Friday, September 30, 2011
GreenMcDonnellAfter serving as a cameraman on Adam Green's "Hatchet" and its sequel, BJ McDonnell has been tapped to direct "Hatchet 3." McDonnell will make his directorial debut with the horror pic, a co-production of ArieScope Pictures and Dark Sky Films, a subsidiary of the MPI Media Group. Green, who wrote and directed the first two films in the slasher series, will work closely with McDonnell on all aspects of production. "Hatchet 3" will pick up where the last film left off, as a young woman sought revenge on the malevolent monster that killed her family while they were fishing in Louisiana swamp country. Sequel will continue the story of villain Victor Crowley, who first made his gruesome mark in the original 2007 pic. "Hatchet II" made headlines last fall when it became the first unrated indie horror film to be exhibited by a major chain (AMC Theatres) in more than 25 years. Over the last decade, McDonnell has been the camera operator on major Hollywood films such as "Battle Los Angeles," "The Darkest Hour" and Rob Zombie's "Halloween." He's currently in Pittsburg shooting Paramount's Tom Cruise-starrer "One Shot." "I've been with the 'Hatchet' team from the very beginning and am honored and thrilled that Adam has handed me the reins on this third movie," said McDonnell. "I grew up watching horror films and like Adam Green, I'm a true genre fan at heart. I have been waiting for an opportunity like this to step up and make my directorial debut with something I love and know inside and out." "BJ was not only the camera operator on the first two 'Hatchet' movies. He was there alongside me creating every shot, working closely with me to craft each scene, moment, outrageous kill, and performance," said Green. "He is absolutely beloved by the entire Hatchet family and his experience on everything from huge studio films to smaller independent productions will ensure that he will do the franchise proud." In addition to the "Hatchet" films, ArieScope's other movies include "Frozen," "Spiral" and "Grace," while MPI/Dark Sky Films has produced and distributed genre titles such as "The House of the Devil," "Stake Land" and "The Innkeepers." Contact Jeff Sneider at email@example.com
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Thursday, September 29, 2011
Danny Torrance vs. vampires!Reading an excerpt from his latest work-in-progress at a George Mason University event, Stephen King has confirmed what has long been rumoured: he is indeed writing a sequel to his early classic The Shining.Obviously this isn't strictly movie news, but given the fame and infamy of Stanley Kubrick's 1980 Shining adaptation (King has never been a fan, and oversaw his own TV miniseries in the 1990s), it's as near as dammit. Watch how quickly the new novel gets picked up for the screen.The original involved young Danny Torrance and his imaginary friend Tony ("the little boy that lives in my mouth") spending a hellish winter at the Overlook Hotel with his writer father Jack, who's gradually losing his mind: the great question is whether the hotel is haunting Jack or Jack is haunting the hotel. Either way, it doesn't end well.Danny does survive the ordeal though, and its his story that the new book, Dr Sleep, picks up in adulthood. Few details have been revealed so far, but the excerpt that King read at the George Mason event featured a roving troop of vampires called The Tribe.Danny vs. vampires? It seems initially like an idea from way out of leftfield, but we'd suggest that what's likely is that this is another post-Dark Tower example of King tying his universe together: not a Shining sequel per se, but simply a new novel that happens to include Danny Torrance. Some time ago there were rumours of King writing a 'Salem's Lot follow-up involving a drifting Father Callahan (another recurring character) with vampires in tow. Could Dr Sleep be that same book?Much to be learned then, but it's OK, King writes fast. A new e-book, Mile 81, is just out, and his next proper novel, 11/22/63, is published in November.
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Sylvia Robinson, the R&B and disco artist who grew to become "mom of stylish-hop" together with her label Sugar Hill Records, died Sept. 29 inside a Secaucus, N.J., hospital. She was 75 and apparently experienced from congestive heart failure. Born Sylvia Vanderpool in NY, she recorded her first single for Savoy Records in 1951. She was courted by hustler Joe Robinson, who grew to become her manager within the mid-'50s, and also the pair married in 1964. At Robinson's suggestion, Sylvia started recording together with her guitar teacher, Mickey Baker. In 1956, Mickey & Sylvia's reworking of Bo Diddley's "Love Is Strange" grew to become a No. 1 R&B hit with no. 11 pop success. The duo separated ways when Baker gone to live in France in early '60s. Through the years, Sylvia authored, arranged and created hits for Joe Johnson, Ove & Tina Turner, the Moments and Shirley & Company. She also recorded hits of her very own: "Pillow Talk," a lubricious number she'd unsuccessfully demoed for Al Eco-friendly, hopped to No. 1 around the R&B chart (with no. 3 around the pop list) in 1973. Within the next decade, she'd cut 11 more R&B chart singles. Through the late '70s, the Robinsons' label All Platinum -- which for some time controlled the Chess Records catalog -- is at serious financial trouble. In 1979 the pair began another imprint, Sugar Hill Records, with money lent from Roulette Records' well known owner Morris Levy. Sylvia required principal charge of its talent. Sugar Hill grew to become a crucible of early rap. Its breakout hit was the Sugarhill Gang's "Rapper's Delight" (1979), adopted in quick succession by extremely popular 12-inch singles by Grandmaster Expensive & the Furious Five, Melle Mel, the Treacherous Three, Funky Four Plus One and also the West Street Mob (whose people includes the Robinsons' boy, Joey). Sugar Hill's reign in rap ended following a distribution cope with MCA Records -- brokered by reputed mobster Salvatore Pisello -- flattened within the late 1980s. Rhino Records bought the business's catalog in 1995. Joe Robinson died in 2000. Robinson is made it by three sons, several grandchildren and great-grandchildren. Contact the range newsroom at firstname.lastname@example.org
Wednesday, September 28, 2011
Nancy Sophistication It absolutely was the talk in the Dwts ballroom Tuesday evening, even though nobody was sure just what had happened on Monday, when talk show host Nancy Sophistication blushed after her quick step with professional Tristan McManus and, standing with host Tom Bergeron as you're watching idol idol judges, quickly re-modified her low-cut bronze gown over her right breast.It happened so quick the studio audience didn't react whatsoever. And Class demands that nothing happened, and zilch important was revealed. We put some burning queries to executive producer Conrad Eco-friendly, that's been careful about possible wardrobe fiascos since Season 1, when Kelly Monaco's dress strap broke within a dance and he or she required to finish by supporting her bodice.TV Guide Magazine: To start with, was there a wardrobe malfunction? Conrad Eco-friendly: I'm not entirely sure what anybody saw. Just like a precaution we cut away, because you can't tell. The truth is a shade of something, but they're unsure how it is. I realize that Nancy was wearing that which you call "flower flower petals," which are essentially nipple covers. In addition to, the lining of her dress was brown. Therefore we are unsure exactly what it was, nevertheless it was an instinct factor, and then we cut away.TV Guide Magazine: Exist more wardrobe safeguards in place? Eco-friendly: A lot more doubt, and also, since Jesse Jackson [who infamously and unintentionally showed her breast within the 2004 Super Bowl after Justin Timberlake cheated her bustier jacket], [the ballroom ballroom dancers] placed on the flower flower petals, which we hold the five second tape delay. We're always very about it.Tv Guide Magazine: Perhaps you have employ the tape delay on Monday evening? Eco-friendly: For your Colonial, yes, we did. This is why we stop to watching people, because i was unsure. However, if we have got for the West coast, we fixed it, we made certain the shots were fine. I'm not entirely sure what anybody saw. However I realize that they was wearing the flower flower petals for protection. So our systems labored.Subscribe to TV Guide Magazine today!
Back Stage is proud to announce that individuals have opened up up registration for your 19th annual Actorfest in NY and La. Actorfest NY will occur on Sunday, October 23, 2011 within the Metropolitan Pavilion in NY City. Actorfest LA will occur on Saturday, November 5, 2011 within the California Market Center in downtown La.Actorfest can be a yearly tradeshow for artists just like you, offering a number of options to kickstart your work. The undertaking arts event includes greater than 24 informative Courses, top-notch Auditions, Meet & Drops wealthy in-level Casting Company company directors, a Networking Caf, plus an enormous Exhibit Hall, where you'll talk to acting teachers, coaches, schools, headshot photography fanatics, plus much more providers who will help you achieve your work. Follow the link to link up for Actorfest NY. Follow the link to link up for Actorfest LA. Enjoy every day at Actorfest!
Monday, September 26, 2011
FIRST Released: September 26, 2011 7:46 PM EDT La, Calif. -- Charlie Sheens legal fight together with his former 2 . 5 Males bosses has ended. Warner Bros. Television launched an argument Monday stating that Sheens suit from the studio and series executive producer Chuck Lorre have been settled towards the parties satisfaction. Although Sheen has lobbed verbal attacks against both Warner Bros. and Lorre, the actor has struck a far more conciliatory tone recently. In the Emmy Honours, he openly wanted former cast mates well on the year, featuring Ashton Kutcher playing a brand new character that replaces Sheens role as philandering Charlie Harper. Younger crowd will not be speaking concerning the settlement Warner Bros. statement states the terms are private. Calls to lawyers for Sheen and Lorre weren't immediately came back. Copyright 2011 by Connected Press. All privileges reserved.These components might not be released, broadcast, rewritten or redistributed.
Sunday, September 25, 2011
NBC is back in the JJ Abrams business.our editor recommendsCBS Orders J.J. Abrams' 'Person of Interest,' Comedy 'Two Broke Girls' J.J. Abrams: Working With Steven Spielberg on 'Super 8' Was 'Crazy Good' The network is developing Revolution, an epic adventure thriller from the uber-producer and Supernatural creator Eric Kripke with details being kept under wraps.If the project, which scored a pilot production commitment, ultimatelygets ordered, it would join other Abrams newcomers Person of Interest and Alcatraz, at CBS and Fox, respectively. Despite Abrams' enviable resume, which includes ABC's long-running Lost, the prolific producer's2010 effort Undercovers failed to lure viewers to NBC. The CIA series, starring Gugu Mbatha-Raw and Boris Kodjoe, was only on for a few short months before getting the axe. The drama thriller, from Warner Bros. TV and Abram's Bad Robot shingle, counts Abrams, Kripkeand Bryan Burk (Fringe, Lost) as executive producers. Kripke (Deadman) will also pen the pilot. Related Topics J.J. Abrams NBC TV Development
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Saturday, September 24, 2011
With the deadline for submitting films in the Foreign-Language Oscar race looming, the competition is taking shape as 44films have been entered by Deadline’s count, and as usual, there are already a couple ofcontroversies. Last year, 65 films were entered, so expect 20 or so more to be announced. After the September 30 cutoff, the Academy’s Foreign Language Executive Committee, led by Oscar-winningproducer Mark Johnson (Rain Man) will vet the list and approve the final rundown before the 3-month screening process begins to pick 9 finalists and the eventual 5 nominees. Already, Johnson has indicated to methere is some controversy, particularly with Albania, which has entered The Forgiveness of Blood, a hit at Telluride and Toronto but which was directed by LA-born and -bred Joshua Marston. Apparently, other Albanian filmmakers are balking at the nationality of the movie’s helmer. It will be up to the committee to determine whether the film has enough Albanian elements to qualify despite being in the unique situation of having an American director (and co-writer). The very international-inclined Marston had the official 2004 Colombian entry, Maria Full of Grace, before it was disqualified for not being Colombian enough. It did eventually win a Best Actress nod for Catalina Sandino Moreno. The Russians are also squabbling over their official entry, Nikita Mikhalkov’s Burnt By the Sun 2: Citadel, the sequel to his 1995 Oscar-winning foreign-language film. Even though the full Russian Oscar selection committee voted for it, Mikhalkov has been “burnt” by committee head Vladimir Menshov, who is against putting the critical and box office flop forward to the American Academy (despite a $45 million budget, it grossed only $1.5 million). He is awaiting Mikhalkov’s formal response to his request that he pull the film. He has until October 1, according to the Russian rule book. Among the countries still waiting to be heard from are frequent nominees Italy, Spain and Turkey. I fully expect those countries to select films that were all in the official competition in Cannes this year: Italy’s Habemus Papam from Nanni Moretti; Turkey’s Cannes Grand Prize winner Once Upon a Time in Anatolia from director Nuri Bilge Ceylan; and Spain’sThe Skin I Live In, the first “horror” effort from two-time Oscar winner Pedro Almodovar. The latter has had a spotty track record with the Spanish Academy that makes the selections, but therift is said to have eased. If they are in their right mind, they will certainlyselect Skin, which I think is one of Almodovar’s best and most entertaining films. I am a bit surprised to see Belgium select Bullhead over Cannes prizewinner The Kid With a Bike from the highly respectedDardenne Brothers and also overCannes’ Directors’ Fortnight grand prize winner, the brilliant coming-of-age storyLes Geants. France usually picks something out of the main competition in Cannes, especially because festival director Thierry Fremaux is also on France’s official Oscar selection committee, but this year the country chose the well-received filmthat opened thesmaller Critics Week competition, Declaration of War, an emotional story of young parents trying to deal with their daughter’s cancer diagnosis. Perhaps after seeing the Academy ignore last year’s home-grownCannes Grand Prize winner Of Gods and Men they decided to go in a different direction, ignoring potential candidatePolisse, which won the Jury Prize in this year’s main competition at the fest. They also passed over another French-bred competition entry, the enormously popular The Artist (which added to its laurels by winning the Audience Award today at the San Sebastian Film Festival). The black-and-white silent film set and shot in Hollywood is probably not perceived as French enough, despite the Gallic credentials of director Michel Hazanavicius and star Jean Dujardin (Best Actor in Cannes). A Weinstein Company source told me they aren’t upset as they are aiming for a Best Picture slot and don’t necessarily want the film perceived as a foreign-language picture. Highlights among other official selections so far: China’s choice of two-time nominee Zhang Yimou’s (Ju Dou, Raise theRed Lantern)period epicThe Flowers of War (formerly known during production as Heroes of Nanking), starring Oscar winner Christian Bale, isChina’s most expensive film ever and is reportedly 40% English-language and 60% Mandarin, which lets it squeak by under Academy rules. Twenty minutes of footage fromthe film, which opens its regular runDecember 16 in China, was shown to buyers and press in Toronto and was well-received. Executive producer and former Universal Pictures honcho David Linde told me in Toronto that should the film get a domestic distribution deal in time, it is entirely possible it will also open in the U.S. in time to qualify for all categories, presumably including a Best Actor bid for Bale. He was non-committal on that, so we will have to wait and see if the foreign-language category will be it for the film. If it gets nominated and the film is held from American release until next year, that would make it ineligible for other categories in 2012. Germany selected Wim Wenders’ 3D modern dance film, Pina, giving it the distinction of being the rare entry that Academy committee members will have to don 3D glasses to view. Depending to whom you spoke on the gondolas in Telluride, the movie was either “brilliant” or “excruciating”. All seemed to agree that the use of 3D was perfection in this case.Hungary’s choice of the controversial Bela Tarr’s The Turin Horse is bound to inspire walkouts at its official Academy screening. It reportedly has only 30 takes in the entire 146-minute running time and drew lots of negative talk in Telluride this year. Israel hopes it finally brings home a trophy with Cannes winner (Best Screenplay) Footnote, which was picked up by Sony Classics. But that company might have an even better chance for extending its 2-year winning streak in the category with the rapturously received (in Telluride and Toronto) Iranian entry, director Asghar Farhadi’sA Separation, which despite showing the raw side of its justice system Iran had the balls to submit. I would put it as the front-runner in this contest, the one to beat, particularly after comments I heard from Academy members who caught the same screening I did in Telluride. Yet another Sony Classics title is contending, Agnieszka Holland’s grim but riveting Holocaust drama, In Darkness, which Poland anointed as one of the first titles selected for the Oscar competition. Lebanon’s Where Do We Go Now? and Mexico’s Miss Bala are 2 other buzzed-about titles selected by their homelandsto compete, with the former winning the Toronto Film Festival audience award that has previously gone to titles like The King’s Speech and Slumdog Millionaire. For my money, 2 films I think could play extremely well with the mainstream foreign-language committee are Norway’s engagingmarital comedy/drama, Happy Happy (now there’s atitle committee members drowning in the darkness of some of these entries might run to see), andFinland’sirresistible Cannes competition entryLe Havre, essentially a French film from Finland’s greatAki Kaurismaki. No movie gave me greater pleasure in Cannes this year, and it is one to watch in this race. It opens stateside on October 21. More to come as the contest unfolds. The Academy will not release the official list until all entries are in and vetted. Here is what has been entered so far: Albania’s The Forgiveness of Blood; Austria’s Breathing; Belgium’s Bullhead; Bosnia’sBelvedere; Brazil’s Elite Squad 2; Bulgaria’s Tilt; Canada’sMonsieur Lazhar; Chile’s Violeta; China’s The Flowers of War; Colombia’sThe Colors of the Mountain; Czech Republic’s Alois Nebel; Denmark’s Superclasico; Finland’s Le Havre; France’s Declaration of War; Germany’s Pina; Greece’s Attenberg; Hong Kong’s A Simple Life; Hungary’s The Turin Horse; Iceland’s Volcano; India’s Adaminte Makan Abu; Iran’s A Separation; Ireland’s As If I Am Not There; Israel’s Footnote; Japan’s Postcard; Lebanon’sWhere Do We Go Now?; Lithuania’sBack in Your Arms; Mexico’s Miss Bala; Morocco’sOmar Killed Me; The Netherlands’Sonny Boy; Norway’s Happy Happy; Peru’s October; The Philippines’The Woman in the Septic Tank; Poland’s In Darkness; Portugal’sJose and Pilar; Romania’s Morgen; Russia’sBurnt by the Sun 2: Citadel; Serbia’sMontevideo, God Bless You; Slovakia’s Gypsy; South Africa’s Beauty; South Korea’sThe Front Line; Sweden’s Beyond; Taiwan’s Warriors of the Rainbow; Venezuela’sThe Rumble of the Stones; Vietnam’s Thang Long Aspiration.
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Thursday, September 22, 2011
HowardKen Howard has won a second two-year term as president of the Screen Actors Guild after spending the past two years pushing for a merger beteween SAG and the American Federation of Television & Radio Artists.Howard defeated a trio of relative unknowns for the presidency -- David Hillberg, Asmar Muhammad and Sharon Rubin. Official results were expected to be announced by Thursday evening.Howard's running mate, secretrary-treasurer Amy Aquino, won re-election without opposition as the heads of the Unite for Strength faction.Howard won the 2009 election with 47% of the vote over Anne-Marie Johnson with 33% and Seymour Cassel with 18% while Aquino narrowly beat incumbent Connie Stevens. Unite for Strength candidates, who have stressed merger and pragmatism, have dominated in recent elections over the self-styled progressives of Membership First.UFS won 10 of the 11 national board seats except for the seat held Scott Bakula. The faction all won all but two of the 22 Hollywood/National Alternate seats, which were won by Valerie Harper and Esai Morales.Unite for Strength spokesman Ned Vaughn said, "If you're in tune with what members need and want, they will support your leadership - that's what happened today. The leaders who have been working hard to bring SAG and AFTRA together were overwhelmingly re-elected here in Hollywood and across the country. We're going to continue that vital work and by January, I believe we'll have a solid plan for the boards to review.The first two formal meetings between reps of the AFTRA and SAG have begun working out details of the merger plan as part of the official process of delivering a merger plan by next January.A member vote could take place by mid-year by the 120,000 members of SAG and the 70,000 members of AFTRA -- with 45,000 members belonging to both. Contact Dave McNary at email@example.com
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Monday, September 19, 2011
Variety’s Showblitz reports that youngster Liam Hemsworth, who gets his biggest break since dating Miley Cyrus in next year’s The Hunger Games, has been cast in the sprawling ensemble of The Expendables 2. Wait, you say — isn’t he, like, four or five decades too young for this film? At 21, Hemsworth is quite a bit less wrinkly than his co-stars. Let’s start guessing now who he’ll play: Sly’s son? A flashback version of Jean-Claude Van Damme? Mickey Rourke’s bicep? [Variety]
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Friday, September 16, 2011
Toronto, CANADA (September 16, 2011) NY based ATO PICTURES happily introduced today it's acquired all U . s . States rights for the ORANGES, most likely probably the most buzzed about Toronto game game titles directed by Julian Farino making his feature film debut. Hugh Laurie, Catherine Keener, Oliver Platt, Allison Janney, Alia Shawkat, Adam Brody and Leighton Meester star. David and Paige Ostroff (Laurie and Keener) and Terry and Trina Walling (Platt and Janney) are close buddies and neighbors living on Orange Drive in suburban Nj. Their comfortable existence goes awry when prodigal daughter Nina Ostroff (Meester), lately separate along with her fianc Ethan (Mike Rosen), returns home for Thanksgiving carrying out a five-year absence. Rather than creating a desire to have Toby Walling (Brody), the effective boy of her neighbors which might please each family, its her parents’ nearest friend David who captures Ninas attention. When the link between Nina and David becomes indisputable, everyones existence is thrown into upheaval, particularly Vanessa Wallings (Shawkat), Nina’s childhood nearest friend. It's not extended just before the implications in the affair start to pay attention to everyone people in unforeseen and amusing ways, leading everyone to mirror on exactly what it method to be happy and the way sometimes what seems just like a tragedy, calculates being the primary one factor we would like most likely probably the most. ATO has slated a hostile platform release beginning in 2012. Produced by Olympus Pictures Leslie Urdang and Dean Vanech and Likely Storys Anthony Bregman, THE ORANGES was put together by Ian Helfer and Jay Reiss. According to ATOs co-founders Johnathan Dorfman and Temple Fennell: We love to this film! Julian is doing a great job pointing an aspiration cast within our opinion will most likely be one of the finest crowd pleasers of 2012. Urdang and Bregman look at say, “ATO attacked THE ORANGES with immense passion, creativeness together with a readiness to commit significant assets for that release — basically, they found us with just what i had been trying to find once we introduced the film to Toronto. We are greatly searching toward coping with this strong and independent company.” Sarah Lash, ATOs Mind of Purchases talked about the sale with CAA who brokered it regarding Olympus, Likely Story and Jay Reiss.
Hitchcock never won an Oscar. (No, honorary awards do not count.) The Grammys never thought enough of the Beatles to give the band record of the year.By that yardstick, Emmy voters can hold their heads reasonably high for the way they've recognized groundbreaking television over the years."All in the Family," "Cheers" and "30 Rock" won for top comedy series in their first year of eligibility, while over on the drama side, "Mad Men," "Lost" and "Hill Street Blues" won series Emmys for their freshman season. "Saturday Night Live" took top variety honors on its first try.In fact, the majority of television's most acclaimed shows took home plenty of Emmy gold in their heyday, some, admittedly, sooner than others."Groundbreaking shows are, by their nature, such departures that often they are overlooked initially," says three-time Emmy-winning producer Paul Junger Witt ("The Golden Girls," "Brian's Song"). "But the Television Academy has always been good at playing catch-up. They inevitably recognize quality."In some cases, that recognition might be a bit muted compared to the amount of critical acclaim showered upon a series. "Seinfeld" won the Emmy for comedy series in 1993, but lost to the more traditionally minded sitcom "Frasier" over the following five years. Larry David's post-"Seinfeld" HBO series, "Curb Your Enthusiasm," has yet to win the top comedy award, losing to network shows such as "Everybody Loves Raymond," "The Office" and "30 Rock.""The Sopranos," one of the most influential dramas in modern television history for the way it ushered in a wave of complex, dark-themed shows, won top honors just twice in its six seasons, losing to "The West Wing" in its other four tries."Some people just couldn't get around the violence in that show," says screenwriter Richard Walter, a professor at UCLA's School of Theater, Film and Television. "The brutality was too much. If you can't watch a show, you can't give it any recognition."Judging from the ratings, few people watched another HBO drama, "The Wire." Because David Simon's critically acclaimed series aired on the same network as "The Sopranos" during roughly the same time period, advocates enjoy debating the merits of each. Yet "The Wire" scored just two Emmy nominations -- both for writing -- during its five-year run."That's just criminal," says Josef Adalian, West Coast editor for NY magazine's Vulture.com and a former Variety staffer. "It was a dense, dark show that probably didn't play out as well if you just watch an episode by itself via a screener. You'd like to think all Emmy voters were passionate TV fans who watched everything good, but people have lives."Historically, there's also been a certain prejudice against the fantasy genre. Emmy voters ignored critical and fan favorites such as "Buffy the Vampire Slayer" and "Battlestar Galactica," though this year's nomination of HBO's medieval fantasy series "Game of Thrones" for best drama may indicate a shift in that line of thinking."As television has become more daring, voters have, too," Witt says. "I think any self-imposed limitations have gone by the wayside. It's an exciting time for creativity."Related Links: The 25 shows that changed television Contact the Variety newsroom at firstname.lastname@example.org
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Monday, September 12, 2011
A Magidson Films presentation. Created by Mark Magidson. Directed by Ron Fricke. Written, edited by Fricke, Mark Magidson.Getting obtained popular with "Baraka," which permitted its specific New-Age crowd to globe-trot from cozy theater seats, director Ron Fricke and the team revisit very similar worldwide turf 19 years later with "Samsara," an identical kind of dialogue-free picture-postcard. The Sanskrit-language title, which means "cyclic existence," does not quite affect in addition a sizable-scale travelogue, lensed in 65mm and forecasted in 4K HD (a Toronto fest first). Attractive but basically empty fundamentally, "Samsara" should match "Baraka's" B.O. panoramas. Fricke and the producer/co-editor/co-author Mark Magidson venture to 26 nations, Fricke shooting by having an eye for beautiful sights (for example Yosemite, Angola's Epupa Falls, the Himalayas), a couple of tourist points of interest (for example Petra), several close-up stationary portraits of individuals across a variety of cultures (from the gun-carrying Anglo family to African tribal people), in addition to key religious centers from Tibet and Mecca to Jerusalem's Wailing Wall and European cathedrals. The editing plan conveys no particular meaning, because the film changes from volcanoes to Tibetan monks creating mandalas to Egyptian pharaoh items to numerous ancient pay outs as far flung as Poultry and also the U.S. Southwest to Medieval cathedrals and, voila, Versailles. That's are just some of the outlet section, and although you could achieve for connective threads as "Samsara" proceeds, any thematic designs appear obscure at best, with what a lot more carefully parallels the result of paging via a gigantic fine-arts coffee table book. Despite certain moments when Fricke's camera captures contemporary configurations laden with political meaning, like the wall dividing Israel and also the Palestinian Areas, the overwhelming sense -- as with "Baraka" -- is of the eye-popping bigscreen spectacle. This sense is urged with a enchanting score by Michael Stearns, Lisa Gerrard and Marcello p Francisci, with substantially strong additional choices from Keith Jarrett's organ album, "Hymns/Spheres" (utilized in William Friedkin's "Wizard") and cues by Steve Tibbetts. The main interest here's Fricke's technical achievement like a roving cinematographer who appears to understand no physical limits within the spaces and places he photographs, one of the most resonant being massive high-position lengthy-shots of Mecca throughout Hajj when 1000's of pilgrims generate and pray in the holy site. One of the humans shot, standouts range from the 1,000 Hands Goddess ballroom dancers from China for sheer expressiveness and startling beauty, and artist Olivier P Sagazan's wild act with clay, grime and fresh paint for grotesquerie. The 2 have little related to one another aside from their inclusion inside a general file entitled "Eye Chocolate." Seem in Dolby Surround 7.1 and 4K image (mastered from electronically oversampled 8K hi-res from the original 65mm-lensed film image) present the pic in the optimal condition, though 70mm fans might clamor for any celluloid projection.Camera (color, 65mm-to-HD), Fricke music, Michael Stearns, Lisa Gerrard, Marcello p Francisci seem (Datasat/Dolby Surround 7.1), Kaspar Hugentobler seem designers, Stearns, Miguel Rivera supervisory seem editor, Rivera re-recording mixer, Matthew Iadarola line producer, Myles Connolly connect producer, John Chandler Earle. Examined at Toronto Film Festival (Real to Reel), Sept. 11, 2011. No MPAA Rating. Running time: 102 MIN. Contact the range newsroom at email@example.com
Sunday, September 11, 2011
our editor recommendsSeptember 11 News Coverage Collected in Internet ArchiveHollywood Tales: Stan LeeRelated Subjects/11 There's little to laugh about on September 11, but this year the tenth anniversary in the terrorist attacks tomorrow happened to fall about the Sunday-when newspaper site visitors switch for his or her beloved funny pages. And this Sunday, nearly 100 cartoonists, for instance Stan Lee and individuals behind Acne, Family Circus, Marvin, Hi and Lois, and Blondie, have became a member of to dedicate their Sunday math math comic strips to think about the nearly 3,000 people who lost their lives duringthe September 11thterrorist attacks ten years ago. In the event you didn't obtain the local New You'll be able to Occasions, LA Occasions, Chicago Tribune, Dallas Morning News on Sunday, all of the digital cartoons are actually come up with on a single site for viewing, cartoonistsremember911.com. The comics can also be featured inside the Newseum in Washington, D.C., The Toonseum in Pittsburgh, The Cartoon Art Museum in San Francisco Bay Area, The Museum of Comic and Cartoon Art in New You'll be able to City as well as the Society of Illustrators in New You'll be able to City. A couple of from the 93 cartoonists spoke in regards to the significance your entire day located in their math math comic strips. "One factor many of us parents remember might be the overwhelming need to hug and safeguard our kids within the finish of the day. It returnsa type of muscle memorywhenever we remember September eleventh," mentioned Jerry Scott and Jim Borgman, cartoonists for your Acne comic strip. "Forgiveness does not increase the risk for horrible wrong disappear,Inch Agnes cartoonist Tony Cochran mentioned. "It frees us to deal with wrongs of now and prevent wrongs afterwards.Inch "Cartoonists are visual people," Marvin cartoonist Tom Remedy written prefacing his 9/11 comic. "Despite 10 years, numerous my most effective recollections of the tragic day in September will be the jarring pictures around the world Trade Center's Twin Towers progressively failing lower. To recognition all people who lost their endures 9-11, I made a decision to draw in an even more hopeful image, the one that shows the tower reconstructed...no less than inside the innocent mind of the people.Inch Related Subjects La Occasions The Wall Street Journal News Group Newspapers 9/11
Friday, September 9, 2011
Revisiting a moment in the career of U2 that many early fans may remember unfondly, From the Sky Down both makes the case for Achtung Baby as a "pivot point" that kept the group from disintegrating and allows viewers to hear some of its much-played singles with fresh ears. Though less obviously cinema-worthy than director Davis Guggenheim's recent "big issue" docs, the film arguably musters enough appeal to justify theatrical release. It certainly holds the interest of viewers who have cared much about any phase in the band's long life.our editor recommendsToronto 2011: U2's Bono in Spotlight on Opening NightShowtime Acquires U2 Documentary 'From the Sky Down'Related Topics•Toronto International Fil... PHOTOS: 13 Films to Know at the Toronto Film Festival Pegged to U2's 2011 Glastonbury performance, which celebrated the 20th anniversary of Achtung Baby, the doc follows them down memory lane to Berlin's Hansa Studios, where they intend to "rethink" the albums songs before Glastonbury while taking time out for interviews with Guggenheim. The director meets elsewhere with the record's sonic masterminds Brian Eno, Daniel Lanois and Flood, and includes a welcome talk with photographer Anton Corbijn, whose importance to the band's persona rivals that of their producers. Working quickly through their formative years (and offering brief but amusing glimpses of early live shows), Sky arrives at The Joshua Tree and its reputation-hardening impact: U2's masterpiece was accompanied by stark desert photography, a roots-searching American tour, and a self-important tour doc (Rattle and Hum) that made them look insufferably earnest and pretentious to many music lovers. Guggenheim never really probes Bono's possible messiah complex (the singer's offstage political activities aren't mentioned here at all), but he does show how "shell-shocked" the group was by both the public's perception and their own failure to perform consistently in the stadiums they were suddenly able to fill. This burst of soul-searching humanizes the group, likely making onetime fans willing to entertain the rationale for some of the sillier provocations they undertook as a result. ("Let's get a big fuckin' chainsaw and cut down the Joshua Tree," Bono said at the time, before hatching an irony-soaked new popstar persona to counter his earnest image.) The film's account of the ensuing Achtung Baby sessions is interesting enough to hold non-obsessives' attention: The one scene that initially looks unforgivably navel-gazey, featuring a long DAT playback, turns out to capture the surprise birth of the hit "One" within a meandering improv for another tune. With its limited chronological focus balanced against insights into the group's dynamics, Sky is neither a comprehensive portrait nor one of those tossed-off featurettes that would be at home only as the filler for a commemorative Achtung Baby boxed set. But some of Guggenheim's efforts to make it more movie-ish -- like his use of now-obligatory animated sequences, which really don't jibe with the band's visual style -- do little to enhance the material, finally giving the impression of a filmmaker who can tell this story competently but isn't quite up to making a lasting film about one of rock history's most successful bands. Venue: Toronto International Film Festival Production Company: 2011 Documentary Partners Director: Davis Guggenheim Producers: Ted Skillman, Belisa Balaban, Davis Guggenheim, Brian Celler Executive producer: Paul McGuinness Director of photography: Erich Roland Music: Michael Brook Editors: Jay Cassidy, Geraud Brisson Sales: Mercury Records/Universal Music Group/CAA No rating, 85 minutes Toronto International Film Festival International Davis Guggenheim U2 Larry Mullen Jr. Bono The Edge
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