! Shadow! We’ll miss you on Inkigayo IU! Sorry, didn’t mean to mention SBS during a KBS2 recap!) So In-sung tries to score points with Chan-mi’s dad by having him sit and calling him “abeonim” much to Chan-mi’s chagrin. He also sits Jung-ae down who asks about filming. Before they can talk long, Joon-ho calls and she goes outside to answer it. Chan-mi mutters something about her dating but stops herself, leaving Jung-ae curious.
Soon-shin teases Joon-ho and tells him he can’t join her today. Then his voice gets louder and he appears in front of her…SINGING! It’s like a musical! He sings his replies to her making her smile at his adorkableness. They beam at each other and I rewind because it’s too damn cute. He says he just popped by to see her and asks her what she ate to be so pretty. She tries to send him off and he leans in for a kiss, but he doesn’t get one.
Jung-ae comes outside and catches them. Soon-shin looks ready to pee her pants from nervousness. And then he thanks Jung-ae with a deep bow for ‘everything’, letting her work with him. Soon-shin shoves him away, mortified. Her mom totally gets it and asks if they’re dating. She seems pleased by the relationship though.
Yoo-shin is at a business meeting and drinking her liver into dysfunction in order to make up for the mistake made by her team. Chan-woo has to relay the news that she will not be coming home to make kimchi. Gil-ja has a fit and I can’t really blame her…that’s a lot of cabbage on the table…
At 3am, Yoo-shin takes a taxi home…and by home, I mean her old home. She crawls into her old bed and only stirs when Chan-woo calls. He realizes her drunken mistake and heads over to get her. Gil-ja is waiting up for them as the obsessed mother she is and gasps to see Yoo-shin passed out. She wakes up at Gil-ja’s screech and even smooches Gil-ja’s cheeks, declaring that she’s sorry and she loves her. Gil-ja would rather she go live with her family. HA!
Mi-ryeong drinks and when Hwang finds her she admits Yeon-ah threatened her. She is feeling betrayed, but also understands Yeon-ah who is so like her. Hwang worries how to tell Soon-shin. They won’t tell her, she says and doesn’t know what to do.
Mi-ryeong visits Dong-hyuk and asks if he knows about Joon-ho and Soon-shin. She says that they can’t date and wants him to do something about it. She also wants him to promise not to say anything about Chang-hoon’s accident. He realizes something is wrong and when he asks, she starts wallowing in her misery and crying. He asks her why the kids would have to break up, but she decides to leave it at that and makes a quick exit.
Only…she runs into crankypants Soo-young who assumes the worse. She thinks Mi-ryeong is shameless enough to meet him in public.
I honestly don’t think Mi-ryeong likes Dong-hyuk like he likes her. I think she just enjoys him company. However, with Soo-jung’s suspicious, I would just stop meeting him. It’s better that way.
In any case, Mi-ryeong is baffled by Soo-jung’s question and for once, she really has no idea what’s going on. She says not every relationship is “like that/romantic.” he asks Soo-jung to be more thoughtful of others. She admits not being able to be close to Soo-jung because she never felt comfortable enough to tell her how she really felt about something. She pretends to care, but only cares about herself. They accuse each other some more and Soo-jung brings up Soon-shin, which infuriates Mi-ryeong. She orders her to stop and leaves for real this time.
Dong-hyuk has witnessed the whole thing and brings his wife into his office. She throws down divorce papers after seeing the ad with Mi-ryeong spread on the table. He asks if they really have to divorce and when she doesn’t answer, he agrees to sign them. When she asks for an apology, he reminds her that she slapped him.
May I remind you both that neither of you are guilt-free in this?
Soo-jung tells Yi-jung about everything she THINKS is going on with the men in the family and their women. Yi-jung freaks out and sympathizes with her mother. When Joon-ho comes home, Yi-jung yells at him and Soo-jung leaves the room. She accuses her brother of dating Soon-shin while their father ran off because of Mi-ryeong. Joon-ho just seems weary; that is, until she tells him about the divorce. Yi-jung wonders how the men could betray them like this.
We get more annoying when the Ex decides to play superior at Jin-wook’s shop. Jin-wook steals himself and goes to serve the douche. He tries to avoid a fight, but the Ex jumps in and asks about his relationship with Hye-shin. Jin-wook evades the question and the Ex orders him to move out. He screams that Jin-wook has a violent record and wonders if Granny knows about it. Mr. Assistant listens with barely contained fury as Jin-wook politely tries to tell the Ex that none of it is his business.
Now, because I know Jin-wook, I agree with him. But from the Ex’s point of view, he has an argument. He is involved with Woo-joo and he CAN complain that a violent ex-con lives there. It IS his business. Why is the law sometimes a barrier for good? 😦
And just after I type that, the Ex mentions his daughter and it makes me sick. He uses her like a pawn. Just then Woo-joo comes in and stops the argument. Jin-wook reigns in his temper and goes to fetch their order. We find out that the Ex asked Woo-joo to meet her at the bakery specifically (douche). He immediately asks where her mom is. Wow, making your daughter play second lead. Woo-joo looks heartbroken and lies that she told her mother where she was.
But she didn’t.
The Ex pretends that their food is no good (it’s fine and Woo-joo says that it’s fine) and makes Jin-wook make new ones. Just before he can go make new ones, Hye-shin marches in and glares at the Ex. I have a feeling that Jin-wook called her to let her know where Woo-joo was. The Ex pouts that Woo-joo won’t go to hagwon today, but to an amusement park with him. This time, Woo-joo has the sense to just go with her mother. The Ex chases after them and the Assistant stops him to make him pay so the Ex THROWS the money at him.
The Assistant tells Jin-wook to leave the house or something bad will happen. I kinda agree. Poor guy.
He notices the Ex left his phone and goes to return it. Hye-shin has just rejected the Ex’s advances and so the Ex immediately decides to vent his frustration on Jin-wook by grabbing his collar. Jin-wook asks him to let go and they get caught by Jung-ae. The Ex immediately plays it off and walks Jung-ae home.
This is not good. He’s going to tell the family, isn’t he?
He begs Granny and Jung-ae for help with Hye-shin. Jung-ae gets fed up with him and calls him a coward. She calls him out on his cheating ways. He ignored them when he was cheating and now wants them back when his girlfriend dumped him. He didn’t even go to Chang-hoon’s funeral. Doesn’t the Ex feel ashamed? No, he just likes to make excuses. Even Granny turns away from him. Jung-ae tells him to go back to Hong Kong.
Then he does it. He says Hye-shin is in danger. He says Jin-wook is seducing Hye-shin and that he’s a dangerous ex-con. The Ex says he’s worried about Hye-shin because she’s blinded by him.
Now, the criminal history should come as a shock, but these women should know how devious the Ex is. I hope they figure it out fast.
An exhausted looking Yi-jung confronts Soon-shin at the station. Although Soon-shin tries to avoid it, Yi-jung won’t be stopped. She orders her to break up with Joon-ho in front of everyone in the room and won’t stop. Mi-ryeong is the cause of her parents divorce, she cries, shocking Soon-shin. How could she be so shameless? Soon-shin has no idea what Yi-jung is talking about, but Yi-jung doesn’t believe her. She promises to make Soon-shin’s life hell if she doesn’t break up with Joon-ho.
Wow, really? This is so annoying. I hate everyone scapegoating Soon-shin.
Soon-shin confronts Mi-ryeong about her relationship with Dong-hyuk. Mi-ryeong says there is nothing for her to feel guilty about. At least that’s true. Then Mi-ryeong asks if she has to date Joon-ho because a scandal could make her lose everything. She warns Soon-shin that Soo-jung hates her right now. Finally, Mi-ryeong’s advice feels heartfelt. She is truly worried for Soon-shin. Still, I think Joon-ho has the most power to stop this with a press conference or something.
When Joon-ho comes home, Yi-jung angrily confronts him and tells him she met Soon-shin and gave her a warning. Yi-jung feels it’s her job to clean up the mess and prevent the divorce…but it’s not.
On set, Joon-ho comes to talk to Soon-shin. Joon-ho apologizes for what his sister did. But Soon-shin is more concerned with the fact that he didn’t tell her about their parents. He tries to tell her that it’s nothing and that he’ll take care of it.
He should tell her about it if they’re dating. That’s what couples do. They rely on each other.
Anywho, he makes her promise again not to be shaken by others and she does. I think that means she will a few episodes down. He cheers her up and scolds Joon-ho for showing up (because of a potential scandal.)
Yeon-ah gets distracted by watching them talk and gets scolded by the director. I wonder if Soon-shin will pull a Park Shi-hoo and be a second-lead usurper!
Joon-ho has some man time with Young-hoon who basically wants to warn Joon-ho to be careful about the rumor between him and Soon-shin. He threatens to hurt Joon-ho if he hurts Soon-shin. He should’ve taken care of this sooner. Yeah, he should’ve. Then Young-hoon warns Joon-ho about the crazy, i.e. Yeon-ah. She’s devastated from losing him, Mi-ryeong and now her status since Soon-shin is the most popular in the drama. Young-hoon blames Joon-ho for part of Yeon-ah’s crazy, which…I don’t’ get.
But Joon-ho meets Crazy and asks what to do so she’ll leave Soon-shin alone. He begs her to leave Soon-shin alone. Yeon-ah only cares about whether or not he’s worried about her. She has lost everything and she could ruin Soon-shin with one word. She asks him if he knows how Soon-shin’s father died.
Cut to Reporter Park dragging Soon-shin off for an interview. He starts with pleasantries then eases into the topic of her father and how happy he’d be if he was alive. Park has a few questions for her about her father.
I’m tired of everything but the romance in this drama.
Joon-ho keeps secrets from Soon-shin. I don’t like that. But he’s so cute with her.
I actually pitied Yi-jung because she looked so distraught over her parents.
I hope Hye-shin and Jin-wook get together soon.
I…want to see Soon-shin step up and fight for herself instead of letting things happen. sh should’ve asked Joon-ho to make some kind of public statement on them dating. That’s his job. He should’ve thought of it first.
I’m tired. I said lots of stuff in the recap. Anything from you guys? Guh, even my rabid racoons are tired today…
Episodes 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44
5 responses to “Lee Soon-shin is the Best: Episode 43 Recap”
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Thank you, Rainie. I’m glad that i found another one who agrees that Junho failed to protect his present love by being so lenient with his ex-lover who didn’t have any conscience & lost her pride in the process of her battle.
Good recap…really…it is…
Hi Raine, Okay I’m a little behind you people, but here goes.
I think Young Hoon was practically saying the same thing twice to Joon-ho. He should’ve stopped Yeonn-ah way back when by just saying, leave me alone I’m not interested, retracted your statement or I will, then you will be embarressed. That’s what he meant by her crazy is partly his fault, he allows her to continue to manipulate him and the people around him. She keeps doing it because it’s working to some extent.
The way this plot is going it looks like he cares more about Yeon-ah’s reputation and feelings than Soon shin’s, and she’s not even his client.
Besides that, I could see the mother and daughters next moves a mile away, why couldn’t he? And maybe some how warn them off and tell Soon shin to be ready. Also like you said he should tell her everything that is going on because it all affects her life and her career. It just feels like now they are going to make our OST, take the misunderstandings from no communication, or outright lies, highway that leads right to that murky, downer of a swamp that’s so hard to get through. If I have to FF through Joon-ho and Soon shin, there’s nothing much left.
Thanks Raine for your hard work getting through this, your a real Kdrama hero. I’m so glad you go and watch other things, you need a break and a shot of Soju, Gun bae !. Oh yea I am usually a lurker, but I had to give you some support. Hwaiting!!!!!!!!
Thank you! I agree. He should’ve done something a long time ago. I think the character, had he not been controlled by the writers, would’ve told a LONG time ago. But the writers had this plan for getting the show to 50 episodes. The character development suffers from that. Look at Smile, you and Ojjakyo brothers and even Family’s Honor. They are GRASPING for straws by the end.
Joon-ho was proactive before so it’s strange that he is not now.
And your welcome. I’m buying myself a cake after this show….and then living in the gym for a week…
Thanks for recap.