Over the last few years, as some of you know, I finally became a K-Drama fan. Part of the reason is that my Korean is now good enough to follow the dialogue, although I still need subtitles mostly, and I have been staying in Korea for half the year for the last few years. And K Dramas are quite good from both a writing and acting perspective–some of the best dramas being produced in the world right now. That was not always the case. K-dramas were not that good until the early 90s when they started taking off.
One of the best things they did was sign an agreement with Netflix and later Disney to provide K Dramas to both streaming services, and in return, allowing them access to the Korean public. Unfortunately, many of K Dramas shown on Netflix in Korea do not have subtitles, but those shown on foreign feeds all have subtitles; those that are joint productions with Netflix all have subtitles. Given how accurate AI is becoming, it should be pretty cheap to produce subtitles for all the K Dramas shown on TV and on Netflix. I wish someone would do that.
Here are some of my favorite k K-dramas.
K dramas come in two forms–movies and series. The series is reminiscent of Mexican telenovelas – usually 16 episodes, occasionally 20, and occasionally fewer. A few have two seasons. Most run for about a month. Many are available now on Netflix, Disney, and Hulu with English subtitles. A few were quite controversial.
K Romcoms among the best in the world
For those new to the genre, I would pick a rom-com as the Koreans are masters of the rom-com genre. Most are slow-burning romcoms with the romance gradually building; often, it is the hate-to-love story line. Often featuring people of different social classes falling in love and somehow making it work. I have included at the end a separate list of romcoms with the ones I’ve seen bolded and an * marking my favorite K romcoms.
Dark Comedies and Dramas
Some of the dramas are biting black comedies, like Parasite.
I would recommend 12 12 and Last Man Standing as the top political thrillers, many because they take place in 1979-1981 when I was in the Peace Corps in my first exposure to Korean culture.
Quite a few K dramas are about what I call “Rich people behaving badly”, and the revenge of the lower classes. “ Mine “ is a good example. A few have LGBTQ characters “Mine” “Itaewon”, and “Love in the Big City” come to mind. And a lot are about revenge – see the “Glory”. There are a number of Sci-fi and epic fantasies such as Arkndal Chronicles as well to choose from.
And of course, there is Squid Game. I would skip the international version which was a big flop, season two just finished and the series concluding season is coming up later this year.
“Parasite” of course won the 2020 Oscar. And “Minuri” won best-supporting actress 2023.
My top recommendations include
Master List
Bold I have seen
📺 Part One: K-Dramas A–M (Alphabetized by English Title)
English Title
Korean Title (Romanized)
Notes
12.12: The Day
12.12: 더 데이 (Deo Dei)
Political drama
20th Century Girl
20세기 소녀 (20segi Sonyeo)
Coming-of-age
A Tale Of Two Sisters
장화, 홍련 (Janghwa, Hongryeon)
Horror
A Typical Family
평범한 가족 (Pyeongbeomhan Gajok)
Superpowers
Again My Life
어게인 마이 라이프 (Eogein Mai Laipeu)
Rom-com
Alchemy Of Souls
환혼 (Hwanhon)
Epic fantasy
Alive
살아있다 (#Saraitda)
Horror
All Of Us Are Dead
지금 우리 학교는
Zombie drama
All The Love You Wish For
모든 사랑을 원해 (Modeun Sarangeul Wonhae)
Rom-com
Arkndal Chronicles
아스달 연대기 (Aseudal Yeondaegi)
Fantasy
Autumn In My Heart
가을동화
Rom-com
Awaken
낮과 밤
Thriller
Bad and Crazy
배드 앤 크레이지
Action
Badlands Hunters
황야의 사냥꾼 (Hwangyaui Sanyangkkun)
Post-apocalyptic
Beef
—
Revenge drama
Because This Is My First Life
이번 생은 처음이라 (Ibeon Saengeun Cheoeumira)
Rom-com
Believer
독전 (Dokjeon)
Crime drama
Bequeathed
선산 (Seonsan)
Thriller
Beyond Evil
괴물 (Goemul)
Thriller
Beyond the Bar
비욘드 더 바
2021–2022
Big Mouth
빅마우스 (Bikmauseu)
Thriller
Black Knight
택배기사 (Taekbaegisa)
Sci-fi
Boys Over Flowers
꽃보다 남자 (Kkotboda Namja)
Rom-com
Broadcast Diva
무인도의 디바 (Muin-Do-Ui Diva)
Rom-com
Business Proposal
사내 맞선 (Sanae Matseon)
Rom-com
Bulgasal: Immortal Souls
불가살 (Bulgasal)
Horror
Can This Love Be Translated?
이 사랑 통역 되나요?
Rom-com
Cash Hero
캐쉬 히어로 (Kaeswi Hieoro)
Superhero
Castaway Diva
무인도의 디바 (Muin-Do-Ui Diva)
Rom-com
Check-In Hanyang
체크인 한양 (Chekeuin Hanyang)
Political rom-com
Chief Of Staff
보좌관 (Bojagwan)
Political
Coffee Prince
커피프린스 1호점 (Keopipeurinseu 1 Hojom)
Rom-com
Colony
—
Yeon Sang-ho project
Comedy Royal
로얄로더 (Loyal Lodeo)
Comedy
Crazy Love
크레이지 러브 (Keureiji Reobeu)
Rom-com
Crash Course In Romance
일타 스캔들 (Ilta Seukaendeul)
Rom-com
Crash Landing On You
사랑의 불시착 (Sarangui Bulsichak)
Rom-com
Culinary Class War
요리 클래스 전쟁 (Yori Keullaseu Jeonjaeng)
Food competition
Dali And The Cocky Prince
달리와 감자탕 (Dalliwa Gamjatang)
Rom-com
Designated Survivor: 60 Days
60일, 지정생존자 (60il, Jijeongsaengjonja)
Political
Destined With You
이 연애는 불가항력 (I Yeonaeneun Bulgahangryeok)
Rom-com
Doctor Cha
닥터 차정숙 (Dakteo Cha Jeongsuk)
Hospital drama
Doctor John
의사요한 (Uisayohan)
Rom-com
Doctor Prisoner
닥터 프리즈너 (Dakteo Peurijeuneo)
Thriller
Doctor Romantic
낭만닥터 김사부 (Nangman Dakteo Kim Sabu)
Hospital drama
Doctor Slump
닥터 슬럼프 (Dakteo Seulleompeu)
Rom-com
Don’t Buy The Seller
타겟 (Taget)
Thriller
D.P. (Deserter Pursuit)
애마 (Aema).
디피 (Dipi)
Military
Eve
이브 (Ibeu)
Thriller
Extracurricular
인간수업 (Ingansueop)
Crime drama
Faith
신의
Historical
Fated To Love You
운명처럼 널 사랑해 (Unmyeongcheoreom Neol Saranghae)
Rom-com
Fight For My Way
쌈, 마이웨이 (Ssam, Maiwei)
Rom-com
Fiery Priest
열혈사제 (Yeolhyeolsaje)
Crime
Genie, Make A Wish
다 이루어질지니
Fantasy
Glitch
글리치 (Geullichi)
Sci-fi
Go Back Couple
고백부부
Rom-com
Good Bye Mr. Black
굿바이 미스터 블랙
Political
Good and the Bastard
좋거나 나쁜 동재 (Jotgeona Nappeun Dongjae)
Thriller
Graceful Family
우아한 가 (Ua Han Ga)
Drama
Gu Family Book
구가의 서 (Guga-Ui Seo)
Historical
Gunche
군체
Zombie
Gyesang Creature (Part 1)
계상 크리처 (파트 1)
Monster drama
Gyesang Creature (Part 2)
계상 크리처 (파트 2)
Monster drama
Gyesirok
계시록
Revelations
Happiness
해피니스
Rom-com
Healer
힐러 (Hilleo)
Action
Hellbound (Part 1)
지옥 (Jiok)
Horror
Hellbound (Part 2)
지옥 (Jiok)
Horror
Additional list Period piece about medical doctors
🎬 Similar K-Dramas with Korean Titles
English Title
Korean Title
Genre/Theme
Live Up to Your Name
명불허전
Joseon doctor time-travels to Seoul
Dr. Romantic
낭만닥터 김사부
Medical drama with mentorship
Hospital Playlist
슬기로운 의사생활
Slice-of-life medical friendship
Ghost Doctor
고스트 닥터
Supernatural medical drama
Rookie Historian Goo Hae-ryung
신입사관 구해령
Joseon-era feminist historian
Kingdom
킹덤
Joseon zombie thriller
Royal Secret Agent
암행어사
Joseon undercover investigations
Outlander (Western)
아웃랜더
Time-traveling nurse in Scotland
Penny Dreadful (Western)
페니 드레드풀
Gothic horror with psychological depth
Our Flag Means Death (Western)
아워 플래그 민즈 데스
Quirky period comedy
🎬
🧠 Modern K-Dramas About Mental Health & Healing
English Title
Korean Title
Mental Health Theme(s)
It’s Okay to Not Be Okay
사이코지만 괜찮아
Autism, PTSD, personality disorders
It’s Okay, That’s Love
괜찮아, 사랑이야
Schizophrenia, anxiety, depression
Kill Me, Heal Me
킬미, 힐미
Dissociative Identity Disorder (DID)
Good Doctor
굿 닥터
Autism, savant syndrome
Extraordinary Attorney Woo
이상한 변호사 우영우
Autism spectrum disorder
Flower of Evil
악의 꽃
Antisocial personality disorder
Dr. Frost
닥터 프로스트
Psychological profiling, mental illness cases
Soul Mechanic
영혼수선공
Psychiatric therapy, emotional healing
Fix You
영혼수선공
Psychiatrist helping patients heal
Be Melodramatic
멜로가 체질
PTSD, grief, emotional trauma
Chocolate
초콜릿
PTSD, emotional repression
Come and Hug Me
이리와 안아줘
Panic disorder, trauma
Rain or Shine
그냥 사랑하는 사이
Grief, survivor’s guilt
Mental Coach Jegal
멘탈코치 제갈길
Sports psychology, trauma recovery
My Liberation Notes
나의 해방일지
Existential depression, emotional burnout
Her Private Life
그녀의 사생활
PTSD, emotional repression
Find Me in Your Memory
그 남자의 기억법
Hyperthymesia, PTSD
Awaken
낮과 밤
Psychological thriller, trauma
Alphabetized K-Movie List
English Title
Korean Title (Romanized)
Notes
After My Death
죄 많은 소녀 (Joe Maneun Sonyeo)
Drama
Along With The Gods
신과함께 (Singwa Hamkke)
Fantasy drama
Confidential Assignment
공조 (Gongjo)
Political thriller
Confidential Assignment 2: International
공조2: 인터내셔날 (Gongjo 2: Inteonaesyeonal)
Crime thriller
Decision to Leave
헤어질 결심 (Heeojil Gyeolsim)
Thriller
Forgotten
기억의 밤 (Gieokui Bam)
Mystery thriller
Hostage
인질 (Injil)
Crime thriller
My Place
나의집 (Naui Jip)
Rom-com
Mercy For None
광장 (Gwangjang)
Q2 2025 release
On The Line
보이스 (Boiseu)
Thriller
Ordinary People
보통사람 (Botongsaram)
Drama
Parallel Life
평행 이론 (Pyeonghaeng Ireon)
Sci-fi
Project Silence
프로젝트 사일런스 (Peurojekteu Sailleonseu)
Political horror
Queen of Mystery
추리의 여왕 (Churuiui Yeowang)
Crime-solving duo
Sandglass
모래시계 (Moraesigye)
Rom-com
Single In Seoul
싱글 인 서울 (Singgeul In Seoul)
Rom-com
Somebody
썸바디 (Sseombadi)
Crime
Space Sweepers
승리호 (Seungniho)
Sci-fi
The Big Swindle
범죄의 재구성 (Beomjoeui Jaeguseong)
Crime
The Bros
부라더 (Beuradeo)
Comedy
The Devil’s Plan
데블스 플랜 (Debeulseu Peullaen)
Reality TV
The Dude In Me
내안의 그놈 (Naeane Geunom)
Comedy
The Good, the Bad, the Weird
좋은 놈, 나쁜 놈, 이상한 놈 (Joeun Nom, Nappeun Nom, Isanghan Nom)
Western-style action
The Negotiator
협상 (Hyeopsang)
Thriller (Thailand/Korea)
The Swindlers
꾼 (Kkun)
Crime
The Spy Gone North
공작 (Gongjak)
Political thriller
The Worst Of Evil
최악의 악 (Choeagui Ak)
Crime drama
the Price of Confession Hangul: 자백의 대가 Romanized: Jabaeg-ui Daega
Secret Life of Mr. Kim· The Secret Life of Mr. Kim → 김씨의 은밀한 사생활
Absolutely, Jake. You’re diving into a rich, provocative slice of Korean cinematic history reframed through a modern lens. The drama you’re referring to is titled Aema (애마) in Korean, and it premiered on Netflix on August 22, 2025. It’s a six-episode historical comedy-drama that dramatizes the making of the 1982 erotic film Madame Aema, which became a cultural lightning rod in South Korea.
🎬 Overall Synopsis
Set in the vibrant, male-dominated world of 1980s Chungmuro—the heart of Korea’s film industry—Aema follows two women caught in the storm of ambition, exploitation, and rebellion. Jung Hee-ran, a seasoned actress with a fiery temper, is initially cast in the lead role of Madame Aema but is sidelined when she refuses to bare her body on screen. Her replacement, Shin Joo-ae, a nightclub dancer with dreams of stardom, steps into the role, sparking tension and unexpected solidarity. As the film’s production unfolds, the drama exposes the underbelly of the industry: coercive contracts, sexual exploitation, and the struggle for artistic integrity.
📺 Episode Guide
While full episode breakdowns are still emerging, here’s a thematic arc across the six episodes:
🎭 Cast & Characters
Main Cast:
Lee Hanee as Jung Hee-ran – A top actress resisting objectification
Bang Hyo-rin as Shin Joo-ae – A bold newcomer with raw talent
Jin Seon-kyu as Gu Jung-ho – Ruthless CEO of Shinsung Films
Cho Hyun-chul as Kwak In-woo – Idealistic rookie director
Supporting Cast Highlights:
Jang Nam-su as Park Yeong-bae – Hee-ran’s loyal manager
Lee Hong-nae as Yang Seok-won – Investigative reporter
Lee So-e as Hwang Mi-na – Jung-ho’s tragic girlfriend
Park Hae-joon as Lee Jae-geon – Tabloid journalist
Kim Jong-soo as Kwon Do-il – Director who gives Hee-ran a platform
🗣️ Notable Quotes
Here are a few standout lines that capture the emotional and thematic core:
“I didn’t come here to be touched. I came here to be seen.” — Shin Joo-ae
“Aema isn’t just a film. It’s a mirror. And you’re all afraid of what you’ll see.” — Kwak In-woo
📣 Reputation & Cultural Impact
Aema is both a tribute and a critique. It revisits the scandalous legacy of the original Madame Aema—the longest-running erotic film series in Korean history—and reframes it through a feminist, revisionist lens. The original film was born from the 1980s “3S Policy” (Screen, Sex, Sports), a government strategy to distract from political unrest. The Netflix drama doesn’t shy away from this context, portraying the era’s contradictions: censorship loosening just enough to allow erotic cinema, while actresses were commodified and silenced.
Critics have praised Aema for its bold storytelling and layered performances, especially Lee Hanee’s portrayal of Hee-ran. It’s been described as “a reckoning with Korea’s cinematic past” and “a drama that dares to name the cost of survival.”
Would you like help shaping your review’s tone—archival, mythic, personal, or critical? I can help you weave in historical footnotes, character arcs, or even a blues riff if you want to echo your Cosmos Foundation style.
These romantic K-dramas are for the fans of intense, sweeping romances that can span from heart-fluttering to heart-wrenching in one episode. (Think Bridgerton, but even more swoon-worthy.) If you want to spend 16-20 hours invested in a serious slow burn, look here.
‘Business Proposal’ (2022)
((Image credit: SBS))
This 2022 rom-com drama has become the year’s biggest hit so far thanks to its hilarious romances (and a super-popular kissing clip). Shin Ha-ri (I.O.I. and The Uncanny Counter‘s Kim Se-jeong) is a food researcher at a company that just welcomed a new president, Kang Tae-moo (KPop Demon Hunters‘s Ahn Hyo-seop). When her wealthy BFF (played by Seol In-ah) asks her to go on a blind date for her and ruin it, the date turns out to be Tae-moo. The morning after the disastrous date, Ha-ri receives a call—Tae-moo wants to marry her!?! Their hilarious courtship, as well as the second lead romance, will definitely steal your heart.
This classic K-drama follows Choi Han-gyul (Squid Game‘s Gong Yoo), the irresponsible heir to a conglomerate with a popular chain of coffee shops. One day he meets Ko Eun-chan (Yoon Eun-hye), a tomboy who’s often mistaken for a man and has been the breadwinner of her family since she was 16. Not knowing Eun-chan is a girl, Han-gyul hires her to be his gay lover to get out of the blind dates his grandmother sets up. Han-gyul also takes over a derelict coffee shop, renamed Coffee Prince, to prove to his grandmother and ex-girlfriend that he is capable. As he’s only hiring good-looking male employees, Eun-chan decides to keep up her gender charade to get a job at his cafe.
A South Korean heiress, Yoon Se-ri, gets caught in a storm while paragliding and finds herself blown off course into North Korea. Se-ri then runs into Ri Jeong-hyeok, Captain of the North Korean Special Forces and a member of the North Korean elite family. Captain Ri eventually hatches a plan to get Se-ri back to South Korea with the help of his squad, but not before they all tackle the obstacles that come their way—and then some. This drama mixes romance with comedy and ultimately tells the tale of two star-crossed lovers. It’s currently the 2nd highest rated tvN drama and the fifth-highest Korean drama in cable television history. (Also, stars Son Ye-jin and Hyun Bin have since gotten married and welcomed a baby!)
This country-boy meets city-girl romance starts when Seoul dentist Yoon Hye-jin (Shin Min-ah) loses her shoe during a visit to the seaside village of Gonjin. It’s found by Hong Doo-shik (Kim Seon-ho), a jack-of-all-trades who does odd jobs around town. Hye-jin ends up moving to Gonjin, where Doo-shik helps her adapt to the new environment, and the couple slowly (and sweetly) grows feelings for each other.
BL (a.k.a. “Boys Love”) dramas have grown in popularity over the years, and this groundbreaking novel adaptation is a great intro to the genre. Based on Sang Young Park’s novel of the same name (and not to be confused with the 2024 film starring Kim Go-eun and Noh Sang-hyun), the eight-episode K-drama follows Go Young (Nam Yoon-su), a gay Korean man living with his straight best friend Mi Ae (Lee Soo-kyung), as he searches for love in the face of parental and societal expectations.
Lovely Runner is a popular romance-fantasy drama mixes time travel with every K-pop fangirl’s wildest dreams. In 2023, Im Sol (Kim Hye-yoon), is a 34-year-old who uses a wheelchair and a dedicated fan of K-pop superstar Ryu Sun-jae (Byeon Woo-seok), who gave her the strength to live on during the most difficult time of her life. When Sun-jae unexpectedly dies, seemingly by suicide, a devastated Sol has Sun-jae’s old digital watch. As she presses one of its buttons, Sol’s transported 15 years back to 2008, when she was a 19-year-old student at a high school near Sun-jae’s. Sol becomes determined to stop Sun-jae’s future death by any means necessary, which is just the start of the pair’s twist-filled, fated romance.
Ten years have passed since high schoolers Choi Ung (Parasite‘s Choi Woo-sik) and Kook Yeon-su (Kim Da-mi) starred in a documentary together. Though they started out hating each other, the pair later began dating and stayed together for five years. Now, five years after the rough breakup, the two adults find each other back in their lives at the same time the documentary goes viral, with fans clamoring for an update. Will Ung and Da-mi fall in love again while filming the sequel? Check out this enemies-to-lovers-to-enemies-to-lovers(?) drama to find out.
This classic romance, for fans of shows like Boys Over Flowers and The Heirs, is a body-swapping melodrama that includes so many rom-com tropes. Kim Joo-won (Crash Landing on You‘s Hyun Bin), the spoiled CEO of a department store, meets Gil Ra-im (Ha Ji-won), a stuntwoman who was orphaned as a teenager, via a case of mistaken identity. Joo-won is attracted to Ra-im despite himself, and uses their one connection—she’s a fangirl of his cousin, Hallyu star Oska—to stick around her. During a fateful night when they’re alone together, the pair are gifted mysterious homemade wine and wake up to find that they’ve switched bodies. Yes, this is all ridiculous, and yes, it ends up in a nostalgic love story by the end.
Korean Title:Good News about Japanese Hijcking in 1970 Hangul:굿뉴스 Romanization:Gut Nuiuseu
Official English Title:The Dream Life of Mr. Kim Korean Title: Hangul:서울자가에대기업다니는김부장이야기 Romanization:Seoul Jagae Daegieop Danineun Kim Bujang Iyagi
Literal meaning: The Story of Manager Kim Who Works at a Large Corporation in Seoul
I hear there is buzz about another potential Korean Oscar contender, the K movie, No Other Choice. Could you provide the Korean Title, in both Hangul and Romanized, the release date in Korea, the award nominations, and the cast? Quotes and literary reputation? And movies by the director? And similar K dramas/movies, particularly the current K Dream, Mr. Kim’s Secret Dreams, which this movie reminds me of. Oh, and the date of the next Oscar, including the release date of the nominations and the host for the upcoming Oscars? And also discuss the book Ax – it is based on including the author’s bio, list of his or her other works, and the literary reputation of the book. Break this down into the movie, other related K dramas, and movies, the Oscar Race for 2026 including the date and host; and information on the book it is based on. This is not for publicaiton yet
Section 1: The Movie–No Other Choice
Korean Title: 어쩔 수가 없다 (Romanized: Eojjeolsugaeopda)
Director: Park Chan-wook
Release Dates:
– South Korea: September 24, 2025
– North America: December 25, 2025 (limited), January 2026 (wide)
Awards & Nominations:
– Korea’s official submission for Best International Feature Film at the 98th Academy Awards
– Multiple Blue Dragon Film Awards: Best Picture, Best Director, Best Actress, Best Supporting Actor, Best Music, Costume Design
Cast:
– Lee Byung-hun, Son Ye-jin, Park Hee-soon, Lee Sung-min, Yum Hye-ran, Cha Seung-won, Yoo Yeon-seok
Quotes & Literary Reputation:
Critics praise its dark humor and social commentary. Park Chan-wook calls it ‘a heartbreaking story about a middle-aged man who lost his job and becomes a serial killer in the process of trying to feed his family.’
Director’s Selected Filmography:
Film
Year
Oldboy
2003
The Handmaiden
2016
Decision to Leave
2022
No Other Choice
2025
Section 2: Related K-Drama & Movies
Mr. Kim’s Secret Dreams (김씨의 비밀 꿈, Romanized: Kimssiui Bimil Kkum)
Our Beloved Summer (그 해 우리는, Romanized: Geu Hae Urineun)
Her Private Life (그녀의 사생활, Romanized: Geunyeoui Sasaenghwal)
Fight for My Way (쌈 마이웨이, Romanized: Ssam Maiwei)
Romance Is a Bonus Book (로맨스는 별책부록, Romanized: Romaenseuneun Byeolchaekburok)
Section 4: The Book – The Ax
Author: Donald E. Westlake (1933–2008)
Bio: Acclaimed American crime novelist, known for witty, darkly comic thrillers. Multiple Edgar Awards and Grand Master Award.
Published in 1997; praised for chilling satire on corporate downsizing and moral decay. Considered one of Westlake’s most incisive social commentaries.
Previous Adaptations:
– French film Le Couperet (2005) by Costa-Gavras
As the 98th Academy Awards draw closer next March, Korean audiences are closely watching the International Feature Film race, where Park Chan Wooks No Other Choice is considered a major contender. The film, produced by Moho Film, has been selected as Korea’s official submission and is currently competing for a nomination.
No Other Choice will premiere for North American audiences on December 25, opening in select theaters across the United States and Canada before expanding in January. The film follows the desperate struggle of a jobless family man trying to regain employment and stars Lee Byung Hun, Son Ye Jin, Park Hee Soon, Lee Sung Min, and Yum Hye Ran. This marks Park Chan Wooks first feature in three years since No Other Choice in 2022 and is adapted from the American novel Ax.
I’ve been a big Superman fan since childhood. I’ve seen all the Superman movies and TV shows, and read the comics as a kid. I’m looking forward to seeing the latest Superman film today, and I’ll update this with my reflections afterward. But first, I wanted to share my thoughts on the latest right-wing freak-out: the horror of Superman being portrayed as “woke,” and—brace yourself—an illegal immigrant!
Critics are melting down over a fictional alien from another planet who, by definition, would’ve entered Earth illegally. After all, there were no U.S. embassies on Krypton to process his visa—and even if there had been, what immigrant category could possibly fit? There’s no superhero visa (although there is a supermodel category—thanks, Melania Trump). The closest might be the “extraordinary ability” visa, which, to be fair, Superman would certainly qualify for.
📽️ Live-Action Films (Selected Highlights):
Bold indicates I have seen it
Superman (1978) – Christopher Reeve, Margot Kidder, Gene Hackman
Superman II (1980) – Reeve, Kidder, Terence Stamp
Superman III (1983), Superman IV: The Quest for Peace (1987)
Superman Returns (2006) – Brandon Routh, Kevin Spacey
Man of Steel (2013) – Henry Cavill, Amy Adams
Batman v Superman: Dawn of Justice (2016), Justice League (2017)
Superman (2025) – David Corenswet, Rachel Brosnahan, Nicholas Hoult
📺 TV Shows:
Adventures of Superman (1952–1958) – George Reeves
Lois & Clark: The New Adventures of Superman (1993–1997) – Dean Cain
Smallville (2001–2011) – Tom Welling
Supergirl (2015–2021) – Melissa Benoist
Superman & Lois (2021–2024) – Tyler Hoechlin
My Adventures with Superman (2023–present) – Jack Quaid (voice)
📚 Comics:
First appearance: Action Comics #1 (1938) by Jerry Siegel and Joe Shuster
Notable arcs: All-Star Superman, Superman: Red Son, Superman: Birthright, The Death of Superman, Superman: Year One
🗣️ Iconic Quotes from Superman Lore
“It’s not an S. On my world, it means hope.” – Man of Steel
“I’m here to fight for truth and justice.” – Superman (1978)
“You will give the people an ideal to strive towards.” – Jor-El, Man of Steel
“They can be a great people, Kal-El. They only lack the light to show the way.” – Jor-El, Superman (1978)
“I feel like I live in a world made of cardboard…” – Justice League Unlimited
Superman is widely regarded as the archetype of the American superhero—an immigrant, a moral compass, and a symbol of hope. Created by Jewish immigrants during the rise of fascism in Europe, his story has always carried political undertones. Scholars and critics have long interpreted Superman as a metaphor for assimilation, resistance, and idealism.
🔥 2025 Controversy: “Superwoke” Superman?
The latest Superman film directed by James Gunn has sparked backlash from right-wing commentators who accuse it of being “too woke.” Key points of contention:
Gunn described Superman as “an immigrant,” which critics like Fox News and Ben Shapiro interpreted as political messaging.
The film features Superman intervening in a fictional war between Boravia and Jarhanpur, which some viewers saw as a metaphor for Israel and Gaza.
Fox News labeled the film “Superwoke,” with Kellyanne Conway saying audiences don’t want to be “lectured.”
Gunn and cast members defended the film’s themes of kindness, morality, and inclusion.
I’ve been a big Superman fan since childhood. I’ve seen all the Superman movies and TV shows, and read the comics as a kid. I’m looking forward to seeing the latest Superman film today, and I’ll update this with my reflections afterward. But first, I wanted to share my thoughts on the latest right-wing freak-out: the horror of Superman being portrayed as “woke,” and—brace yourself—an illegal immigrant!
Critics are melting down over a fictional alien from another planet who, by definition, would’ve entered Earth illegally. After all, there were no U.S. embassies on Krypton to process his visa—and even if there had been, what immigrant category could possibly fit? There’s no superhero visa (although there is a supermodel category—thanks, Melania Trump). The closest might be the “extraordinary ability” visa, which, to be fair, Superman would certainly qualify for.
📽️ Live-Action Films (Selected Highlights):
Bold indicates I have seen it
Superman (1978) – Christopher Reeve, Margot Kidder, Gene Hackman
Superman II (1980) – Reeve, Kidder, Terence Stamp
Superman III (1983), Superman IV: The Quest for Peace (1987)
Superman Returns (2006) – Brandon Routh, Kevin Spacey
Man of Steel (2013) – Henry Cavill, Amy Adams
Batman v Superman: Dawn of Justice (2016), Justice League (2017)
Superman (2025) – David Corenswet, Rachel Brosnahan, Nicholas Hoult
📺 TV Shows:
Adventures of Superman (1952–1958) – George Reeves
Lois & Clark: The New Adventures of Superman (1993–1997) – Dean Cain
Smallville (2001–2011) – Tom Welling
Supergirl (2015–2021) – Melissa Benoist
Superman & Lois (2021–2024) – Tyler Hoechlin
My Adventures with Superman (2023–present) – Jack Quaid (voice)
📚 Comics:
First appearance: Action Comics #1 (1938) by Jerry Siegel and Joe Shuster
Notable arcs: All-Star Superman, Superman: Red Son, Superman: Birthright, The Death of Superman, Superman: Year One
🗣️ Iconic Quotes from Superman Lore
“It’s not an S. On my world, it means hope.” – Man of Steel
“I’m here to fight for truth and justice.” – Superman (1978)
“You will give the people an ideal to strive towards.” – Jor-El, Man of Steel
“They can be a great people, Kal-El. They only lack the light to show the way.” – Jor-El, Superman (1978)
“I feel like I live in a world made of cardboard…” – Justice League Unlimited
Superman is widely regarded as the archetype of the American superhero—an immigrant, a moral compass, and a symbol of hope. Created by Jewish immigrants during the rise of fascism in Europe, his story has always carried political undertones. Scholars and critics have long interpreted Superman as a metaphor for assimilation, resistance, and idealism.
🔥 2025 Controversy: “Superwoke” Superman?
The latest Superman film directed by James Gunn has sparked backlash from right-wing commentators who accuse it of being “too woke.” Key points of contention:
Gunn described Superman as “an immigrant,” which critics like Fox News and Ben Shapiro interpreted as political messaging.
The film features Superman intervening in a fictional war between Boravia and Jarhanpur, which some viewers saw as a metaphor for Israel and Gaza.
Fox News labeled the film “Superwoke,” with Kellyanne Conway saying audiences don’t want to be “lectured.”
Gunn and cast members defended the film’s themes of kindness, morality, and inclusion.
This is my movie madness list for 2025 and contains a lists of everything I have seen and lots of us lists of recommended movies. I have seen many of them but not all.
i plan on updating this every month or so I get daily updates.
Note: Roy is my college housemate. He has been writing an annual list of his Oscar recommendations for over 20 years. I respect his writing and his recommendations. This is the third year I have reposted it.
Once again, Mrs D and I have endeavored to see as many Best Picture nominees as possible, given availability and other constraints. We’ve been doing this now for over 20 years. When we started there were still only five nominees. Since 2009, it’s been ten, and this year we saw eight, and I’ll say again, the Academy never should’ve increased the limit. Not just because it’s hard for fans to see them all, but because some of these movies are simply not worthy of the honor. Especially this year!
Still, it’s Oscar time and it’s a tradition here! Pick your favorites, put on your tuxedoes and sparkly gowns (or in our case, your comfiest PJs), kick back with some soda and butter-soaked popcorn, wow or hiss the latest red carpet fashions, jeer or cheer the awkward, fawning interviews, predict the winners, pat yourself on the back when you’re right and blame woke Hollywood when you’re wrong!
Anyway, for what it’s worth, here’s what I thought…
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Anora – A tale of stupid people doing terrible things stupidly. A whole lot of yelling and screwing failed to make this movie interesting. The nearly feral, selfish youth, the servile, bickering and bumbling Armenians, the contemptible ultra-rich Russians, the ‘dancer’ who accepts payment for sex but insists she’s not a hooker. The constant f-bombs. It all seemed over the top—grasping for gritty realism but approaching absurdity. So what.
The Brutalist – A worthy subject, an intriguing and complicated lead character masterfully brought to life by a supremely talented star, an epic arc of struggle and redemption, a span of decades and locations wonderfully rendered visually and in historical references. And yet, I fell asleep. Had to finish the movie the next day. It’s brutally long and slow. Three and a half hours! Couldn’t trim even a half hour out of that? Come on.
A Complete Unknown – Mrs D and I agreed this was easily and by far the best picture of the nominees we saw. I’m not sure it will stand the test of time as a ‘great’ movie, but it was full of great acting. Timothée Chalamet should win best actor for his amazing and mesmerizing recreation of Dylan’s musical performance and presence. Co-stars Monica Barbaro and Edward Norton should win their categories for the same reasons. The evocation of the time period through set design and other techniques was immersive and entertaining. Of the best-pic noms we’ve seen, this is the only one I’m sure I will watch again.
Conclave – I really liked this movie at first. It seemed like a taut, understated political intrigue, with a behind-the-scenes glimpse of a hidden world—the election of a new pope. But I felt let down by the wild twist at the end. Not being a fan of the Catholic Church, I kind of enjoyed the irony of it, but I found the details strained credibility as presented. By chance I had just read an article about the many possible combinations of chromosomes that occur naturally in humans. So I didn’t doubt that, but it seemed so unlikely the person in question would have ever risen to a high position in the Catholic Church, or that any real circumstance could have resulted in the ending of this film. I just didn’t buy it.
Dune Part Two – I read the book so many years ago that I remembered nothing of it. We saw Part One last year and were a bit lost throughout. So, we watched a couple YouTube summary videos, but then we still watched Part One before pushing play on Part Two. We both thought the investment of time paid off. It helped us sink into the films, with their long list of characters and multiple story threads. I’d rank this as the second best of the nominees. Stunning visuals and the kind of classic, epic storytelling that reminds me of Tolkien or Star Wars.
Emilia Pérez – Lots of negative talk about the star of this one—whatever. I’d like to see it, but I don’t have Netflix right now and my wallet is already suffering from subscription fatigue.
I’m Still Here – The trailer for this one looks really interesting, but the film has not been released for streaming as of this date.
Nickel Boys – I’m not sure if the sheer volume of artsy techniques and effects (or affects?) were always in service of the storytelling in this film. It felt overwrought. All the weird shot angles, the square formatting, the ringing headache soundtrack, the time jumping and the gimmicky point of view thing, especially those back of head shots—I found it interesting but distracting, and wondered if anyone in Hollywood can just tell a story anymore.
The Substance – I’m honestly not sure if it’s a comedy gone wrong or a drama gone wrong, but boy did it suck! If it had a point it was made in the first ten minutes and then beat to death for two more hours, and in the most gruesome fashion imaginable. Jesus, how is this nominated for anything?! How did it even get made?! It’s a perfect example of why many people say Hollywood has lost the ability to make great movies.
Wicked – Loved the book! Never saw the play. The movie did not capture the wonder and delight I remember feeling at the ingenuity and thoughtfulness of the book. The set design and effects were impressive, the vocal talent at times astounding. But I couldn’t help feeling like I was watching a bad episode of Glee with all the cliché mean girl vs. Cinderella stuff. Also, a musical ought to leave you humming or singing a chorus or two on your way out the door. Think: If I Were a Rich Man, Papa Can You Hear Me, I Feel Pretty, Don’t Rain on My Parade, on and on. Wicked is more like sung dialogue but not one catchy, hummable tune. Meh.
Honorable Shoutout
A Real Pain – Should have been nominated. Thoughtful and thought provoking, just funny enough to lighten the weight of the relationships on view, among the characters themselves but also between the characters and the history they are interfacing with. And extremely well played by both Jesse Eisenberg and Macaulay Culkin, making these characters feel real and their oddball behavior believable.
Something to Think About
After the news of the great Gene Hackman’s death, Roy Sr, Mrs D and I all watched Unforgiven the other night, and enjoyed it immensely even though we’ve all seen it more than twice. Everything a Best Picture winner ought to be and then some. Not one of the 2024 movies even comes close.
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2024
The List
Numerical List
1. Confession K Drama A-
2. Love In The Villa A
3. Love At First Sight A
4. Collectors K Drama B
5. The Spy Gone North B K Drama
6. Goodbye Mr. Black K Drama Did Not Finish
7. My Demon Love K Drama Did Not Finish
8. My Annoying Brother K Drama B
9. Me And Me K Drama B
10. Bodies British Sci-Fi B
11. October Faction Vampire series
12. Katyal Sci-Fi series
13. Glass Onion Knives Out B
14. Obliteration US Series C Did Not Finish
15. Squid Game Season International Did Not Finish
16. Squid Game Season Two Korean Series Finished
17. Fair Play B-1 Is A Bit Too Violent And Dark
18. In The Cold Netflix Series B
19. Leave The World Behind Lots Of Stars But A Meh
20. Gyesang Creature K Drama Part One
21. Gyesang Creature K Drama Part Two B
22. Manifest Season Four -Finished Series
23. Stray UK Drama B
24. Wednesday B
25. Pretty Woman Classic Richard Gere/Julia Roberts A
26. Somebody K Drama B
27. Superbowl
28. The Devil Plan Was Too Complicated To Follow K Drama
29. Night Agent A
30. VIP K Drama B
31. Destined With You K Drama
32. My Annoying Brother K Drama B
33. Spy Gone North Did Not Finish K Drama
34. Catering Christmas Gala B
35. Watcher B
36. Millionaire First Love K Drama A
37. Lift Heist Movie American Meh
38. Hyenna K Legal Drama A
39. Badlands Hunters K Drama Post-Apocalypse Drama A
40. Captivating The King K Historical Drama A
41. Doctor Slump K Drama B
42. The Trip Norwegian Dark Drama B
43. Taken K Drama Movie B
44. The Swindler K Drama Movie A
45. Everything Happens Everywhere At Once Hoopla A Best Picture 2023
46. A Transformers Compang TV B
47. Golden Holliday K Movie Compang TV B
48. Peacekeeper B
49. Knock On The Cabin B
50. Oppenheimer – Documentary – Not The Movie
51. Don’t Buy The Seller K Drama B
52. Tourist Love Affair Cute But Predictable Filmed In Vietnam B
53. The Dude In Me K Drama Is Cute A
54. Black Phone B
55. Rebel Moon US Film Part One
56. Rebel Moon US Film Part Two
57. Silent Sea K Sci-Fi Series
58. The Order US Werewolf/Vampire Occult Thriller Series
59. Warrior Nuns
60. Single In Seoul K Movie B
61. Secret Obsession American Movie B
62. Age Of Adeline A
63. In From The Cold C
64. Trip B
65. Try To Kill Me I Dare You Polish Movie B
66. Lee Kiwon K Movie About NK Refugees In Belgium
67. Chronicle Sci-Fi Meh C
68. Young Police K Drama B
69. Sweat And Sour K Drama B
70. Happiness For Beginners US Drama B
71. Catering Christmas US Drama B
72. The Gentlemen British TV Crime Series
73. Killer Paradox K Crime Drama
74. Queen Of Tears K Rom-Com Tbc
75. Keeping Up With The Jones American Spy Comedy B
76. Little Woman British Is Based On The Classic Novel I Just Finished Reading
77. Damsel American
78. Secret Obsession US Film
79. In The Shadow Of The Moon
80. Tourist Guide To Love B+
81. Art Of Love – Did Not Finish
82. Three-Body Problem A Chinese Sci-Fi
83. Paradise K Drama
84. Awake US
85. You Netflix Series B
86. Night Teeth US
87. Physical Season One K Reality TV Show
88. Physical Second Season K Reality TV Show
89. Parasite The Grey Korean Version Of Body Snatchers
90. The Signal German Sci-Fi B
91. Dark German Sci-Fi A
92. Chicken Nugget Silly K Drama Did Not Finish
93. Oppenheimer A Oscar Winner 2024
94. Lady Chatterley’s Lover TBC
95. Ripley A
96. Last Days Of Earth K SF Drama – Did Not Finish
97. No Hard Feelings US Romcom B
98. Brazen B
99. Brigands K Drama C Did Not Finish
100. Lost Phone K Crime Thriller Repeated B
101. Downsizing B+
102. The Day I Died Undisclosed Case K Drama B
103. Unfrosted K Drama Bit Disappointing
104. Frankly Speaking K Drama B
105. A Werewolf Boy K Drama Remake Of A French Movie B
106. A Typical Family K Drama About A Scheming Family B
107. Tidal Wave – Did Not Finish
108. 12 12 – Day B D Drama About Chun Dohan’s Rise To Power – Which I Lived Through In 1979.
109. Mother Of The Bride B
110. Bring Me Home K Drama About Child Abuse B
111. Tutor K Drama B
112. Big Fat Greek Wedding Part 1 Seen Years Ago
113. Big Fat Greek Wedding Part Part 2 Seen Years Ago
114. Big Fat Greek Wedding, Part 3
115. In The Depth Of The Ocean US Drama
116. Mr. Zoo K Drama B
117. 88 Minutes US Drama
118. Artificial City B
119. Keys To The Heart K Drama A
120. Hit And Run Squad K Drama
121. Love Struck In The City K Drama Did Not Finish
122. Don’t Steel The Foggy Mountain Treasure B-1
123. Sweet And Sour K Drama B
124. Hustle US Drama
125. Daily Dose Of Sunshine K Drama Series
On Plane To US
126. Aquarman And The Lost Kingdom
127. King Kong V Godzilla
128. The Killing Of Flower Moon
129. Barbie
Oregon
130. Atlas
131. Atypical Family Swedish Drama
132. War Of The Worlds Extinction Fubar
133. Adams Family Re-Run On Pluto TV
134. Beverley Hillbillies Re-Run On Pluto TV
135. Military Prosecutor Doberman K Drama Featuring A Really Bad Ass Female Lead
136. Fall Out Amazon
137. Andromeda Free TV
138. Hierarchy K Drama Rich Teenagers Plotting
139. Hit Man
140. Flower Of Evil K Drama
141. Reflection Of You K Drama
142. Philip K Dick Electric Dreams Real Life (Amazon List Each Episode) Real Life
143. Philip K Dick Electric Dreams Real Life (Amazon List Each Episode) Autofa
144. Philip K Dick Electric Dreams Real Life (Amazon List Each Episode) This Is Human
145. Philip K Dick Electric Dreams Real Life (Amazon List Each Episode)
146. Philip K Dick Electric Dreams Crazy Diamond
147. Philip K Dick Electric Dreams The Hood Maker
148. Philip K Dick Electric Dreams Father Thing
149. Philip K Dick Electric Dreams The Impossible Planet
150. Philip K Dick Electric Dreams The Commuter
151. Philip K Dick Electric Dreams Kills All Others
152. Miss Night And Day K Drama Comedy
153. Republican Convention
154. Biden-Trump Debate
155. Far Scape US Sci-Fi Classic Amazon
156. Universe Spider Woman Drama B
157. Love Next Door K Drama
158. Romance In The House K Drama
159. DNC
160. Union American Spy Movie – Not Bad
161. All Good Things Based On True Crime Stories Not Bad
174. Discovery Of Witches Vampire Witches US Series
175. Spaccell British Black Sci-Fi Series
176. 25 23 K Drama Did Not Finish
177. Influencer Challenge K Reality TV
178. Culinary Class War K Reality TV
179. Spencer Confidential US Crime Comedy
180. The Signal K Crime Series
181. What Are Some Surprises Being Found On Jupiter YouTube Short
182. Bad Boys Ride For Life Or Die
183. Kamala Harris On Steven Colbert
184. Tim Walz On Steven Colbert
185. Tim Walz On Jimmy Kimble
186. Virtuous Business K Drama
187. Outer Banks Season 3
188. Backstreet Rookie K Drama Series
189. Run-On K Drama Series
190. Letter From God God Pod -We Want The Black President
191. Where NASA Believes Extraterrestrial Life Is Found In The Outer Solar System
192. Family Pack YouTube Movie
193. The Host YouTube Movie
194. War Of The World BBC Series New To Me
195. Don’t Move
196. World Series 2024
197. Beverly Hills Cops Alert
198. Logan Lucky
199. Look Both Ways
200. Tarot
201. Spaccell Uk Sci-Fi Series
202. The Whirlwind K Drama
203. Killing Eve
204. Spenser
205. 365 Days
206. Time Cut Sci-fi
207. The Gray Man James Bond Wanna Be Movie
208. The Influencers K Reality
209. Pixels
210. Election Coverage
211. Ten Trendy US Cities -Citynerd Youtube
212. Find Me Falling US Romcom Set In Cyprus
213. The Frog K Drama
214. Vagabond K Drama
215. The Little Things
216. American Assasin
217. Frankly Speaking K Drama
218. Letter From God What Happened?
219. Mechanic
220. Misfits
221. Wicked In Medford Theater
222. Why Files Adam And Eve Story Youtube Documentary
223. Just Go For It Did Not Finish
224. Mr. Plankton K Drama
225. Dangerous Lies Did Not Finish
226. Wild Wild West Documentary About The Ranesh Case
227. White Sky Forgettable Zombie Movie Tubi
228. Last Seen Alive Thriller 2024 Thriller
229. Predestination Time Travel Thriller
230. Arkansas Noir Thriller
231. Top Ten Countries Americans Are Not Welcomed
232. Great Courses History Of Roman Empire – Goal One Course Per Month
233. A Simple Favor Is A Good Thriller
234. When The Phone Rings K Drama
235. Your Lucky Day Is An Intense Crime Drama
236. Father Figures Good Comedy
237. Afraid Chilling Movie About The Future Of AI
Father Brown – see separate listing for synopsis and my commentary
238. Father Brown BBC Series The Hammer Of God
239. Father Brown BBC Series The Ghost In The Machine
240. Father Brown BBC Series The Madness Of All
241. Father Brown The Pride Of The Pryde
242. Father Brown The Shadow Of The Scaffold
On Plane
243. Blink Twice B
244. Dune B
245. Ghostbusters B
246. Beetlejuice B
247. Fly Me To Moon B
248. The Strangers C
Back In Korea
249. Run On K Drama Series
250. Captivating King K Drama Series
251. Chief Of Staff K Drama Series
252. The Visitor Hoopla
253. What If Return Of The Ice Age You Tube Short Documentary
254. Tenet SCIFi Netflix B
255. Fall Guy Netflix B
256. Trunk K Drama Series
257. Reptile US Crime Drama
258. Beef Asian Immigrants In LA
259. Silente Sea K Sci-Fi Series
260. The Last Lovecraft Relic Of Cthulu Hoopla
261. The History Of The Roman Empire Great Course Course
262. Carry On US Movie
263. It’s What Inside Did Not Finish
264. Bringing Back Extinct Animals Short YouTube Documentary
265. Slyth Thai Sci-Fi Did Not Finish It – I Understood Some Of The Dialogue But Not Much C
266. Count Down To Jerusalem Movie C
267. Pilot K Comedy B Movie
268. Check-In Hanyang K Drama
269. The Hunt Did Not Finish US Drama
270. Trouble Swedish Drama C
271. Robert Reich’s Ten Economic Myths Debunked
272. Squid Game 2 B
273. Squid Game International Game C
274. NYE coverage
275. Yoon Impeachment news coverage
276. NYE terror attack coverage
277. CNN Best and Worst of the Year
278. BBC end of the Year Coverage
Oscar Winners
Bold – Seen
Last Year Everything All At Once
BEST PICTURE
American Fiction
Anatomy Of A Fall
Barbie
The Holdovers
Killers Of The Flower Moon
Maestro
Oppenheimer
Past Lives
Poor Things
The Zone Of Interest
BEST DIRECTOR
Jonathan Glazer, The Zone Of Interest
Yorgos Lanthimos, Poor Things
Christopher Nolan, Oppenheimer
Martin Scorsese, Killers Of The Flower Moon
Justine Triet, Anatomy Of A Fall
BEST ACTRESS
Annette Bening, Nyad
Lily Gladstone, Killers Of The Flower Moon
Sandra Hüller, Anatomy Of A Fall
Carey Mulligan, Maestro
Emma Stone, Poor Things
BEST ACTOR
Bradley Cooper, Maestro
Colman Domingo, Rustin
Paul Giamatti, The Holdovers
Cillian Murphy, Oppenheimer
Jeffrey Wright, American Fiction
BEST SUPPORTING ACTRESS
Emily Blunt, Oppenheimer
Danielle Brooks, The Color Purple
America Ferrera, Barbie
Jodie Foster, Nyad
Da’Vine Joy Randolph, The Holdovers
BEST SUPPORTING ACTOR
Sterling K. Brown, American Fiction
Robert De Niro, Killers Of The Flower Moon
Robert Downey Jr., Oppenheimer
Ryan Gosling, Barbie
Mark Ruffalo, Poor Things
BEST ORIGINAL SCREENPLAY
Justine Triet And Arthur Harari, Anatomy Of A Fall
David Hemingson, The Holdovers
Bradley Cooper And Josh Singer, Maestro
Samy Burch, May December
Celine Song, Past Lives
BEST ADAPTED SCREENPLAY
Cord Jefferson, American Fiction
Greta Gerwig And Noah Baumbach, Barbie
Tony McNamara, Poor Things
Christopher Nolan, Oppenheimer
Jonathan Glazer, The Zone Of Interest
BEST INTERNATIONAL FEATURE
Io Capitano, Italy
Perfect Days, Japan
Society Of The Snow, Spain On Netflix See
The Teacher’s Lounge, Germany
The Zone Of Interest, United Kingdom
BEST ANIMATED FEATURE
The Boy And The Heron
Elemental
Nimona
Robot Dreams
Spider-Man: Across The Spider-Verse
BEST DOCUMENTARY FEATURE
Bobi Wine: The People’s President
The Eternal Memory
Four Daughters
To Kill A Tiger
20 Days In Mariupol
BEST CINEMATOGRAPHY
El Conde
Killers Of The Flower Moon
Maestro
Oppenheimer
Poor Things
BEST EDITING
Anatomy Of A Fall
The Holdovers
Killers Of The Flower Moon
Oppenheimer
Poor Things
BEST COSTUME DESIGN
Barbie
Killers Of The Flower Moon
Napoleon
Oppenheimer
Poor Things
BEST HAIR AND MAKEUP
Golda
Maestro
Oppenheimer
Poor Things
Society Of The Snow
BEST SOUND
The Creator
Maestro
Mission: Impossible—Dead Reckoning Part One
Oppenheimer
The Zone Of Interest
BEST VISUAL EFFECTS
The Creator
Godzilla Minus One
Guardians Of The Galaxy Vol. 3
Mission: Impossible—Dead Reckoning Part One
Napoleon
BEST PRODUCTION DESIGN
Barbie
Killers Of The Flower Moon
Napoleon
Oppenheimer
Poor Things
BEST ORIGINAL SONG
“What Was I Made For?”, Billie Eilish And Finneas, Barbie
“I’m Just Ken,” Mark Ronson And Andrew Wyatt, Barbie
“The Fire Inside,” Diane Warren, Flamin’ Hot
“It Never Went Away,” Jon Batiste, American Symphony
“Wahzhazhe (A Song For My People),” Osage Tribal Singers, Killers Of The Flower Moon
BEST ORIGINAL SCORE
American Fiction
Indiana Jones And The Dial Of Destiny
Killers Of The Flower Moon
Oppenheimer
Poor Things
BEST LIVE-ACTION SHORT
The After
Invincible
Knight Of Fortune
Red, White, And Blue
The Wonderful Story Of Henry Sugar
BEST ANIMATED SHORT
Letter To A Pig
Ninety-Five Senses
Our Uniform
Pachyderm
War Is Over! Inspired By The Music Of John & Yoko
BEST DOCUMENTARY SHORT
The ABCs Of Book Banning
The Barber Of Little Rock
Island In Between
The Last Repair Shop
Nai Nai & Wai Po
For more than twenty years now, Mrs D and I have made it an annual quest to see all of the Best Picture nominees before the Oscars telecast. This year we saw 9.5 of the 10 movies nominated.
It started in 2000, when there were only five nominees (instead of up to 10 like now) and we usually had to see them in a theater, because they weren’t available to rent on VHS yet. (Yes, I said VHS).
And we’ve done it every year since, except for 2019 which was interrupted by Mrs D’s infamous extended hospital stay. We have even ventured to other cities to see movies that weren’t playing at the one theater in our little town. I remember seeing Chocolat in Ukiah and more recently The Revenant in Rohnert Park. But now we can usually stream everything, and this year the whole project ran us around a hundred bucks in streaming rentals and purchases on top of our existing subscriptions to Amazon, etc.
Several years ago I started writing about our tradition on Facebook. Now the writeup itself has become part of the deal. As I’ve said before, I’m no film student, nor expert critic. Just a regular dude who loves movies.
Snap reviews and top picks below.
American Fiction –
Bold, wryly funny, contrarian, with the ring of truth. Brilliantly calls out the publishing industry, where retread tropes seem to trump story, art and insight, particularly when it comes to depictions of Black characters and writers. And I feel like there’s an even larger truth here about the way culture is degraded in general through over-commercialization.
Anatomy of a Fall –
A French film that moves carefully, piece by piece, and manages to be slow and taut at the same time. I found the characters to be inscrutable. I feel like I need to watch again just to see if maybe this time I would fully understand these people. It left me with a suspicion that perhaps all the story’s secrets have still not been revealed, that the resolution we see on the screen is still not the truth of these characters. And, in this case, that ambiguity is a good thing.
Barbie —
Cleverly funny in spots, but also unsubtly preachy in spots, an issue I’ve had with director Greta Gerwig before. But Margot Robbie was perfect and the movie is visually stunning in all its pinkish glory and devoted detail. Still, I think this movie appears in the Best Picture category more on the strength of its perceived politics than its success as an artistic endeavor.
The Holdovers —
A darkly funny, entertaining, and deeply reflective odd couple sort of story that’s enjoyable to watch. Maybe a little out of its league in the Best Picture category, but elevated to a higher status by Paul Giamatti’s performance, which is irresistibly engaging as always. Well worth a second watch.
Killers of the Flower Moon — Having read the book, I felt the impact of the true part of this story was diminished by the fictionalized part of the movie. Reading the book I was deeply struck by the callous indifference shown toward the humanity of the Osage Indians. It resonated like an echo of Shindler’s List, underlining the incredible and frightening capacity of humans to rationalize literally any behavior in their fear or greed. But the movie revolves around Ernest Burkhardt (Leonardo DiCaprio) and depicts a somewhat tried and true arc of romantic tragedy, a weak-minded man caught up in the schemes of others, pulled along by greed and the need for approval, until he is in the process of killing the only real love he’s ever known. As is often the case, the truth was more complex. And more disturbing.
Maestro –
I usually make a conscious effort to limit my preconceptions of these movies. I don’t read reviews or watch trailers. But it’s hard to avoid a relentless ad campaign like the one mounted for Maestro. I’d seen the rousing TV spots touting the performances and the early awards. But I found the movie depressing, its characterization of Bernstein disappointing and unlikeable. But yes, Bradley Cooper and Carey Mulligan
were both outstanding.
Comment: on my list to watch as I am a big Bernstein fan – one of the best classical composers of the 20th century in my opinion.
Oppenheimer –
Not what I would call a pleasant watch, at times slow and ponderous, even confusing with some of the time jumps. But the acting was so engrossing, immersive, mesmerizing even. Cillian Murphy in the title role was riveting. Robert Downey Jr simply disappeared into the role of Lewis Strauss. Emily Blunt was also captivating as Kitty Oppenheimer. The effects director Christopher Nolan used to heighten the sense of Oppenheimer’s interiority were brilliant and effective.
For example when Oppenheimer steps on a charred corpse that only exists in his tortured, guilty mind. But the lasting impact of this film is the way it echoes in the mind afterward—how sad and terrible and absurd it is that we reckless humans have attained the power to destroy the world. It will probably win Best Picture. And it probably should.
Comment: Also on my must see list
Past Lives –
Eventually, someone had to do a movie like this — an old romance is rekindled through the internet and complications ensue. In this particular case the past romance is an adolescent crush, cut short by one family’s immigration, and later complicated not just by the years, but also by geographic and cultural distance. This one stayed with me, kept me thinking for days afterward about its larger implications regarding fate, destiny, acceptance, grief and closure. Well worth more than one watch.
Poor Things –
Half of this movie was twice as much as I needed. We actually turned it off, extremely rare for us during Oscar season. What we saw played like a terrible excuse for some creepy, gratuitous soft porn. All the weirdness of the sets, costumes, cinematography and makeup felt like a desperate attempt at artistic status. If someone out there actually saw some redeeming value in this thing, feel free to explain in the comments section what I am missing.
The Zone of Interest –
This one’s all in German, with subtitles. But the dialog is sparse and the film’s biggest strength is in the fascinating dichotomy presented in its basic premise. It gives us a window into the surprisingly mundane personal lives of a “normal” family literally in the shadow of Auschwitz during the Holocaust. The sense of cognitive dissonance is alarming.
Honorable Mention
– I don’t usually do this, but I wanted to mention one film that was not even nominated for Best Picture but, in my opinion, should have been. Nyad has wonderful, engaging performances by Annette Bening and Jodie Foster, and it’s a suspenseful, satisfying, story of friendship, determination, human spirit, and triumph over the longest odds.
Finally, here are my choices for the top awards.
Don’t worry, the Academy almost always disagrees.
Actor in a Leading Role: Cillian Murphy, Oppenheimer Winner
Actor in a Supporting Role: Robert Downey Jr, Oppenheimer Winner
Actress in a Leading Role: Annette Bening, Nyad
Actress in a Supporting Role: Emily Blunt, Oppenheimer
Best Picture: Oppenheimer Winner
Soon it’s time to pop the popcorn, get cozy on the couch, badmouth the fashion and root for your favorites.
Happy Oscars folks.
here’s the winners
The 96th Academy Awards, held at the Dolby Theatre in Hollywood on March 10, 2024, celebrated outstanding movies released in 2023. Here are some of the notable winners:
Best Picture: “Oppenheimer”
Best Actor: Cillian Murphy for his role in “Oppenheimer”
Best Actress: Emma Stone for her performance in “Poor Things”
Best Supporting Actor: Robert Downey Jr. in “Oppenheimer”
Best Supporting Actress: Da’Vine Joy Randolph from “The Holdovers”
Best Director: Christopher Nolan for “Oppenheimer”
Best Adapted Screenplay: “American Fiction”
Best Original Screenplay: “Anatomy of a Fall”
Best Animated Feature: “The Boy and the Heron”
Best Documentary Feature: “20 Days in Mariupol”
Best International Feature Film: “The Zone of Interest”
Best Cinematography: “Oppenheimer”
Best Costume Design: “Poor Things”
Best Film Editing: “Oppenheimer”
Best Makeup and Hairstyling: “Poor Things”
Best Original Score: “Oppenheimer”
Best Original Song: “Barbie”
Best Production Design: “Poor Things”
Best Sound: “The Zone of Interest”
Best Visual Effects: “Godzilla Minus One”
Best Documentary (Short Subject): “The Last Repair Shop”
452. Discovery Of Witches Vampire Witches US Series
453. Spaccell British Black Sci-Fi Series
454. 25 23 K Drama Did Not Finish
455. Influencer Challenge K Reality TV
456. Culinary Class War K Reality TV
457. Spencer Confidential US Crime Comedy
458. The Signal K Crime Series
459. What Are Some Surprises Being Found On Jupiter YouTube Short
460. Bad Boys Ride For Life Or Die
461. Kamala Harris On Steven Colbert
462. Tim Walz On Steven Colbert
463. Tim Walz On Jimmy Kimble
464. Virtuous Business K Drama
465. Outer Banks Season 3
466. Backstreet Rookie K Drama Series
467. Run-On K Drama Series
468. Letter From God God Pod -We Want The Black President
469. Where NASA Believes Extraterrestrial Life Is Found In The Outer Solar System
470. Family Pack YouTube Movie
471. The Host YouTube Movie
472. War Of The World BBC Series New To Me
473. Don’t Move
474. World Series 2024
475. Beverly Hills Cops Alert
476. Logan Lucky
477. Look Both Ways
478. Tarot
479. Spaccell Uk Sci-Fi Series
480. The Whirlwind K Drama
481. Killing Eve
482. Spenser
483. 365 Days
484. Time Cut Sci-fi
485. The Gray Man James Bond Wanna Be Movie
486. The Influencers K Reality
487. Pixels
488. Election Coverage
489. Ten Trendy US Cities -Citynerd Youtube
490. Find Me Falling US Romcom Set In Cyprus
491. The Frog K Drama
492. Vagabond K Drama
493. The Little Things
494. American Assasin
495. Frankly Speaking K Drama
496. Letter From God What Happened?
497. Mechanic
498. Misfits
499. Wicked In Medford Theater
500. Why Files Adam And Eve Story Youtube Documentary
501. Just Go For It Did Not Finish
502. Mr. Plankton K Drama
503. Dangerous Lies Did Not Finish
504. Wild Wild West Documentary About The Ranesh Case
505. White Sky Forgettable Zombie Movie Tubi
506. Last Seen Alive Thriller 2024 Thriller
507. Predestination Time Travel Thriller
508. Arkansas Noir Thriller
509. Top Ten Countries Americans Are Not Welcomed
510. Great Courses History Of Roman Empire – Goal One Course Per Month
511. A Simple Favor Is A Good Thriller
512. When The Phone Rings K Drama
513. Your Lucky Day Is An Intense Crime Drama
514. Father Figures Good Comedy
515. Afraid Chilling Movie About The Future Of AI
Father Brown – see separate listing for synopsis and my commentary
516. Father Brown BBC Series The Hammer Of God
517. Father Brown BBC Series The Ghost In The Machine
518. Father Brown BBC Series The Madness Of All
519. Father Brown The Pride Of The Pryde
520. Father Brown The Shadow Of The Scaffold
On Plane
521. Blink Twice B
522. Dune B
523. Ghostbusters B
524. Beetlejuice B
525. Fly Me To Moon B
526. The Strangers C
Back In Korea
527. Run On K Drama Series
528. Captivating King K Drama Series
529. Chief Of Staff K Drama Series
530.
531.
532.
533.
534.
535.
536.
537.
538.
539.
540. The Visitor Hoopla
541. What If Return Of The Ice Age You Tube Short Documentary
542. Tenet SCIFi Netflix B
543. Fall Guy Netflix B
544. Trunk K Drama Series
545. Reptile US Crime Drama
546. Beef Asian Immigrants In LA
547. Silente Sea K Sci-Fi Series
548. The Last Lovecraft Relic Of Cthulu Hoopla
549. The History Of The Roman Empire Great Course Course
550. Carry On US Movie
551. It’s What Inside Did Not Finish
552. Bringing Back Extinct Animals Short YouTube Documentary
553. Slyth Thai Sci-Fi Did Not Finish It – I Understood Some Of The Dialogue But Not Much C
554. Count Down To Jerusalem Movie C
555. Pilot K Comedy B Movie
556. Check-In Hanyang K Drama
557. The Hunt Did Not Finish US Drama
558. Trouble Swedish Drama C
559. Robert Reich’s Ten Economic Myths Debunked
560. Squid Game 2 B
561. Squid Game International Game C
562. NYE coverage
563. Yoon Impeachment news coverage
564. NYE terror attack coverage
565. CNN Best and Worst of the Year
566. BBC end of the Year Coverage
Oscar Winners
Bold – Seen
Last Year Everything All At Once
BEST PICTURE
American Fiction
Anatomy Of A Fall
Barbie
The Holdovers
Killers Of The Flower Moon
Maestro
Oppenheimer
Past Lives
Poor Things
The Zone Of Interest
BEST DIRECTOR
Jonathan Glazer, The Zone Of Interest
Yorgos Lanthimos, Poor Things
Christopher Nolan, Oppenheimer
Martin Scorsese, Killers Of The Flower Moon
Justine Triet, Anatomy Of A Fall
BEST ACTRESS
Annette Bening, Nyad
Lily Gladstone, Killers Of The Flower Moon
Sandra Hüller, Anatomy Of A Fall
Carey Mulligan, Maestro
Emma Stone, Poor Things
BEST ACTOR
Bradley Cooper, Maestro
Colman Domingo, Rustin
Paul Giamatti, The Holdovers
Cillian Murphy, Oppenheimer
Jeffrey Wright, American Fiction
BEST SUPPORTING ACTRESS
Emily Blunt, Oppenheimer
Danielle Brooks, The Color Purple
America Ferrera, Barbie
Jodie Foster, Nyad
Da’Vine Joy Randolph, The Holdovers
BEST SUPPORTING ACTOR
Sterling K. Brown, American Fiction
Robert De Niro, Killers Of The Flower Moon
Robert Downey Jr., Oppenheimer
Ryan Gosling, Barbie
Mark Ruffalo, Poor Things
BEST ORIGINAL SCREENPLAY
Justine Triet And Arthur Harari, Anatomy Of A Fall
David Hemingson, The Holdovers
Bradley Cooper And Josh Singer, Maestro
Samy Burch, May December
Celine Song, Past Lives
BEST ADAPTED SCREENPLAY
Cord Jefferson, American Fiction
Greta Gerwig And Noah Baumbach, Barbie
Tony McNamara, Poor Things
Christopher Nolan, Oppenheimer
Jonathan Glazer, The Zone Of Interest
BEST INTERNATIONAL FEATURE
Io Capitano, Italy
Perfect Days, Japan
Society Of The Snow, Spain On Netflix See
The Teacher’s Lounge, Germany
The Zone Of Interest, United Kingdom
BEST ANIMATED FEATURE
The Boy And The Heron
Elemental
Nimona
Robot Dreams
Spider-Man: Across The Spider-Verse
BEST DOCUMENTARY FEATURE
Bobi Wine: The People’s President
The Eternal Memory
Four Daughters
To Kill A Tiger
20 Days In Mariupol
BEST CINEMATOGRAPHY
El Conde
Killers Of The Flower Moon
Maestro
Oppenheimer
Poor Things
BEST EDITING
Anatomy Of A Fall
The Holdovers
Killers Of The Flower Moon
Oppenheimer
Poor Things
BEST COSTUME DESIGN
Barbie
Killers Of The Flower Moon
Napoleon
Oppenheimer
Poor Things
BEST HAIR AND MAKEUP
Golda
Maestro
Oppenheimer
Poor Things
Society Of The Snow
BEST SOUND
The Creator
Maestro
Mission: Impossible—Dead Reckoning Part One
Oppenheimer
The Zone Of Interest
BEST VISUAL EFFECTS
The Creator
Godzilla Minus One
Guardians Of The Galaxy Vol. 3
Mission: Impossible—Dead Reckoning Part One
Napoleon
BEST PRODUCTION DESIGN
Barbie
Killers Of The Flower Moon
Napoleon
Oppenheimer
Poor Things
BEST ORIGINAL SONG
“What Was I Made For?”, Billie Eilish And Finneas, Barbie
“I’m Just Ken,” Mark Ronson And Andrew Wyatt, Barbie
“The Fire Inside,” Diane Warren, Flamin’ Hot
“It Never Went Away,” Jon Batiste, American Symphony
“Wahzhazhe (A Song For My People),” Osage Tribal Singers, Killers Of The Flower Moon
BEST ORIGINAL SCORE
American Fiction
Indiana Jones And The Dial Of Destiny
Killers Of The Flower Moon
Oppenheimer
Poor Things
BEST LIVE-ACTION SHORT
The After
Invincible
Knight Of Fortune
Red, White, And Blue
The Wonderful Story Of Henry Sugar
BEST ANIMATED SHORT
Letter To A Pig
Ninety-Five Senses
Our Uniform
Pachyderm
War Is Over! Inspired By The Music Of John & Yoko
BEST DOCUMENTARY SHORT
The ABCs Of Book Banning
The Barber Of Little Rock
Island In Between
The Last Repair Shop
Nai Nai & Wai Po
Movies/TV Series Netflix Unless Otherwise Mentioned
1. All About The Benjamin’s TNT B
2. Rush Hour Three TNT B
3. The Interview Google On-Line C
4. Paradise 2013 C
5. The Signal 2014 B
6. Duplicity Julia Roberts Clive Owens B
7. Are You Here B
8. Maleficent B
9. Guardians Of The Galaxy B
10. Begin Again 2014 B
11. The Giver 2014 A
12. Sea Biscuit A
13. November Man B
14. A Most Wanted Man C
15. Labor Day B
16. Life Of Crime B
17. Kundo Korean Movie B
18. And So It Goes 2014 Michael Douglas, Diane Keaton B
19. Marley And Me B
20. Jobs B
21. The Family C
22. Stuck In Love B
23. Mud B
24. X Men Days Of Future Past C
25. The Identical B
26. Jurassic City C
27. Railway Man B
28. Peabody And Sherman B
29. Lunch Box Bollywood Movie 2013 B
30. Y Tu Su Mama, También Award Winning Mexican Movie 2014 B
31. Australia B
32. Mrs. Henderson Presents B
33. John Wick B
34. Silver Lining Playback A
35. The Good Night B
36. View From The Top B
37. Contagion C
38. Pineapple Express C
39. Country Strong B
40. The Hobbit –Battle Of The Five Armies B
41. Dinosaur Experiment C
42. Broke Back Mountain Library A
43. An Affair To Remember Library A
44. Two Days In Paris Library A
45. Ride With The Devil Library A
46. Carmen Opera Library A
47. Catch 22 Library B
48. Game Of Thrones Season One Library B
49. Game Of Thrones Season Two Library B
50. Barefoot In The Park Library A
51. No Reservations Library C
52. Fast And Furious Library C
53. Charlie’s Angels 2000 Library B
54. Charlie’s Angels 2003 Version Saw Earlier Noted Here B
55. Endless Love B
56. Hot Pursuit On Plane C
57. Day Of Adeline On Plane A
58. Avengers Day Of Ultron On Plane C
59. Tomorrowland On Plane B
60. Far From The Madding Crowd On Plane A
61. Aloha On Plane
62. Mad Max Fury Road On a Plane
63. San Andreas On Plane
64. Classified File Korean Movie On Plane
65. Casanova From Library
66. Company You Keep From Library
67. Contraband From Library
68. Bleak House Mini-Series From Library
69. La Boehme Opera From Library
70. Eat Drink Man Women From Library
71. Runner, Runner From Library
72. Sense And Sensibility From Library
73. American Snipper HBO
74. Wild HBO
75. Maze Runner HBO
76. Dumb And Dummer To HBO
77. Havoc HBO
78. 5 Flights Up HBO
79. Kill The Messenger HBO
80. My Blueberry Nights Library
81. Last Chance, Harvey, Library
82. Serial Mom HBO
83. The Producers 2005 Version
84. Broken Flowers Hood
85. Rumor Has It that HBO
86. Run All Night HBO
87. Fistful Of Dollars HBO
88. A Few More Dollars HBO
89. The Good, The Bad, And Ugly HBO
90. Fifty Shades Of Grey HBO
91. Hang Em High HBO
92. The Drop HBO
93. The Leisure Class HBO
94. The Kingsmen Secret Service HBO
95. Birdman HBO
96. The Wiz NBC Special
97. Spectre At Kingstown
98. Magnolia HBO
99. The Curse Of The Jade Scorpion HBO
100. The Rock HBO
101. Child Hood’s End Syfy Channel Special
102. Insurgent HBO
2014
Movies/TV Series
1. Jack Reacher 2012 Net Flix
2. Thieves (Korean Movie Next Flix)
3. Side Effects – Next Flix
4. The Informant – Next Flix
5. The Assassination Of Jessie James By The Coward Robert Ford 2008 Next Flic
6. Olympus Has Fallen 2013 Next Flix
7. Coriolanus 2011 Next Flix
8. 300 Net Flix
9. Appolo 18 Net Flic
10. Shape Of Things To Come On Plane
11. Battle Star Galactica Razor On Plane
12. The Master On Plane
13. Ides Of March On Plane
14. Oblivion Net Flix
15. Midnight In Paris Woody Allen Saw Earlier On Plane Net Flic
16. Non-Stop In Regal – A Bit Disappointing
17. Then She Found Me Directed By Helen Hunt 2007 Net Flic
18. Zelig 1996 Woody Allen Nex Fix
19. Husband And Wives = Woody Allen Movie Netflix
20. The Confederate States Of America 2004 Mockumentary
21. Out Of Sight George Clooney, Jennifer Lopez Based On Elmore Leonard Novel – Bit Disappointing On Plane
22. Hobbit Desolation Of Smug On Plane
23. Ender’s Game On Plane On Plane
24. The Internship On Plane
25. Closed Circuit On Plane
26. Secret Life Of Walter Mitty Download
27. RoboCop Download
28. The A-Team On Plane
29. The Europa Report On Plane
30. Blue Jasmine On Plane
31. World’s End On Plane
32. The Hangover On Plane
33. Edge Of Tomorrow In Movie Theather
34. True Crime 1998 Clint Eastwood (TV)
35. Bullet To The Head (TV)
36. Get The Gringo (TV)
37. Pacific Rim (TV)
38. Starsky And Hutch (TV)
39. Space Jam (TV)
40. World War Z Nextflex
41. Wolf Of Wall Street Nextflex
42. Gravity Nextflex
43. 12 Years A Slave Nextflex
44. Fracture Nextflex
45. Good Night And Good Luck Nextflex
46. The Perfect Storm Nextflex
47. The Book Thief Nextflex
48. Best Offer Nextflex
49. Muncih 2005 Spellberg Nextflex
50. A Winter’s Tale Nextflex
51. Trascendence Nextflex
52. The Other Women Nextflex
53. Layer Cake Nextflex
54. Heat Robert Dinoro, Al Pacino Nextflex
55. Last Vegas Dinoro Freeman Kline Pacino Nextflex
56. The Grand Budapest Hotel Netflix
57. Best Laid Plans 1999 Version Nextflex
58. Firewall Nextflex
59. Saving Mr. Banks Nextflex
60. A Wrinkle In Time Nextflex
61. Extremely Loud And Incredibly Close – Tom Hanks, Sandra Bullock About 9-11 And One Family’s Reaction Nextflex
62. Mandella’s Long Walk To Freedom Nextflex
63. Enough Said Nextflex
64. All You Need Is Love Nextflex
65. Divergent Nextflex
66. Noah Nextflex
67. You will Meet A Tall Dark Handsome Stranger – Woody Allen Movie 2010 Nextflex
68. X Men Wolverine Origins Nextflex
69. Captain America Winter Soldier Nextflex
70. X Men 2 United Nextflex
71. Sex Tape In Hotel
72. Dawn Of The Planet Of The Apes On Plane
73. Godzilla 2014 Version On Plane
74. Don Juan Netflix
75. Frozen Nextflex
76. Gone Girl 2014 In Regal Springfield
77. Better Living Through Chemistry 2013 Movie Netflix
78. Elysium 2013 Nextflix
79. A Million Ways To Die In The West Nextflex
80. Interstellar 2014 In Regal Springfield
81. Burning Palms – Worst Movie Of The Year For Me
82. Million Dollar Arm
83. Lost In America 1985 Recommended By Matt Jacobson
84. Manhattan Murder Mystery 1995 Woody Allen
85. State Of Play Next Flic
86. Babel Next Flic
87. Peter Pan Live NBC
88. Snowpiercer Korean Directed Film
89. Jack Ryan, Shadow Recruit
90. Superbad
91. It’s A Wonderful Life
92. This Means War
93. Memories Of Murder Korean Film
94. The Good, The Bad, And The Weird Korean Film
95. Bad Santa
96. Typhoon Korean Movie 2005
97. In The Cut 2003 Australian Movie Set In NYC
TV Series And Movies
1. Breaking Bad Television Binge Watching All Episodes
2. House Of Cards
3. Tin Man
4. Falling Skies
2013
The List
1. Crazy, Stupid Love, Netflix January 1, 2013
2. The Descendents Netflix January 4, 2013
3. The Hobbit (In Theater) January 5, 2013
4. The Best Exotic Marigold Hotel Netflix
5. Abritrage Richard Gere
6. Get Him To The Greek TV
7. Snatch Netflix
8. The One Netflix
9. One For The Money (Netflix)
10. Star Trek The Undiscovered Country TV
11. The Help Netflix
12. Hope Spring Netflix
13. Paul Netflix
14. Stolen Netflix – Did Not Finish Nominate For Worst Film Of The Year
15. The Lion, The Witch, And The Wardrobe ABC Family
16. Journey To The Center Of The Earth 2011 ABC Family
17. Mission Impossible 1V Ghost Protocol
18. Here Comes Mr. Jordan 1941 TCM
19. A Star Is Born 1945 TCM
20. Mission Impossible 111
21. Decisions
22. Life Of Pi Next Flic
23. In Land Of Blood And Honey Next Flic
24. Lockout Next Flic
25. 21 Jump Street Next Flic
26. Sherlock Holmes’s Games Of Shadows Plane
27. Wrath Of The Titans Plane
28. Horrible Bosses Plane
29. Safe House Plane
30. Hunter Plane
31. Take This Waltz Next Flix
32. Marley TV
33. Coriolanus (Theather RHS)
34. Wallenstein (Theather RHS)
35. Great Gatsby (Regal Kingstown)
36. Groom Lake (Hulu)
37. Motorcycle Diaries 2004 Next Flic
38. Looper Next Flic
39. Superman Man Of Steel In Regal Theather
40. Bourne Legacy (Netflix)
41. Earthlings 2012 Hulu
42. Gangster Squad (Nextflix)
43. Red (Part)
44. Zookeeper (Part)
45. Witches Of Oz (Netflix)
46. Interstate 60 Hulu
47. White House Down In Theather
48. Sex And Lucia Next Flic
49. Ted Next Flic
50. Star Ship Troopers – Invasion Next Flic
51. Ana Karina 2012 Net Flix – Production Did Not Work For Me – Too Cute And Avant Garde – Like Watching A Film Of A Play Adaption. Did Not Work As A Play Or As A Movie – A Big Disappointment
52. Time Bandits 1981 Hulu
53. RIPD In Theather
54. Atonement (Netflix)
55. Tristone And Isolde (2006) Netflix
56. Dune 1984 Nextflex
57. Meet The Millers Theather
58. Seeking A Friend For The End Of The World Next Flic
59. Iron Man 3 On Plane
60. Trance On Plane
61. Prisoners In Theather
62. The Butler In Theather
63. Outsourced Netflix
64. Cloud Atlas Netflix
65. Flight 2012 Next Flic
66. The Campaign 2012 Next Flic
67. Asian Invasion (Porn Movie For Strip Poker Game)
68. Details Nextflix
69. The Blind Side Netflix
70. Pirates Of The Caribbean On Stranger Tides Netflix
71. Robin Hood 2010 Netflix
72. The Counselor 2013 In Theather
73. The Host Netflix
74. After The Sunset 2008 Netflix
75. Grown Ups TNT On Cruise
76. The Proposal TNT On Cruise
77. Red 2 TNT On Cruise
78. Maiden Heist Next Flix
79. Despicable Me – Disney Channel
80. Hunger Games Catching Fire In Theather
81. The Place Beyond The Pines Next Flic
82. Watch Man 2009 Next Flix
83. Snow White And The Huntsman Nextflix
84. Parker Netflix Streaming
85. American Hustle
86. A Christmas Story
87. Ice Quake 2013 Syfy
88. On The Road
2012
The List
1. Dragnet (Next Flex) Jan 1
2. Bird On A Wire (Next Flex) Jan1
3. Laura Croft Tomb Raider (Hollywood Chanel)
4. Kuffs MGM Chanel
5. Journey To The Lost World MGM Chanel
6. Yellow Handkerchief Netflix
7. Shanghai Knights Hollywood Chanel
8. MMB 2 Hollywood Chanel
9. What Women Want Mel Gibson, Helen Hunt 2000 Hollywood Chanel
10. The Door In The Floor Jeff Bridges, Kim Bassinger, Mimi Rogers 2000 Next Flix Check References To Book
11. America’s Sweethearts 2001 Julia Roberts, Kusshak, Catherine Zetta Jones Nextflix
12. Marathon Man
13. Catwoman
14. The Rise Of The Planet Of The Apes 2011 On Plane
15. Cowboys And Aliens 2010 On Plane
16. The Island 2005 On Plane
17. The Day The Earth Stood Still 1951 On Plane
18. Hot Tube Time Machine Net Flix
19. The Big Lebrowski Net Flix
20. Leopolis Seoul Netflix
21. King Of The Lost World
22. Money Ball (Training Day)
23. Serenity Next Flex 2005
24. Harry Potter And The Deathly Hallows Part One (On Plane)
25. Dirty Rotten Scoundrels On The Plane
26. Bender’s Big Score (Netflix)
27. Serenity (Nextflix)
28. The Punisher (TV)
29. Love’s Kitchen (Netflix)
30. Transformers 11 2009 – Disappointing But Will Watch Transformers 111 To Finish The Series Off.
31. The Double 2011 Richard Gere
32. Contagion Did Not Finish Warsaw
33. Sherlock Holmes 2 Did Not Finish Warsaw
34. Win Win Warsaw Good Fli
35. The Invasion 2005 Innovative Shooting Technique
36. Tower Heist Nex
37. The Tree Of Life Nex – Disappointing
38. The Hangover Part Two NEX
39. Girl With Dragon Tattoo (2011 Version)
40. The King’s Speech NEX
41. Midnight In Paris Woody Allen Movie 2011
42. John Carter Hotel Room
43. This Means War On Plane
44. J Egard With Leonardo Di Caprio Directed By Clift Eastwood – Big Disappointment. Just Too Long, Too Much Talking. From NEX
45. Dr Strangelove From Mik B
46. The Armour Of God 1987 Jackie Chan, Lola Forner Spanish Actress Hulu
47. The Sands Of Oblivion 2007 Hulu
48. The Monitors (Next Flex)
49. MIB3 On Plane
50. Prometheus – Last Half Worth Seeing Again On Plane
51. Battleship On Plane
52. Players Bollywood Remake Of The Italian Job –Worth Seeing
53. Cross Worlds Next Flex
54. Phil The Alien Next Flex
55. Invasion Of The Pod People Hulu
56. Alien Armageddon Hulu
57. Red State Netflix
58. God Bless America Netflix
59. The Man Who Fell To Earth Netflix
60. Very Bad Things Next Flix
61. Ready Or Not – Hulu
62. The Last Lovecraft: Relic Of Cthulu 2009 Netflix
63. Amazing Spiderman 2012 Plane
64. To Rome With Love 2010 Plane Woody Allen
65. Dawalt’s Guard (First Arabic Movie) Plane
66. Search For Justice 2012 Nicolas Cage Plane
67. Mirror Mirror With Julia Roberts – On Plane In February
68. The Gauntlet With Clint Eastwood 1977
69. The Hunger Games blockbuster
70. The Debt
71. The Maltese Falcon TCM
72. My Week With Marilynn Block Buster
73. Bernie Blockbuster
74. Savages Blockbuster
75. Wanderlust Blockbuster
76. Skyfall Theather
77. Office Space
78. Dumb And Dumber TV
79. Accepted TV
80. The Iron Lady Blockbuster
81. The Watch Blockbuster
82. Larry Crowne Blockbuster
83. Hot Rock 1972 Robert Redford HDNET
84. Killing Them Softly (Movie Theather)
2011
1. How Do You Know 2010
2. Nothing But The Truth 2008 Saw Earlier Not Bad 1-15
3. Salt 2010 With Angelina Jolie
4. The Other Side Of The Bed Spanish 2002
5. A Perfect Getaway 2009
6. Fool’s Gold
7. Invictus 2009 Morgan Freeman, Matt Damian
8. Like Water For Chocolate
9. The Flower Of My Secret La Flora De Mi Secreto Spanish Movie 1995
10. 88 Minutes 2007 Al Pacino
11. Mr. Deeds 2002
12. The King And I Korean Series
13. Sex And The City 11
14, Hell Boy Part 11
15. Love Happens
16. Drive Angry 2011 Nicolas Cage Add To Worst Movie List
17 Girl With The Dragon Tatoo 2009
18. The Spanish Prisoner 1997 David Mamet Director Steve Martin
19. Illegally Yours 1988 Robert Lowe
20. Machette 2010 Half Spanish Dialogue Robert Dinero, Jessica Alba
21. The Prince Of Persia 2010
22 No False Move 1992 Bill Ray Thorton
23 Life In North Korea Documentary From National Geographic
24. Green Zone
25. Morning Glory
26 Killers
27. Eat Pray Love
28 The Town
29. Kate And Leopold
29. The Legend Of Bagger Vance
30 Emma
31 Les Miserables 1998 Version
32 Unstoppable 2010
34. Due Date 2010
2010
1. Fragments 2009
2. Where The Day Takes You 1992
3. The Illusionist 2003
4. PS, I Love You 2007
5. The Burning Plain 2008
6. The Other Man 2008
7. Mama Mia 2008
8. Dim Sum Funeral 2008
9. Inglorious Bastards 2009
10. Oh Brother, Where Art Thou? 2003 Second Time Around
11. Time Traveler’s Wife 2009
12. Amelia 2009
13. Lies And Illusions 2009 Add To Worst List
14. Serious Moonlight 2009
15. “The Chaser” Korean Film
16. Precious 2009 Academy Award For Best Actress
17. Every Body’s Alright
18. Space Balls
19. Three Stooges Selected Episodes
20. Ghosts Of Girl Friends Past 2009 Matthew McConaughey, Jennifer Garner
21. Up In The Air 2009 George Clooney
22. The Men Who Stare At Goats 2009 George Clooney
23. Have You Heard About The Morgans? Hugh Grant, Sara Jessica Parker 2009
24. Sherlock Holmes 2009 Robert Downey, Jude Law, And Rachael Mc Donald
25 “Crazy Heart” 2010 Best Picture Award 2010 Jeff Bridges, Robert Duval, Maggie Gyenehall
26 “Five Minutes Of Heaven” Liam Nelson 2010.
27 Avatar 2009 Best Picture
28 Romeo Must Die Jet Li 2000
29 Flawless 2008 Demi Moore Michael Kane
30 Extraordinary Measures 2010 Harrison Ford
31 Alice In Wonderland 2010
32 The Road 2009
33 It’s Complicated
34 Beyond A Reasonable Doubt
35 The Invention Of Lying
36 Edge Of Darkness
37 The Spy Next Door
38 Young Victorian
39 Old Dogs (On Plane)
40 Leap Year (On Plane)
41 Couples Retreat (Travis) 2009
42 Knight And Day 2010 (Medford)
43 Inception 2010 (Medford)
44 The Sorcerer’s Apprentice 2010 (Medford)
45 Clash Of The Titans (On Plane) 2010
46 Remember Me (On Plane) -2010
47 Bounty Hunter (On Plane -2010
48 Date Night (On Plane ) 2010
49 2 Fast 2 Furious 2003 Eva Mendes Stars (Saw On TV)
50 Water World – Keven Kostner Saw
51 Legends Of The Fall
52 Iron Man 2 (On Plane)
53 How To Tame Your Dragon (On Plane)
54 The Informant (HBO Home)
55 Bill And Ted’s Bogus Journey (Parts)
56 Batteries Not Included 1987 Second Time Around (HBO)
57 Family Man (HBO)
58 Wall Street
59 Helen – Short List For Worst Movie I Saw – Just Did Not Work For Me.
60 The Warlords
61 A Plague Of Zombies
62 Robin Hood
63 The Unthinkable
64 The Book Of Eli
65 The Count Of Monte Cristo
66 The Messenger (Angela Saw)
67 Red (In The Theather)
68 The Count Of Mont Cristo Angela Saw I Saw Parts
69 3:10 To Yuma (Saw A Few Years Ago, Saw Again)
70 Law Abiding Citizen 2009
71 Spring, Summer, Fall, Winter, Spring Korean Film 2005
72 Aliens In The Addict 2009 TV
73 Loch Ness 1996 Ted Dancer HBO
74 Fair Game 2010 In Theater
75 The Pianists 2002 Angela Saw, I Saw A Few Years Ago
76 The Simpsons Movie First Half was Seen Earlier
77 Star Wars 6 First Half Hour
78 Wizard Of OZ Half
79 The King And I Korean History Drama
80 The Darjeeling Limited 2007 Owen Wilson Wes Anderson Directed
81 The Piano 1995 Angela Saw, I Heard Parts Of It
82 Gia 1994 Very Sexual And Lots Of Lesbian Scenes Which Turned Me On.
83 Oregon (SFY)
84 Leiberstruam 1999 Kim Novack, Bill Pullman HBO
85 The Jones 2009 Demi Moore, David Duchovny Amber Heard, And Ben Hollingsworth Directed By Derrick Borte – Disappointed, Did Not Work For Me
86 The Hours 2002 Nicole Kidman, Julain Moore, And Meryle Shreep Re Life Of Virginia Woolf And Her Impact On The Life Of Two Women
87 Bobby 2006 Helen Hunt, Demi Moore, Anthony Hopkins, Sharon Stone, William Macy, Martin Sheet, Linsday Lohan, And Cristian Slater Written Nd Directed By Emilio Estevez
88 True Grit 2010 – Overly Hyped In My Opinion
89 Vivdirana Spanish Film 1961 Classic
90 Volver 2005 Spanish Film
91 How Much Do You Love Me 2005 French
92. Ninja Assassins 2009 Staring Rain On TV
93 Horsefeathers Marx Brothers On TV
2009
1. Underwear” Starting Val Kilmer, Graham Greene,
2. Constant Gardener With Rachael Weiz –
3. Rumor Has It – Jennifer Aniston, Kevin Costner
4. Queen
5. Hancock With Will Smith
6. Dave – With Eddie Murphy – SF Comedy
7. Joe Kid – With Clint Eastwood – Saw Opening
8. Iron Man – Not Bad. Another Marvel Movie.
9. Eternal Sunshine Of The Spotless Mind”
10. Gone, Baby, Gone”
11. Fracture
12. Burn After Reading”
13. 21 Grams”
14. The Changing With Angelia Jolie, Directed By Clint
15. Kiss The Dust”
16. How To Lose Friends And Alienate People
17. Electric Mist With Tomy Lee Jones
18. Good German
19. Siberian Express
20. Body Of Lies
21. Slum Dog Millionaire
22. Lucky Slevin
23. Australia
24. What Just Happened
25. City Of Ember
26. Proof Of Life
27. Bottle Shock
28. Runaway Jury
29. Master Spy
30. Marie Antoinette
31. Interstate
32. He’s Just Not That Into You
33. Madagascar 11
34. Collateral With Jamie Fox And Tom Cruise
35. My Super Ex Girl Friend
36. State Of Play – In Medford Movie Theather
37. Bolt-On The Plane
38. Yes Man, In a Hotel Room In DC
39. Avengers
40. Spy Games
41. All The Way
42. The Day The Earth Stood Still
43. Seven Pounds
44. Nothing But The Truth
45. The Reader – Oscar Winner For Best Actress 2008 Kate Winslet
46. Crossing Over
47. Kill Shot With Mickey Rourke, Diane Lane
48. Vanished With Jeff Bridges, Sandra Bullock
49. Valkyrie
50. Star Trek – Prequel Movie (From Street Vendor)
51. 52 The Clearing With Robert Redford – 2004
52. Curious Case Of Benjamin Button With Brad Pitt Best Actor Award 2009
53. Knowing With Nicolas Cage 2009
54. The Code
55. Counterfeit
56. Alexander 2004 Oliver Stone Producer
57. Out For Justice 1991
58. Echelon Conspiracy 2009
59. The Good Thief 2001 With Nick Nolte
60. Meteor = NBC Mini-Series
61. Wild Hogs 2007 Tim Allen, Travolta, Macy, Lawrence
62. 28 Days Later
63. Wild Things 2
64. Mystic River Directed By Clint Eastwood, Starring Sean Pean
65. Criminal 2004
66. Essential Lover
67. Two Lovers
68. Angels And Demons 2008 Started by Tom Hanks, Directed By Ron Howard
69. The Informers
70. Duplicity
71. Surveillance Produced By Jennifer Lynch Starting Pullman And Ormand
72. Trust The Man 2008
73. The Mutant Chronicles 2008
74. Heaven 1995?
75. Wolverine With Hugh Jackman 2009
76. Dark Streets With Bijou Philips
77. Doubt With Meryle Strep 2008
78. Coco Chanel Shirley Mc Cline 2008
79. Ramen Girl
80. The Yatzuka (1974 W George Mitchum)
81. The Fountain 2006 W Rachel Weiss (Hot)
82. Easy Virtue 2009 (On Plane)
83. Act Of Imagination – Eddie Murphy And Serena Williams’s Daughter
84. I Hate Valentine’s Day 2009 (On Plane)
85. The Proposal 2009 With Sandra Bullock
86. Into The Storm (Bio Of Winston Churchill (On Plane)
87. MILF Hunters 5 Porno Movie Seen In Hotel
88. Mr. Brooks
89. Taken
90. The Big Bounce
91. The Heartbreak Kid (Second Time Around)
92. Taking Of Pelham 123 2009 With John Travolta, Denzel Washington
93. Cherrie 2008 With Michelle Pfiefer
94. Accidental Husband 2008 With Uma Thuber
95. Management With Jennifer Aniston, Steve Chain, And Woody Harrelson, 2008
96. My Life In Ruins, 2008 With Nia Valdolos (My Big Fat Greek Wedding And Richard Dreyfus)
97. Kiss Kiss Bang Bang 2005
98. Spanglish 2005 With Adam Sandler
99. A Married Life 2008
100. Open Road 2009
101. Vanity Fair 2004 Recee Weatherspoon As Bucky Sharp
102. Beyond Borders 2008 Anglie Jolie, And Clive Owen
103. I’ll Sleep When I Am Dead 2003with Clive Owen
104. The King Of California 2007 With Michael Douglas
105. Target 1985 With Gene Hackman And Matt Dillion
106. The Life Of David Gale With Kevin Spacy, And Kate Winslet
107. Bruno
108. Lucky You With Drew Barrymore
109. The Last Word
110. 2012 With John Cusack
111. Bad Lieutenant With Nicolas Cage
112. The Tournament 2009 Kelly Hu
113. Public Enemies 2009 Johny Deep
114. Julia And Julia 2009 Meryle Sherpa
115. Cold Mountain 2003 Jude Law, Nicole Kidman
116. Out Of Time 2003 Denzel Washington, Eva Mendez (Hot)
117. Night At The Museum 11 Battle For Smithsonian
118. Sleuth 2009 Version
119. Land Of The Lost 2009
120. The Brother’s Bloom 2008
121. Letter From Iwa Jima 2007 Clint Eastwood Directed
122. White Chicks
123. Star Treck Generations
124. Jackie Collins’s Hollywood Wife 2003
125. Charlie Wilson’s War -2008 Tom Hanks, Julia Roberts
126. The Whole Nine Yards 2000 Bruce Willis, Matthew Perry, Amanda Peete (Hot)
127. The Illusionist
2009
1. Underwear” Starting Val Kilmer, Graham Greene,
2. Constant Gardener With Rachael Weiz –
3. Rumor Has It – Jennifer Aniston, Kevin Costner
4. Queen
5. Hancock With Will Smith
6. Dave – With Eddie Murphy – SF Comedy
7. Joe Kid – With Clint Eastwood – Saw Opening
8. Iron Man – Not Bad. Another Marvel Movie.
9. Eternal Sunshine Of The Spotless Mind”
10. Gone, Baby, Gone”
11. Fracture
12. Burn After Reading”
13. 21 Grams”
14. The Changing With Angelia Jolie, Directed By Clint
15. Kiss The Dust”
16. How To Lose Friends And Alienate People
17. Electric Mist With Tommy Lee Jones
18. Good German
19. Siberian Express
20. Body Of Lies
21. Slum Dog Millionaire
22. Lucky Slevin
23. Australia
24. What Just Happened
25. City Of Ember
26. Proof Of Life
27. Bottle Shock
28. Runaway Jury
29. Master Spy
30. Marie Antoinette
31. Interstate
32. He’s Just Not That Into You
33. Madagascar 11
34. Collateral With Jamie Fox And Tom Cruise
35. My Super Ex Girl Friend
36. State Of Play – In Medford Movie Theather
37. Bolt-On The Plane
38. Yes Man, In a Hotel Room In DC
39. Avengers
40. Spy Games
41. All The Way
42. The Day The Earth Stood Still
43. Seven Pounds
44. Nothing But The Truth
45. The Reader – Oscar Winner For Best Actress 2008 Kate Winslet
46. Crossing Over
47. Kill Shot With Mickey Rourke, Diane Lane
48. Vanished With Jeff Bridges, Sandra Bullock
49. Valkyrie
50. Star Trek – Prequel Movie (From Street Vendor)
51. 52 The Clearing With Robert Redford – 2004
52. Curious Case Of Benjamin Button With Brad Pitt Best Actor Award 2009
53. Knowing With Nicolas Cage 2009
54. The Code
55. Counterfeit
56. Alexander 2004 Oliver Stone Producer
57. Out For Justice 1991
58. Echelon Conspiracy 2009
59. The Good Thief 2001 With Nick Nolte
60. Meteor = NBC Mini-Series
61. Wild Hogs 2007 Tim Allen, Travolta, Macy, Lawrence
62. 28 Days Later
63. Wild Things 2
64. Mystic River Directed By Clint Eastwood, Starring Sean Pean
65. Criminal 2004
66. Essential Lover
67. Two Lovers
68. Angels And Demons 2008 Started by Tom Hanks, Directed By Ron Howard
69. The Informers
70. Duplicity
71. Surveillance Produced By Jennifer Lynch Starting Pullman And Ormand
72. Trust The Man 2008
73. The Mutant Chronicles 2008
74. Heaven 1995?
75. Wolverine With Hugh Jackman 2009
76. Dark Streets With Bijou Philips
77. Doubt With Meryle Strep 2008
78. Coco Chanel Shirley Mc Cline 2008
79. Ramen Girl
80. The Yatzuka (1974 W George Mitchum)
81. The Fountain 2006 W Rachel Weiss (Hot)
82. Easy Virtue 2009 (On Plane)
83. Act Of Imagination – Eddie Murphy And Serena Williams’s Daughter
84. I Hate Valentine’s Day 2009 (On Plane)
85. The Proposal 2009 With Sandra Bullock
86. Into The Storm (Bio Of Winston Churchill (On Plane)
87. MILF Hunters 5 Porno Movie Seen In Hotel
88. Mr. Brooks
89. Taken
90. The Big Bounce
91. The Heartbreak Kid (Second Time Around)
92. Taking Of Pelham 123 2009 With John Travolta, Denzel Washington
93. Cherrie 2008 With Michelle Pfiefer
94. Accidental Husband 2008 With Uma Thuber
95. Management With Jennifer Aniston, Steve Chain, And Woody Harrelson, 2008
96. My Life In Ruins, 2008 With Nia Valdolos (My Big Fat Greek Wedding And Richard Dreyfus)
97. Kiss Kiss Bang Bang 2005
98. Spanglish 2005 With Adam Sandler
99. A Married Life 2008
100. Open Road 2009
101. Vanity Fair 2004 Recee Weatherspoon As Bucky Sharp
102. Beyond Borders 2008 Anglie Jolie, And Clive Owen
103. I’ll Sleep When I Am Dead 2003with Clive Owen
104. The King Of California 2007 With Michael Douglas
105. Target 1985 With Gene Hackman And Matt Dillion
106. The Life Of David Gale With Kevin Spacy, And Kate Winslet
107. Bruno
108. Lucky You With Drew Barrymore
109. The Last Word
110. 2012 With John Cusack
111. Bad Lieutenant With Nicolas Cage
112. The Tournament 2009 Kelly Hu
113. Public Enemies 2009 Johny Deep
114. Julia And Julia 2009 Meryle Sherpa
115. Cold Mountain 2003 Jude Law, Nicole Kidman
116. Out Of Time 2003 Denzel Washington, Eva Mendez (Hot)
117. Night At The Museum 11 Battle For Smithsonian
118. Sleuth 2009 Version
119. Land Of The Lost 2009
120. The Brother’s Bloom 2008
121. Letter From Iwa Jima 2007 Clint Eastwood Directed
122. White Chicks
123. Star Treck Generations
124. Jackie Collins’s Hollywood Wife 2003
125. Charlie Wilson’s War -2008 Tom Hanks, Julia Roberts
126. The Whole Nine Yards 2000 Bruce Willis, Matthew Perry, Amanda Peete (Hot)
127. The Illusionist
2008
1. After The Sunset With Pierce Bronson, Salma Hayek, Woody Harrelson, Don Cheadle
2. American Gangster With Denzel Washington And Russell Crowe
3. Out Of Reach With Steven Seagal
4. Amos And Andy With Nicolas Cage And Samuel Jackson
5. The Merchant Of Venice With AL Pacino, Jeremy Irons, Joseph Fiennes, Lynn Collins
6. Harrison’s Flowers With Adrian Macdowell, Elias Koteas, Brendan Gleeson, Adrian Brody, And David Stratham
7. Cruise December 15 -21
8. Sylvia – Movie About The Poet Sylvia Plath And Ted Hughes
9. What Happened In Vegas – With Cameron Diaz
10. Rendition With Meryle Strep – About The Issue Of Renditions, Well Done
11. Adaptation – Nicolas Cage Re Life Of Two Twin Brothers Screen Writers And The Process Of Writing A Screen Play
12. Bangkok Dangerous Nicolas Cage
13. Elizabeth
14. The Weather Man Nicolas Cage
15. Get Smart
16. Possession NF
17. Next With Nicolas Cage NF
18. Knocked Up NF
19. Untouchables AMC
20. Fargo AMC
21. Mummy Returns
2007 To 2010 Barbados
Saw A Lot Of Movies On Video And Netflix Via Mail
From 2003 To 2007 DC Saw An Average of 100 Per Year
2000 To 2003 Saw An Average Of 100 Per Year Mostly Videos But Did See In Movie Theaters Twice A Month And Saw Several Bollywood Movies
2000 Saw The Three Stooges Marathon To Start The Year
1996 -1997 Saw Less Than 50 Due To Being In Hospital Half The Year
The 90s Saw About 100 Per Year Blockbuster Was Popular
1994 during six months of Thai training saw four movies per week
1991 during training saw four movies per week
The ’80s Saw A Lot Via Video About 100 Per Year
The ’70s Saw On TV And In Movie Theaters
Watched a lot of Creature Features movies on TV in the early ’70s every Friday night they had a double feature. Went on average once a week to the movies with friends, mostly Robert Sicular from 1970 to 1974.
My favorite animation series included American Dad, Dilbert, Family Guy, Futurama, Bullwinkle, and Looney Tunes.
Favorite TV series over the years include Arrested Development, Batman, Superman, Everyone Loves Raymond, Two and a Half Men, Married with Children, Malcolm in the Middle, Dallas, Falcon Crest, and as a child, Beverly Hillbies, Dobbie Gils, Gilligan’s Island, Green Acres, Outer limits, Twilight zone, and X Files.
Saw all Planet of the Apes movies and all James Bond movies
For more than twenty years now, Mrs D and I have made it an annual quest to see all of the Best Picture nominees before the Oscars telecast. This year we saw 9.5 of the 10 movies nominated.
It started in 2000, when there were only five nominees (instead of up to 10 like now) and we usually had to see them in a theater, because they weren’t available to rent on VHS yet. (Yes, I said VHS).
And we’ve done it every year since, except for 2019 which was interrupted by Mrs D’s infamous extended hospital stay. We have even ventured to other cities to see movies that weren’t playing at the one theater in our little town. I remember seeing Chocolat in Ukiah and more recently The Revenant in Rohnert Park. But now we can usually stream everything, and this year the whole project ran us around a hundred bucks in streaming rentals and purchases on top of our existing subscriptions to Amazon, etc.
Several years ago I started writing about our tradition on Facebook. Now the writeup itself has become part of the deal. As I’ve said before, I’m no film student, nor expert critic. Just a regular dude who loves movies.
Snap reviews and top picks below.
American Fiction –
Bold, wryly funny, contrarian, with the ring of truth. Brilliantly calls out the publishing industry, where retread tropes seem to trump story, art and insight, particularly when it comes to depictions of Black characters and writers. And I feel like there’s an even larger truth here about the way culture is degraded in general through over-commercialization.
Anatomy of a Fall –
A French film that moves carefully, piece by piece, and manages to be slow and taut at the same time. I found the characters to be inscrutable. I feel like I need to watch again just to see if maybe this time I would fully understand these people. It left me with a suspicion that perhaps all the story’s secrets have still not been revealed, that the resolution we see on the screen is still not the truth of these characters. And, in this case, that ambiguity is a good thing.
Barbie —
Cleverly funny in spots, but also unsubtly preachy in spots, an issue I’ve had with director Greta Gerwig before. But Margot Robbie was perfect and the movie is visually stunning in all its pinkish glory and devoted detail. Still, I think this movie appears in the Best Picture category more on the strength of its perceived politics than its success as an artistic endeavor.
The Holdovers —
A darkly funny, entertaining, and deeply reflective odd couple sort of story that’s enjoyable to watch. Maybe a little out of its league in the Best Picture category, but elevated to a higher status by Paul Giamatti’s performance, which is irresistibly engaging as always. Well worth a second watch.
Killers of the Flower Moon — Having read the book, I felt the impact of the true part of this story was diminished by the fictionalized part of the movie. Reading the book I was deeply struck by the callous indifference shown toward the humanity of the Osage Indians. It resonated like an echo of Shindler’s List, underlining the incredible and frightening capacity of humans to rationalize literally any behavior in their fear or greed. But the movie revolves around Ernest Burkhardt (Leonardo DiCaprio) and depicts a somewhat tried and true arc of romantic tragedy, a weak-minded man caught up in the schemes of others, pulled along by greed and the need for approval, until he is in the process of killing the only real love he’s ever known. As is often the case, the truth was more complex. And more disturbing.
Maestro –
I usually make a conscious effort to limit my preconceptions of these movies. I don’t read reviews or watch trailers. But it’s hard to avoid a relentless ad campaign like the one mounted for Maestro. I’d seen the rousing TV spots touting the performances and the early awards. But I found the movie depressing, its characterization of Bernstein disappointing and unlikeable. But yes, Bradley Cooper and Carey Mulligan
were both outstanding.
Comment: on my list to watch as I am a big Bernstein fan – one of the best classical composers of the 20th century in my opinion.
Oppenheimer –
Not what I would call a pleasant watch, at times slow and ponderous, even confusing with some of the time jumps. But the acting was so engrossing, immersive, mesmerizing even. Cillian Murphy in the title role was riveting. Robert Downey Jr simply disappeared into the role of Lewis Strauss. Emily Blunt was also captivating as Kitty Oppenheimer. The effects director Christopher Nolan used to heighten the sense of Oppenheimer’s interiority were brilliant and effective.
For example when Oppenheimer steps on a charred corpse that only exists in his tortured, guilty mind. But the lasting impact of this film is the way it echoes in the mind afterward—how sad and terrible and absurd it is that we reckless humans have attained the power to destroy the world. It will probably win Best Picture. And it probably should.
Comment: Also on my must see list
Past Lives –
Eventually, someone had to do a movie like this — an old romance is rekindled through the internet and complications ensue. In this particular case the past romance is an adolescent crush, cut short by one family’s immigration, and later complicated not just by the years, but also by geographic and cultural distance. This one stayed with me, kept me thinking for days afterward about its larger implications regarding fate, destiny, acceptance, grief and closure. Well worth more than one watch.
Poor Things –
Half of this movie was twice as much as I needed. We actually turned it off, extremely rare for us during Oscar season. What we saw played like a terrible excuse for some creepy, gratuitous soft porn. All the weirdness of the sets, costumes, cinematography and makeup felt like a desperate attempt at artistic status. If someone out there actually saw some redeeming value in this thing, feel free to explain in the comments section what I am missing.
The Zone of Interest –
This one’s all in German, with subtitles. But the dialog is sparse and the film’s biggest strength is in the fascinating dichotomy presented in its basic premise. It gives us a window into the surprisingly mundane personal lives of a “normal” family literally in the shadow of Auschwitz during the Holocaust. The sense of cognitive dissonance is alarming.
Honorable Mention
– I don’t usually do this, but I wanted to mention one film that was not even nominated for Best Picture but, in my opinion, should have been. Nyad has wonderful, engaging performances by Annette Bening and Jodie Foster, and it’s a suspenseful, satisfying, story of friendship, determination, human spirit, and triumph over the longest odds.
Finally, here are my choices for the top awards.
Don’t worry, the Academy almost always disagrees.
Actor in a Leading Role: Cillian Murphy, Oppenheimer Winner
Actor in a Supporting Role: Robert Downey Jr, Oppenheimer Winner
Actress in a Leading Role: Annette Bening, Nyad
Actress in a Supporting Role: Emily Blunt, Oppenheimer
Best Picture: Oppenheimer Winner
Soon it’s time to pop the popcorn, get cozy on the couch, badmouth the fashion and root for your favorites.
Happy Oscars folks.
here’s the winners
The 96th Academy Awards, held at the Dolby Theatre in Hollywood on March 10, 2024, celebrated outstanding movies released in 2023. Here are some of the notable winners:
Best Picture: “Oppenheimer”
Best Actor: Cillian Murphy for his role in “Oppenheimer”
Best Actress: Emma Stone for her performance in “Poor Things”
Best Supporting Actor: Robert Downey Jr. in “Oppenheimer”
Best Supporting Actress: Da’Vine Joy Randolph from “The Holdovers”
Best Director: Christopher Nolan for “Oppenheimer”
Best Adapted Screenplay: “American Fiction”
Best Original Screenplay: “Anatomy of a Fall”
Best Animated Feature: “The Boy and the Heron”
Best Documentary Feature: “20 Days in Mariupol”
Best International Feature Film: “The Zone of Interest”
Best Cinematography: “Oppenheimer”
Best Costume Design: “Poor Things”
Best Film Editing: “Oppenheimer”
Best Makeup and Hairstyling: “Poor Things”
Best Original Score: “Oppenheimer”
Best Original Song: “Barbie”
Best Production Design: “Poor Things”
Best Sound: “The Zone of Interest”
Best Visual Effects: “Godzilla Minus One”
Best Documentary (Short Subject): “The Last Repair Shop”
– IMDb rating: 8.5
– IMDb user votes: 14,171
– Stars: Alfred Hitchcock, Harry Tyler, John Williams, Patricia Hitchcock
Alfred Hitchcock is widely considered one of the greatest directors of all time—so it’s little wonder that the series was immensely popular. Each week, the episodes—some of which Hitchcock directed himself—told a different story, from dramas to thrillers to mysteries. It starred famous actors from both the big and small screen, including Robert Redford, Jessica Tandy, and Bette Davis.
My wife’s Birth year TV series ( would like to see what it would be in Korea)
– IMDb rating: 9
– IMDb user votes: 67,242
– Stars: Rod Serling, Robert McCord, Jay Overholts, Vaughn Taylor
The memorable and somewhat chilling voice of Rod Serling was always the introduction to these unusual and often frightening sci-fi tales, which took regular people on extraordinary journeys. While the series itself only ran from 1959 to 1964, it spawned a franchise of movies as well as two revivals: one in the 1980s and a new one, hosted by Jordan Peele, that aired on CBS All Access.
– IMDb rating: 8.7
– IMDb user votes: 2,194
– Stars: Jay O. Sanders, Craig Sechler, Lance Lewman, Will Lyman
First airing in 1974, the long-running PBS documentary series focuses on science, nature, and history. The award-winning show has covered topics such as volcanic eruptions, global warming, the Great Pyramids, space exploration, and evolution.
– IMDb rating: 8.2
– IMDb user votes: 2,191
– Stars: Neil Everett, Jalen Rose, Jenn Brown, Antonietta Collins
Premiering on ESPN in 1979, “SportsCenter” quickly became one of the most-watched sports series on television. The show features highlights from various sporting events, as well as commentary, interviews, and game previews.
– IMDb rating: 8.4
– IMDb user votes: 15,148
– Stars: Leslie Nielsen, Alan North, Rex Hamilton, Ed Williams
The comedic genius of Leslie Nielsen shines in this short-lived but hilarious spoof on police shows. The series played off of serious police dramas, poking fun via slapstick, gags, and silly commentary. While the show made it through only six episodes before being canceled, it did go on to become the premise of “The Naked Gun” film franchise in the late ’80s and early ’90s.
– IMDb rating: 8.5
– IMDb user votes: 22,577
– Stars: Joel Hodgson, Michael J. Nelson, Trace Beaulieu, Kevin Murphy
In what could easily be considered one of the most unusual show premises of all time, an innocent janitor is taken hostage by two crazed scientists and forced to watch sci-fi movies. The janitor builds himself some robot companions to keep him company, and the group interjects their own funny commentary and opinions into the movies they watch. The show originally was on from 1988 to 1996, and creator Joel Hodgson ran a successful crowdfunding campaign to renew the series at Netflix in 2017.
– IMDb rating: 8.3
– IMDb user votes: 16,227
– Stars: Colin O’Meara, Thierry Wermuth, Christian Pellissier, Henri Labussière
Based on a series of books by Belgian cartoonist Georges Prosper Remi, “The Adventures of Tintin” ran for three seasons on HBO. Telling the story of a young reporter and his best friend and furry sidekick, Snowy, the animated series takes the two on heroic exploits and adventures. The books were not as popular in the U.S. as they were in Europe, but the television show was nominated for several awards. It inspired a 3D computer-animated movie of the same name in 2011.
– IMDb rating: 8.7
– IMDb user votes: 64,241
– Stars: Doc Harris, Christopher Sabat, Scott McNeil, Sean Schemmel
Getting its start as a popular Japanese anime series, “Dragon Ball Z” premiered in the U.S. in 1996, and continued on Cartoon Network from 1998 to 2003. With some help from his friends, young hero Goku fights to defend the earth from a variety of creatures and villains. In addition to the animated series, the “Dragon Ball” franchise included movies, video games, and two sequel television shows.
– IMDb rating: 8.8
– IMDb user votes: 743,325
– Stars: Millie Bobby Brown, Finn Wolfhard, Winona Ryder, David Harbour
Another successful Netflix original, “Stranger Things” is the creation of the Duffer Brothers, who also wrote the Warner Bros. horror film “Hidden.” Part sci-fi, part horror, the story starts with the disappearance of a young boy and the eerie events that follow. Premiering in 2016, the series will wrap up its run in 2025.
#59. An Autumn Afternoon (1962) 秋刀魚の味 (Sanma no Aji) #62. The Hidden Fortress (1958) 隠し砦の三悪人 (Kakushi Toride no San Akunin)
#64. I Was Born, But… (1932) 大人の見る絵本 生れてはみたけれど (Otona no Miru Ehon Umarete wa Mita Keredo)
#68. The Tale of the Princess Kaguya (2013) かぐや姫の物語 (Kaguya-hime no Monogatari)
#81. Nobody Knows (2004) 誰も知らない (Dare mo Shiranai) #82. Still Walking (2008) 歩いても 歩いても (Aruitemo Aruitemo)
#83. My Neighbor Totoro (1988) となりのトトロ (Tonari no Totoro) #88. Drive My Car (2021) ドライブ・マイ・カー (Doraibu Mai Kā)
#95. After Life (1998) ワンダフルライフ (Wandafuru Raifu) #98. Maborosi (1995) 幻の光 (Maboroshi no Hikari)
French:
#12. Army of Shadows (1969) L’Armée des Ombres
#17. Children of Paradise (1945) Les Enfants du Paradi
s #20. The Rules of the Game (1939) La Règle du Jeu
#23. Playtime (1967) Playtime
#28. Au hasard Balthazar (1966) Au Hasard Balthazar
#35. Pépé le Moko (1937) Pépé le Moko
#38. Jules and Jim (1962) Jules et Jim
#43. The Artist (2011) L’Artiste
#51. Céline and Julie Go Boating (1974) Céline et Julie vont en bateau
#57. Beauty and the Beast (1946) La Belle et la Bête
#69. Band of Outsiders (1964) Bande à part
#71. L’Argent (1983) L’Argent
#72. The Wild Child (1970) L’Enfant Sauvage
#77. The Triplets of Belleville (2003) Les Triplettes de Belleville
#84. Blue is the Warmest Colour (2013) La Vie d’Adèle
#89. The Class (2008) Entre les Murs #93.
Petite Maman (2021) Petite Maman
#97. A Summer’s Tale (1996) Conte d’été
Certainly! Here’s the rest of the list broken down by nationality with just the English titles while keeping the original numbering and bolding intact:
French: #12. Army of Shadows (1969)
#17. Children of Paradise (1945)
#20. The Rules of the Game (1939)
#23. Playtime (1967)
#28. Au hasard Balthazar (1966)
#35. Pépé le Moko (1937)
#38. Jules and Jim (1962)
#43. The Artist (2011)
#51. Céline and Julie Go Boating (1974)
#57. Beauty and the Beast (1946)
#69. Band of Outsiders (1964)
#71. L’Argent (1983)
#72. The Wild Child (1970)
#77. The Triplets of Belleville (2003)
#84. Blue is the Warmest Colour (2013)
#89. The Class (2008)
#93. Petite Maman (2021)
#97. A Summer’s Tale (1996)
#24. Portrait of a Lady on Fire (2019) French
Italian: #16. The Conformist (1970)
#21. The Battle of Algiers (1966)
#31. La Dolce Vita (1960)
#39. Umberto D. (1952)
#40. The Best of Youth (2003)
#45. 8½ (1963)
#50. Journey to Italy (1954)
#70. Investigation of a Citizen Above Suspicion (1970)
Office Spacewas the first live-action film by Beavis and Buttheadcreator Mike Judge. It’s a sharply written comedy that still accurately captures the American work life in an office setting perfectly over 25 years later. Judge’s biting satire of the day-to-day drudgery of mindless office drones pre-empted TV series like Judge’s own Silicon Valleyand the highly acclaimed Severance. The film wasn’t a box office hit but found its audience on cable and the home video market, leading it to become a beloved cult classic.
Expanded from Judge’s earlier animated shorts titled Milton, and inspired by the director’s own work in an office, the movie stars Ron Livingston as Peter, a programmer at a software company who feels aimless and unfulfilled. That all changes when he goes to a hypnotherapist who unintentionally leaves Peter in a perpetual state of relaxation. He stops caring about work and does what he wants, which ironically only leads him to a promotion. Office Space is pointedly funny in its critiques and is filled with memorably quotable characters, played to perfection by its cast, including Gary Cole as the mundanely villainous boss Lumbergh, and Stephen Root as the timid, red stapler-loving Milton.
‘Galaxy Quest’ (1999)
Directed by Dean Parisot
Essential 90s sci-fi movie Galaxy Quest was inspired by the dedicated fandom of Star Trek, and tapped into the culture of conventions, online discourse and IP reboots years before those were part of the normal ecosystem of Hollywood and were still considered niche. Dean Parisot’s wickedly funny and wonderfully entertaining film is a perfectly cast adventure that is both retro and prescient at the same time.
Fincher’s film is filled with radical disdain for the prevailing popular culture of the time, but it also shows an alternative that is not a healthy substitute. Controversial upon its release and continually misinterpreted by film bros, Fight Club may be a product of its time but seems only more relevant in an era of rising incel subculture. The film is remembered for its trio of performances by Brad Pitt, Edward Norton and Helena Bonham Carter, as well as for Fincher’s strong visuals and the mid-film twist that turns the story on its head. It’s a must-watch movie that should inspire plenty of debate.
‘The Iron Giant’ (1999)
Directed by Brad Bird
Beautifully animated and heartwarming, Brad Bird’s animated adaptation of The Iron Giant brought the filmmaker boldly into the world of feature films. Despite being overlooked at the box office (a common theme among the films of 1999), The Iron Giant has only gained more appreciation as time has gone on, and has been rediscovered, as Bird became a household name thanks to animated hits like Ratatouille and The Incredibles.
Set in an idealized small town in the 1950s, young latchkey child Hogarth Hughes discovers the titular character having crash-landed near his home. The arrival of the massive alien robot inspires both Hogarth to come out of his shell as well as a suspicious government agent to investigate. With it’s mix of 2D and 3D animation, and terrific voice cast, The Iron Giant is as charming as animated films get.
‘Eyes Wide Shut’ (1999)
Directed by Stanley Kubrick
The final film from master filmmaker Stanley Kubrick, Eyes Wide Shut is an erotic thriller that was unjustly dismissed by audiences, as evidenced by its terrible Cinemascore grade, and some critics reacted coldly to it as well, comparing it unfavorably to Kubrick’s other masterworks. Time has shown that it’s another complex mystery from one of cinema’s most uncompromising auteurs.
Shot over a period of fifteen months on meticulously crafted sound stages in England (despite being set in New York City), the film follows the nightmarish journey of a doctor, played by Tom Cruise, who spirals into an exploration of eroticism after discovering his wife has harbored fantasies of being unfaithful. It’s an eerie examination of sexuality that like all of Kubrick’s work has a lot to digest and interpret through its layered visuals.
‘The Sixth Sense’ (1999)
Directed by M. Night Shymalan
Coming at the end of a decade that had plenty of definitive horror movies but that is also often viewed as being slimmer in its selection, M. Night Shymalan’s The Sixth Sensewas a splash of cold water to the faces of audiences who felt burnt out on the glut of the slick but vapid slashers that came in the wake of the success of Scream.
Bruce Willis stars as a child psychologist who takes on a new patient, Haley Joel Osment in an Oscar-nominated role, who has the unique problem of being able to talk to the dead. The Sixth Sense is a beautifully crafted horror film that relies on atmosphere and the well-honed performances of its cast to provide the scares. The script slowly unfurls it’s mysteries and Shymalan’s shocking twist ending actually feels integral to the plot, unlike those in his later films that feel unnecessary or like a crutch for lazy writing.
‘The Matrix’ (1999)
Directed by The Wachowskis
Coming off their debut film, the erotic thriller film Bound, the Wachowski’s pushed the queer content into subtext but kept the neo-noir vibes for the cyberpunk action masterpiece The Matrix. The movie became an instant influence on the action and sci-fi genres, with its innovative bullet-time effects quickly infiltrating dozens of other action movies and becoming satirized in comedies.
Keanu Reeves plays Neo, a hacker who discovers that the world he inhabits is all a simulation, and that the real world is an apocalyptic wasteland where the remains of humanity fight against their oppressive machine overlords. The plot pulls from dozens of different sources, including anime and the works of writer William Gibson, and synthesizes it all into a slick, action-packed package that makes some of the entry-level philosophy course dialogue easy to digest. Essential and influential, The Matrix is much more than its imitators or empty sequels, and was one of the most significant films released in 1999.
The cast is absolutely without fault, but special notice was given to Tom Cruise at the time for his performance as Frank Mackey, a misogynistic motivational speaker who uses his profession to cover up his own insecurities and past. It’s a role that weaponizes Cruise’s natural charisma for a toxic but vulnerable character. If Cruise hadn’t subsequently been swallowed whole by Scientology, it’s quite possible the intervening years between his amazing work in 1999 and his later full dedication to the Mission: Impossiblefranchise could’ve been filled with some very daring and interesting performances.
‘Being John Malkovich’ (1999)
Directed by Spike Jonze
From his influential music videos and short films, to his four feature-length classics, Spike Jonze has been one of the most unique directorial talents to grace the silver over the last few decades. He announced his entry into the mainstream with the fiercely original Being John Malkovich. Working off Charlie Kaufman’s surreal screenplay, Jonze crafted a dark comedy that has few true parallels.
John Cusack plays a puppeteer who gets a job on the seventh and a half floor of an office building where he discovers a doorway that leads into the mind of actor John Malkovich. From there the film goes into even more unexpected directions as more and more people enter Malkovich’s mind, until the actor himself is made aware of the portal’s existence. The cast is terrific, with Cameron Diaz and Catherine Keener in pivotal supporting roles, and Malkovich himself playing off his idiosyncratic reputation. In a year that was filled with sterling original films, Being John Malkovich is the most singular.
‘All About My Mother’ (1999)
Directed by Pedro Almodóvar
Pedro Almodóvar is a filmmaker who has consistently put out great work for over four decades that has certainly garnered awards attention and critical acclaim but remains frustratingly overlooked by American audiences. The Spanish filmmaker is known for his melodramas with bold visual styles that frequently feature LGBTQ+ and feminist themes, both of which are on full display in the film frequently cited as his best, All About My Mother.
After the death of her teenage son Esteban, Manuela (Cecilia Roth) travels to Barcelona to reconnect with the teen’s other parent, the transgender Lola (Toni Cantó). In Barcelona, she makes other connections, including Rosa (Penélope Cruz) a nun who is HIV positive and pregnant. It’s Almodóvar’s love letter to women, all women, and he tells his story with compassion and sincerity, all the while calling to mind the classic Hollywood melodramas of filmmakers like Douglas Sirkwith his intense visual palette. All About My Mother is a film the likes of which is hardly seen in Hollywood, and should be watched for its empathetic storytelling of women whose lives are often reduced or overlooked in mainstream cinema.
Some sci-fi classics like Star Wars and Jurassic Park are always worth rewatching. Mad Max: Fury Road is a thrilling endless car chase.
Everything Everywhere All at Once mixes kung fu with a heartwarming family story for an entertaining sci-fi flick.
Galaxy Quest hilariously parodies Star Trek while paying homage to the beloved franchise that inspired it.
A lot of the lofty sci-fi movie classics aren’t very rewatchable, but some of the genre’s greatest entries – like Star Wars, Back to the Future, and Jurassic Park – hold up to countless repeat viewings. 2001: A Space Odyssey is a breathtaking piece of cinema pondering the biggest questions about humanity’s existence, and Blade Runner is a powerful futuristic noir about what constitutes a person. But they both move at such a slow pace, and deal with such heavy philosophical subject matter, that no one is champing at the bit to rewatch them on movie night.
With the first sequel, Aliens, James Cameron went the other way and delivered one of the most explosive, action-packed movies ever made. The first half of Aliens gets Ellen Ripley down to the surface of a xenomorph-infested human colony with a band of space marines. The second half is an all-out action extravaganza pitting the marines against dozens of bloodthirsty aliens.
The kind of movies that usually sweep the Academy Awards are slow, quiet, somber, and not particularly interested in being entertaining. But Everything Everywhere All at Once – which won seven Oscars, including Best Picture – is anything but. It is a touching, character-focused drama about a mother struggling to connect with her disillusioned daughter, but that beautiful mother-daughter story is wrapped up in an action-packed interdimensional epic in which the entire multiverse is at stake.
Joaquin Phoenix Is a Gun-Defending Sheriff of a Murderous Town in ‘Eddington’ Trailer
Story by Althea Legaspi
ensions are high between officials and townspeople in Eddington, New Mexico on June 2, 2020 in the teaser trailer for the black comedy western, Eddington. The Ari Aster-written and directed film, which will make its world premiere at Cannes Film Festival next month, arrives in theaters on July 18.
In the teaser clip, a person scrolls through their social media feed on a cell phone as a series of talking heads give snippets of their viewpoints, which appear to be focused on the pandemic and conspiracy theories. In Eddington, the weather is sweltering – in the upper 90s and into the 100s – per the person’s cell phone, as a voice discusses a lab in Wuhan, China. “If you value your life, you should think twice because the people in Eddington like guns, Sheriff Joe Cross (Phoenix) warns in one clip.
After Cross issues his alert, a video clip of his wife appears on the cell screen. “And I am speaking now to deny my husband’s announcement yesterday,” says Louise Cross (Emma Stone). “Which was false.”
Sherriff Cross’ adversary Mayor Ted Garcia (Pedro Pascal) also shows up on the screen with a video of his own. “I’m ready to continue leading our town, and fighting the pandemic and the racial and economic … ” he says before he’s cut off by the next clip, where Cross appears in a CNN post. “‘Law and Order Sheriff Assaults Protester in Town Rocked by Murders” reads the chyron over its video featuring a screaming Cross and protesting townspeople in masks as they face off.
The film also stars Luke Grimes, Austin Butler, Deirdre O’Connell, Micheal Ward, Clifton Collins Jr., William Belleau, Cameron Mann, Matt Gomez Hidaka, and Amélie Hoeferle.
George Miller had already made three rollicking, action-packed Mad Max movies before he returned to the wasteland and blew the original trilogy out of the water with Mad Max: Fury Road. Fury Road has a mercifully simplistic plot: badass Furiosa liberates the wives of post-apocalyptic tyrant Immortan Joe and goes on the lam with Joe’s forces hot on their tail. Max, now played by Tom Hardy, gets unwittingly swept along for the ride.
Ridley Scott’s original Alien movie is both one of the greatest science fiction movies and one of the greatest horror movies ever made, but it’s a slow burn. Scott takes his time to introduce the crew of the Nostromo and the threat of the xenomorph before the chestburster kicks off the haunted-house-in-space action. This makes for a powerful cinematic experience on the first viewing, but it also means that it takes a while to get going on a rewatch.
Everything Everywhere All at Once is an appropriate title for a movie that manages to be a fast-paced action movie, a visually stunning sci-fi movie, a zany slapstick comedy, and a sobering family drama all rolled into one. The Wang family’s story would be just as moving without all the hybrid-genre mayhem. But all the parallel universes and martial arts choreography make it an endlessly rewatchable movie.
Galaxy Quest is such a spot-on parody of the Star Trek franchise that it’s often ranked as a better Star Trek movie than most of the official Star Trek movies. It has an ingeniously meta premise: the washed-up cast of an old sci-fi show is recruited for a real-life intergalactic battle by real-life aliens who mistook episodes of their series for historical records. Director Dean Parisot gets every possible laugh out of that brilliant premise.
With the satire of Galaxy Quest, Parisot managed to have the best of both worlds. He ruthlessly spoofs Star Trek and its fans, but it’s ultimately an affectionate love letter to Gene Roddenberry’s legacy and the power of the fandom he inspired. Like all the best comedies, Galaxy Quest is so funny and so quotable and so hilariously acted that it’s infinitely rewatchable.
Predator has absolutely no reason to be as great as it is. The story grew out of a Hollywood inside joke that Rocky Balboa would run out of opponents on Earth and have to fight an alien. Its entire premise revolves around oiled-up, muscle-bound men going into the jungle and firing machine guns at an invisible alien. At the very best, Predator should be an affable B-movie. But somehow, John McTiernan turned it into a bona fide masterpiece.
By pitting Arnold Schwarzenegger against a deadly alien creature, McTiernan told the ultimate man-conquers-beast story. Predator deals with themes of masculinity, militarism, and just how outmatched humanity might be when alien life finally arrives. But it’s also a big, loud, bombastic ‘80s action movie with a burst of gunfire or a giant explosion every couple of minutes.
Much like Stanley Kubrick, when Pixar takes a stab at a genre, they end up making one of the all-time greats. The Incredibles is one of the best superhero movies, Up is one of the best adventure movies, and WALL-E is one of the best science fiction movies. With its dazzling futuristic imagery, deeply cinematic visual storytelling, and the heartwarming romance between WALL-E and fellow robot-with-a-heart-of-gold EVE, WALL-E holds up to endless rewatches.
The only thing that makes WALL-E wobble slightly on a rewatch is that its depiction of an uninhabitable, trash-filled Earth gets more and more depressingly accurate with every viewing. WALL-E was way ahead of its time in criticizing humanity’s callous treatment of the environment. Fortunately, the love story is beautiful enough to distract from the mirror being held up to climate change.
The Wachowskis made audiences across the world question their reality with their sci-fi action masterpiece The Matrix. The movie suggests that reality is just a computer program being run by the robotic overlords using human beings as batteries. There’s a lot of exposition to get out of the way in the first act of The Matrix – who Morpheus is, how the Matrix works, what the machines are doing in the real world, etc. – but once it gets all that stuff out of the way, it’s a non-stop thrill-ride.
The Matrix is full of beautifully directed action sequences like the lobby shootout, the helicopter crash, and the final foot chase. The story in between the action scenes is masterfully crafted, too. From his humble beginnings as Thomas Anderson to his triumphant climactic transformation into “The One,” Neo’s journey lands on every viewing.
George Lucas changed the face of the film industry forever with his game-changing space opera Star Wars. Ever since Star Wars had audiences lining up around the block to watch it a 10th time, Hollywood studios have been acquiring nerdy I.P. and following Joseph Campbell’s “hero’s journey” religiously in an attempt to replicate that success. Lucas transported audiences to a galaxy far, far away and pulled off the cinematic magic trick of pure escapism.
Although it was burdened with introducing its audience to a whole new fictional universe, Star Wars moves at an agreeably zippy pace. It opens with a massive space battle and remains that exciting for the rest of its runtime. From the Millennium Falcon shootout to the explosion of the Death Star, Star Wars is full of set-pieces that never get old.
Steven Spielberg combined the monster-movie thrills of Jaws with the thought-provoking sci-fi themes of Close Encounters for his big-screen adaptation of Michael Crichton’s Jurassic Park. Jurassic Park deals with the same complex themes as Frankenstein – the hubris of man, the dangers of playing God, the uncontrollability of nature – but with a theme park full of live dinosaurs. Spielberg and his team used groundbreaking visual effects to bring dinosaurs back to life.
Jurassic Park is full of great action sequences with razor-sharp tension and timeless effects. From the T. rex’s escape to the raptors’ attack in the kitchen, Jurassic Park is jam-packed with set-pieces that never fail to thrill the audience, no matter how many times they’ve seen the movie. Even the exposition in Jurassic Park is rewatchable, thanks to a little animated character named Mr. DNA.
Robert Zemeckis and Bob Gale’s Back to the Future script should be studied in every screenwriting class, because it’s airtight. Not only does it tell an engaging story about a time-traveling teenager trying to get his parents together to ensure his own existence; it’s a masterclass in the plant-and-payoff technique. Every single scene progresses the plot; every single line in the first act sets something up that comes back later.
The pacing doesn’t dip for a second, all the gags in Zemeckis and Gale’s script get a laugh every time, and the catharsis of Marty McFly finally getting back to 1985 after all the hurdles he’s had to overcome always lands. Plus, Michael J. Fox’s endearing on-screen chemistry with Christopher Lloyd as Marty and Doc Brown is endlessly watchable. Back to the Future is basically a perfect movie.
Out of this world laughs and galactic giggles ahead in this list of the best sci-fi comedies of all time.
One of the most mesmerizing things about the science fiction genre is the sheer scope of ideas that can be dreamt up, and this aspect lends itself perfectly to comedy; with something so out-of-this-world, there’s a real opportunity to make people laugh. There are crazy and bewildering plots spanning generations, from the twisted future of Idiocracy to the bulging-brained alien invasion of Mars Attacks! To put it simply, there’s a lot of fun to be had in crafting the strangely surreal, the complete unknown, and even just simply turning fear into nervous laughter.
By sifting through the sci-fi comedy offerings on the best streaming services, we’ve whittled our list down to the 10 best sci-fi comedies of all time. Comedic timing, acting prowess, and excellent scripts all play a huge part in the reason these movies are as funny as they are – even if you don’t expect them to be. So, pick your next watch across Paramount Plus, Disney, Netflix, and Amazon Prime from the list below and prepare to be suitably amused.
10. Evolution
((Image credit: Columbia Pictures))
Release date: June 8, 2001
Cast: David Duchovny, Julianne Moore, Orlando Jones
Director: Ivan Reitman
Rotten Tomatoes score: 44% critics, 48% audience
It felt like that in the early 00s any video I borrowed from Blockbusters advertised this sci-fi comedy. When I realized it was from the director of Ghostbusters (also on our list), I had to rent it and I’m glad I did. In Evolution, a meteor hits Earth and with it an organism that evolves so rapidly no one has any real clue on how to stop it. The team for the job? A trainee firefighter, a government scientist, and two college professors made up of sci-fi icon David Duchovny, Julianne Moore, Orlando Jones, and Seann William Scott.
While the government tries to block the team out, the alien ecosystem begins to thrive on Earth and that’s when the real trouble starts. Even with Earth’s impending doom, there’s still plenty of time for comedy. It’s not groundbreaking sci-fi, but it’ll certainly bring laughs to your night-in.
9. Mars Attacks!
((Image credit: Warner Bros. Pictures))
Release date: December 13, 1996
Cast: Jack Nicholson, Glenn Close, Annette Bening, Pierce Brosnan
Director: Tim Burton
Rotten Tomatoes score: 55% critics, 53% audience
Much like Tim Burton’s haunting characters from his usual gothic horrors, like Beetlejuice and The Corpse Bride, you’ll never forget the Martians of his sci-fi dark comedy, Mars Attacks! It’s a wonderful spoof of the cheesy alien invasion movies of the ’50s, full of surreal humor and black comedy.
Burton’s foray into science fiction depicts an alien arrival on Earth that starts out peacefully, but quickly transcends into absolute chaos – making it both a little bit scary and a whole lot of funny. Particularly the government’s blundering attempts to deal with these new visitors.
Mars Attacks! has a rather impressive cast behind it, with Jack Nicholson as the President, Glenn Close, Jack Black, Danny DeVito, Pierce Brosnan, Annette Bening, Sarah Jessica Parker, and so many more stellar actors. While it didn’t quite impress with its box office debut, it’s certainly made up for it in cult status.
8. Spaceballs
Release date: June 24, 1987
Cast: Mel Brooks, John Candy, Rick Moranis, Bill Pullman, and more
Director: Mel Brooks
Rotten Tomatoes score: 52% critics, 83% audience
Mel Brooks is one hell of a filmmaker and the master of spoofs. When it comes to comedy, his unique style traverses genres from the Western of Blazing Saddles to the adventures of Robin Hood: Men in Tights. Spaceballs, his move into science fiction, had the same cult impact.
Brooks’ Spaceballs is primarily a Star Wars parody with Lone Starr (Bill Pullman) and his alien sidekick, Barf (John Candy), rescuing Princess Vespa (Daphne Zuniga) from the Spaceballs – all while evading capture from the dastardly Dark Helmet (Rick Moranis).
It sounds absolutely bonkers and that’s because it is. It is jam-packed with quirky jokes, gags, wisecracks, and slapstick comedy – while some might not be to your taste, others will have you in stitches. Plus, Spaceballs utilizes the humor of breaking the fourth wall, which sets it apart from the rest of the genre ten-fold. While the movie came out in 1987, according to Variety, there may be a Spaceballs 2 is in the works with Mel Brooks producing almost 30 years later.
7. Galaxy Quest
credit: DreamWorks Pictures))
Release date: December 25, 1999
Cast: Tim Allen, Sigourney Weaver, Alan Rickman
Director: Dean Parisot
Rotten Tomatoes score: 90% critics, 79% audience
Back in the 90s, Galaxy Quest was first perceived as a silly comedy movie that affectionately parodied the likes of Star Trek and other galactic spaceship crews. However, it has since proved itself to be far smarter than that and has been acknowledged as such.
The movie sees a new spaceship crew assembled, but this time they’re actors from the TV show Galaxy Quest that get thrown into a real-life space adventure. During a fan convention, Jason Nesmith (Tim Allen), lead actor of the show, is approached by a group of aliens called Thermians that want his help.
Unfortunately, the aliens believe that the TV show is actually real life. So, when they recruit Jason and his crew for help, no-one’s quite sure what they’re getting themselves into. It’s a parody, yes, but it’s also a homage to all the amazing sci-fi shows and movies that are still thriving today. It’s satire at its finest and it does so whilst lovingly dressed up in sci-fi and comedy.
6. Men in Black and sequels
((Image credit: Columbia Pictures))
Release date: July 2, 1997
Cast: Will Smith, Tommy Lee Jones, Linda Fiorentino
Director: Barry Sonnenfeld
Rotten Tomatoes score: 91% critics, 80% audience
With four films now in the Men in Black franchise, the first will always be the best of the best of the best, sir! There’s a lot of great things to say about Men in Black, but the greatest gift from this movie is the comedy pairing of Will Smith and Tommy Lee Jones as Agent J and Agent K, respectively. They make this look good.
Jay and Kay are agents of a secret government organization tasked with protecting Earth and keeping an eye on all its alien residents. While Kay is a respected long-serving member, Jay is a headstrong rookie with a lot of sass – but they balance each other out with Kay sharing wisdom and Jay showing him how to have a good time.
The scope of extra-terrestrials is also fantastic. We won’t say too much about them here, as discovering them all is part of this movie’s charm. While some can be rather adorable, others can be unnervingly terrifying, but have no fear as Will Smith will always lighten the mood.
5. Idiocracy
((Image credit: Twentieth Century Fox))
Release date: September 1, 2006
Cast: Luke Wilson, Maya Rudolph, Dax Shepard, Terry Crews, and more
Director: Mike Judge
Rotten Tomatoes score: 71% critics, 61% audience
Joe Bauers (Luke Wilson) is a remarkably average human. Yet, he is the one chosen to be put into hibernation and brought back to life in the future. Sort of like Fry in Futurama (one of the best sci-fi TV shows of all time), but on purpose. However, when Joe ‘arrives’ in the future, he’s somehow the smartest person alive.
Now, imagine a world where the average intelligence has depleted exponentially, because that’s the world Joe now lives in, and there’s a whole lot of weird things going on. In Idiocracy, you can pause on pretty much any scene in this movie and think to yourself, what on Earth is going on? And because of this, it’s a really great comedy about how strange the world and life could really be.
Only one of these I have not seen yet
Bill and Ted’s Excellent Adventure/Bill and Ted’s Bogus Journey -sequel
(Image credit: De Laurentiis Entertainment Group (DEG))
Release date: February 17, 1989
Cast: Keanu Reeves, Alex Winter, George Carlin, and more
Director: Stephen Herek
Rotten Tomatoes score: 83% critics, 75% audience
If you’ve ever once looked into sci-fi comedy, you’ll no doubt have come across Bill and Ted. Or, if you’re just into movies in any shape or form, you’ll have heard of this iconic duo made up of traditionally more straight-faced Keanu Reeves and Alex Winter. Their friendship hangs in the balance as a failing history grade could see the pair torn apart. But, there’s one way to save it and that’s by travelling back in time to learn about history in the most excellent of ways.
Carrying out research for their school report, they travel by a phone booth time machine that takes them back to historical moments, meeting several history VIPs along the way. Obviously, turning up in a phone booth causes its own hilarity, but the goofy pairing with an incredibly quotable script make this a fun and lighthearted movie for all to enjoy.
3. Repo Man
((Image credit: Edge City Productions))
Release date: March 2, 1984
Cast: Emilio Estevez, Harry Dean Stanton, and more
Director: Alex Cox
Rotten Tomatoes score: 98% critics, 78% audience
To get out of trouble, punky Otto (Emilio Estevez) is recruited by a car repo agency that tasks him with hunting down a Chevrolet Malibu for an eye-watering $20,000 bounty. High reward means high risk though and inside the trunk of this runaway Chevy is something out-of-this-world. Hunting down this car is no simple task and whatever extraterrestrial entity is hiding in the trunk makes sure of that.
It seems some of the best sci-fi comedies are just bonkers and Repo Man is certainly one of those titles. You can’t quite believe what you’re watching and with the threat of an alien invasion at stake, its peculiar plot will amuse and pull you in. It’s a cult classic because it doesn’t really fit into any of the usual movie ticking boxes, yet still highly entertaining.
One of my all time favorites! Emilo Estevez’s first movie
2. Back to the Future and sequels
((Image credit: Universal Pictures))
Release date: July 3, 1985
Cast: Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover
Director: Robert Zemeckis
Rotten Tomatoes score: 93% critics, 95% audience
Back to the Future is one of the best sci-fi movies of all time, and it’s also one of the funniest. Bringing together young Marty McFly (Michael J. Fox) with eccentric scientist Doc Brown (Christopher Lloyd), the pair embark on a time-travelling adventure that seamlessly integrates the sci-fi genre with comedy.
Marty is accidentally sent 30 years back in time in a souped-up DeLorean. His presence in the past ends up risking his entire existence as he splits up his future parents and must fix the mistake. And, amid all this, Marty and Doc Brown must protect each other from their past and future fates.
It’s witty and wild, parodying sci-fi and futuristic concepts – some of which have actually become a reality since then, such as video calls and wearable tech like smart glasses (the fashion… not so much).
1. Ghostbusters and Two sequels
((Image credit: Columbia Pictures))
Release date: June 8, 1984
Cast: Bill Murray, Dan Aykroyd, Sigourney Weaver, Rick Moranis
Director: Ivan Reitman
Rotten Tomatoes score: 95% critics, 88% audience
If you’re after the best sci-fi comedy, who you gonna call?
Simply one of the most iconic sci-fi comedies of all time, Ghostbusters paved the way for so many titles on our list that it’d be hard not to give it top spot. I mean, it quite literally spawned Evolution from director Ivan Reitman.
Kicked out of university jobs, three parapsychologists choose instead to set up their own unique ghost removal service in New York. Ghostbusters, assemble! The fantastic cast and witty script makes this movie an absolute joy to watch.
It’s a wonderful blend of supernatural, sci-fi, comedy, horror, and action that has spawned a whole iconic franchise: we’re talking more movies, comics, video games, TV shows, etc. While some of the movies that followed are funny in their own right, you just can’t beat the original.
10 Best Horror Movie Performances of All Time, Ranked
An iconic horror film requires many key elements, ranging from a strong atmosphere to terrifying scares, but few features are as crucial as great acting. Whether portraying a vulnerable victim, a resilient hero or a menacing villain, actors must devote themselves wholeheartedly to horror performances due to the intensity and wide range of emotions required by the genre. In fact, largely as the result of excellent acting, many horror characters – such as Jack Torrance or Norman Bates – have established themselves as some of the most enduring popular characters in film history.
With such a rich canon of performances to choose from, selecting the 10 greatest is a daunting feat. Considering the iconic legacies of the characters, their vital roles within their films, and the technical feats accomplished by the actors, these are our picks for the 10 best performances in horror films.
Linda Blair in ‘The Exorcist’ (1973)
Directed by William Friedkin
The Exorcist is a 1973 supernatural horror film directed by William Friedkin and adapted by William Peter Blatty from his own 1971 novel. The film centers on the demonic possession of a young girl, Regan (Linda Blair), as she is transformed into a chaotic, profane and violent monster by the demon inside of her. In order to attempt to save her soul, Catholic priests Father Merrin (Max von Sydow) and Father Karras (Jason Miller) perform an exorcism once it is clear that no other option will work.
Despite being only 12 years old at the time of filming, Linda Blair gives a powerhouse performance as Regan, completely embodying both her innocent initial personality and the vulgar demon that possesses her. Aided by the vocal work of Mercedes McCambridge, Linda Blair tackles physically and emotionally demanding scenes that would have been challenging for actors decades her senior, consistently holding her own against her far more experienced castmates. The Exorcist is widely considered one of the scariest films of all time, and Linda Blair’s performance is one of the greatest reasons why.
The Exorcist
Release Date December 26, 1973
Director William Friedkin
Cast Lee J. Cobb, Max Von Sydow, Linda Blair, Ellen Burstyn
Based on Stephen King‘s 1987 novel, Misery is a 1990 psychological horror-thriller directed by Rob Reiner. The film follows a popular fiction writer, Paul Sheldon (James Caan), who suffers a life-threatening car crash and is found by Annie Wilkes (Kathy Bates), a dedicated fan. As a nurse by profession, Annie helps Paul with his injuries but is horrified to discover that he has killed off her favorite character and decides to imprison him in her house until he has written a novel resurrecting the character.
Kathy Bates’ performance received widespread acclaim and earned her a Best Actress Academy Award, in the only Oscar win ever received for a Stephen King adaptation. Bringing to life the villainous Annie Wilkes, Bates’ performance is highly erratic, swinging wildly from appearing to be simply a lonely and quirky woman to behaving in a violent and aggressive manner towards her captive. Portraying one of King’s greatest literary characters, Kathy Bates deserves all the attention she received for her performance in Misery.
Misery
Release Date November 30, 1990
Director Rob Reiner
Cast Richard Farnsworth, Kathy Bates, Lauren Bacall, Frances Sternhagen, James Caan
Candyman is a 1992 supernatural horror film written and directed by Bernard Rose and based on a short story by prolific novelist Clive Barker. The film explores the concept of urban legends by following a grad student, Helen (Virginia Madsen), who begins investigating the story of a vengeful spirit known as the Candyman (Tony Todd). After being summoned by Helen, Candyman begins to take the lives of innocent residents of a low-income neighborhood that he terrorizes.
Candyman is unique for a supernatural slasher due to its methodical pace, mature storytelling and the subversively sympathetic nature of its antagonist. Tony Todd brings an incredible gravitas to the role, with his velvet-smooth voice and calm physicality bringing a hypnotic quality to the character, and his dedication to the film being perfectly showcased by his willingness to work with hundreds of live bees during production. Frightening and strangely alluring, the late, great Tony Todd’s performance as the titular Candyman is nothing less than career-defining.
Candyman
Release Date October 16, 1992
Director Bernard Rose
Cast Marianna Elliott, DeJuan Guy, Kasi Lemmons, Xander Berkeley, Tony Todd, Vanessa Williams, Virginia Madsen, Ted Raimi
Based on Mary Shelley‘s 1818 classic horror novel, Frankenstein is a 1931 sci-fi horror film directed by James Whale. The film centers on the creation of a monster (Boris Karloff) constructed from stolen body-parts, who is reanimated by a scientist (Colin Clive) who seeks to play God. Mistreated by those around him, the monster escapes from captivity and finds himself the target of furious and violent townspeople.
Enhanced with one of horror cinema’s most iconic examples of costuming and special effects makeup, Boris Karloff’s performance as Frankenstein’s Monster is a landmark achievement of the early horror genre. Karloff portrays the monster with a pitch-perfect balance of childlike innocence and threatening physicality, with his clumsy movements making his inhumanity incredibly believable. Rightfully still celebrated almost a century later, Boris Karloff’s performance in Frankenstein is perfect.
Frankenstein
Release Date November 21, 1931
Director James Whale
Cast Lionel Belmore, Frederick Kerr, John Boles, Mae Clarke, Dwight Frye, Edward Van Sloan, Colin Clive, Boris Karloff
Rating Passed
Runtime 70 Minutes
Main Genre Sci-Fi
Genres Sci-Fi, Drama, Horror
Writers Francis Edward Faragoh, Peggy Webling, Garrett Fort, Richard Schayer, John L. Balderston, Mary Shelley
Based on Stephen King‘s 1977 novel, The Shining is a 1980 psychological horror film directed and co-written by Stanley Kubrick. The film centers on Jack (Jack Nicholson), a writer with a history of alcoholism and a troubled relationship with his family, who takes a caretaking job at the remote Overlook Hotel during the winter. Upon arrival, however, Jack’s wife Wendy (Shelley Duvall) and their young son Danny (Danny Lloyd) realize that the hotel may be haunted, as they are plagued by unexplained events and Jack’s behavior becomes increasingly concerning.
From his earliest scenes in the film, Jack Nicholson makes it clear through his performance that something is deeply wrong with Jack under the surface of his identity as an ambitious family man, seeming as if he may snap at any moment. Nicholson’s dynamic with Shelley Duvall is highly compelling, with her pure terror being contrasted excellently with his mania and aggression, making audiences truly come to fear his character at the film’s harrowing climax. Tragic, scary and at times darkly comedic, Jack Nicholson’s performance in The Shining is a masterclass in portraying a disturbed individual.
The Shining
Release Date May 23, 1980
Director Stanley Kubrick
Cast Philip Stone, Barry Nelson, Scatman Crothers, Danny Lloyd, Shelley Duvall, Jack Nicholson
Rating R
Runtime 146 minutes
Main Genre Horror
Genres Mystery, Thriller, Horror, Psychological
Writers Diane Johnson, Stanley Kubrick, Stephen King
Studio Warner Bros.
Tagline All work and no play make Jack a dull boy…
The Silence of the Lambs is a 1991 psychological horror film directed by Jonathan Demme and based on Thomas Harris‘ 1988 novel. The film centers on young FBI trainee Clarice Starling (Jodie Foster) as she is assigned a key role in the investigation of serial killer Buffalo Bill (Ted Levine). In order to track the killer down, Clarice develops a rapport with Hannibal Lecter (Anthony Hopkins), an incarcerated cannibal and murderer who is also a highly intelligent psychiatrist.
Winning an Oscar for Best Actress, Jodie Foster’s portrayal of Clarice received immediate acclaim due to her embodiment of Clarice’s likability, intelligence and emotional complexity. The film’s most compelling element is the dynamic between Clarice and Hannibal, with the two consistently attempting to get the upper hand in their interactions and thed chemistry between Foster and Hopkins makes their scenes electrifying. Clarice is one of horror cinema’s most iconic protagonists and one of the best characters in the Hannibal Lecter cinematic universe, with Jodie Foster’s performance greatly enhancing the role.
The Silence of the Lambs
Release Date February 14, 1991
Director Jonathan Demme
Cast Diane Baker, Kasi Lemmons, Scott Glenn, Anthony Hopkins, Anthony Heald, Brooke Smith, Ted Levine, Jodie Foster
Rating R
Runtime 118 Minutes
Main Genre Thriller
Genres Drama, Thriller, Crime
Writers Ted Tally, Thomas Harris
Character(s) Ardelia Mapp, Senator Ruth Martin, Catherine Martin, Dr. Frederick Chilton, Jame Gumb, Dr. Hannibal Lecter, Clarice Sterling, Jack Crawford
Mia Farrow in ‘Rosemary’s Baby’ (1968)
Directed by Roman Polanski
Rosemary’s Baby is a 1968 supernatural body horror film written and directed by Roman Polanski and based on the 1967 novel by Ira Levin. The film centers on a young married woman, Rosemary (Mia Farrow), whose relationships with everyone around her are thrown into question when she begins suffering a seemingly demonic pregnancy after being assaulted. Becoming increasingly ill and losing a shocking amount of weight, Rosemary begins to suspect that her neighbors are participants in an occult conspiracy surrounding her pregnancy.
Considered a masterpiece of subtle body horror, the film displays Rosemary undergoing a shocking physical transformation from a healthy young woman to someone frail, gaunt and highly physically vulnerable. Mia Farrow’s performance perfectly conveys the way that Rosemary’s bodily autonomy is being stripped from her, portraying the character as good-hearted and pure but also increasingly physically unwell and dangerously naive. One of the most acclaimed performances in genre history, Mia Farrow’s performance as the titular Rosemary is authentic, frightening and enduringly impressive.
Rosemary’s Baby
Release Date June 12, 1968
Director Roman Polanski
Cast Ralph Bellamy, Sidney Blackmer, John Cassavetes, Maurice Evans, Ruth Gordon, Mia Farrow
10 Best Horror Movie Performances of All Time, Ranked
An iconic horror film requires many key elements, ranging from a strong atmosphere to terrifying scares, but few features are as crucial as great acting. Whether portraying a vulnerable victim, a resilient hero or a menacing villain, actors must devote themselves wholeheartedly to horror performances due to the intensity and wide range of emotions required by the genre. In fact, largely as the result of excellent acting, many horror characters – such as Jack Torrance or Norman Bates – have established themselves as some of the most enduring popular characters in film history.
With such a rich canon of performances to choose from, selecting the 10 greatest is a daunting feat. Considering the iconic legacies of the characters, their vital roles within their films, and the technical feats accomplished by the actors, these are our picks for the 10 best performances in horror films.
Linda Blair in ‘The Exorcist’ (1973)
Directed by William Friedkin
The Exorcist is a 1973 supernatural horror film directed by William Friedkin and adapted by William Peter Blatty from his own 1971 novel. The film centers on the demonic possession of a young girl, Regan (Linda Blair), as she is transformed into a chaotic, profane and violent monster by the demon inside of her. In order to attempt to save her soul, Catholic priests Father Merrin (Max von Sydow) and Father Karras (Jason Miller) perform an exorcism once it is clear that no other option will work.
Despite being only 12 years old at the time of filming, Linda Blair gives a powerhouse performance as Regan, completely embodying both her innocent initial personality and the vulgar demon that possesses her. Aided by the vocal work of Mercedes McCambridge, Linda Blair tackles physically and emotionally demanding scenes that would have been challenging for actors decades her senior, consistently holding her own against her far more experienced castmates. The Exorcist is widely considered one of the scariest films of all time, and Linda Blair’s performance is one of the greatest reasons why.
The Exorcist
Release Date December 26, 1973
Director William Friedkin
Cast Lee J. Cobb, Max Von Sydow, Linda Blair, Ellen Burstyn
Based on Stephen King‘s 1987 novel, Misery is a 1990 psychological horror-thriller directed by Rob Reiner. The film follows a popular fiction writer, Paul Sheldon (James Caan), who suffers a life-threatening car crash and is found by Annie Wilkes (Kathy Bates), a dedicated fan. As a nurse by profession, Annie helps Paul with his injuries but is horrified to discover that he has killed off her favorite character and decides to imprison him in her house until he has written a novel resurrecting the character.
Kathy Bates’ performance received widespread acclaim and earned her a Best Actress Academy Award, in the only Oscar win ever received for a Stephen King adaptation. Bringing to life the villainous Annie Wilkes, Bates’ performance is highly erratic, swinging wildly from appearing to be simply a lonely and quirky woman to behaving in a violent and aggressive manner towards her captive. Portraying one of King’s greatest literary characters, Kathy Bates deserves all the attention she received for her performance in Misery.
Misery
Release Date November 30, 1990
Director Rob Reiner
Cast Richard Farnsworth, Kathy Bates, Lauren Bacall, Frances Sternhagen, James Caan
Candyman is a 1992 supernatural horror film written and directed by Bernard Rose and based on a short story by prolific novelist Clive Barker. The film explores the concept of urban legends by following a grad student, Helen (Virginia Madsen), who begins investigating the story of a vengeful spirit known as the Candyman (Tony Todd). After being summoned by Helen, Candyman begins to take the lives of innocent residents of a low-income neighborhood that he terrorizes.
Candyman is unique for a supernatural slasher due to its methodical pace, mature storytelling and the subversively sympathetic nature of its antagonist. Tony Todd brings an incredible gravitas to the role, with his velvet-smooth voice and calm physicality bringing a hypnotic quality to the character, and his dedication to the film being perfectly showcased by his willingness to work with hundreds of live bees during production. Frightening and strangely alluring, the late, great Tony Todd’s performance as the titular Candyman is nothing less than career-defining.
Candyman
Release Date October 16, 1992
Director Bernard Rose
Cast Marianna Elliott, DeJuan Guy, Kasi Lemmons, Xander Berkeley, Tony Todd, Vanessa Williams, Virginia Madsen, Ted Raimi
Based on Mary Shelley‘s 1818 classic horror novel, Frankenstein is a 1931 sci-fi horror film directed by James Whale. The film centers on the creation of a monster (Boris Karloff) constructed from stolen body-parts, who is reanimated by a scientist (Colin Clive) who seeks to play God. Mistreated by those around him, the monster escapes from captivity and finds himself the target of furious and violent townspeople.
Enhanced with one of horror cinema’s most iconic examples of costuming and special effects makeup, Boris Karloff’s performance as Frankenstein’s Monster is a landmark achievement of the early horror genre. Karloff portrays the monster with a pitch-perfect balance of childlike innocence and threatening physicality, with his clumsy movements making his inhumanity incredibly believable. Rightfully still celebrated almost a century later, Boris Karloff’s performance in Frankenstein is perfect.
Frankenstein
Release Date November 21, 1931
Director James Whale
Cast Lionel Belmore, Frederick Kerr, John Boles, Mae Clarke, Dwight Frye, Edward Van Sloan, Colin Clive, Boris Karloff
Rating Passed
Runtime 70 Minutes
Main Genre Sci-Fi
Genres Sci-Fi, Drama, Horror
Writers Francis Edward Faragoh, Peggy Webling, Garrett Fort, Richard Schayer, John L. Balderston, Mary Shelley
Based on Stephen King‘s 1977 novel, The Shining is a 1980 psychological horror film directed and co-written by Stanley Kubrick. The film centers on Jack (Jack Nicholson), a writer with a history of alcoholism and a troubled relationship with his family, who takes a caretaking job at the remote Overlook Hotel during the winter. Upon arrival, however, Jack’s wife Wendy (Shelley Duvall) and their young son Danny (Danny Lloyd) realize that the hotel may be haunted, as they are plagued by unexplained events and Jack’s behavior becomes increasingly concerning.
From his earliest scenes in the film, Jack Nicholson makes it clear through his performance that something is deeply wrong with Jack under the surface of his identity as an ambitious family man, seeming as if he may snap at any moment. Nicholson’s dynamic with Shelley Duvall is highly compelling, with her pure terror being contrasted excellently with his mania and aggression, making audiences truly come to fear his character at the film’s harrowing climax. Tragic, scary and at times darkly comedic, Jack Nicholson’s performance in The Shining is a masterclass in portraying a disturbed individual.
The Shining
Release Date May 23, 1980
Director Stanley Kubrick
Cast Philip Stone, Barry Nelson, Scatman Crothers, Danny Lloyd, Shelley Duvall, Jack Nicholson
Rating R
Runtime 146 minutes
Main Genre Horror
Genres Mystery, Thriller, Horror, Psychological
Writers Diane Johnson, Stanley Kubrick, Stephen King
Studio Warner Bros.
Tagline All work and no play make Jack a dull boy…
The Silence of the Lambs is a 1991 psychological horror film directed by Jonathan Demme and based on Thomas Harris‘ 1988 novel. The film centers on young FBI trainee Clarice Starling (Jodie Foster) as she is assigned a key role in the investigation of serial killer Buffalo Bill (Ted Levine). In order to track the killer down, Clarice develops a rapport with Hannibal Lecter (Anthony Hopkins), an incarcerated cannibal and murderer who is also a highly intelligent psychiatrist.
Winning an Oscar for Best Actress, Jodie Foster’s portrayal of Clarice received immediate acclaim due to her embodiment of Clarice’s likability, intelligence and emotional complexity. The film’s most compelling element is the dynamic between Clarice and Hannibal, with the two consistently attempting to get the upper hand in their interactions and thed chemistry between Foster and Hopkins makes their scenes electrifying. Clarice is one of horror cinema’s most iconic protagonists and one of the best characters in the Hannibal Lecter cinematic universe, with Jodie Foster’s performance greatly enhancing the role.
The Silence of the Lambs
Release Date February 14, 1991
Director Jonathan Demme
Cast Diane Baker, Kasi Lemmons, Scott Glenn, Anthony Hopkins, Anthony Heald, Brooke Smith, Ted Levine, Jodie Foster
Rating R
Runtime 118 Minutes
Main Genre Thriller
Genres Drama, Thriller, Crime
Writers Ted Tally, Thomas Harris
Character(s) Ardelia Mapp, Senator Ruth Martin, Catherine Martin, Dr. Frederick Chilton, Jame Gumb, Dr. Hannibal Lecter, Clarice Sterling, Jack Crawford
Mia Farrow in ‘Rosemary’s Baby’ (1968)
Directed by Roman Polanski
Rosemary’s Baby is a 1968 supernatural body horror film written and directed by Roman Polanski and based on the 1967 novel by Ira Levin. The film centers on a young married woman, Rosemary (Mia Farrow), whose relationships with everyone around her are thrown into question when she begins suffering a seemingly demonic pregnancy after being assaulted. Becoming increasingly ill and losing a shocking amount of weight, Rosemary begins to suspect that her neighbors are participants in an occult conspiracy surrounding her pregnancy.
Considered a masterpiece of subtle body horror, the film displays Rosemary undergoing a shocking physical transformation from a healthy young woman to someone frail, gaunt and highly physically vulnerable. Mia Farrow’s performance perfectly conveys the way that Rosemary’s bodily autonomy is being stripped from her, portraying the character as good-hearted and pure but also increasingly physically unwell and dangerously naive. One of the most acclaimed performances in genre history, Mia Farrow’s performance as the titular Rosemary is authentic, frightening and enduringly impressive.
Rosemary’s Baby
Release Date June 12, 1968
Director Roman Polanski
Cast Ralph Bellamy, Sidney Blackmer, John Cassavetes, Maurice Evans, Ruth Gordon, Mia Farrow
Cure is a 1997 Japanese supernatural psychological horror film written and directed by Kiyoshi Kurosawa. The film centers on a mysterious string of murders with seemingly no connection except from a link to Mamiya (Masato Hagiwara), an amnesiac hypnotist. The lead detective on the case, Kenichi Takabe (Kōji Yakusho), finds himself being increasingly drawn into Mamiya’s web due to the stresses and traumas of his own personal life, placing the lives of those around him in harm’s way.
Kōji Yakusho and director Kiyoshi Kurosawa have collaborated on numerous film projects, but Cure has proven to be their most renowned due to its terrifying atmosphere and compelling premise. Yakusho shines in the lead role, portraying a delicately balanced mix of professionalism and dangerously obsessive tendencies to the character that establishes Takabe as a fascinating and potentially unreliable protagonist. Delivering scenes of devastating emotional trauma, chilling horror and dedicated detective work, Kōji Yakusho’s performance in Cure is horror perfection.
Hereditaryis a 2018 supernatural horror film written and directed by Ari Aster in his feature film debut. The film centers on a family in the midst of severe grief, initially grieving the death of their maternal grandmother, before being struck by additional tragedy and afflicted by evil supernatural forces. Annie (Toni Collette), the mother of the family, is an artist with a traumatic past who tries her best to support her children Peter (Alex Wolff) and Charlie (Milly Shapiro) but is pushed to a breaking point due to the horrific circumstances.
Notoriously one of the bleakest horror films ever made, Hereditary is beloved by critics and audience members due to its strong scares and its raw and powerful representations of generational trauma and mental illness. Receiving particular attention, Toni Collette’s performance as Annie is unflinchingly intense, perfectly embodying her character’s complexity and fragile mental state in the wake of her grief. In one unforgettable scene, Collette expels some of the most haunting and tortured screams in cinematic history, and her performance is consistently remarkable throughout.
Of all the different niches of horror movies, the zombie flick is one of the most enduring, with each generation of filmmakers bringing their unique perspective to the narrative. In recent years, we’ve seen exciting changes within the zombie genre, as many of the tropes and rules of these stories established by classics like Night of the Living Dead have been subverted and altered to suit the contemporary era. While there are many great zombie movies produced by Hollywood, there are legions of innovative titles that have come from countries besides the U.S.
Plenty of unconventional zombie movies break away from the genre, and these great international projects showcase that writers and directors everywhere are interested in seeing how far they can push the concept of the zombie. From bloody, gory films that make you want to turn away from the screen to satirical narratives that play with your expectations, these movies have it all. Lately, many of the best zombie films have been grappling with zombies as a metaphor for worldwide disease and catastrophe, often being combined with the post-apocalyptic genre.
Cargo (2017)
Directed by Ben Howling & Yolanda Ramke
Martin Freeman’s underrated realistic zombie movieCargo has long been overlooked within the genre. However, watching the Australian film today demonstrates why it’s such an emotionally gripping horror movie. Zombism is referred to as a virus within the world of Cargo, but the effects of infection work the same way, and it’s clear that anyone who gets bitten isn’t long for this world. The ticking clock of Andy’s (Freeman) infection is the background of Cargoas he attempts to get his infant daughter to safety.
Incorporating many of the best elements of the post-apocalyptic genre, Cargo also grapples with the legacy of Australia’s treatment of Indigenous Australians. Andy encounters the young girl Thoomi (Simone Landers), who helps Andy find a safe place for his daughter to be raised after he’s gone. Freeman is doubtlessly at his best in Cargo, and the complex project is a tender portrait of love and sacrifice against insurmountable odds. The setting of rural Australia also provides a unique atmosphere, as so many zombie films focus on urban environments.
Dead Snow (2009)
Directed by Tommy Wirkola
Oftentimes, in zombie movies, when a person is infected, it’s a tragic loss, and the characters’ connections make the outbreak even more terrifying. This isn’t the case in Dead Snow, a Norwegian film that doesn’t just have zombies; it has Nazi zombies. If the undead weren’t horrifying and evil enough, Dead Snow adds these extra elements. This ensures that the audience is appropriately prepared to cheer when the zombies are blown up and scream when they’re getting closer.
In many ways, Dead Snow unfolds in the classic manner of most horror narratives, beginning with a group of students traveling to a remote cabin in the Norwegian woods. One by one, Dead Snow sees the characters encounter the zombies and go to extreme lengths to escape them or fall victim to them. It’s clear from the first moments of Dead Snow that the filmmakers were having a lot of fun with the genre and wanted to play up the grotesque and campy parts of zombie films that make the genre so memorable.
#Alive (2020)
Directed by Il Cho
Infusing technology and social media into contemporary movies can be difficult, as innovation is moving so fast that these elements can become dated at the drop of a hat. However, #Alive does a great job of being relevant and timeless at the same time, as it follows the protagonist, Joon-woo, who struggles to find other survivors while facing zombies and other humans alike. Social media plays a role in #Alive, but it doesn’t overshadow the action and character development.
Yoo Ah-in anchors the film as Oh Joon-woo, the video game streamer who attempts to survive the zombie apocalypse while being locked inside his apartment.
Yoo Ah-in anchors the film as Oh Joon-woo, the video game streamer who attempts to survive the zombie apocalypse while being locked inside his apartment. Park Shin-hye plays Kim Yoo-bin, one of Joon-woo’s neighbors. She and Joon-woo eventually connect and work together to make it out alive. Their relationship provides enough bright spots and breaks in the tension of #Alive that you can stomach the more grotesque moments of the South Korean film.
One Cut Of The Dead (2017)
Directed by Shinichirou Ueda
In conversation with not only the zombie genre but filmmaking itself, One Cut of the Dead pokes fun at the lengths directors and artists will go for fame and success. The meta-project soon becomes a film within a film, showcasing the events of a fictional zombie movie, then the background of the film getting made, and the actual production of the project. Despite its microscopic budget, made for around $27,000, One Cut of the Dead catapulted to fame, earning millions of dollars and making an international splash (via The Hollywood Reporter).
When watching One Cut of the Dead today, it’s easy to see how and why the movie became such a phenomenon. Perhaps the most innovative movie of 2017, One Cut of the Dead, is hilarious and self-aware without being too tongue-in-cheek or alienating. Made with unknown actors and playing with form and niche material that most mainstream projects would shy away from, One Cut of the Dead is a fantastic movie that should be remembered among the best of the genre.
The Night Eats The World (2018)
Directed by Dominique Rocher
Set in Paris, The Night Eats the World isn’t full of loud, slow-moving zombies that are easy to outrun and a little less formidable than other movie monsters. Instead, the film includes fast, deadly, and virtually silent beasts that Sam (Anders Danielsen Lie) struggles to see coming, even from the apartment he’s hiding in. As the pain of isolation and survival sets in, it gets harder and harder for Sam to stay sane and fight off the zombies.
As much a test of endurance for the audience as it is for Sam, The Night Eats the World is a grueling addition to the zombie genre that doesn’t rely on gore to make an impact.
The Night Eats the World is a reminder of how difficult, or nearly impossible it is, for people to survive alone and that survival alone isn’t all there is. As much a test of endurance for the audience as it is for Sam, The Night Eats the World is a grueling addition to the zombie genre that doesn’t rely on gore to make an impact. Another recent French zombie film, the MadS movie, brought something unique to the genre, showcasing how France is pushing the zombie story forward.
[REC] (2007)
Directed by Paco Plaza & Jaume Balagueró
One of the best found footage horror movies,[REC] is the first in several sequels, but the iconic original film is still the best. [REC] is a Spanish movie that follows Ángela (Manuela Velasco), a reporter who gets trapped inside an apartment building with the building’s residents as they slowly become infected. Throughout the night, Ángela’s camera operator, Pablo (Pablo Rosso), captures the increasingly gory and disturbing events as Ángela attempts to escape and uncover what’s happening to them.
[REC] makes good use of the found footage genre, incorporating fun jump scares, Easter eggs, and an ominous ending to keep you hooked until the film’s final moments. Though it isn’t flashy or over-the-top, [REC] proves that a project doesn’t need a large budget or mountains of gore to make an impression. In fact, one of [REC]‘s strengths is the fact that it leaves so much up to the viewer’s imagination.
28 Days Later (2002)
Directed by Danny Boyle
As time has passed, 28 Days Later has only become more iconic within the zombie genre. Boasting a star-studded cast that includes Cillian Murphy, Naomie Harris, and Brendan Gleeson,28 Days Later helped to revolutionize the zombie genre and increase contemporary interest in these stories. Today, many new zombie movies have their monsters fast-moving and extraordinarily powerful, but 28 Days Later was one of the first projects that stepped away from the slow zombie trope.
It’s hard to say where the modern zombie movie would be without 28 Days Later, as it introduced so many important story choices and stylistic elements that have impacted horror as a whole, not just zombie films.
The long-awaited sequel 28 Years Later is coming soon, and though the next installment of the franchise has a lot of pressure riding on it, there’s reason to be hopeful. It’s hard to say where the modern zombie movie would be without 28 Days Later, as it introduced so many important story choices and stylistic elements that have impacted horror as a whole, not just zombie films. Fortunately, we don’t have to imagine, as revisiting 28 Days Later only reaffirms its potency.
Versus (2000)
Directed by Ryuhei Kitamura
This Japanese zombie movie is as dedicated to bringing its grotesque zombies to life as it incorporates well-choreographed action sequences. Versus uses elements of the martial arts and samurai genres to uplift the central narrative, leaning into the idea that zombies are part of intricate myths and folklore rather than a lab-created accident. Set in a forest of resurrection, an escaped prisoner and a young girl fight their way out while being pursued by dangerous men.
However, in the forest, these men won’t die and just keep chasing them. Tak Sakaguchi plays the central prisoner, with Chieko Misaka co-starring as the girl, and the pair of them make compelling action heroes. As Versus progresses, more mystical elements and historical connections are revealed, making the story more intricate and exciting with every passing moment. Versus expertly blends genres, showcasing that the zombie movie is capable of being so much more than people realize.
Shaun Of The Dead (2004)
Directed by Edgar Wright
Simon Pegg and Nick Frost quickly became one of the most iconic horror duos in recent memory thanks to their hilarious and bloody work in Shaun of the Dead. While there are plenty of horror-comedy movies out there that reimagine the genre, Shaun of the Dead immediately sets itself apart because of the unique style of filmmaking. Directed by Edgar Wright, a creative known for his distinctive editing and fast-paced comedy, Shaun of the Dead juxtaposes the urgency of Wright’s direction with the zombies’ glacial pace.
Though Shaun of the Dead was made on a small budget, it went on to receive universal acclaim and box office success.
The Night of the Living Dead movies are iconic pieces of film history, so it’s unsurprising that Shaun of the Dead lovingly pokes fun at the tropes these projects created. It can be difficult to balance the violence and inherent tragedy of the zombie genre with lighthearted humor, but Shaun of the Dead easily achieves this. Though Shaun of the Dead was made on a small budget, it went on to receive universal acclaim and box office success.
Train To Busan (2016)
Directed by Yeon Sang-ho
Yeon Sang-ho’s most iconic movie, Train to Busan, is one of the most famous contemporary zombie films, regardless of country. Action-packed and brimming with blood, gore, and surprising emotional poignancy, Train to Busan might bring a tear to your eye before the story’s over, as its central character develops as a father and a person in the wake of the shocking outbreak. Gong Yoo brings this character, Seok-woo, to life with the gravitas of an action hero, balanced with sensitivity.
Train to Busan exemplifies what we love about modern horror, as it’s in conversation with the best of the genre but is also unafraid to carve its own path. Additionally, Train to Busan is as much about class and impending natural disasters as it is a delivery system for the zombie gore we know and love. While Train to Busan doesn’t reinvent the zombie movie, it does pave the way for the next era of great brain-eating filmmaking and encourages it to include some smart commentary.
I recently read EE Cummings’s anti-war novel the “Enormous Room” as part of my reading the classics efforts. EE Cummings is best known for his wonderful and quirky poems but he wrote many other works during his prolific literary career in the the early to mid-20th century.
This book was written based on his experience as a prisoner in a French prison during World War 1. He had gone to France to serve as an ambulance driver and got into trouble with the French authorities because of anti-war comments made by his fellow American friend. He served three months in a detention camp filled with mostly foreigners who had been accused of espionage, hampering the war effort, or associating with people so accused. He was never formally charged and after three months was released.
Co-Piot provided some more background information:
“E.E. Cummings’ The Enormous Room is indeed rooted in his real-life experiences during World War I. Here’s what I found:
Cummings’ Role in the War and Imprisonment: During World War I, Cummings volunteered as an ambulance driver for the Norton-Harjes Ambulance Corps in France. However, his service was cut short when he and his friend William Slater Brown were arrested by French authorities. They were suspected of espionage due to Brown’s anti-war sentiments expressed in letters. Cummings, who stood by his friend, was detained at the La Ferté-Macé internment camp for over three months. This harrowing experience became the foundation for The Enormous Room, where he vividly recounts his time in captivity and critiques bureaucracy and Authoritarianism”
I found his critique of authoritarianism, bureaucracy, the French prison system, and anti-war sentiments to be still quite relevant over one hundred years later. His novel is filled with details about the many different prisoners from all over the world he met and became friends with during his stay in the French detention center. The novel also filled my literary references as EE Cummings studied classics at Harvard before volunteering to go to France to help in the war effort as an ambulance driver. He quotes Dante’s Divine Comedy, and Bunyan’s The Pilgrims Progress throughout the novel, particularly calling some of his fellow prisoners “delectable mountains” referencing their defiance of the petty and absurd rules of the prison.
In reading the classics, one thing that can be offputting to modern English readers is the liberal use of untranslated foreign language phrases. The Enormous Room is set in a French prison in World War 1. The writer uses a lot of untranslated French phrases throughout. Most modern literature provides English translations in parentheses of foreign phrases. Older literature usually does not not put translations of foreign text assuming perhaps that their readers would understand the foreign phrases or skip over them.
Fortunately we now have Kindle and Kindle does offer translations on the fly which is a very useful feature as well as dictionary definitions.
Of course, the other problem that I have addressed elsewhere is the causal racism, sexism etc in much older literature which can be off-putting to modern readers. The solution is to simply note it, and read on taking into account the novel or story was written in the context of its time when racism and sexism were just not concerns for most writers or readers.
In this novel, he befriends three African prisoners and discusses how one of the prisoners had been imprisoned due to the racist attitude of the police against Africans residing in France.
The prison had a women’s section and a male section, and fraternization was prohibited but still occurred. Many of the women prisoners had been imprisoned for suspected prostitution and carried out that trade in prison. Several of the male prisoners had been imprisoned for being pimps, and some for smuggling and other crimes.
The conditions in the prison were quite stark and brutal. All the prisoners slept in one large “enormous room” that contained around 100 prisoners at a time. they were allowed out once a day to go for a walk in the yard and were assigned chores His duty was as a water carrier taking water from a communal well and taking it to the kitchen where they prepared soup for the prisoners. Prisoners were fed twice a day soup and bread for the most part, and horrid coffee in the morning. He did get one cup of real coffee per day from the cook grateful for his assistance in hauling water and helping in the Kitchen from time to time. Prisoners were able to afford wine cigarettes and chocolate from the Canteen.
Most prisoners lost a lot of weight, and many became sick from scurvy and STDs picked up from visiting the women prisoners or contracted before their arrival. A few had TB and other serious illnesses. The doctor was a bit of a quack and did not have adequate supplies.
Most prisoners stayed for three to four months before the Commission in charge decided to either send them to a real prison after a trial or release them. EE Cummins was released and with the help of the US Embassy, allowed to leave France without any charges ever being filed against him.
Quotes from The Enormous Room
> “To be nobody but yourself in a world which is doing its best, night and day, to make you everybody else means to fight the hardest battle which any human being can fight; and never stop fighting.”
“I imagine that yes is the only living thing.”
> “Humanity I love you because when you’re hard up you pawn your intelligence to buy a drink.”
E.E. Cummings: A Brief Biography
Full Name: Edward Estlin Cummings
Born: October 14, 1894, in Cambridge, Massachusetts, USA
Died: September 3, 1962, in North Conway, New Hampshire, USA
Education: Cummings graduated from Harvard University with a B.A. in Classics in 1915 and an M.A. in 1916.
Career Highlights:
Early Life:
Cummings was born into a well-educated, upper-class family in Cambridge, Massachusetts1. His father was a professor at Harvard University and later became a minister
World War I:
During the war, Cummings served as an ambulance driver in France. He was briefly imprisoned in a French detention camp, an experience that inspired his novel “The Enormous Room.”
Literary Career:
Cummings published his first collection of poetry, “Tulips and Chimneys”, in 1923. He is known for his unconventional use of punctuation, syntax, and capitalization, which became hallmarks of his poetic style
Notable Works: Cummings wrote approximately 2,900 poems, several novels, and plays. Some of his most famous works include Tulips and Chimneys, The Enormous Room, EIMI, and the play HIM1.
Here are some of E.E. Cummings’ notable works:
Poetry Collections:
Tulips and Chimneys (1923) ViVa (1931) No Thanks (1935) 1 x 1 (1944) XAIPE: Seventy-One Poems (1950) 95 Poems (1958)
I am a big fan of the rom-com genre as is my wife. K-Drama rom-coms are among the best made as they have perfected the art of the poignant glance, and the slow-burn romance sub-genre. Bollywood also does rom-coms right as does Hollywood, of course. I often thought that my true love story would make a great rom-com so I have included that at the end. Our “meet cute” story is frankly something out of a fairy tale romance.
Here’s my list from various sources of the best rom-coms of all time. I bolded the ones I have seen. I will update this and my movie list and K drama list from time to time. Stay tuned. And let me know which one of these recommendations you liked the most.
Again My Life Korean: 어게인 마이 라이프 (Eogein Mai Laipeu) rom-com
Wonhae) rom-com
Age of Youth (2016-2017) Korean Title: 청춘시대 (Cheongchunsidae)
Autumn In My Heart (가을동화) rom-com
At Eighteen (2019) Korean Title: 열여덟의 순간 (Yeolyeodeolbui Sun-gan)
Because This Is My First Life Korean: 이번 생은 처음이라 (Ibeon Saengeun Cheoeumira)
Boys Over Flowers (꽃보다 남자, Kkotboda Namja) Rom-com
Business Proposal Korean: 사내 맞선 (Sanae Matseon)
***Castaway Diva rom-com about a woman who lived on a deserted island for ten years and when she was rescued became a diva at age 30 rom-com 무인도의 디바 (Muin-Do-Ui Diva)
Crazy Love (크레이지 러브) Broadcast Dates: March 7, 2022 – April 26, 2022.
***Check-In Hanyang Korean: 체크인 한양 (Chekeuin Hanyang) political intrigue rom-com set in the mid-Joeson period based loosely on a true story
Cheer Up! (2015) Korean Title: 발칙하게 고고 (Balchikhage Gogo)
Coffee Prince Korean: 커피프린스 1호점 (Keopipeurinseu 1 Hojom)
**Crash Course In Romance Korean: 일타 스캔들 (Ilta Seukaendeul) about a famous teacher finding love
***Crash Landing On You Korean: 사랑의 불시착 (Sarangui Bulsichak) about a love affair between a North Korean officer and a South Korean heiress who crash lands in N Korea after a para-gliding accident near the border
Crazy Love Korean: 크레이지 러브 (Keureiji Reobeu)
Dali And The Cocky Prince Korean: 달리와 감자탕 (Dalliwa Gamjatang) rom-com
Descendants Of The Sun Korean: 태양의 후예 (Taeyangui Huye) rom-com
Dear. M (2022) Korean Title: 디어엠 (D-M)
Destined With You 이 연애는 불가항력 (I Yeonaeneun Bulgahangryeok) rom-com
*Doctor Cha Korean: 닥터 차정숙 (Dakteo Cha Jeongsuk) hospital drama about a middle age woman who returns to finish her residency ten years later rom-com featuring a real jerk of a husband leading to a divorce of course
Doctor John 의사요한 (Uisayohan) hospital rom-com a bit disappointing acting was so-so
***Doctor Romantic 낭만닥터 김사부 (Nangman Dakteo Kim Sabu) one of the better hospital rom-coms, and dramas featuring a doctor who has to decide why he is a doctor in the first place overcoming his desires to become a famous doctor, deals with ethical dilemmas in the medical field
**Doctor Slump 닥터 슬럼프 (Dakteo Seulleompeu) rom-com about a doctor who suffers a mental breakdown and struggles to return, also a slow burn hate turning to love drama
*Eve Korean: 이브 (Ibeu) interesting tango plot
Fated To Love You 운명처럼 널 사랑해 (Unmyeongcheoreom Neol Saranghae) rom-com
Fight For My Way Korean: 쌈, 마이웨이 (Ssam, Maiwei) rom-com
Full House Korean: 풀하우스 (Pulhauseu)
Go Back Couple (고백부부) rom-com
Goong Princess
Korean Title: 궁 (Goong)
Happiness (해피니스) rom-com
Healer 힐러 (Hilleo)
Her Private Life (그녀의 사생활) – A talented curator leads a double life as an idol fan and falls for her new boss. rom-com.
Hometown Cha-Cha-Cha 갯마을 차차차 (Gaetmaeul Chachacha) rom-com on my list to see
I Am Not a Robot (로봇이 아니야) – A man who is allergic to humans falls in love with a woman pretending to be a robot. SciiFi rom-com
It’s Okay, That’s Love (괜찮아, 사랑이야) rom-com
***Itaewon Class Korean: 이태원 클라쓰 (Itaewon Keullasseu) revenge rom-com set in Itaewon Koren’s infamous foreign ghetto, features a trans character and a half Korean character
I’m Sorry, I Love You (미안하다 사랑한다) Broadcast: November 8, 2004 – December 28, 20042.
Live Up To Your Name 명불허전 (Myeongbulheojeon) rom-com about a 18th century doctor who finds himself in modern Seoul
Love To Hate You 연애대전 (Yeon-Aedaejeon) rom-com
Mad About You Korean: 미쳐서 너 (Micheoseo Neo) rom-com
***Mine 마인 (Main) rom-com, revenge, rich people behaving badly features a lesbian lead actress
***· My Love From The Star (별에서 온 그대, Byeoreseo On Geudae) rom-com with an alien
Spring, Summer, Fall, Winter…and Spring (Kim Ki-duk, 2003)
When The Camellia Blooms: 동백꽃 필 무렵 (Dongbaekkot Pil Muryeop) rom-com
**Reflections On You: 너를 닮은 사람 (Neoreul Dalmeun Saram) rom-com
*Ray Of Sunshine: 정신병동에도 아침이 와요 (Jeongsinbyeongdongedo Achimi Wayo) about a medical doctor suffering from mental illness
My Demon: Korean: 마이 데몬 (Mai Demon)
Moon Embracing the Sun Korean Title: 해를 품은 달 (Haereul Pumeun Dal) Release Date: January 4, 2012
My Girl Korean Title: 마이걸 (Maigeol) Release Date: December 14, 2005
My Lovely Samsoon Korean Title: 내 이름은 김삼순 (Nae Ireumeun Kim Samsoon) Release Date: June 1, 2005
Pasta Korean Title: 파스타 (Paseuta) Release Date: January 4, 2010
Personal Taste Korean Title: 개인의 취향 (Gaeinui Chwihyang) Release Date: March 31, 2010
See You In My 19th Life: 이번 생도 잘 부탁해 (Ibeon Saengdo Jal Butakhae) rom-com
Stairway to Heaven (천국의 계단) rom-com
True Beauty Korean Title: 여신강림 (Yeosingangrim) rom-com Release Date: December 9, 2020
The Moon Embracing the Sun (해를 품은 달) rom-com
Twenty-Five Twenty-One (2022) Korean Title: 스물다섯 스물하나 (Seumuldaseot Seumulhana)
While You Were Sleeping (당신이 잠든 사이에) – A fantasy romance about a woman who can see the future through her dreams and a prosecutor who tries to prevent disasters. Rom-copm
W (더블유) rom-com
Save Me (구해줘)
Tempted (위대한 유혹자)
The Light in Your Eyes
눈이 부시게
February 11, 2019
he Swoon 더 스운 (Deo Seun)
Trunk 트렁크 (Teureongkeu) Drama
Winter Sonata (겨울연가) Broadcast: January 14, 2002 – March 19, 20021. One Of The First Global K Drama Hits
Can This Love Be Translated? (이 사랑 통역 되나요?) – Q4 202526
When Life Gives You Tangerines (폭싹 속았수다) – March 7, 20258
I recently read EE Cummings’s anti-war novel the “Enormous Room” as part of my reading the classics efforts. EE Cummings is best known for his wonderful and quirky poems but he wrote many other works during his prolific literary career in the the early to mid-20th century.
This book was written based on his experience as a prisoner in a French prison during World War 1. He had gone to France to serve as an ambulance driver and got into trouble with the French authorities because of anti-war comments made by his fellow American friend. He served three months in a detention camp filled with mostly foreigners who had been accused of espionage, hampering the war effort, or associating with people so accused. He was never formally charged and after three months was released.
Co-Piot provided some more background information:
“E.E. Cummings’ The Enormous Room is indeed rooted in his real-life experiences during World War I. Here’s what I found:
Cummings’ Role in the War and Imprisonment: During World War I, Cummings volunteered as an ambulance driver for the Norton-Harjes Ambulance Corps in France. However, his service was cut short when he and his friend William Slater Brown were arrested by French authorities. They were suspected of espionage due to Brown’s anti-war sentiments expressed in letters. Cummings, who stood by his friend, was detained at the La Ferté-Macé internment camp for over three months. This harrowing experience became the foundation for The Enormous Room, where he vividly recounts his time in captivity and critiques bureaucracy and Authoritarianism”
I found his critique of authoritarianism, bureaucracy, the French prison system, and anti-war sentiments to be still quite relevant over one hundred years later. His novel is filled with details about the many different prisoners from all over the world he met and became friends with during his stay in the French detention center. The novel also filled my literary references as EE Cummings studied classics at Harvard before volunteering to go to France to help in the war effort as an ambulance driver. He quotes Dante’s Divine Comedy, and Bunyan’s The Pilgrims Progress throughout the novel, particularly calling some of his fellow prisoners “delectable mountains” referencing their defiance of the petty and absurd rules of the prison.
In reading the classics, one thing that can be offputting to modern English readers is the liberal use of untranslated foreign language phrases. The Enormous Room is set in a French prison in World War 1. The writer uses a lot of untranslated French phrases throughout. Most modern literature provides English translations in parentheses of foreign phrases. Older literature usually does not not put translations of foreign text assuming perhaps that their readers would understand the foreign phrases or skip over them.
Fortunately we now have Kindle and Kindle does offer translations on the fly which is a very useful feature as well as dictionary definitions.
Of course, the other problem that I have addressed elsewhere is the causal racism, sexism etc in much older literature which can be off-putting to modern readers. The solution is to simply note it, and read on taking into account the novel or story was written in the context of its time when racism and sexism were just not concerns for most writers or readers.
In this novel, he befriends three African prisoners and discusses how one of the prisoners had been imprisoned due to the racist attitude of the police against Africans residing in France.
The prison had a women’s section and a male section, and fraternization was prohibited but still occurred. Many of the women prisoners had been imprisoned for suspected prostitution and carried out that trade in prison. Several of the male prisoners had been imprisoned for being pimps, and some for smuggling and other crimes.
The conditions in the prison were quite stark and brutal. All the prisoners slept in one large “enormous room” that contained around 100 prisoners at a time. they were allowed out once a day to go for a walk in the yard and were assigned chores His duty was as a water carrier taking water from a communal well and taking it to the kitchen where they prepared soup for the prisoners. Prisoners were fed twice a day soup and bread for the most part, and horrid coffee in the morning. He did get one cup of real coffee per day from the cook grateful for his assistance in hauling water and helping in the Kitchen from time to time. Prisoners were able to afford wine cigarettes and chocolate from the Canteen.
Most prisoners lost a lot of weight, and many became sick from scurvy and STDs picked up from visiting the women prisoners or contracted before their arrival. A few had TB and other serious illnesses. The doctor was a bit of a quack and did not have adequate supplies.
Most prisoners stayed for three to four months before the Commission in charge decided to either send them to a real prison after a trial or release them. EE Cummins was released and with the help of the US Embassy, allowed to leave France without any charges ever being filed against him.
Quotes from The Enormous Room
> “To be nobody but yourself in a world which is doing its best, night and day, to make you everybody else means to fight the hardest battle which any human being can fight; and never stop fighting.”
“I imagine that yes is the only living thing.”
> “Humanity I love you because when you’re hard up you pawn your intelligence to buy a drink.”
E.E. Cummings: A Brief Biography
Full Name: Edward Estlin Cummings
Born: October 14, 1894, in Cambridge, Massachusetts, USA
Died: September 3, 1962, in North Conway, New Hampshire, USA
Education: Cummings graduated from Harvard University with a B.A. in Classics in 1915 and an M.A. in 1916.
Career Highlights:
Early Life:
Cummings was born into a well-educated, upper-class family in Cambridge, Massachusetts1. His father was a professor at Harvard University and later became a minister
World War I:
During the war, Cummings served as an ambulance driver in France. He was briefly imprisoned in a French detention camp, an experience that inspired his novel “The Enormous Room.”
Literary Career:
Cummings published his first collection of poetry, “Tulips and Chimneys”, in 1923. He is known for his unconventional use of punctuation, syntax, and capitalization, which became hallmarks of his poetic style
Notable Works: Cummings wrote approximately 2,900 poems, several novels, and plays. Some of his most famous works include Tulips and Chimneys, The Enormous Room, EIMI, and the play HIM1.
Here are some of E.E. Cummings’ notable works:
Poetry Collections:
Tulips and Chimneys (1923) ViVa (1931) No Thanks (1935) 1 x 1 (1944) XAIPE: Seventy-One Poems (1950) 95 Poems (1958)
Note: Roy is my college housemate. He has been writing an annual list of his Oscar recommendations for over 20 years. I respect his writing and his recommendations. This is the third year I have reposted it.
Once again, Mrs D and I have endeavored to see as many Best Picture nominees as possible, given availability and other constraints. We’ve been doing this now for over 20 years. When we started there were still only five nominees. Since 2009, it’s been ten, and this year we saw eight, and I’ll say again, the Academy never should’ve increased the limit. Not just because it’s hard for fans to see them all, but because some of these movies are simply not worthy of the honor. Especially this year!
Still, it’s Oscar time and it’s a tradition here! Pick your favorites, put on your tuxedoes and sparkly gowns (or in our case, your comfiest PJs), kick back with some soda and butter-soaked popcorn, wow or hiss the latest red carpet fashions, jeer or cheer the awkward, fawning interviews, predict the winners, pat yourself on the back when you’re right and blame woke Hollywood when you’re wrong!
Anyway, for what it’s worth, here’s what I thought…
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Anora – A tale of stupid people doing terrible things stupidly. A whole lot of yelling and screwing failed to make this movie interesting. The nearly feral, selfish youth, the servile, bickering and bumbling Armenians, the contemptible ultra-rich Russians, the ‘dancer’ who accepts payment for sex but insists she’s not a hooker. The constant f-bombs. It all seemed over the top—grasping for gritty realism but approaching absurdity. So what.
The Brutalist – A worthy subject, an intriguing and complicated lead character masterfully brought to life by a supremely talented star, an epic arc of struggle and redemption, a span of decades and locations wonderfully rendered visually and in historical references. And yet, I fell asleep. Had to finish the movie the next day. It’s brutally long and slow. Three and a half hours! Couldn’t trim even a half hour out of that? Come on.
A Complete Unknown – Mrs D and I agreed this was easily and by far the best picture of the nominees we saw. I’m not sure it will stand the test of time as a ‘great’ movie, but it was full of great acting. Timothée Chalamet should win best actor for his amazing and mesmerizing recreation of Dylan’s musical performance and presence. Co-stars Monica Barbaro and Edward Norton should win their categories for the same reasons. The evocation of the time period through set design and other techniques was immersive and entertaining. Of the best-pic noms we’ve seen, this is the only one I’m sure I will watch again.
Conclave – I really liked this movie at first. It seemed like a taut, understated political intrigue, with a behind-the-scenes glimpse of a hidden world—the election of a new pope. But I felt let down by the wild twist at the end. Not being a fan of the Catholic Church, I kind of enjoyed the irony of it, but I found the details strained credibility as presented. By chance I had just read an article about the many possible combinations of chromosomes that occur naturally in humans. So I didn’t doubt that, but it seemed so unlikely the person in question would have ever risen to a high position in the Catholic Church, or that any real circumstance could have resulted in the ending of this film. I just didn’t buy it.
Dune Part Two – I read the book so many years ago that I remembered nothing of it. We saw Part One last year and were a bit lost throughout. So, we watched a couple YouTube summary videos, but then we still watched Part One before pushing play on Part Two. We both thought the investment of time paid off. It helped us sink into the films, with their long list of characters and multiple story threads. I’d rank this as the second best of the nominees. Stunning visuals and the kind of classic, epic storytelling that reminds me of Tolkien or Star Wars.
Emilia Pérez – Lots of negative talk about the star of this one—whatever. I’d like to see it, but I don’t have Netflix right now and my wallet is already suffering from subscription fatigue.
I’m Still Here – The trailer for this one looks really interesting, but the film has not been released for streaming as of this date.
Nickel Boys – I’m not sure if the sheer volume of artsy techniques and effects (or affects?) were always in service of the storytelling in this film. It felt overwrought. All the weird shot angles, the square formatting, the ringing headache soundtrack, the time jumping and the gimmicky point of view thing, especially those back of head shots—I found it interesting but distracting, and wondered if anyone in Hollywood can just tell a story anymore.
The Substance – I’m honestly not sure if it’s a comedy gone wrong or a drama gone wrong, but boy did it suck! If it had a point it was made in the first ten minutes and then beat to death for two more hours, and in the most gruesome fashion imaginable. Jesus, how is this nominated for anything?! How did it even get made?! It’s a perfect example of why many people say Hollywood has lost the ability to make great movies.
Wicked – Loved the book! Never saw the play. The movie did not capture the wonder and delight I remember feeling at the ingenuity and thoughtfulness of the book. The set design and effects were impressive, the vocal talent at times astounding. But I couldn’t help feeling like I was watching a bad episode of Glee with all the cliché mean girl vs. Cinderella stuff. Also, a musical ought to leave you humming or singing a chorus or two on your way out the door. Think: If I Were a Rich Man, Papa Can You Hear Me, I Feel Pretty, Don’t Rain on My Parade, on and on. Wicked is more like sung dialogue but not one catchy, hummable tune. Meh.
Honorable Shoutout
A Real Pain – Should have been nominated. Thoughtful and thought provoking, just funny enough to lighten the weight of the relationships on view, among the characters themselves but also between the characters and the history they are interfacing with. And extremely well played by both Jesse Eisenberg and Macaulay Culkin, making these characters feel real and their oddball behavior believable.
Something to Think About
After the news of the great Gene Hackman’s death, Roy Sr, Mrs D and I all watched Unforgiven the other night, and enjoyed it immensely even though we’ve all seen it more than twice. Everything a Best Picture winner ought to be and then some. Not one of the 2024 movies even comes close.
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Since 2015, when I moved to Korea I have become a big fan of K Drama. They are perhaps the best in the world at romantic comedies. (“Crash Course in Romance” and “Crash Landing on You” a good examples). They also excel in movies about “Rich People Behaving Badly ”( Mine is the best one) and dark social commentary like “Parasite” (Oscar Best Picture), revenge dramas (Glory is the best example), and epic historical dramas set in Korea and China. (“Mr. Sunshine” is a good example) Another staple is high school coming-of-age films. (Millionaires First Love is a good one) .They also do political intrigue films pretty well ) Last Man Standing is good, and” Designated Survivor”), and decent SCIFi too. (“Silent Sea”, and Space Sweapers” are good). The crime and political dramas are quite intense and a bit too violent in my opinion although they are not “slasher” films per se. And of course, the Squid Game was a worldwide phenomenon.
Up until the early 80’s K dramas were not that good, Japanese (J Drama) were better. But since then K Dramas have taken over. For some reason, K dramas are more approachable to outsiders than J Dramas or C Dramas. An interesting factoid is that the writers are almost all women. and about 60 percent of the viewers are women, Korean men, in general, prefer sports or news programs.
More LGBTQ Characters
In recent years, many dramas have started featuring LGBTQ characters and non-Korean characters (called multi-cultural in Korean). The LGBTQ characters tend to be either female or transgendered, not too many male male gay characters. Itaewon Class had a good Trans character – a male transitioning to female, and “Mine” had both a lesbian couple and a bisexual male lead. This reflects the fact that LGTBQ status is still not as tolerated in Korea as it is in the US and Europe. Five years ago there were no LGBTQ characters, now there are quite a few. In Korea there are now gay nightclubs in Itaewon’s “homo hill” and the Hongdae student district, and there is an annual gay pride day which while not officially legal, is not illegal as it was a few years ago. Many K novels and stories also have LGBTQ characters these days.
Gay marriage is still not legal, but gay sex is no longer illegal or grounds for a divorce as adultery is also no longer illegal or grounds for a divorce. Younger Koreans are much more tolerant than older Koreans. The Christian Churches tend to be conservative and heavily influenced by American evangelical churches and are mostly anti-LGBTQ. About ten percent of adults have engaged in gay or lesbian relationships and perhaps 5 percent of the population are LGBTQ, with 2 percent transgendered. Transgendered people have to go to Thailand for surgery as the surgeries are illegal in Korea and Korean health insurance does not cover such treatments.
Rom-Com Slow Burn Dramas
The rom-com tends to be slow-burning dramas with few explicit sex scenes, almost all of them male -female although there are a few lesbian-themed ones now and then. Many of them follow the meme hate turning to love, although love at first sight K dramas are common, and many feature doomed romances between characters of different social classes.
Korean Badass Female Leads
Final point, I have always considered Korean women to be the most beautiful and sexiest women on the planet and I love watching them in K Dramas, particularly I like watching real “badass” lead characters, and I married my Korean dream girl See Dreamgirl re-published for details.
“Mr. Sunshine,” and “Gyesang Creatures” have such lead characters.
I have finally gotten enough Korean to mostly follow the dialogue without subtitles, but most of the K Dramas on Amazon, Disney, and Netflix have subtitles. I hope by the end of the year to be able to watch a K drama without subtitles. Nice language learning goal to have.
Here then is my list of K Dramas I have seen over the years.
First my top 20 list
Gyesang Creature K Drama Korean female badass character, monster movie, historical drama set at end of Colonial era
Captivating The King K Historical Drama A
Doctor Slump K Drama B good rom-com also deals with mental illness issues, political intrigue
Glory K drama A revenge drama
Crash Course in Romance K drama A- great rom-com
Chief of Staff K drama political drama
Shin Divorce Attorney K Drama -A great legal drama and political intrigque
The Eternal King K drama historical drama. alt history Sci-fi rom-com
Live Up to Your Name K drama A historical drama, sci-fi, rom-com slow burn romance
Castaway Diva b slow burn rom-com
My Love From The Stars sci-fi rom-com
Itaewon Class K Drama Trans character lead
The Last Man Standing K Drama political intrigue regarding the assasination of President Park based on true story
Venzano K Drama corporate intrigue, crime drama and slow burn romance
Mine K Drama great example of rich people behaving badly, LGBTQ characters
Strong Girl Namjoon sequel see post review female badass leads
strong girl Bong soon original A see post review female badass leads
Parasite K Drama Oscar Best picture – dark black comedy
When The Camelia Blooms K Drama great K rom-com
Squid Games K Drama Number 1 On Netflix game show but much more than that
Bing AI’s list of top K Dramas
If you’re looking for the best K-dramas to binge-watch, you’re in for a treat! Korean dramas (K-dramas) have taken the world by storm, offering a delightful mix of interesting storylines, intense plot twists, and addictive viewing experiences. Here are some top K-dramas across different genres:
Remember, K-dramas can evoke a wide range of emotions—from sappy to heartbreaking to downright surprising. So grab your popcorn, find a cozy spot, and immerse yourself in the captivating world of Korean dramas! 🎬🍿
2024
Confession K Drama A-
Collectors K Drama B
The Spy Gone North B K Drama
Goodbye Mr. Black K Drama Did Not Finish
My Demon Love K Drama Did Not Finish
My Annoying Brother B
Me And Me K Drama B
Squid Game Season Two Did Not Finish – No longer K drama in my opinion
Gyesang Creature K Drama Korean female badass character
Somebody B
The Devil Plan Was Too Complicated To Follow
VIP K Drama B
Destined With You K Drama
Millionaire First Love K Drama A good intro to coming of age high school dramas
Hyena K Legal Drama A good political corporate intrigue film
Badlands Hunters K Post-Apocalypse Drama A good Sci-Fi
Captivating The King K Historical Drama A Good historical drama
Doctor Slump K Drama B
Taken K Drama Movie B
The Swindler K Drama Movie A
Don’t Buy The Seller K Drama B
The Dude In Me K Drama Is Cute A
Single In Seoul K Movie B
Lee Kiwon K Movie About NK Refugees In Belgium
Young Police K Drama B
Sweat And Sour B
Killer Paradox K Crime Drama
Queen Of Tears K Rom-Com
2023
Moving to Heaven started in 2022.
Lies Within started in the 2022 BK drama.
Trolly started 2022 B K drama a-
Glory K drama is A good revenge flick
Confidential Assignment K drama b
On the line k drama b
Weight Ton K drama b
Parallel SF K drama SF drama
Crash Course in Romance K drama A- great rom-com
One Spring Night K drama
The Bros K drama
Like for Likes K drama b.
Ordinary People K drama b
Veteran K crime comedy b K drama
Tiger in Winter K drama with a magical realism twist K drama
After My Death, another Korean teenage crime drama k drama
Confidential Assignment Two K drama
Nothing Serious K rom-com
Uncanny counter K drama
What’s wrong with Secretary Kim K’s drama.
Chief of Staff K drama good political thriller
Mad for each other K drama
Along with the god’s K’s drama
Time to hunt K drama.
Escape from Mogadishu political drama based on true story features North and South Koreans overseas forced to work together to ensure mutual survivor
The decision to leave K drama.
Adenoid K drama Sci-Fi
Hunt K drama
Confession K drama
My unfamiliar family K drama
Physical Another Squid Game K drama
Unblock Cyber crime K drama.
One Spring Night K drama rom-com
Holy Betrayal Documentary on Religious cults in Korea
Me me
Shin Divorce Attorney K Drama -A good legal thriller
The Eternal King K drama alt history sci-fi, rom-com
Live Up to Your Name K drama A sci-fi time travel rom-com
Kill Bosun K drama
Switch k drama
Beef K Drama set in LA
Queen Maker K drama
Black Knight K Drama
Miss and Mrs. Cop K drama
Unstoppable K drama
Mad for Each Other rom-com
Private Lifes K drama
Flower of Evil K drama
Glitch Korean series sci-fi
See You in My 19th Life K Drama did not finish it
Alchemy of Souls intriguing K Drama
Song of the Bandits historical set at the end of the Joseon dynasty
Dream K drama about the homeless World Cup
King Maker K drama about Kim Dae Jung’s early rise Disney A
Ballerina K crime revenge thriller b a bit too violent
Strong Girl Namjoon sequel see post review female badass characters
strong girl bong soon original A see post review female badass characters
Dona K Drama B
Ray of Sunshine K Drama A
The Worst of Evil Disney K Drama B
Villante Disney K Drama B
The Believer K Drama b
the Believer Part two K Drama B
Castaway Diva b good rom-com
comedy royal b
My Demon did not finish c
Don’t Buy the Seller -K Drama about a serial killer who lures victims through ads for used sales
Gyesang Creature K drama 6 episodes Great badass lead actress.
Havana K murder drama with an LGBT love affair theme
Bloodhounds K revenge crime drama
2022 Movies Seen
Black Money K Drama B
Extreme Job K Drama B
We Are All Going To Die K Zombie Drama A
Haibing 2017 The Thaw K Drama B
Our Blues K Drama A set in Jeju
Juvenile Justice K Drama B coming of age drama
Silent Sea K Drama B sci-fi
My Liberation Notes
My Love From The Stars good rom-com
Move To Heaven
Honest Candidate
Yaksha K Movie B
Blue Bayou Korean American Movie B
Uncanny Counter K Drama B
Cyber Hell B
Intruder K Drama B
Welcome To Wedding Hell K Drama B
Heist Korean Version B
Will You Be There? K Drama C Did Not Finish
Extraordinary Attorney Yoo A-1 great drama features an austic genius
Minmi ding Café C Did Not Finish
Remarriage And Desire K Drama B Another Drama About Rich People Behaving Badly.
Unfamiliar Family K Drama A
Carter K Drama Movie C
Designated Survivor K Drama A political intrigue
Model Family K Drama B
Little Woman K Drama B Korean re-make of a classic British 19th Century novel
Stranger 1
Stranger 2
Reflection Of You good rom-com
Made For Each Other good rom-com
Honest Candidate political satire
Signal K Drama
When The Camellia Blooms B good rom-com
Love Struck In The City B
Glitch Korean Sci-Fi B good SciFi
The Lies Within K Drama
2021
Space Sweepers K SF Drama
Itaewon Class K Drama Trans character male to female
Sense 8 is not a K drama per see but has a Korean lead actress
The Last Man Standing political thriller based on the true story of President Park’s assasination
Sisispyus K Drama disappointing Sci-Fi
Venzano K Drama good crime drama, and slow burn rom-com
Glitch Good Sci-Fi
Parasite K Drama Oscar Best picture
Legends Of Alhambra K Drama
The Negotiator K Movie
No Exit K Movie
Crash Landing On You K Drama great K rom-com set in North Korea
Night In Paradise K Movie
DP K Drama
Con K Drama Movie
When The Camelia Blooms K Drama great K rom-com
Squid Games K Drama Number 1 On Netflix
Move To Heaven K Drama
Minuri Oscar winner set in U.S.
Hell Bound K Drama
Hostage K Drama Movie
Balgasal K SF
The Wanted
2020
Mr. Kim’s Convenience Store set in Toronto
Kim Ji Young K Drama
2019
49 Days Korean Movie B
Chun hyang (2000 Film) YS
The Assassin 2015 Korean Movie
2015
Kundu Korean Movie B
Classified File Korean Movie On Plane
2014
Memories Of Murder Korean Film
Typhoon Kore
2011
The King And I Korean Series
Life In North Korea Documentary From National Geographic
For more than twenty years now, Mrs D and I have made it an annual quest to see all of the Best Picture nominees before the Oscars telecast. This year we saw 9.5 of the 10 movies nominated.
It started in 2000, when there were only five nominees (instead of up to 10 like now) and we usually had to see them in a theater, because they weren’t available to rent on VHS yet. (Yes, I said VHS).
And we’ve done it every year since, except for 2019 which was interrupted by Mrs D’s infamous extended hospital stay. We have even ventured to other cities to see movies that weren’t playing at the one theater in our little town. I remember seeing Chocolat in Ukiah and more recently The Revenant in Rohnert Park. But now we can usually stream everything, and this year the whole project ran us around a hundred bucks in streaming rentals and purchases on top of our existing subscriptions to Amazon, etc.
Several years ago I started writing about our tradition on Facebook. Now the writeup itself has become part of the deal. As I’ve said before, I’m no film student, nor expert critic. Just a regular dude who loves movies.
Snap reviews and top picks below.
American Fiction –
Bold, wryly funny, contrarian, with the ring of truth. Brilliantly calls out the publishing industry, where retread tropes seem to trump story, art and insight, particularly when it comes to depictions of Black characters and writers. And I feel like there’s an even larger truth here about the way culture is degraded in general through over-commercialization.
Anatomy of a Fall –
A French film that moves carefully, piece by piece, and manages to be slow and taut at the same time. I found the characters to be inscrutable. I feel like I need to watch again just to see if maybe this time I would fully understand these people. It left me with a suspicion that perhaps all the story’s secrets have still not been revealed, that the resolution we see on the screen is still not the truth of these characters. And, in this case, that ambiguity is a good thing.
Barbie —
Cleverly funny in spots, but also unsubtly preachy in spots, an issue I’ve had with director Greta Gerwig before. But Margot Robbie was perfect and the movie is visually stunning in all its pinkish glory and devoted detail. Still, I think this movie appears in the Best Picture category more on the strength of its perceived politics than its success as an artistic endeavor.
The Holdovers —
A darkly funny, entertaining, and deeply reflective odd couple sort of story that’s enjoyable to watch. Maybe a little out of its league in the Best Picture category, but elevated to a higher status by Paul Giamatti’s performance, which is irresistibly engaging as always. Well worth a second watch.
Killers of the Flower Moon — Having read the book, I felt the impact of the true part of this story was diminished by the fictionalized part of the movie. Reading the book I was deeply struck by the callous indifference shown toward the humanity of the Osage Indians. It resonated like an echo of Shindler’s List, underlining the incredible and frightening capacity of humans to rationalize literally any behavior in their fear or greed. But the movie revolves around Ernest Burkhardt (Leonardo DiCaprio) and depicts a somewhat tried and true arc of romantic tragedy, a weak-minded man caught up in the schemes of others, pulled along by greed and the need for approval, until he is in the process of killing the only real love he’s ever known. As is often the case, the truth was more complex. And more disturbing.
Maestro –
I usually make a conscious effort to limit my preconceptions of these movies. I don’t read reviews or watch trailers. But it’s hard to avoid a relentless ad campaign like the one mounted for Maestro. I’d seen the rousing TV spots touting the performances and the early awards. But I found the movie depressing, its characterization of Bernstein disappointing and unlikeable. But yes, Bradley Cooper and Carey Mulligan
were both outstanding.
Comment: on my list to watch as I am a big Bernstein fan – one of the best classical composers of the 20th century in my opinion.
Oppenheimer –
Not what I would call a pleasant watch, at times slow and ponderous, even confusing with some of the time jumps. But the acting was so engrossing, immersive, mesmerizing even. Cillian Murphy in the title role was riveting. Robert Downey Jr simply disappeared into the role of Lewis Strauss. Emily Blunt was also captivating as Kitty Oppenheimer. The effects director Christopher Nolan used to heighten the sense of Oppenheimer’s interiority were brilliant and effective.
For example when Oppenheimer steps on a charred corpse that only exists in his tortured, guilty mind. But the lasting impact of this film is the way it echoes in the mind afterward—how sad and terrible and absurd it is that we reckless humans have attained the power to destroy the world. It will probably win Best Picture. And it probably should.
Comment: Also on my must see list
Past Lives –
Eventually, someone had to do a movie like this — an old romance is rekindled through the internet and complications ensue. In this particular case the past romance is an adolescent crush, cut short by one family’s immigration, and later complicated not just by the years, but also by geographic and cultural distance. This one stayed with me, kept me thinking for days afterward about its larger implications regarding fate, destiny, acceptance, grief and closure. Well worth more than one watch.
Poor Things –
Half of this movie was twice as much as I needed. We actually turned it off, extremely rare for us during Oscar season. What we saw played like a terrible excuse for some creepy, gratuitous soft porn. All the weirdness of the sets, costumes, cinematography and makeup felt like a desperate attempt at artistic status. If someone out there actually saw some redeeming value in this thing, feel free to explain in the comments section what I am missing.
The Zone of Interest –
This one’s all in German, with subtitles. But the dialog is sparse and the film’s biggest strength is in the fascinating dichotomy presented in its basic premise. It gives us a window into the surprisingly mundane personal lives of a “normal” family literally in the shadow of Auschwitz during the Holocaust. The sense of cognitive dissonance is alarming.
Honorable Mention
– I don’t usually do this, but I wanted to mention one film that was not even nominated for Best Picture but, in my opinion, should have been. Nyad has wonderful, engaging performances by Annette Bening and Jodie Foster, and it’s a suspenseful, satisfying, story of friendship, determination, human spirit, and triumph over the longest odds.
Finally, here are my choices for the top awards.
Don’t worry, the Academy almost always disagrees.
Actor in a Leading Role: Cillian Murphy, Oppenheimer Winner
Actor in a Supporting Role: Robert Downey Jr, Oppenheimer Winner
Actress in a Leading Role: Annette Bening, Nyad
Actress in a Supporting Role: Emily Blunt, Oppenheimer
Best Picture: Oppenheimer Winner
Soon it’s time to pop the popcorn, get cozy on the couch, badmouth the fashion and root for your favorites.
Happy Oscars folks.
here’s the winners
The 96th Academy Awards, held at the Dolby Theatre in Hollywood on March 10, 2024, celebrated outstanding movies released in 2023. Here are some of the notable winners:
Best Picture: “Oppenheimer”
Best Actor: Cillian Murphy for his role in “Oppenheimer”
Best Actress: Emma Stone for her performance in “Poor Things”
Best Supporting Actor: Robert Downey Jr. in “Oppenheimer”
Best Supporting Actress: Da’Vine Joy Randolph from “The Holdovers”
Best Director: Christopher Nolan for “Oppenheimer”
Best Adapted Screenplay: “American Fiction”
Best Original Screenplay: “Anatomy of a Fall”
Best Animated Feature: “The Boy and the Heron”
Best Documentary Feature: “20 Days in Mariupol”
Best International Feature Film: “The Zone of Interest”
Best Cinematography: “Oppenheimer”
Best Costume Design: “Poor Things”
Best Film Editing: “Oppenheimer”
Best Makeup and Hairstyling: “Poor Things”
Best Original Score: “Oppenheimer”
Best Original Song: “Barbie”
Best Production Design: “Poor Things”
Best Sound: “The Zone of Interest”
Best Visual Effects: “Godzilla Minus One”
Best Documentary (Short Subject): “The Last Repair Shop”
I have been keeping track of movies and TV shows I have watched since I started my journals, going back to the late 90’s. Here’s the list for the last few years. On average I am watching over 150 movies/shows etc per year. I have watched a lot of K drama over the last few years and can finally almost follow them without the use of subtitles!
Assuming I have seen about 150 movies or TV shows per year since I was 5 I would say that I have seen about 10,000 movies and TV shows.
Whenever I travel to the States, I binge-watch on the plane hitting ten movies on a round trip.
I like to catch up on the Oscar winners, and blockbusters, and watch a Bollywood movie and a Spanish movie as well.
Goals
At Least One Korean Movie Per Week
At Least One Spanish Movie Every So Often
One Bollywood Or Another Foreign Language Movie Every So Often
A Mixture Of Thrillers, K Drama, Comedies, Romcom, Etc
Make A List Of Oscar Movies And Watch Several.
Resume Going To The Theater Later In The Year.
When Traveling To The US Watch Ten Movies Each Trip
Including One Bollywood, One Spanish, Three To Four Blockbusters, One Classic, One Comedy
200 Movies/TV Series By The End Of The Year.
The 96th Academy Awards, held at the Dolby Theatre in Hollywood on March 10, 2024, celebrated outstanding movies released in 2023. Here are some of the notable winners:
Best Picture: “Oppenheimer”
Best Actor: Cillian Murphy for his role in “Oppenheimer”
Best Actress: Emma Stone for her performance in “Poor Things”
Best Supporting Actor: Robert Downey Jr. in “Oppenheimer”
Best Supporting Actress: Da’Vine Joy Randolph from “The Holdovers”
Best Director: Christopher Nolan for “Oppenheimer”
Best Adapted Screenplay: “American Fiction”
Best Original Screenplay: “Anatomy of a Fall”
Best Animated Feature: “The Boy and the Heron”
Best Documentary Feature: “20 Days in Mariupol”
Best International Feature Film: “The Zone of Interest”
Best Cinematography: “Oppenheimer”
Best Costume Design: “Poor Things”
Best Film Editing: “Oppenheimer”
Best Makeup and Hairstyling: “Poor Things”
Best Original Score: “Oppenheimer”
Best Original Song: “Barbie”
Best Production Design: “Poor Things”
Best Sound: “The Zone of Interest”
Best Visual Effects: “Godzilla Minus One”
Best Documentary (Short Subject): “The Last Repair Shop”
Tourist Love Affair Cute But Predictable Filmed In Vietnam B
The Dude In Me K Drama Is Cute A
Black Phone B
Single In Seoul K Movie B
Secret Obsession American Movie B
In The Shadow Of The Moon B
Age Of Adeline A
Fair Play B
In From The Cold C
Try To Kill Me I Dare You Polish Movie B
Lee Kiwon K Movie About NK Refugees In Belgium
Chronicle Sci-FI Meh C
Young Police K Drama B
Sweat And Sour B
Happiness For Beginners US Drama B
Falling For Christmas US Drama B
The Gentlemen British TV Crime Series
Killer Paradox K Crime Drama
Queen Of Tears K Rom-Com
2023 list
88 Minutes US thriller
Moving to Heaven started in 2022.
Emily In Paris Netflix B started in 2022.
The Gray Man American
Lies Within started in the 2022 BK drama.
Trolly started 2022 B K drama a-
Moonball SF B
Glory K drama B+
Confidential Assignment K drama b
The Pale Blue Eyes – Murder mystery featuring Edgar Allen Poe as a cadet Netflix B
Wednesday started in 2022
On the line k drama b
Weight Ton K drama b
You American
The age of Adaline started.
Zone 414 did not finish b.
Kate did not finish too violently d.
1899 needs to look again at America.
The Invasion of South African c
Parallel SF K drama
Crash Course in Romance K drama A-
Lookup American a big Meh
One Spring Night K drama
The Bros K drama
Like for Likes K drama b.
Ordinary People K drama b
Quiet Place Part Two Next flix SF C+
Echoes Next Flix series b American.
Veteran K crime comedy b K drama
Tiger in Winter K drama with a magical realism twist K drama
After My Death, another Korean teenage crime drama k drama
Confidential Assignment Two K drama
Nothing Serious K rom-com
Uncanny counter K drama
What’s wrong with Secretary Kim K’s drama.
Chief of Staff K drama
Tau American
Ad Astra American
White noise American
Mad for each other K drama
Along with the god’s K’s drama
Time to hunt K drama.
Escape from Mogadishu K drama
The decision to leave K drama.
Adenoid K drama
Hunt K drama
Confession K drama
A man from Toronto American
The unforgiven American
My unfamiliar family K drama
You People Eddie Murphy Comedy
Physical Another Squid Game K drama
Confession K Drama
Where the Crawdads Sing American movie
Unblock Cyber crime K drama.
Your Place or Mine US romcom
Nope SCIFi Netflix
One Spring Night K drama
Sweat and Sour K drama
Sweat Tooth
Salvation
Safe
Black Panther Wakanda Forever
Amsterdam b+
Black Adam b
Ant-Man and Wasp b
Namaland B+
Holy Betrayal Documentary on Religious cults in Korea
Outer Banks Third Season
Me K drama
God’s Crook Line. Spanish
Shin Divorce Attorney K Drama
The Eternal King K drama
Swing Kids American drama
Live Up to Your Name K drama
Murder Mystery 2 – not bad saw Murder Mystery One last year
Kill Bosun K drama
Shadow and Bone next season
Tripple Frontier American
Switch k drama
Beef K Drama set in LA
Strangers Things Season Four
Queen Maker K drama
Ticket to Paradise American drama
The Stranger British
Florida Man American
Gone for Good British
Stay Close British
Kaleidoscope American
Harris Goes to Paris British
Collectors k drama
The Chair American series
What/if American series
You Will Always Be My Maybe – US Romcom
Black Knight K Drama
Mother American Crime Thriller starring Jennifer Lopez
Miss and Mrs. Cop K drama
Unstoppable K drama
Ordinary people
Intruder
Synopsis
White noise
Red notice
How it ends
Shimmer lake
Mad for Each Other
Private Lifes K drama
Flower of Evil K drama
The Mule
Farber man’s (Oscar pick)
Living
Dangerous Games, Legacy
The Independent
Tau
Bloodline
hypnotic
intrusion
the stranger
I Land
another life
colony
imperfectives
night flyers
white lies
Nice guys
Glitch Aussies series
Glitch Korean series
dark
awake
1989
the order
murder mystery 2
SALT
Adam project
Star Trek Strange New Worlds Amazon
Lost World CBC series on Amazon
Outlaws Netflix
Tyrone got Cloned on Netflix
Lost City amazon
Otto Netflix
Terminator 2 Netflix
Terminator 3
Terminator 4
Bird box Barcelona Netflix
War of the World 2
Expanse Season five
Expanse Season Six
Time Trap Netflix SF movie
Wheel of Time Season Two Amazon
Non-Stop
Stolen
Mysterious Island
See You in My 19th Life K Drama did not finish it
Babblyon saw that RHS did not finish it
Heart of Stone saw with RHS
The Stranger Netflix has good reviews but did not finish it
2022
Emily In Paris Netflix B
Super Eight Stephen Spielberg B
Black Money K Drama B
Extreme Job K Drama B
Freaks Netflix C
Dune World (Not The Dune) C
Assimilation – Invasion Of Body Snatchers Remake Hoopla C
Power Play (Hoopla) C
Constantine Netflix C
Ozark Season 4 B
Cowboy Bebop SF Netflix K Star But Not K Drama A
Freaks
We Are All Going To Die K Zombie Drama A
Babysitter Killer Queen C
Haebing 2017 The Thaw K Drama B
Area 51 Hoopla C
Nine Teeth Vampire Movie C
Chosen B Netflix Danish SF
Dark B Netflix German SF
The Power Of The Dog C Oscar Nominee
Bright With Will Smith B SF
Kin B Netflix
88 Minutes B
Shadow And Bone B+
Locke And Key Season 2 B
The Adam Project B
Dark Crab – Sweedish Movie B
Once Upon A Time In Hollywood B
Alice In Borderland
Warrior Nun
Tulip Fever
Army Of The Dead B
Army Of Thieves C
Glitch Australian Series
Dark German SF B
Our Blues K Drama A
Juvenile Justice K Drama B
Knight Day C
Rebecca B
Phantom Thread C
Behind Her Eyes B
Jumangi B
The Dark Tower B
I Frankenstein B
Tau B
Silent Sea K Drama B
Night Flyer B
El Camino Sequel To Breaking Bad B
Rainy Day In New York -Woody Allen B
My Liberation Notes
Our Blues
My Love From The Stars
Move To Heaven
Honest Candidate
ARC B
LA LA Land B Meh
Ozark Season 4 B
Yaksha K Movie B
Blue Bayou Korean American Movie B
Let Me Go Western Is Set In Montana Kevin Costner B
Uncanny Counter K Drama B
Cyber Hell B
Intruder K Drama B
Stranger Things Season Four B
Welcome To Wedding Hell K Drama B
The Hitman’s Body Gaurd’s Wife Part One C
Oceans Eight B
Interceptor A-
Better Call Saul Season 5
Better Call Saul Season 6
Spiderhead C
The Wrath Of Man C Did Not Finish C
The Man From Toronto C
Time Machine 2022 Re-Make B
Heist Korean Version B
RRR Bollywood Netflix Original A
Will You Be There? K Drama C Did Not Finish
Extraordinary Attorney Yoo A-1
Minmiding Café C Did Not Finish
American Made B +
Tarzan B-
Remarriage And Desire K Drama B= Another Drama About Rich People Behaving Badly.
The King Of Stonks Austrian Satire B Worth Finishing
Unfamiliar Family K Drama A
My Liberation Notes K Drama A
Carter K Drama Movie C
Designated Survivor K Drama A
Locke And Key Season Three B
Model Family K Drama B
Now You See Me
The Body Guard’s Wife
Red Notice
How It Ends
Better Call Saul Season Six B
Manifest Netflix Special B
Good Guys C
Blood Red Sky D
Little Woman K Drama B
Chief Of Staff K Drama B
Narco Saints K Drama B
Interception
Extraction
Focus
Project Power
Love And Monsters
Executive Decisions
Gray-Man
Adam Project
Re-Start
Jumangi
Fifth Wave
Justice League
On Your Wedding Day
6 Underground
Stranger 1
Stranger 2
Reflection Of You
Made For Each Other
Honest Candidate
Man From Toronto
The Protégé
Signal K Drama
What’s Wrong With Secretary Kim? K Drama
Manifest Four Seasons B+ Like Dark
End-Of-The Road B
When The Camellia Blooms B
Love Struck In The City B
Glitch Korean Sci-Fi B
Zone 414 Did Not Finish C
Office Invasion – South African SF Satire C
Kate Did Not Finish Too Violently Like In Kill Bill D
Midnight Sky SF C Too Meandering C
1899 Did Not Finish Too Meandering B
See You Yesterday Spike Lee SF B
Someone B+
Tidelands
Jurassic World Domination
Wednesday -Adams Family
Your Psychological Thriller Series
Prendergast Mike Meyers
Dark Island German Film B
Welcome To Murderville B
Imperfects B
Trolly K Drama
The Lies Within K Drama
2021 List
Bloodshot
Ozark
Bloodlines
Discovery
Humans Are Useless Hoopla
Wu Assassins
6 Underground
Warrior Nuns
Alice In Borderland
I Am Not Okay With This
Constantine
The Beach
Holliday
Rebecca
About Time
Spy Games
We Could Be Heroes
Vastness Of The Night Amazon
Hanna
The Expanse
Sneaky Pete -Amazon
How It Ends
The I Land
Wonder Woman
Get Out
Space Sweepers K SF Drama
I Care A Lot 2020 TV
Messiah
Itaewon Class K Drama
Sense 8
Salvation
The Order
Lock N Key
Ballad Of Buster Scruggs
Titans
O/A
Abyss
Outer Banks
White Lines
Umbrella Acadamy
The Last Man Standing K Drama
Suicide Squad
The Honest Candidate K Drama
Behind Her Eyes
Sisyphus K Drama
Venzano K Drama
Strangers K Drama Season One
Strangers K Drama Season Two
Strangers K Drama Season Three
The Woman In The Mirror
Gemini Man
Legends
Bridgeton Netflix’s Top-Ranked Series
Wanted With Angelina Jolie 2005?
War Dogs
The Holliday
The Woman In The Mirror
How It Ends
Love And Monsters
Knives Out
Old Guard
Borek Movie
Sweet Tooth
Mine K Drama
Glitch
Parasite K Drama
Legends Of Alhambra K Drama
August
Sin City
The Talented Mr. Ripply
The Negotiator K Movie
No Exit K Movie
Crash Landing On You K Drama
Jackel 1997 US Movie
Night In Paradise K Movie
DP K Drama
Con K Drama Movie
October
When The Camelia Blooms K Drama
Squid Games K Drama Number 1 On Netflix
Move To Heaven K Drama
The Money Heist Spanish Series
Minuri
Cool Hand Luke
Citizen Kane
Jungle Cruise
Free Guy
Black Widow
King Kong V Godzilla
Crazy Rich Asians
Bliss Amazon
Tomorrow’s Wars Amazon
Reflections On You (K Drama, Netflix)
Red Notice (Netflix)
Hell Bound K Drama
Crisis In Six Scenes Amazon
The Wheel Of Time Amazon Season One
Another Life Season Three
Lost In Space Season Three
Hostage K Drama Movie
Army Of Thieves
Army Of Death
The Big Splash
The Dark Tower
Balgasal K SF
The Wanted
Mogadishu K Drama
Don’t Look Up Netflix Special
Focus
Lucy
Jupiter Ascending
Space Between Us
ARQ
Rainy Day In NYC Woody Allen Film
In Time
Silent Sea
San Andreas
Don’t Look Up
Mad For Each Other
2020 Movies Seen
Better Call Saul
Nigh Flyer
The Rim Of The World
Joker
Venom
Lost In Space
Jurassic World
100
Birdbox
I Am Number Four (Film)
Umbrella Acadamy
Locke And Key
Sense 8
Away
Titan
The Mist
The Order
October Faction
The Man In The High Castle
The Expanse
Legends Of Tomorrow
The Messiah
The OA
Lucy
Timeless
Travelers
Alice Through The Looking Glass
Annihilation
The Lion, The Witch And The Wardrobe
Prince Caspian
The Voyage Of The Dawn Treader
How It Ends
Itaewon Class
Zoo
Extinction
6 Underground
Ballade Of Buster Scruggs
How It Ends
Tau
Series Of Unfortunate Events
The Darkest Dawn
The IO
Ozark
Avengers Day Of Ultron
Prometheus
Another Life
Land Of The Lost
Kim’s Convenience Store
The Cloverfield Paradox
The A-Team
Pirates Of The Caribbean Dead Men Tell No Tales
Salvation
Iron Man 2
Total Recall
The Machine (Hoopla)
Absolutely Anything (Hoopla)
The Adventurer Curse Of The Midas Touch (Hoopla)
The Endless (Hoopla)
Color Out Of Time (Hoopla)
The Librarian Curse Of The Judas Chalice (Hoopla)
The Librarian King Soloman’s Mine (Hoopla)
The Librarian Quest For The Spear (Hoopla)
Dinosaur Island (Hoopla)
Land That Time Forgot (Hoopla)
Dark Prophecy (Hoopla)
The Villainess (Hoopla)
Bad Boys For Life
Outer Banks
Suicide Squad
Abyss
Series Of Unfortunate Events
Miss Peregrine’s Home For Peculiar Children
Superman Vrs Batman Star Of Justice
Last Man Standing K Political Drama
Honest Candidate K Drama
Irishman
Project Power
Once Upon A Time In Hollywood
Kim Ji Young K Drama
The Sting
Focus
Fantasy Island
Warrior Nun –Did Not Finish
Good Omens Amazon
Sneaky Pete Amazon
Blood Shot Netflix
Jupiter Ascendant Netflix
White Lines
Bloodlines
Inside Bill’s Brain
War Dogs
Alice In The Borderlands
The I- Land
Black Mirror
The Last Three Days
2019
Partial List Saw At Least 90 Total
A Series Of Unfortunate Events (Netflix)
Aquaman (Theater) B
49 Days Korean Movie B
Doomsday Device YS B
Winter Kills YS C -Disappointing Despite Great Cast
Heist 2001 Version YS B
Curse Of The Golden Flower YS
HG Wells Men In The Moon YS A-1
The Rift YS
Narnia Voyage Of The Dawn Treader YS B
Operation Chromite YS B
The Assassin YS C Did Not Finish
Justice League B
The Ghost And The Darkness B
The A-Team B
Jack Reacher, Never Go Back B
Night Flyer Series B
Cold Pursuit
Chunhyang(2000 Film) YS
The Assassin 2015 Korean Movie
Eraser(Film)
The Girl With The Dragon Tattoo(2011 Film)
Operation Chromite(Film)
The Rite(2011 Film) YS
The First Men In The Moon YS
26. Curse Of The Golden Flower YS
Alien Code YS
Point B YS
Shada(Doctor Who) YS
Glass(2019 Film)
Memories Of The Alhambra K Drama
The Man In The High Castle 4 Seasons Amazon
The Expanse Four Seasons Amazon
2018
Once Upon A Time ABC Mini-Series A
Taken Earth C
Alice Through The Looking Glass B
The Vault C Too Scary A Movie
GORA Turkish SF Comedy C
Pirates Of The Caribbean Dead Men Tell No Tales B
Cowboys Vs Dinosaurs B
Enterprise Complete Season
Frequency Series
Coverdale Paradox
Valerian And The City Of A Thousand Planets (On a Plane)
Kong Island Of Skulls (On Plane)
Geostorm (On Plane)
Lost And Found YS
Berlin Syndrome YS
Burn Country YS
Beatriz At Dinner YS
Breaking The Bank YS
The Expanse Netflix Original
Discovery Netflix
Drone Wars YS
Prometheus Trap YS
Blackway YS
The Mermaid YS
The Great Wall YS
2017/2016
Leap Year TV B
Congressman YS B
Crimson Force YS B
The H Man YS B
Battle In Outer Space YS B
Mothra YS B
11 22 63 IS A
Blunt Talk YS B Did Not Finish
Alien Arsenal YS B
mbush At Dark Canyon B
Fighting With Anger B
Baytown Outlaws B
Hick C-1
Heathens And Thieves A-
Implanted B-
When The Sky Falls C-
Wild Bill Hickok Swift Justice B
Traded B
Dirk Gently Holistic Detective Agency -Mini-Series A
Mystery Science Theater Cave Dwellers C
Meet The Guilbys B
The President A
Stand Up Guy B
Snow Piercer B Korean Producer B
Painkillers C
Dirty Lies
Quarantine LA C
Breaking The Bank B
Strange B
Jack Reacher Never Go Back B
Keeping Up With The Jones B
Hell Or High Water B
The Accountant B
Oregon
The Ghost In The Shell Ashland Theater
The Circle Theater Medford
George Feydeua A Flea In Her Ear – ASH Drama
The Black Hole MPL
Final Days Of Planet Earth MPL
The Last Sentinel MPL
Supernova MPL B
East Of Eden MPL A
Cat On A Hot Tin Roof MPL A
A Street Car Named Desire MPL A
Rebel Without A Cause MPL A
Enterprise First Year MPL B
How To Mary A Millionaire MPL
How To Be A Latin Lover Theater A
Wonder Women Theater A-
The Three Musketeers MPL C
Time Changer MPL D
Star Trek Enterprise four Seasons
Solaris B-
The Sea Of Trees A-
Quantum Leap Season One A-1
Star Gate Atlantis Rising B-
Total Recall B
Tammy B-
A Tale Of Two Cities BBC B
Vanishing Point A-
Spider-Man Homecoming In Theater B
War Of Planet Of The Apes In Theater B+
Rogue One Netflix B
The Dark Tower Theater B
Eye Of The Needle MPL A
Congo MPL B
Exile Mplb
Allegiant MPL B
The Man MPL B
Virus MPL B
Frankenstein MPL A
Treasure Island MPL B
Jericho TV Series B
Man In The High Castle TV Series A
One Under The Sun Amazon B
Independent’s Day Amazon –One Of The Worst Movie Ever Made F
The Last Lovecraft – Relic Of Cthulu C
Mysterious Island B
Zoo Series On Netflix Seasons One To Three
Stranger Things Season three seasons
Suburbicon Theater B-1
Thor Ragnarok Theater B
Monsters Netflix C
Travelers Netflix B
Julius Caesar OSF B
Hannah And The Dreaded Gazebo OSF B
Blade Runner 2049 B
Once Upon A Time ABC Series B
The Night Of The Hunter MPL A
The Maltese Falcon MPL A A
The Second Best Exotic Marigold Hotel MPL B+
Mission Impossible Rogue Nation MPL B
Beasts Of The Southern Wilds MPL
Satan Met A Lady MPL B
The Villainous Korean Movie 2017 Hoopla
Guardians Of The Galaxy Part Two
Star Wars The Last Jedi
Nice guys
Arrival
Hell or High Water
Dead Pool
Revenant in theater
Fifth wave on plane
Synchroneity
London Has Fallen on plane
Whiskey Tango Foxtrot on plane
Ten Coverfield Lane
Julius Caeser OSF
A wrinkle in Time OSF
2015
All About The Benjamin’s TNT B
Rush Hour Three TNT B
The Interview Google On-Line C
Paradise 2013 C
The Signal 2014 B
Duplicity Julia Roberts Clive Owens B
Are You Here B
Maleficent B
Guardians Of The Galaxy B
Begin Again 2014 B
The Giver 2014 A
Sea Biscuit A
November Man B
A Most Wanted Man C
Labor Day B
Life Of Crime B
Kundo Korean Movie B
And So It Goes 2014 Michael Douglas, Diane Keaton B
Marley And Me B
Jobs B
The Family C
Stuck In Love B
Mud B
X Men Days Of Future Past C
The Identical B
Jurassic City C
Railway Man B
Peabody And Sherman B
Lunch Box Bollywood Movie 2013 B
Y Tu Su Mama, También Award Winning Mexican Movie 2014 B
Australia B
Henderson Presents B
John Wick B
Silver Lining Playback A
The Good Night B
View From The Top B
Contagion C
Pineapple Express C
Country Strong B
The Hobbit –Battle Of The Five Armies B
Dinosaur Experiment C
Broke Back Mountain Library A
An Affair To Remember Library A
Two Days In Paris Library A
Ride With The Devil Library A
Carmen Opera Library A
Catch 22 Library B
Game Of Thrones Season One Library B
Game Of Thrones Season Two Library B
Barefoot In The Park Library A
No Reservations Library C
Fast And Furious Library C
Charlie’s Angels 2000 Library B
Charlie’s Angels 2003 Version Saw Earlier Noted Here B
Endless Love B
Hot Pursuit On Plane C
Day Of Adeline On Plane A
Avengers Day Of Ultron On Plane C
Tomorrowland On Plane B
Far From The Madding Crowd On Plane A
Aloha On Plane
Mad Max Fury Road On a Plane
San Andreas On Plane
Classified File Korean Movie On Plane
Casanova From Library
Company You Keep From Library
Contraband From Library
Bleak House Mini-Series From Library
La Boehme Opera From Library
Eat Drink Man Women From Library
Runner, Runner From Library
Sense And Sensibility From Library
American Snipper HBO
Wild HBO
Maze Runner HBO
Dumb And Dummer To HBO
Havoc HBO
5 Flights Up HBO
Kill The Messenger HBO
My Blueberry Nights Library
Last Chance, Harvey, Library
Serial Mom HBO
The Producers 2005 Version
Broken Flowers Hood
Rumor Has It that HBO
Run All Night HBO
Fistful Of Dollars HBO
A Few More Dollars HBO
The Good, The Bad, And Ugly HBO
Fifty Shades Of Grey HBO
Hang Em High HBO
The Drop HBO
The Leisure Class HBO
The Kingsmen Secret Service HBO
Birdman HBO
The Wiz NBC Special
Spectre At Kingstown
Magnolia HBO
The Curse Of The Jade Scorpion HBO
The Rock HBO
Child Hood’s End Syfy Channel Special
Insurgent HBO
2014
Jack Reacher 2012 Net Flix
Thieves (Korean Movie Next Flix)
Side Effects – Next Flix
The Informant – Next Flix
The Assassination Of Jessie James By The Coward Robert Ford 2008 Next Flic
Olympus Has Fallen 2013 Next Flix
Coriolanus 2011 Next Flix
300 Net Flix
Appolo 18 Net Flic
Shape Of Things To Come On Plane
Battle Star Galactica Razor On Plane
The Master On Plane
Ides Of March On Plane
Oblivion Net Flix
Midnight In Paris Woody Allen Saw Earlier On Plane Net Flic
Non-Stop In Regal – A Bit Disappointing
Then She Found Me Directed By Helen Hunt 2007 Net Flic
Zelig 1996 Woody Allen Nex Fix
Husband And Wives = Woody Allen Movie Netflix
Confederate States Of America 2004 Mockumentary
Out Of Sight George Clooney, Jennifer Lopez Based On Elmore Leonard Novel – Bit Disappointing On Plane
Hobbit Desolation Of Smug On Plane
Ender’s Game On Plane On Plane
The Internship On Plane
Closed Circuit On Plane
Secret Life Of Walter Mitty Download
RoboCop Download
The A-Team On Plane
The Europa Report On Plane
Blue Jasmine On Plane
World’s End On Plane
The Hangover On Plane
Edge Of Tomorrow In Movie Theather
True Crime 1998 Clint Eastwood (TV)
Bullet To The Head (TV)
Get The Gringo (TV)
Pacific Rim (TV)
Starsky And Hutch (TV)
Space Jam (TV)
World War Z Nextflex
Wolf Of Wall Street Nextflex
Gravity Nextflex
12 Years A Slave Nextflex
Fracture Nextflex
Good Night And Good Luck Nextflex
The Perfect Storm Nextflex
The Book Thief Nextflex
Best Offer Nextflex
Muncih 2005 Spellberg Nextflex
A Winter’s Tale Nextflex
Trascendence Nextflex
The Other Women Nextflex
Layer Cake Nextflex
Heat Robert Dinoro, Al Pacino Nextflex
Last Vegas Dinoro Freeman Kline Pacino Nextflex
The Grand Budapest Hotel Netflix
Best Laid Plans 1999 Version Nextflex
Firewall Nextflex
Saving Mr. Banks Nextflex
A Wrinkle In Time Nextflex
Extremely Loud And Incredibly Close – Tom Hanks, Sandra Bullock About 9-11 And One Family’s Reaction Nextflex
Mandella’s Long Walk To Freedom Nextflex
Enough Said Nextflex
All You Need Is Love Nextflex
Divergent Nextflex
Noah Nextflex
You will Meet A Tall Dark Handsome Stranger – Woody Allen Movie 2010 Nextflex
X Men Wolverine Origins Nextflex
Captain America Winter Soldier Nextflex
X Men 2 United Nextflex
Sex Tape In Hotel
Dawn Of The Planet Of The Apes On Plane
Godzilla 2014 Version On Plane
Don Juan Netflix
Frozen Nextflex
Gone Girl 2014 In Regal Springfield
Better Living Through Chemistry 2013 Movie Netflix
Elysium 2013 Nextflix
A Million Ways To Die In The West Nextflex
Interstellar 2014 In Regal Springfield
Burning Palms – Worst Movie Of The Year For Me
Million Dollar Arm
Lost In America 1985 Recommended By Matt Jacobson
Manhattan Murder Mystery 1995 Woody Allen
State Of Play Next Flic
Babel Next Flic
Peter Pan Live NBC
Snowpiercer Korean Directed Film
Jack Ryan, Shadow Recruit
Superbad
It’s A Wonderful Life
This Means War
Memories Of Murder Korean Film
The Good, The Bad, And The Weird Korean Film
Bad Santa
Typhoon Korean Movie 2005
In The Cut 2003 Australian Movie Set In NYC
TV Series And Movies
Breaking Bad Television Binge Watching All Episodes
House Of Cards
Tin Man
Falling Skies
2013
Crazy, Stupid Love, Netflix January 1, 2013
The Descendents Netflix January 4, 2013
The Hobbit (In Theater) January 5, 2013
The Best Exotic Marigold Hotel Netflix
Abritrage Richard Gere
Get Him To The Greek TV
Snatch Netflix
The One Netflix
One For The Money (Netflix)
Star Trek The Undiscovered Country TV
The Help Netflix
Hope Spring Netflix
Paul Netflix
Stolen Netflix – Did Not Finish Nominate For Worst Film Of The Year
The Lion, The Witch, And The Wardrobe ABC Family
Journey To The Center Of The Earth 2011 ABC Family
Mission Impossible 1V Ghost Protocol
Here Comes Mr. Jordan 1941 TCM
A Star Is Born 1945 TCM
Mission Impossible 111
Decisions
Life Of Pi Next Flic
In Land Of Blood And Honey Next Flic
Lockout Next Flic
21 Jump Street Next Flic
Sherlock Holmes’s Games Of Shadows Plane
Wrath Of The Titans Plane
Horrible Bosses Plane
Safe House Plane
Hunter Plane
Take This Waltz Next Flix
Marley TV
Coriolanus (Theather RHS)
Wallenstein (Theather RHS)
Great Gatsby (Regal Kingstown)
Groom Lake (Hulu)
Motorcycle Diaries 2004 Next Flic
Looper Next Flic
Superman Man Of Steel In Regal Theather
Bourne Legacy (Netflix)
Earthlings 2012 Hulu
Gangster Squad (Nextflix)
Red (Part)
Zookeeper (Part)
Witches Of Oz (Netflix)
Interstate 60 Hulu
White House Down In Theather
Sex And Lucia Next Flic
Ted Next Flic
Star Ship Troopers – Invasion Next Flic
Ana Karina 2012 Net Flix – Production Did Not Work For Me – Too Cute And Avant Garde – Like Watching A Film Of A Play Adaption. Did Not Work As A Play Or As A Movie – A Big Disappointment
Time Bandits 1981 Hulu
RIPD In Theather
Atonement (Netflix)
Tristone And Isolde (2006) Netflix
Dune 1984 Nextflex
Meet The Millers Theather
Seeking A Friend For The End Of The World Next Flic
Iron Man 3 On Plane
Trance On Plane
Prisoners In Theather
The Butler In Theather
Outsourced Netflix
Cloud Atlas Netflix
Flight 2012 Next Flic
The Campaign 2012 Next Flic
Asian Invasion (Porn Movie For Strip Poker Game)
Details Nextflix
The Blind Side Netflix
Pirates Of The Caribbean On Stranger Tides Netflix
Robin Hood 2010 Netflix
The Counselor 2013 In Theather
The Host Netflix
After The Sunset 2008 Netflix
Grown Ups TNT On Cruise
The Proposal TNT On Cruise
Red 2 TNT On Cruise
Maiden Heist Next Flix
Despicable Me – Disney Channel
Hunger Games Catching Fire In Theather
The Place Beyond The Pines Next Flic
Watch Man 2009 Next Flix
Snow White And The Huntsman Nextflix
Parker Netflix Streaming
American Hustle
A Christmas Story
Ice Quake 2013 Syfy
On The Road
2012
Dragnet (Next Flex) Jan 1
Bird On A Wire (Next Flex) Jan1
Laura Croft Tomb Raider (Hollywood Chanel)
Kuffs MGM Chanel
Journey To The Lost World MGM Chanel
Yellow Handkerchief Netflix
Shanghai Knights Hollywood Chanel
MMB 2 Hollywood Chanel
What Women Want Mel Gibson, Helen Hunt 2000 Hollywood Chanel
The Door In The Floor Jeff Bridges, Kim Bassinger, Mimi Rogers 2000 Next Flix Check References To Book
America’s Sweethearts 2001 Julia Roberts, Kusshak, Catherine Zetta Jones Nextflix
Marathon Man
Catwoman
The Rise Of The Planet Of The Apes 2011 On Plane
Cowboys And Aliens 2010 On Plane
The Island 2005 On Plane
The Day The Earth Stood Still 1951 On Plane
Hot Tube Time Machine Net Flix
The Big Lebrowski Net Flix
Leopolis Seoul Netflix
King Of The Lost World
Money Ball (Training Day)
Serenity Next Flex 2005
Harry Potter And The Deathly Hallows Part One (On Plane)
Dirty Rotten Scoundrels On The Plane
Bender’s Big Score (Netflix)
Serenity (Nextflix)
The Punisher (TV)
Love’s Kitchen (Netflix)
Transformers 11 2009 – Disappointing But Will Watch Transformers 111 To Finish The Series Off.
The Double 2011 Richard Gere
Contagion Did Not Finish Warsaw
Sherlock Holmes 2 Did Not Finish Warsaw
Win Win Warsaw Good Fli
The Invasion 2005 Innovative Shooting Technique
Tower Heist Nex
The Tree Of Life Nex – Disappointing
The Hangover Part Two NEX
Girl With Dragon Tattoo (2011 Version)
The King’s Speech NEX
Midnight In Paris Woody Allen Movie 2011
John Carter Hotel Room
This Means War On Plane
J Egard With Leonardo Di Capio Directed By Clift Eastwood – Big Disappointment. Just Too Long, Too Much Talking. From NEX
Dr Strangelove From Mik B
The Armour Of God 1987 Jackie Chan, Lola Forner Spanish Actress Hulu
The Sands Of Oblivion 2007 Hulu
The Monitors (Next Flex)
MIB3 On Plane
Prometheus – Last Half Worth Seeing Again On Plane
Battleship On Plane
Players Bollywood Remake Of The Italian Job –Worth Seeing
Cross Worlds Next Flex
Phil The Alien Next Flex
Invasion Of The Pod People Hulu
Alien Armageddon Hulu
Red State Netflix
God Bless America Netflix
The Man Who Fell To Earth Netflix
Very Bad Things Next Flix
Ready Or Not – Hulu
The Last Lovecraft: Relic Of Cthulu 2009 Netflix
Amazing Spiderman 2012 Plane
To Rome With Love 2010 Plane Woody Allen
Dawalt’s Guard (First Arabic Movie) Plane
Search For Justice 2012 Nicolas Cage Plane
Mirror Mirror With Julia Roberts – On Plane In February
The Gauntlet With Clint Eastwood 1977
The Hunger Game Blockbuster
The Debt
The Maltese Falcon TCM
My Week With Marilynn Block Buster
Bernie Blockbuster
Savages Blockbuster
Wanderlust Blockbuster
Skyfall Theather
Office Space
Dumb And Dumber TV
Accepted TV
The Iron Lady Blockbuster
The Watch Blockbuster
Larry Crowne Blockbuster
Hot Rock 1972 Robert Redford HDNET
Killing Them Softly (Movie Theather)
2011
How Do You Know 2010
Nothing But The Truth 2008 Saw Earlier Not Bad 1-15
Salt 2010 With Angelina Jolie
The Other Side Of The Bed Spanish 2002
A Perfect Getaway 2009
Fool’s Gold
Invictus 2009 Morgan Freeman, Matt Damian
Like Water For Chocolate
The Flower Of My Secret La Flora De Mi Secreto Spanish Movie 1995
88 Minutes 2007 Al Pacino
Mr. Deeds 2002
The King And I Korean Series
Sex And The City 11
14, Hell Boy Part 11
Love Happens
Drive Angry 2011 Nicolas Cage Add To Worst Movie List
17 Girl With The Dragon Tatoo 2009
The Spanish Prisoner 1997 David Mamet Director Steve Martin
Illegally Yours 1988 Robert Lowe
Machette 2010 Half Spanish Dialogue Robert Dinero, Jessica Alba
The Prince Of Persia 2010
22 No False Move 1992 Bill Ray Thorton
23 Life In North Korea Documentary From National Geographic
Green Zone
Morning Glory
26 Killers
Eat Pray Love
28 The Town
Kate And Leopold
The Legend Of Bagger Vance
30 Emma
31 Les Miserables 1998 Version
32 Unstoppable 2010
2010
Fragments 2009
Where The Day Takes You 1992
The Illusionist 2003
PS, I Love You 2007
The Burning Plain 2008
The Other Man 2008
Mama Mia 2008
Dim Sum Funeral 2008
Inglorious Bastards 2009
Oh Brother, Where Art Thou? 2003 Second Time Around
Time Traveler’s Wife 2009
Amelia 2009
Lies And Illusions 2009 Add To Worst List
Serious Moonlight 2009
“The Chaser” Korean Film
Precious 2009 Academy Award For Best Actress
Every Body’s Alright
Space Balls
Three Stooges Selected Episodes
Ghosts Of Girl Friends Past 2009 Matthew McConaughey, Jennifer Garner
Up In The Air 2009 George Clooney
The Men Who Stare At Goats 2009 George Clooney
Have You Heard About The Morgans? Hugh Grant, Sara Jessica Parker 2009
Sherlock Holmes 2009 Robert Downey, Jude Law And Rachael Mc Donald
“Crazy Heart” 2010 Best Picture Award 2010 Jeff Bridges, Robert Duval, Maggie Gyenehall
“Five Minutes Of Heaven” Liam Nelson 2010.
Avatar 2009 Best Picture
Romeo Must Die Jet Li 2000
Flawless 2008 Demi Moore Michael Kane
Extraordinary Measures 2010 Harrison Ford
Alice In Wonderland 2010
The Road 2009
It’s Complicated
Beyond A Reasonable Doubt
The Invention Of Lying
Edge Of Darkness
The Spy Next Door
Young Victorian
Old Dogs (On Plane)
Leap Year (On Plane)
Couples Retreat (Travis) 2009
Knight And Day 2010 (Medford)
Inception 2010 (Medford)
The Sorcerer’s Apprentice 2010 (Medford)
Clash Of The Titans (On Plane) 2010
Remember Me (On Plane) -2010
Bounty Hunter (On Plane -2010
Date Night (On Plane ) 2010
2 Fast 2 Furious 2003 Eva Mendes Stars (Saw On TV)
Water World – Keven Kostner Saw On Korean TV
Legends Of The Fall Saw On Korean TV
Iron Man 2 (On Plane)
How To Tame Your Dragon (On Plane)
The Informant (HBO Home)
Bill And Ted’s Bogus Journey (Parts)
Batteries Not Included 1987 Second Time Around (HBO)
Family Man (HBO)
Wall Street
Helen – Short List For Worst Movie I Saw – Just Did Not Work For Me.
The Warlords
A Plague Of Zombies
Robin Hood
The Unthinkable
The Book Of Eli
The Count Of Monte Cristo
The Messenger (Angela Saw)
Red (In The Theather)
The Count Of Mont Cristo Angela Saw I Saw Parts
3:10 To Yuma (Saw A Few Years Ago, Saw Again)
Law Abiding Citizen 2009
Spring, Summer, Fall, Winter, Spring Korean Film 2005
Aliens In The Addict 2009 TV
Loch Ness 1996 Ted Dancer HBO
Fair Game 2010 In Theater
The Pianists 2002 Angela Saw, I Saw A Few Years Ago
The Simpsons Movie First Half was Seen Earlier
Star Wars 6 First Half Hour
Wizard Of OZ Half
The King And I Korean History Drama
The Darjeeling Limited 2007 Owen Wilson Wes Anderson Directed
The Piano 1995 Angela Saw, I Heard Parts Of It
Gia 1994 Very Sexual And Lots Of Lesbian Scenes Which Turned Me On.
Oregon (SFY)
Leiberstruam 1999 Kim Novack, Bill Pullman HBO
The Jones 2009 Demi Moore, David Duchovny Amber Heard, And Ben Hollingsworth Directed By Derrick Borte – Disappointed, Did Not Work For Me
The Hours 2002 Nicole Kidman, Julain Moore, And Meryle Shreep Re Life Of Virginia Woolf And Her Impact On The Life Of Two Women
Bobby 2006 Helen Hunt, Demi Moore, Anthony Hopkins, Sharon Stone, William Macy, Martin Sheet, Linsday Lohan, And Cristian Slater Written Nd Directed By Emilio Estevez
True Grit 2010 – Overly Hyped In My Opinion
Vivdirana Spanish Film 1961 Classic
Volver 2005 Spanish Film
How Much Do You Love Me 2005 French
Ninja Assassins 2009 Staring Rain On TV
93 Horsefeathers Marx Brothers On TV
2009
Underwear” Starting Val Kilmer, Graham Greene,
Constant Gardener With Rachael Weiz –
Rumor Has It – Jennifer Aniston, Kevin Costner
Queen
Hancock With Will Smith
Dave – With Eddie Murphy – SF Comedy
Joe Kid – With Clint Eastwood – Saw Opening
Iron Man – Not Bad. Another Marvel Movie.
Eternal Sunshine Of The Spotless Mind”
Gone, Baby, Gone”
Fracture
Burn After Reading”
21 Grams”
The Changling With Angelia Jolie, Directed By Clint
Kiss The Dust”
How To Lose Friends And Alienate People
Electric Mist With Tomy Lee Jones
Good German
Siberian Express
Body Of Lies
Slum Dog Millionaire
Lucky Slevin
Australia
What Just Happened
City Of Ember
Proof Of Life
Bottle Shock
Runaway Jury
Master Spy
Marie Antoinette
Interstate
He’s Just Not That Into You
Madagascar 11
Collateral With Jamie Fox And Tom Cruise
My Super Ex Girl Friend
State Of Play – In Medford Movie Theather
Bolt-On The Plane
Yes Man, In Hotel Room In DC
Avengers
Spy Games
All The Way
The Day The Earth Stood Still
Seven Pounds
Nothing But The Truth
The Reader – Oscar Winner For Best Actress 2008 Kate Winslet
Crossing Over
Kill Shot With Mickey Rourke, Diane Lane
Vanished With Jeff Bridges, Sandra Bullock
Valkarie
Star Trek – Prequel Movie (From Street Vendor)
52 The Clearing With Robert Redford – 2004
Curious Case Of Benjamin Button With Brad Pitt Best Actor Award 2009
Knowing With Nicolas Cage 2009
The Code
Counterfeit
Alexander 2004 Oliver Stone Producer
Out For Justice 1991
Echelon Conspiracy 2009
The Good Thief 2001 With Nick Nolte
Meteor = NBC Mini-Series
Wild Hogs 2007 Tim Allen, Travolta, Macy, Lawrence
28 Days Later
Wild Things 2
Mystic River Directed By Clint Eastwood, Starring Sean Pean
Criminal 2004
Essential Lover
Two Lovers
Angels And Demons 2008 Started by Tom Hanks, Directed By Ron Howard
The Informers
Duplicity
Surveillance Produced By Jennifer Lynch Starting Pullman And Ormand
Trust The Man 2008
The Mutant Chronicles 2008
Heaven 1995?
Wolverine With Hugh Jackman 2009
Dark Streets With Bijou Philips
Doubt With Meryle Strep 2008
Coco Chanel Shirley Mc Cline 2008
Ramen Girl
The Yatzuka (1974 W George Mitchum)
The Fountain 2006 W Rachel Weiss (Hot)
Easy Virtue 2009 (On Plane)
Act Of Imagination – Eddie Murphy And Serena Williams’s Daughter
I Hate Valentine’s Day 2009 (On Plane)
The Proposal 2009 With Sandra Bullock
Into The Storm (Bio Of Winston Churchill (On Plane)
MILF Hunters 5 Porno Movie Seen In Hotel
Brooks
Taken
The Big Bounce
The Heartbreak Kid (Second Time Around)
Taking Of Pelham 123 2009 With John Travolta, Denzel Washington
Cherrie 2008 With Michelle Pfiefer
Accidental Husband 2008 With Uma Thuber
Management With Jennifer Anison, Steve Chain, And Woody Harrelson, 2008
My Life In Ruins, 2008 With Nia Valdolos (My Big Fat Greek Wedding And Richard Dreyfus)
Kiss Kiss Bang Bang 2005
Spanglish 2005 With Adam Sandler
A Married Life 2008
Open Road 2009
Vanity Fair 2004 Recee Weatherspoon As Bucky Sharp
Beyond Borders 2008 Anglie Jolie, And Clive Owen
I’ll Sleep When I Am Dead 2003with Clive Owen
The King Of California 2007 With Michael Douglas
Target 1985 With Gene Hackman And Matt Dillion
The Life Of David Gale With Kevin Spacy, And Kate Winslet
Bruno
Lucky You With Drew Barrymore
The Last Word
2012 With John Cusack
Bad Lieutenant With Nicolas Cage
The Tournament 2009 Kelly Hu
Public Enemies 2009 Johny Deep
Julia And Julia 2009 Meryle Sherpa
Cold Mountain 2003 Jude Law, Nicole Kidman
Out Of Time 2003 Denzel Washington, Eva Mendez (Hot)
Night At The Museum 11 Battle For Smithsonian
Sleuth 2009 Version
Land Of The Lost 2009
The Brother’s Bloom 2008
Letter From Iwa Jima 2007 Clint Eastwood Directed
White Chicks
Star Treck Generations
Jackie Collins Hollywood Wife 2003
Charlie Wilson’s War -2008 Tom Hanks, Julia Roberts
The Whole Nine Yards 2000 Bruce Willis, Matthew Perry, Amanda Peete (Hot)
The Illusionist
2008
After The Sunset With Pierce Bronson, Salma Hayek, Woody Harrelson, Don Cheadle
American Gangster With Denzel Washington And Russell Crowe
Out Of Reach With Steven Seagal
Amos And Andy With Nicolas Cage And Samuel Jackson
The Merchant Of Venice With AL Pacino, Jeremy Irons, Joseph Fiennes, Lynn Collins
Harrison’s Flowers With Adrian Macdowell, Elias Koteas, Brendan Gleeson, Adrian Brody, And David Stratham
Sylvia – Movie About The Poet Sylvia Plath And Ted Hughes
What Happened In Vegas – With Cameron Diaz
Rendition With Meryle Strep – About The Issue Of Renditions, Well Done
Adaptation – Nicolas Cage Re Life Of Two Twin Brothers Screen Writers And The Process Of Writing A Screen Play
Bangkok Dangerous Nicolas Cage
Elizabeth
The Weather Man Nicolas Cage
Get Smart
Possession NF
Next With Nicolas Cage NF
Knocked Up NF
Untouchables AMC
Fargo AMC
Mummy Returns
2007 To 2010 Barbados
Saw A Lot Of Movies On Video And Netflix Via Mail
2003 To 2007 DC Saw An Average of 100 Per Year – lot via blockbuster
2000 To 2003 Saw An Average Of 100 Per Year Mostly Videos But Did See In Movie Theaters Twice A Month And Saw Several Bollywood Movies
2000 Saw The Three Stooges Marathon To Start The Year
1996 -1997 Saw Less Than 50 Due To Being In Hospital Half The Year
The 90s Saw About 100 Per Year Blockbuster Was Popular
1994 during six month Thai training saw four movies per week
1991 during training saw four movies per week, two normal,
The ’80s Saw A Lot Via Video About 100 Per Year
The ’70s Saw On TV And In Movie Theaters
Watched a lot of Creature Features movies on TV in the early ’70s every Friday night they had a double feature. Went on average once a week to the movies with friends
Favorite animation series included American Dad, Dilbert, Family Guy, Futurama, Bullwinkle, Looney Tunes .
Favorite TV series over the years include Arrested Development, Batman, Superman, Everyone Loves Raymond, Two and half men, Married with Children, Malcom in the Middle, Dallas, Falcon Crest, and as a child, Beverly Hillbies, Dobbie Gils, Gilligan’s Island, Green Acres, Outer limits, Twilight zone, and X Files.
Saw all planet of the Apes movies and all James Bond movies
100 movies/TV series by the end of the year.
At least one Korean movie per week
At least one Spanish movie every so often
One Bollywood or another foreign language movie every so often
A mixture of thrillers, K Drama, comedies, romcom, etc
Make a list of Oscar movies, watch several
Resume going to the theater later in the year
When traveling to the US watch ten movies each trip
Including one Bollywood, one Spanish, three to four blockbusters, one classic, one comedy
see Cosmos movie lists for 2016 to date for reference on other movies I have seen.
the list
January
88 Minutes US thriller
Move to Heaven started in 2022
Emily In Paris Netflix B started in 2022
The Gray Man American
Lies Within started in 2022 B K drama
Trolly started 2022 B K drama a-
Moonfall SF B
Glory K drama B+
Confidential Assignment K drama b
The Pale Blue Eyes – Murder mystery featuring Edgar Allen Poe as a cadet Netflix B
Wednesday started in 2022
On the line k drama b
Weight Ton K drama b
You American
The age of Adaline started
Zone 414 did not finish b
Kate did not finish too violent d
1899 need to look again American
The Invasion of South African c
Parallel SF SF K drama
Crash Course in Romance K drama A-
Lookup American a big Meh
February
One Spring Night K drama
The Bros K drama
Like for Likes K drama b
Ordinary People K drama b
Quiet Place Part Two Next flix SF C+
Echoes Next Flix series b American
On plane To.from Australia
Black Panther Wakanda Forever
Amsterdam b+
Black Adam b
Ant-Man and Wasp b
Namaland B+
Return to Korea
Holy Betrayal Documentary on Religious cults in Korea
Outer Banks Third Season
Me Me K drama
God’s Crook Line.Spanish
Shin Divorce Attorney K Drama
The Eternal King K drama
April
Swing Kids American drama
Live Up to Your Name K drama
Murder Mystery 2 – not bad saw Murder Mystery One last year
Kill Bosun K drama
Shadow and Bone next season
Tripple Frontier American
Switch k drama
Beef K Drama set in LA
Strangers Things Season Four
Queen Maker K drama
Ticket to Paradise American drama
The Stranger British
May
Dr. Cha K drama
How to Get Rich American documentary
Florida Man American
Gone for Good British
Stay Close British
Kaleidoscope American
Mrs. Harris Goes to Paris British
Collectors k drama
the Chair American series
What/if American series
You Will Always Be My Maybe – US Romcom
Black Knight K Drama
Mother American Crime Thriller staring Jennifer Lopez
Miss and Mrs. Cop K drama
Unstoppable K drama
Ordinary people
Intruder
Hynoptic
White noise
Red notice
How it ends
Shimmer lake
Tau
ordinary people
intrunsion
the stranger
gone for good
Private Lifes`
On planes to US/From the US and across the country
The goal is to watch 12 movies/ five to five coming back and two cross country
Focusing on Oscar winners, plus at least one Spanish and one Bollywood movie
While on travel to the U.S watch five movies each way picking Oscar picks if a possible total of 10 to 15 movies, two or three in the theater as well 20 movies total one Bollywood and One Spanish each trip
Korea to US four movies
DC to Oregon two movies
Medford to Dallas is one movie
Dallas Seoul 4 movies
12 movies total
Pick four Oscar nominees
One Bollywood movie
One Spanish movie
One Thai movie?
One SF
One thriller
One comedy
Two classic movies
June
July
August
Five Movies to Korea
Pick four Oscar nominees
One Bollywood movie
One Spanish movie
One Thai movie?
One SF
One thriller
One comedy
Two classic movies
September
October
Four movies to Europe
Four movies on the way back
Pick four Oscar nominees
One Bollywood movie
One Spanish movie
One Thai movie?
One SF
One thriller
One comedy
Two classic movies
November
December
Oscar Nominees BOLD want to see
The strange and sentimental film “Everything Everywhere All at Once” led among the films nominated for the 95th Academy Awards on Tuesday, scoring 11 nominations. “All Quiet on the Western Front” and “The Banshees of Inisherin” followed with nine nominations each.
Blockbuster’s “Top Gun: Maverick” and “Avatar: The Way of Water” each landed nominations for best film, and there is plenty of star power among the nominees. Both Rihanna and Lady Gaga were nominated in the original song category (for tunes from “Black Panther: Wakanda Forever” and “Top Gun: Maverick,” respectively), as veterans in the industry were recognized as well.
Those actors include Angela Bassett, who was nominated in the best supporting actress category for her role in “Black Panther: Wakanda Forever;” Jamie Lee Curtis in the same category for “Everything Everywhere All at Once;” Judd Hirsch in “The Fabelmans,” nominated for the best supporting actor; Colin Farrell in “The Banshees of Inisherin,” and Brendan Fraser in “The Whale,” nominated for best actor; and in the best actress category Cate Blanchett for “Tár,” Michelle Williams in “The Fabelmans” and Michelle Yeoh in “Everything Everywhere All at Once.”
Allison Williams, who most recently starred in the horror hit “M3GAN,” and Riz Ahmed, who received an Oscar last year for his role in the short film “The Long Goodbye,” announced the nominations.
The Academy Awards are set to take place on Sunday, March 12.
See below for a full list of the nominees. BOLD wants to See * seen
BEST PICTURE
“Everything Everywhere All At Once”
Allyson Riggs/A24
“All Quiet on the Western Front”
“Avatar: The Way of Water”
“The Banshees of Inisherin”
“Elvis”
“The Fabelmans”
“Tár”
“Top Gun: Maverick”
“Triangle of Sadness”
“Women Talking”
ACTRESS IN A SUPPORTING ROLE
*Angela Bassett in ‘Black Panther Wakanda Forever
Annette Brown/Marvel Studios
Hong Chau, “The Whale”
Kerry Condon, “The Banshees of Inisherin”
Jamie Lee Curtis, “Everything Everywhere All at Once”
Stephanie Hsu, “Everything Everywhere All at Once”
ACTOR IN A SUPPORTING ROLE
Brendan Gleeson and Colin Farrell in “The Banshees of Inisherin.”
Searchlight Pictures
Brendan Gleeson, “The Banshees of Inisherin”
Brian Tyree Henry, “Causeway”
Judd Hirsch, “The Fabelmans”
Barry Keoghan, “The Banshees of Inisherin”
Ke Huy Quan, “Everything Everywhere All at Once”
INTERNATIONAL FEATURE FILM
Peter Lanzani and Ricardo Darin star in “Argentina, 1985”
Amazon Studios
“All Quiet on the Western Front,” Germany
“Close,” Belgium
“EO,” Poland
“The Quiet Girl,” Ireland
DOCUMENTARY (SHORT)
“The Elephant Whisperers”
“Haulout”
“How Do You Measure a Year?”
“The Martha Mitchell Effect”
“Stranger at the Gate”
DOCUMENTARY FEATURE
“All That Breathes”
“All the Beauty and the Bloodshed”
“Fire of Love”
“A House Made of Splinters”
“Navalny”
ORIGINAL SONG
“Applause” from “Tell It Like a Woman”
“Hold My Hand” from “Top Gun: Maverick”
“Lift Me” from “Black Panther: Wakanda Forever”
“Naatu Naatu” from “RRR”
“This Is A Life” from “Everything Everywhere All at Once”
‘Guillermo del Toro’s Pinocchio’
Netflix
“Guillermo del Toro’s Pinocchio”
“Marcel the Shell With Shoes On”
“Puss in Boots: The Last Wish”
“The Sea Beast”
“Turning Red”
ADAPTED SCREENPLAY
‘Glass Onion: A Knives Out Mystery’ seen *
Netflix
“All Quiet on the Western Front”
“Living”
“Top Gun: Maverick”
“Women Talking”
ORIGINAL
s Sammy Fabelman in ‘The Fabelmans’
Merie Weismiller Wallace/Universal Pictures and Amblin Entertainment
“The Banshees of Inisherin”
“Everything Everywhere All at Once”
“The Fabelmans”
“Tár”
“Triangle of Sadness”
ACTOR IN A LEADING ROLE
Elvis’
Courtesy Warner Bros. Pictures
Austin Butler, “Elvis”
Colin Farrell, “The Banshees of Inisherin”
Brendan Fraser, “The Whale”
Paul Mescal, “Aftersun”
Bill Nighy, “Living”
ACTRESS IN A LEADING ROLE
Jamie Lee Curtis, and Michelle Yeoh in ‘Everything Everywhere All at Once
Cate Blanchett, “Tár”
Ana de Armas, “Blonde”
Andrea Riseborough, “To Leslie”
Michelle Williams, “The Fabelmans”
Michelle Yeoh, “Everything Everywhere All at Once”
DIRECTOR
Paul Dano, Mateo Zoryan Francis-DeFord, and Michelle Williams in The Fabelmans, co-written, produced, and directed by Steven Spielberg.
Merie Weismiller Wallace/Universal Pictures and Amblin Entertainment
Martin McDonagh, “The Banshees of Inisherin”
Daniel Scheinert and Daniel Kwan, “Everything Everywhere All at Once”
Steven Spielberg, “The Fabelmans”
Todd Field, “Tár”
Ruben Ostlund, “Triangle of Sadness”
PRODUCTION DESIGN
Scott Garfield/Paramount Pictures
“All Quiet on the Western Front”
“Avatar: The Way of Water”
“Babylon”
“Elvis”
“The Fabelmans”
‘All Quiet on the Western Front
Reiner Bajo/Netflix
“All Quiet on the Western Front”
“Bardo, False Chronicle of a Handful of Truths”
“Elvis”
“Empire of Light”
“Tár”
COSTUME DESIGN
Letitia Wright in ‘Black Panther: Wakanda Forever
Marvel Studios
“Babylon”
“Black Panther: Wakanda Forever”
“Elvis”
“Everything Everywhere All at Once”
“Mrs. Harris Goes to Paris”
ACHIEVEMENT IN SOUND
Paramount Pictures
“All Quiet on the Western Front”
“Avatar: The Way of Water”
“The Batman”
“Elvis”
“Top Gun: Maverick”
ANIMATED SHORT FILM
“The Boy, the Mole, the Fox, and the Horse”
“The Flying Sailor”
“Ice Merchants”
“My Year of Dicks”
“An Ostrich Told Me the World Is Fake and I Think I Believe It”
LIVE ACTION SHORT FILM
“An Irish Goodbye”
“Ivalu”
“Le Pupille”
“Night Ride”
“The Red Suitcase”
ORIGINAL SCORE
“All Quiet on the Western Front”
“Babylon”
“The Banshees of Inisherin”
“Everything Everywhere All at Once”
“The Fabelmans”
VISUAL EFFECTS
os.
“All Quiet on the Western Front”
“Avatar: The Way of Water”
“The Batman”
“Black Panther: Wakanda Forever”
“Top Gun: Maverick”
FILM EDITING
“The Banshees of Inisherin”
“Elvis”
“Everything Everywhere All at Once”
“Tár”
“Top Gun: Maverick”
MAKEUP AND HAIRSTYLING
Brendan Fraser in ‘The Whale’
A24
“All Quiet on the Western Front”
“The Batman”
“Black Panther: Wakanda Forever”
“Elvis”
“The Whale”
eteran K crime comedy b K drama
Tiger in Winter K drama with a magical realism twist K drama
After My Death another Korean teenage crime drama k drama
Confidential Assignment Two K drama
March
Nothing Serious K rom-com
Uncanny counter K drama
What’s wrong with Secretary Kim K drama
Chief of Staff K drama
Tau American
Ad Astra American
White noise American
Mad for each other K drama
Along with the gods K drama
Time to hunt K drama
Escape from Mogadishu K drama
Decision to leave K drama
Akenoid K drama
Hunt K drama
Confession K drama
Man from Toronto American
The unforgiven American
My unfamiliar family K drama
You People Eddie Murphy Comedy
Physical Another Squid Game K drama
Confession K Drama
Where the Crawdads Sing American movie
Unblock Cyber crime K drama
Your Place or Mine US romcom
Nope Scifi Netflix
One Spring Night K drama
Sweat and Sour K drama
Sweat Tooth
Salvation
Safe
On plane to/From Australia
Black Panther Wakanda Forever
Amsterdam b+
Black Adam b
Ant-Man and Wasp b
Namaland B+
Return to Korea
Holy Betrayal Documentary on Religious cults in Korea
Outer Banks Third Season
Me Me K drama
God’s Crook Line.Spanish
Shin Divorce Attorney K Drama
The Eternal King K drama
April
Swing Kids american drama
Live Up to Your Name K drama
Murder Mystery 2 – not bad saw Murder Mystery One last year
Kill Bosun K drama
Shadow and Bone next season
Tripple Frontier American
Switch k drama
Beef K Drama set in LA
Strangers Things Season Four
Queen Maker K drama
Ticket to Paradise American drama
The Stranger British
May
Dr. Cha K drama
How to Get Rich American documentary
Florida Man American
Gone for Good British
Stay Close British
Kaleidoscope American
Mrs. Harris Goes to Paris British
Collectors k drama
the Chair American series
What/if American series
You Will Always Be My Maybe – US Romcom
Black Knight K Drama
Mother American Crime Thriller staring Jennifer Lopez
Miss and Mrs. Cop K drama
Unstoppable K drama
Ordinary people
Intruder
Hynoptic
White noise
Red notice
How it ends
Shimmer lake
Tau
ordinary people
intrunsion
the stranger
gone for good
private Lifes
To watch
The diplomat
Safehouse
On planes to US/From the US and across the country
The goal is to watch 12 movies/ five to five coming back and two cross country
Focusing on Oscar winners, plus at least one Spanish and one Bollywood movie
While on travel to the U.S watch five movies each way picking Oscar picks if a possible total of 10 to 15 movies, two or three in the theater as well 20 movies total one Bollywood and One Spanish each trip
Korea to US four movies
DC to Oregon two movies
Medford to Dallas is one movie
Dallas Seoul five movies
12 to 15 movies total
Pick four Oscar nominees
One Bollywood movie
One Spanish movie
One Thai movie?
One SF
One thriller
One comedy
Two classic movies
June
July
August
Five Movies to Korea
Pick four Oscar nominees
One Bollywood movie
One Spanish movie
One Thai movie?
One SF
One thriller
One comedy
Two classic movies
September
October
Four movies to Europe
Four movies on the way back
Pick four Oscar nominees
One Bollywood movie
One Spanish movie
One Thai movie?
One SF
One thriller
One comedy
Two classic movies
November
December
Oscar Nominees BOLD want to see
The strange and sentimental film “Everything Everywhere All at Once” led among the films nominated for the 95th Academy Awards on Tuesday, scoring 11 nominations. “All Quiet on the Western Front” and “The Banshees of Inisherin” followed with nine nominations each.
Blockbuster’s “Top Gun: Maverick” and “Avatar: The Way of Water” each landed nominations for best film, and there is plenty of star power among the nominees. Both Rihanna and Lady Gaga were nominated in the original song category (for tunes from “Black Panther: Wakanda Forever” and “Top Gun: Maverick,” respectively), as veterans in the industry were recognized as well.
Those actors include Angela Bassett, who was nominated in the best supporting actress category for her role in “Black Panther: Wakanda Forever;” Jamie Lee Curtis in the same category for “Everything Everywhere All at Once;” Judd Hirsch in “The Fabelmans,” nominated for the best supporting actor; Colin Farrell in “The Banshees of Inisherin,” and Brendan Fraser in “The Whale,” nominated for best actor; and in the best actress category Cate Blanchett for “Tár,” Michelle Williams in “The Fabelmans” and Michelle Yeoh in “Everything Everywhere All at Once.”
Allison Williams, who most recently starred in the horror hit “M3GAN,” and Riz Ahmed, who received an Oscar last year for his role in the short film “The Long Goodbye,” announced the nominations.
The Academy Awards are set to take place on Sunday, March 12.
See below for a full list of the nominees. BOLD wants to See * seen
BEST PICTURE
“Everything Everywhere All At Once”
Allyson Riggs/A24
“All Quiet on the Western Front”
“Avatar: The Way of Water”
“The Banshees of Inisherin”
“Elvis”
“The Fabelmans”
“Tár”
“Top Gun: Maverick”
“Triangle of Sadness”
“Women Talking”
ACTRESS IN A SUPPORTING ROLE
*Angela Bassett in ‘Black Panther Wakanda Forever
Annette Brown/Marvel Studios
Hong Chau, “The Whale”
Kerry Condon, “The Banshees of Inisherin”
Jamie Lee Curtis, “Everything Everywhere All at Once”
Stephanie Hsu, “Everything Everywhere All at Once”
ACTOR IN A SUPPORTING ROLE
Brendan Gleeson and Colin Farrell in “The Banshees of Inisherin.”
Searchlight Pictures
Brendan Gleeson, “The Banshees of Inisherin”
Brian Tyree Henry, “Causeway”
Judd Hirsch, “The Fabelmans”
Barry Keoghan, “The Banshees of Inisherin”
Ke Huy Quan, “Everything Everywhere All at Once”
INTERNATIONAL FEATURE FILM
Peter Lanzani and Ricardo Darin star in “Argentina, 1985”
Amazon Studios
“All Quiet on the Western Front,” Germany
“Close,” Belgium
“EO,” Poland
“The Quiet Girl,” Ireland
DOCUMENTARY (SHORT)
“The Elephant Whisperers”
“Haulout”
“How Do You Measure a Year?”
“The Martha Mitchell Effect”
“Stranger at the Gate”
DOCUMENTARY FEATURE
“All That Breathes”
“All the Beauty and the Bloodshed”
“Fire of Love”
“A House Made of Splinters”
“Navalny”
ORIGINAL SONG
“Applause” from “Tell It Like a Woman”
“Hold My Hand” from “Top Gun: Maverick”
“Lift Me” from “Black Panther: Wakanda Forever”
“Naatu Naatu” from “RRR”
“This Is A Life” from “Everything Everywhere All at Once”
‘Guillermo del Toro’s Pinocchio’
Netflix
“Guillermo del Toro’s Pinocchio”
“Marcel the Shell With Shoes On”
“Puss in Boots: The Last Wish”
“The Sea Beast”
“Turning Red”
ADAPTED SCREENPLAY
‘Glass Onion: A Knives Out Mystery’ seen *
Netflix
“All Quiet on the Western Front”
“Living”
“Top Gun: Maverick”
“Women Talking”
ORIGINAL
s Sammy Fabelman in ‘The Fabelmans’
Merie Weismiller Wallace/Universal Pictures and Amblin Entertainment
“The Banshees of Inisherin”
“Everything Everywhere All at Once”
“The Fabelmans”
“Tár”
“Triangle of Sadness”
ACTOR IN A LEADING ROLE
Elvis’
Courtesy Warner Bros. Pictures
Austin Butler, “Elvis”
Colin Farrell, “The Banshees of Inisherin”
Brendan Fraser, “The Whale”
Paul Mescal, “Aftersun”
Bill Nighy, “Living”
ACTRESS IN A LEADING ROLE
Jamie Lee Curtis, and Michelle Yeoh in ‘Everything Everywhere All at Once
Cate Blanchett, “Tár”
Ana de Armas, “Blonde”
Andrea Riseborough, “To Leslie”
Michelle Williams, “The Fabelmans”
Michelle Yeoh, “Everything Everywhere All at Once”
DIRECTOR
Paul Dano, Mateo Zoryan Francis-DeFord, and Michelle Williams in The Fabelmans, co-written, produced, and directed by Steven Spielberg.
Merie Weismiller Wallace/Universal Pictures and Amblin Entertainment
Martin McDonagh, “The Banshees of Inisherin”
Daniel Scheinert and Daniel Kwan, “Everything Everywhere All at Once”
Steven Spielberg, “The Fabelmans”
Todd Field, “Tár”
Ruben Ostlund, “Triangle of Sadness”
PRODUCTION DESIGN
Scott Garfield/Paramount Pictures
“All Quiet on the Western Front”
“Avatar: The Way of Water”
“Babylon”
“Elvis”
“The Fabelmans”
‘All Quiet on the Western Front
Reiner Bajo/Netflix
“All Quiet on the Western Front”
“Bardo, False Chronicle of a Handful of Truths”
“Elvis”
“Empire of Light”
“Tár”
COSTUME DESIGN
Letitia Wright in ‘Black Panther: Wakanda Forever
Marvel Studios
“Babylon”
“Black Panther: Wakanda Forever”
“Elvis”
“Everything Everywhere All at Once”
“Mrs. Harris Goes to Paris”
ACHIEVEMENT IN SOUND
Paramount Pictures
“All Quiet on the Western Front”
“Avatar: The Way of Water”
“The Batman”
“Elvis”
“Top Gun: Maverick”
ANIMATED SHORT FILM
“The Boy, the Mole, the Fox, and the Horse”
“The Flying Sailor”
“Ice Merchants”
“My Year of Dicks”
“An Ostrich Told Me the World Is Fake and I Think I Believe It”
LIVE ACTION SHORT FILM
“An Irish Goodbye”
“Ivalu”
“Le Pupille”
“Night Ride”
“The Red Suitcase”
ORIGINAL SCORE
“All Quiet on the Western Front”
“Babylon”
“The Banshees of Inisherin”
“Everything Everywhere All at Once”
“The Fabelmans”
VISUAL EFFECTS
os.
“All Quiet on the Western Front”
“Avatar: The Way of Water”
“The Batman”
“Black Panther: Wakanda Forever”
“Top Gun: Maverick”
FILM EDITING
“The Banshees of Inisherin”
“Elvis”
“Everything Everywhere All at Once”
“Tár”
“Top Gun: Maverick”
MAKEUP AND HAIRSTYLING
Brendan Fraser in ‘The Whale’
A24
“All Quiet on the Western Front”
“The Batman”
“Black Panther: Wakanda Forever”
“Elvis”
“The Whale”
At Least One Korean Movie Per Week
At Least One Spanish Movie Every So Often
One Bollywood Or Another Foreign Language Movie Every So Often
A Mixture Of Thrillers, K Drama, Comedies, Romcom, Etc
Make A List Of Oscar Movies, Watch Several
Resume Going To The Theater Later In The Year
When Traveling To The US Watch Ten Movies Each Trip
Including One Bollywood, One Spanish, Three To Four Blockbusters, One Classic, One Comedy
Statistical Breakdown
Assuming I Have Seen About 100 Movies Or TV Shows Per Year Since I Was 10 I Would Say That I Have Seen About 6,000 Shows. I Have Been Keeping Track Since 2008 In Separate Journals.
These Are Listed In Reverse Chronological Order from 2002 To 2008
2022
January
Emily In Paris Netflix B
Super Eight Stephen Spielberg B
Black Money K Drama B
Extreme Job K Drama B
Freaks Netflix C
Dune World (Not The Dune) C
Assimilation – Invasion Of Body Snatchers Remake Hoopla C
Power Play (Hoopla) C
Constantine Netflix C
Ozark Season 4 B
Cowboy Bebop SF Netflix K Star But Not K Drama A
Freaks
Measiah
February
We Are All Going To Die K Zombie Drama A
Babysitter Killer Queen C
Haebing 2017 The Thaw K Drama B
Area 51 Hoopla C
Nine Teeth Vampire Movie C
Chosen B Netflix Danish SF
Dark B Netflix German SF
The Power Of The Dog C Oscar Nominee
See Review
Bright With Will Smith B SF
Kin B Netflix
March
88 Minutes B
Shadow And Bone B+
Locke And Key Season 2 B
The Adam Project B
Dark Crab – Sweedish Movie B
Once Upon A Time In Hollywood B
Alice In Borderland
Warrior Nun
Tulip Fever
Army Of The Dead B
Army Of Thieves C
Glitch Australian Series
April
Dark German SF B
Our Blues K Drama A
Juvenile Justice K Drama B
Knight Day C
Rebecca B
Phantom Thread C
Behind Her Eyes B
Jumangi B
The Dark Tower B
I Frankenstein B
Tau B
Silent Sea K Drama B
Night Flyer B
El Camino Sequel To Breaking Bad B
Rainy Day In New York -Woody Allen B
My Liberation Notes
Our Blues
My Love From The Stars
Move To Heaven
Honest Candidate
May
ARC B
LA LA Land B Meh
Ozark Season 4 B
Yaksha K Movie B
Blue Bayou Korean American Movie B
Let Me Go Western Is Set In Montana Kevin Costner B
Uncanny Counter K Drama B
Cyber Hell B
Intruder K Drama B
Stranger Things Season Four B
Welcome To Wedding Hell K Drama B
The Hitman’s Body Gaurd’s Wife Part One C
Oceans Eight B
Interceptor A-
Better Call Saul Season 5
Better Call Saul Season 6
Spiderhead C
The Wrath Of Man C Did Not Finish C
The Man From Toronto C
Time Machine 2022 Re-Make B
July
Heist Korean Version B
RRR Bollywood Netflix Original A
Will You Be There? K Drama C Did Not Finish
Extraordinary Attorney Yoo A-1
Minmiding Café C Did Not Finish
American Made B +
Tarzan B-
Remarriage And Desire K Drama B= Another Drama About Rich People Behaving Badly.
The King Of Stonks Austrian Satire B Worth Finishing
Unfamiliar Family K Drama A
August 1, 2022
My Liberation Notes K Drama A
Carter K Drama Movie C
Designated Survivor K Drama A
Locke And Key Season Three B
Model Family K Drama B
Now You See Me
The Body Guard’s Wife
Red Notice
How It Ends
September
Better Call Saul Season Six B
Manifest Netflix Special B
Good Guys C
Blood Red Sky D
Little Woman K Drama B
Chief Of Staff K Drama B
Narco Saints K Drama B
October
Interception
Extraction
Focus
Project Power
Love And Monsters
Executive Decisions
Gray-Man
Adam Project
Re-Start
Jumangi
Fifth Wave
Justice League
On Your Wedding Day
6 Underground
Stranger 1
Stranger 2
Reflection Of You
Made For Each Other
Honest Candidate
Man From Toronto
The Protégé
Signal K Drama
What’s Wrong With Secretary Kim? K Drama
November
Manifest Four Seasons B+ Like Dark
End-Of-The Road B
When The Camellia Blooms B
Love Struck In The City B
Glitch Korean Sci-Fi B
Zone 414 Did Not Finish C
Office Invasion – South African SF Satire C
Kate Did Not Finish Too Violently Like In Kill Bill D
Midnight Sky SF C Too Meandering C
1899 Did Not Finish Too Meandering B
See You Yesterday Spike Lee SF B
Someone B+ Some Strong Sexual Scenes –
December
Tidelands
Jurassic World Domination
Wednesday -Adams Family
You Psychological Thriller Series
Prendergast Mike Meyers C Did Not Finish
Dark Island German Film B
Welcome to Murderville B
2021
Bloodshot
Ozark
Bloodlines
Discovery
Humans Are Useless Hoopla
Wu Assassins
6 Underground
Warrior Nuns
Alice In Borderland
Constantine
The Beach
Holliday
Rebecca
About Time
Spy Games
We Could Be Heroes
Vastness Of The Night Amazon
February
Hanna
The Expanse
Sneaky Pete -Amazon
How It Ends
The I Land
Wonder Woman
Get Out
Space Sweepers K SF Drama
I Care A Lot 2020
Itaewon Class K Drama
March
Sense 8
Salvation
The Order
Lock N Key
Ballad Of Buster Scruggs
Titans
April
O/A
Abyss
Outer Banks
White Lines
Umbrella Acadamy
The Last Man Standing K Drama
May
Suicide Squad
The Honest Candidate K Drama
Behind Her Eyes
Sisyphus K Drama
Venzano K Drama
Strangers K Drama Season One
Strangers K Drama Season Two
Strangers K Drama Season Three
The Woman In The Mirror
Gemini Man
Legends
Bridgeton Netflix Top-Ranked Series
June
Wanted With Angelina Jolie 2005?
War Dogs
The Holliday
The Woman In The Mirror
How It Ends
Love And Monsters
Knives Out
July
Old Guard
Love, Death, And Robots
Borek Movie
Sweet Tooth
Mine K Drama
Glitch
Parasite K Drama
August
Sin City
The Talented Mr. Ripply
The Negotiator K Movie
No Exit K Movie
Crash Landing On You K Drama
September
Jackel 1997 US Movie
Night In Paradise K Movie
DP K Drama
Con K Drama Movie
October
When The Camelia Blooms K Drama
Squid Games K Drama Number 1 On Netflix
The Devil’s Advocate
Move To Heaven K Drama
The Money Heist Spanish Series
On Plane
Minuri
Cool Hand Luke
Citizen Kane
Jungle Cruise
Free Guy
Black Widow
King Kong V Godzilla
Crazy Rich Asians
Return To Korea
Bliss Amazon
Tomorrow’s Wars Amazon
Reflections On You (K Drama, Netflix)
Red Notice (Netflix)
Hell Bound K Drama
Crisis In Six Scenes Amazon
The Wheel Of Time Amazon Season One
Another Life Season Three
Lost In Space Season Three
Hostage K Drama Movie
Army Of Thieves
Army Of Death
The Big Splash
The Dark Tower
Balgasal K SF
The Wanted
Mogadishu K Drama
Don’t Look Up Netflix Special
Focus
Lucy
Jupiter Ascending
Space Between Us
ARQ
Rainy Day In NYC Woody Allen Film
In Time
Silent Sea
San Andreas
Don’t Look Up
Mad For Each Other
Movie Watched 2020
List
Better Call Saul Finished Series 2022
Nigh Flyer
The Rim Of The World
Joker
Venom
Lost In Space
Jurassic World
100
Birdbox
I Am Number Four(Film)
Umbrella Acadamy
Locke And Key
Sense 8
Away
Titan
The Mist
The Order
October Faction
The Man In The High Castle
The Expanse
Legends Of Tomorrow
The Messiah
The OA
Lucy
Timeless
Travelers
Alice Through The Looking Glass
Annihilation
The Lion, The Witch, And The Wardrobe
Prince Caspian
The Voyage Of The Dawn Treader
How It Ends
Itaewon Class
Zoo
Extinction
6 Underground
Ballade Of Buster Scruggs
How It Ends
Tau
Series Of Unfortunate Events
The Darkest Dawn
The IO
Ozark
Avengers Day Of Ultron
Prometheus
Another Life
Land Of The Lost
Kim’s Convenience Store
The Cloverfield Paradox
The A-Team
Pirates Of The Caribbean Dead Men Tell No Tales
Salvation
Iron Man 2
Total Recall
The Machine (Hoopla)
Absolutely Anything (Hoopla)
The Adventurer Curse Of The Midas Touch (Hoopla)
The Endless (Hoopla)
Color Out Of Time (Hoopla)
The Librarian Curse Of The Judas Chalice (Hoopla)
The Librarian King Soloman’s Mine (Hoopla)
The Librarian Quest For The Spear (Hoopla)
Dinosaur Island (Hoopla)
Land That Time Forgot (Hoopla)
Dark Prophecy (Hoopla)
The Villainess (Hoopla)
Bad Boys For Life
Outer Banks
Suicide Squad
Abyss
Series Of Unfortunate Events
Miss Peregrine’s Home For Peculiar Children
Superman Vrs Batman Star Of Justice
Last Man Standing K Political Drama
Honest Candidate K Drama
Irishman
Project Power
Once Upon A Time In Hollywood
Kim Ji Young K Drama
The Sting
Focus
Fantasy Island
Warrior Nun –Did Not Finish
Good Omens Amazon
Sneaky Pete Amazon
Blood Shot Netflix
Jupiter Ascendant Netflix
White Lines
Bloodlines
Wu Assasins
Inside Bill’s Brain
War Dogs
Alice In The Borderlands
The I- Land
Black Mirror
The Last Three Days
2019
Partial List Saw At Least 90 Total
A Series Of Unfortunate Events (Netflix)
Aquaman (Theater) B
49 Days Korean Movie B
Doomsday Device YS B
Winter Kills YS C -Disappointing Despite Great Cast
Heist 2001 Version YS B
Curse Of The Golden Flower YS
HG Wells Men In The Moon YS A-1
The Rift YS
Narnia Voyage Of The Dawn Treader YS B
Operation Chromite YS B
The Assassin YS C Did Not Finish
Justice League B
The Ghost And The Darkness B
The A-Team B
Jack Reacher, Never Go Back B
Night Flyer Series B
Cold Pursuit
Chunhyang(2000 Film) YS
The Assassin 2015 Korean Movie
Eraser(Film)
The Girl With The Dragon Tattoo(2011 Film)
Operation Chromite(Film)
The Rite(2011 Film) YS
The First Men In The Moon YS
26. Curse Of The Golden Flower YS
Alien Code YS
Point B YS
Shada(Doctor Who) YS
Glass(2019 Film)
Memories Of The Alhambra K Drama
The Man In The High Castle 4 Seasons Amazon
The Expanse Four Seasons Amazon
2018
Once Upon A Time ABC Mini-Series A
Taken Earth C
Alice Through The Looking Glass B
The Vault C Too Scary A Movie
GORA Turkish SF Comedy C
Pirates Of The Caribbean Dead Men Tell No Tales B
Cowboys Vs Dinosaurs B
Enterprise Complete Season
Frequency Series
Coverdale Paradox
Valerian And The City Of A Thousand Planets (On a Plane)
Kong Island Of Skulls (On Plane)
Geostorm (On Plane)
Lost And Found YS
Berlin Syndrome YS
Burn Country YS
Beatriz At Dinner YS
Breaking The Bank YS
The Expanse Netflix Original
Discovery Netflix
Drone Wars YS
Prometheus Trap YS
Blackway YS
The Mermaid YS
The Great Wall YS
2017
eap Year TV B
Congressman YS B
Crimson Force YS B
Three Classic SF Japanese Movies From The ’50s
The H Man YS B
Battle In Outer Space YS B
Mothra YS B
11 22 63 IS A
Blunt Talk YS B Did Not Finish
Alien Arsenal YS B
Seven Westerns
A Night In Old Mexico B
Ambush At Dark Canyon B
Fighting With Anger B
Baytown Outlaws B
Hick C-1
Heathens And Thieves A-
Implanted B-
When The Sky Falls C-
Wild Bill Hickok Swift Justice B
Traded B
Dirk Gently Holistic Detective Agency -Mini-Series A
Mystery Science Theater Cave Dwellers C
Meet The Guilbys B
The President A
Stand Up Guy B
Snow Piercer B Korean Producer B
Painkillers C
Dirty Lies
Quarantine LA C
Breaking The Bank B
Strange B
Jack Reacher Never Go Back B
Keeping Up With The Jones B
Hell Or High Water B
The Accountant B
Oregon
The Ghost In The Shell Ashland Theater
The Circle Theater Medford
George Feydeua A Flea In Her Ear – ASH Drama
The Black Hole MPL
Final Days Of Planet Earth MPL
The Last Sentinel MPL
Supernova MPL B
East Of Eden MPL A
Cat On A Hot Tin Roof MPL A
A Street Car Named Desire MPL A
Rebel Without A Cause MPL A
Enterprise First Year MPL B
How To Mary A Millionaire MPL
How To Be A Latin Lover Theater A
Wonder Women Theater A-
The Three Musketeers MPL C
Time Changer MPL D
Star Trek Enterprise Season Two B
Solaris B-
The Sea Of Trees A-
Quantum Leap Season One A-1
Star Gate Atlantis Rising B-
Total Recall B
Tammy B-
A Tale Of Two Cities BBC B
Vanishing Point A-
Spider-Man Homecoming In Theater B
War Of Planet Of The Apes In Theater B+
Rogue One Netflix B
The Dark Tower Theater B
Eye Of The Needle MPL A
Congo MPL B
Exile Mplb
Allegiant MPL B
The Man MPL B
Virus MPL B
Frankenstein MPL A
Treasure Island MPL B
Jericho TV Series B
Man In The High Castle TV Series A
One Under The Sun Amazon B
Independent’s Day Amazon –One Of The Worst Movie Ever Made F
The Last Lovecraft – Relic Of Cthulu C
Mysterious Island B
Zoo Series On Netflix Seasons One To Three
Stranger Things Season Two B+ Season One Was Better
Suburbicon Theater B-1
Thor Ragnarok Theater B
Monsters Netflix C
Travelers Netflix B
Julius Caesar OSF B
Hannah And The Dreaded Gazebo OSF B
Blade Runner 2049 B
Once Upon A Time ABC Series B
The Night Of The Hunter MPL A
The Maltese Falcon MPL A A
The Second Best Exotic Marigold Hotel MPL B+
Mission Impossible Rogue Nation MPL B
Beasts Of The Southern Wilds MPL
Satan Met A Lady MPL B
The Villainous Korean Movie 2017 Hoopla
Guardians Of The Galaxy Part Two
Star Wars The Last Jedi
2016 Missing
the graduate while on trip
2015
The List
Movies/TV Series Netflix Unless Otherwise Mentioned
All About The Benjamin’s TNT B
Rush Hour Three TNT B
The Interview Google On-Line C
Paradise 2013 C
The Signal 2014 B
Duplicity Julia Roberts Clive Owens B
Are You Here B
Maleficent B
Guardians Of The Galaxy B
Begin Again 2014 B
The Giver 2014 A
Sea Biscuit A
November Man B
A Most Wanted Man C
Labor Day B
Life Of Crime B
Kundo Korean Movie B
And So It Goes 2014 Michael Douglas, Diane Keaton B
Marley And Me B
Jobs B
The Family C
Stuck In Love B
Mud B
X Men Days Of Future Past C
The Identical B
Jurassic City C
Railway Man B
Peabody And Sherman B
Lunch Box Bollywood Movie 2013 B
Y Tu Su Mama, También Award Winning Mexican Movie 2014 B
Australia B
Henderson Presents B
John Wick B
Silver Lining Playback A
The Good Night B
View From The Top B
Contagion C
Pineapple Express C
Country Strong B
The Hobbit –Battle Of The Five Armies B
Dinosaur Experiment C
Broke Back Mountain Library A
An Affair To Remember Library A
Two Days In Paris Library A
Ride With The Devil Library A
Carmen Opera Library A
Catch 22 Library B
Game Of Thrones Season One Library B
Game Of Thrones Season Two Library B
Barefoot In The Park Library A
No Reservations Library C
Fast And Furious Library C
Charlie’s Angels 2000 Library B
Charlie’s Angels 2003 Version Saw Earlier Noted Here B
Endless Love B
Hot Pursuit On Plane C
Day Of Adeline On Plane A
Avengers Day Of Ultron On Plane C
Tomorrowland On Plane B
Far From The Madding Crowd On Plane A
Aloha On Plane
Mad Max Fury Road On a Plane
San Andreas On Plane
Classified File Korean Movie On Plane
Casanova From Library
Company You Keep From Library
Contraband From Library
Bleak House Mini-Series From Library
La Boehme Opera From Library
Eat Drink Man Women From Library
Runner, Runner From Library
Sense And Sensibility From Library
American Snipper HBO
Wild HBO
Maze Runner HBO
Dumb And Dummer To HBO
Havoc HBO
5 Flights Up HBO
Kill The Messenger HBO
My Blueberry Nights Library
Last Chance, Harvey, Library
Serial Mom HBO
The Producers 2005 Version
Broken Flowers Hood
Rumor Has It that HBO
Run All Night HBO
Fistful Of Dollars HBO
A Few More Dollars HBO
The Good, The Bad, And Ugly HBO
Fifty Shades Of Grey HBO
Hang Em High HBO
The Drop HBO
The Leisure Class HBO
The Kingsmen Secret Service HBO
Birdman HBO
The Wiz NBC Special
Spectre At Kingstown
Magnolia HBO
The Curse Of The Jade Scorpion HBO
The Rock HBO
Child Hood’s End Syfy Channel Special
Insurgent HBO
2014
Movies/TV Series
Jack Reacher 2012 Net Flix
Thieves (Korean Movie Next Flix)
Side Effects – Next Flix
The Informant – Next Flix
The Assassination Of Jessie James By The Coward Robert Ford 2008 Next Flic
Olympus Has Fallen 2013 Next Flix
Coriolanus 2011 Next Flix
300 Net Flix
Appolo 18 Net Flic
Shape Of Things To Come On Plane
Battle Star Galactica Razor On Plane
The Master On Plane
Ides Of March On Plane
Oblivion Net Flix
Midnight In Paris Woody Allen Saw Earlier On Plane Net Flic
Non-Stop In Regal – A Bit Disappointing
Then She Found Me Directed By Helen Hunt 2007 Net Flic
Zelig 1996 Woody Allen Nex Fix
Husband And Wives = Woody Allen Movie Netflix
Confederate States Of America 2004 Mockumentary
Out Of Sight George Clooney, Jennifer Lopez Based On Elmore Leonard Novel – Bit Disappointing On Plane
Hobbit Desolation Of Smug On Plane
Ender’s Game On Plane On Plane
The Internship On Plane
Closed Circuit On Plane
Secret Life Of Walter Mitty Download
RoboCop Download
The A-Team On Plane
The Europa Report On Plane
Blue Jasmine On Plane
World’s End On Plane
The Hangover On Plane
Edge Of Tomorrow In Movie Theather
True Crime 1998 Clint Eastwood (TV)
Bullet To The Head (TV)
Get The Gringo (TV)
Pacific Rim (TV)
Starsky And Hutch (TV)
Space Jam (TV)
World War Z Nextflex
Wolf Of Wall Street Nextflex
Gravity Nextflex
12 Years A Slave Nextflex
Fracture Nextflex
Good Night And Good Luck Nextflex
The Perfect Storm Nextflex
The Book Thief Nextflex
Best Offer Nextflex
Muncih 2005 Spellberg Nextflex
A Winter’s Tale Nextflex
Trascendence Nextflex
The Other Women Nextflex
Layer Cake Nextflex
Heat Robert Dinoro, Al Pacino Nextflex
Last Vegas Dinoro Freeman Kline Pacino Nextflex
The Grand Budapest Hotel Netflix
Best Laid Plans 1999 Version Nextflex
Firewall Nextflex
Saving Mr. Banks Nextflex
A Wrinkle In Time Nextflex
Extremely Loud And Incredibly Close – Tom Hanks, Sandra Bullock About 9-11 And One Family’s Reaction Nextflex
Mandella’s Long Walk To Freedom Nextflex
Enough Said Nextflex
All You Need Is Love Nextflex
Divergent Nextflex
Noah Nextflex
You will Meet A Tall Dark Handsome Stranger – Woody Allen Movie 2010 Nextflex
X Men Wolverine Origins Nextflex
Captain America Winter Soldier Nextflex
X Men 2 United Nextflex
Sex Tape In Hotel
Dawn Of The Planet Of The Apes On Plane
Godzilla 2014 Version On Plane
Don Juan Netflix
Frozen Nextflex
Gone Girl 2014 In Regal Springfield
Better Living Through Chemistry 2013 Movie Netflix
Elysium 2013 Nextflix
A Million Ways To Die In The West Nextflex
Interstellar 2014 In Regal Springfield
Burning Palms – Worst Movie Of The Year For Me
Million Dollar Arm
Lost In America 1985 Recommended By Matt Jacobson
Manhattan Murder Mystery 1995 Woody Allen
State Of Play Next Flic
Babel Next Flic
Peter Pan Live NBC
Snowpiercer Korean Directed Film
Jack Ryan, Shadow Recruit
Superbad
It’s A Wonderful Life
This Means War
Memories Of Murder Korean Film
The Good, The Bad, And The Weird Korean Film
Bad Santa
Typhoon Korean Movie 2005
In The Cut 2003 Australian Movie Set In NYC
TV Series And Movies
Breaking Bad Television Binge Watching All Episodes
House Of Cards
Tin Man
Falling Skies
2013
The List
Crazy, Stupid Love, Netflix January 1, 2013
The Descendents Netflix January 4, 2013
The Hobbit (In Theater) January 5, 2013
The Best Exotic Marigold Hotel Netflix
Abritrage Richard Gere
Get Him To The Greek TV
Snatch Netflix
The One Netflix
One For The Money (Netflix)
Star Trek The Undiscovered Country TV
The Help Netflix
Hope Spring Netflix
Paul Netflix
Stolen Netflix – Did Not Finish Nominate For Worst Film Of The Year
The Lion, The Witch, And The Wardrobe ABC Family
Journey To The Center Of The Earth 2011 ABC Family
Mission Impossible 1V Ghost Protocol
Here Comes Mr. Jordan 1941 TCM
A Star Is Born 1945 TCM
Mission Impossible 111
Decisions
Life Of Pi Next Flic
In Land Of Blood And Honey Next Flic
Lockout Next Flic
21 Jump Street Next Flic
Sherlock Holmes’s Games Of Shadows Plane
Wrath Of The Titans Plane
Horrible Bosses Plane
Safe House Plane
Hunter Plane
Take This Waltz Next Flix
Marley TV
Coriolanus (Theather RHS)
Wallenstein (Theather RHS)
Great Gatsby (Regal Kingstown)
Groom Lake (Hulu)
Motorcycle Diaries 2004 Next Flic
Looper Next Flic
Superman Man Of Steel In Regal Theather
Bourne Legacy (Netflix)
Earthlings 2012 Hulu
Gangster Squad (Nextflix)
Red (Part)
Zookeeper (Part)
Witches Of Oz (Netflix)
Interstate 60 Hulu
White House Down In Theather
Sex And Lucia Next Flic
Ted Next Flic
Star Ship Troopers – Invasion Next Flic
Ana Karina 2012 Net Flix – Production Did Not Work For Me – Too Cute And Avant Garde – Like Watching A Film Of A Play Adaption. Did Not Work As A Play Or As A Movie – A Big Disappointment
Time Bandits 1981 Hulu
RIPD In Theather
Atonement (Netflix)
Tristone And Isolde (2006) Netflix
Dune 1984 Nextflex
Meet The Millers Theather
Seeking A Friend For The End Of The World Next Flic
Iron Man 3 On Plane
Trance On Plane
Prisoners In Theather
The Butler In Theather
Outsourced Netflix
Cloud Atlas Netflix
Flight 2012 Next Flic
The Campaign 2012 Next Flic
Asian Invasion (Porn Movie For Strip Poker Game)
Details Nextflix
The Blind Side Netflix
Pirates Of The Caribbean On Stranger Tides Netflix
Robin Hood 2010 Netflix
The Counselor 2013 In Theather
The Host Netflix
After The Sunset 2008 Netflix
Grown Ups TNT On Cruise
The Proposal TNT On Cruise
Red 2 TNT On Cruise
Maiden Heist Next Flix
Despicable Me – Disney Channel
Hunger Games Catching Fire In Theather
The Place Beyond The Pines Next Flic
Watch Man 2009 Next Flix
Snow White And The Huntsman Nextflix
Parker Netflix Streaming
American Hustle
A Christmas Story
Ice Quake 2013 Syfy
On The Road
2012
The List
Dragnet (Next Flex) Jan 1
Bird On A Wire (Next Flex) Jan1
Laura Croft Tomb Raider (Hollywood Chanel)
Kuffs MGM Chanel
Journey To The Lost World MGM Chanel
Yellow Handkerchief Netflix
Shanghai Knights Hollywood Chanel
MMB 2 Hollywood Chanel
What Women Want Mel Gibson, Helen Hunt 2000 Hollywood Chanel
The Door In The Floor Jeff Bridges, Kim Bassinger, Mimi Rogers 2000 Next Flix Check References To Book
America’s Sweethearts 2001 Julia Roberts, Kusshak, Catherine Zetta Jones Nextflix
Marathon Man
Catwoman
The Rise Of The Planet Of The Apes 2011 On Plane
Cowboys And Aliens 2010 On Plane
The Island 2005 On Plane
The Day The Earth Stood Still 1951 On Plane
Hot Tube Time Machine Net Flix
The Big Lebrowski Net Flix
Leopolis Seoul Netflix
King Of The Lost World
Money Ball (Training Day)
Serenity Next Flex 2005
Harry Potter And The Deathly Hallows Part One (On Plane)
Dirty Rotten Scoundrels On The Plane
Bender’s Big Score (Netflix)
Serenity (Nextflix)
The Punisher (TV)
Love’s Kitchen (Netflix)
Transformers 11 2009 – Disappointing But Will Watch Transformers 111 To Finish The Series Off.
The Double 2011 Richard Gere
Contagion Did Not Finish Warsaw
Sherlock Holmes 2 Did Not Finish Warsaw
Win Win Warsaw Good Fli
The Invasion 2005 Innovative Shooting Technique
Tower Heist Nex
The Tree Of Life Nex – Disappointing
The Hangover Part Two NEX
Girl With Dragon Tattoo (2011 Version)
The King’s Speech NEX
Midnight In Paris Woody Allen Movie 2011
John Carter Hotel Room
This Means War On Plane
J Egard With Leonardo Di Capio Directed By Clift Eastwood – Big Disappointment. Just Too Long, Too Much Talking. From NEX
Dr Strangelove From Mik B
The Armour Of God 1987 Jackie Chan, Lola Forner Spanish Actress Hulu
The Sands Of Oblivion 2007 Hulu
The Monitors (Next Flex)
MIB3 On Plane
Prometheus – Last Half Worth Seeing Again On Plane
Battleship On Plane
Players Bollywood Remake Of The Italian Job –Worth Seeing
Cross Worlds Next Flex
Phil The Alien Next Flex
Invasion Of The Pod People Hulu
Alien Armageddon Hulu
Red State Netflix
God Bless America Netflix
The Man Who Fell To Earth Netflix
Very Bad Things Next Flix
Ready Or Not – Hulu
The Last Lovecraft: Relic Of Cthulu 2009 Netflix
Amazing Spiderman 2012 Plane
To Rome With Love 2010 Plane Woody Allen
Dawalt’s Guard (First Arabic Movie) Plane
Search For Justice 2012 Nicolas Cage Plane
Mirror Mirror With Julia Roberts – On Plane In February
The Gauntlet With Clint Eastwood 1977
The Hunger Game Blockbuster
The Debt
The Maltese Falcon TCM
My Week With Marilynn Block Buster
Bernie Blockbuster
Savages Blockbuster
Wanderlust Blockbuster
Skyfall Theather
Office Space
Dumb And Dumber TV
Accepted TV
The Iron Lady Blockbuster
The Watch Blockbuster
Larry Crowne Blockbuster
Hot Rock 1972 Robert Redford HDNET
Killing Them Softly (Movie Theather)
2011
How Do You Know 2010
Nothing But The Truth 2008 Saw Earlier Not Bad 1-15
Salt 2010 With Angelina Jolie
The Other Side Of The Bed Spanish 2002
A Perfect Getaway 2009
Fool’s Gold
Invictus 2009 Morgan Freeman, Matt Damian
Like Water For Chocolate
The Flower Of My Secret La Flora De Mi Secreto Spanish Movie 1995
88 Minutes 2007 Al Pacino
Mr. Deeds 2002
The King And I Korean Series
Sex And The City 11
14, Hell Boy Part 11
Love Happens
Drive Angry 2011 Nicolas Cage Add To Worst Movie List
17 Girl With The Dragon Tatoo 2009
The Spanish Prisoner 1997 David Mamet Director Steve Martin
Illegally Yours 1988 Robert Lowe
Machette 2010 Half Spanish Dialogue Robert Dinero, Jessica Alba
The Prince Of Persia 2010
22 No False Move 1992 Bill Ray Thorton
23 Life In North Korea Documentary From National Geographic
Green Zone
Morning Glory
26 Killers
Eat Pray Love
28 The Town
Kate And Leopold
The Legend Of Bagger Vance
30 Emma
31 Les Miserables 1998 Version
32 Unstoppable 2010
Due Date 2010
2010
Fragments 2009
Where The Day Takes You 1992
The Illusionist 2003
PS, I Love You 2007
The Burning Plain 2008
The Other Man 2008
Mama Mia 2008
Dim Sum Funeral 2008
Inglorious Bastards 2009
Oh Brother, Where Art Thou? 2003 Second Time Around
Time Traveler’s Wife 2009
Amelia 2009
Lies And Illusions 2009 Add To Worst List
Serious Moonlight 2009
“The Chaser” Korean Film
Precious 2009 Academy Award For Best Actress
Every Body’s Alright
Space Balls
Three Stooges Selected Episodes
Ghosts Of Girl Friends Past 2009 Matthew McConaughey, Jennifer Garner
Up In The Air 2009 George Clooney
The Men Who Stare At Goats 2009 George Clooney
Have You Heard About The Morgans? Hugh Grant, Sara Jessica Parker 2009
Sherlock Holmes 2009 Robert Downey, Jude Law And Rachael Mc Donald
“Crazy Heart” 2010 Best Picture Award 2010 Jeff Bridges, Robert Duval, Maggie Gyenehall
“Five Minutes Of Heaven” Liam Nelson 2010.
Avatar 2009 Best Picture
Romeo Must Die Jet Li 2000
Flawless 2008 Demi Moore Michael Kane
Extraordinary Measures 2010 Harrison Ford
Alice In Wonderland 2010
The Road 2009
It’s Complicated
Beyond A Reasonable Doubt
The Invention Of Lying
Edge Of Darkness
The Spy Next Door
Young Victorian
Old Dogs (On Plane)
Leap Year (On Plane)
Couples Retreat (Travis) 2009
Knight And Day 2010 (Medford)
Inception 2010 (Medford)
The Sorcerer’s Apprentice 2010 (Medford)
Clash Of The Titans (On Plane) 2010
Remember Me (On Plane) -2010
Bounty Hunter (On Plane -2010
Date Night (On Plane ) 2010
2 Fast 2 Furious 2003 Eva Mendes Stars (Saw On TV)
Water World – Keven Kostner Saw On Korean TV
Legends Of The Fall Saw On Korean TV
Iron Man 2 (On Plane)
How To Tame Your Dragon (On Plane)
The Informant (HBO Home)
Bill And Ted’s Bogus Journey (Parts)
Batteries Not Included 1987 Second Time Around (HBO)
Family Man (HBO)
Wall Street
Helen – Short List For Worst Movie I Saw – Just Did Not Work For Me.
The Warlords
A Plague Of Zombies
Robin Hood
The Unthinkable
The Book Of Eli
The Count Of Monte Cristo
The Messenger (Angela Saw)
Red (In The Theather)
The Count Of Mont Cristo Angela Saw I Saw Parts
3:10 To Yuma (Saw A Few Years Ago, Saw Again)
Law Abiding Citizen 2009
Spring, Summer, Fall, Winter, Spring Korean Film 2005
Aliens In The Addict 2009 TV
Loch Ness 1996 Ted Dancer HBO
Fair Game 2010 In Theater
The Pianists 2002 Angela Saw, I Saw A Few Years Ago
The Simpsons Movie First Half was Seen Earlier
Star Wars 6 First Half Hour
Wizard Of OZ Half
The King And I Korean History Drama
The Darjeeling Limited 2007 Owen Wilson Wes Anderson Directed
The Piano 1995 Angela Saw, I Heard Parts Of It
Gia 1994 Very Sexual And Lots Of Lesbian Scenes Which Turned Me On.
Oregon (SFY)
Leiberstruam 1999 Kim Novack, Bill Pullman HBO
The Jones 2009 Demi Moore, David Duchovny Amber Heard, And Ben Hollingsworth Directed By Derrick Borte – Disappointed, Did Not Work For Me
The Hours 2002 Nicole Kidman, Julain Moore, And Meryle Shreep Re Life Of Virginia Woolf And Her Impact On The Life Of Two Women
Bobby 2006 Helen Hunt, Demi Moore, Anthony Hopkins, Sharon Stone, William Macy, Martin Sheet, Linsday Lohan, And Cristian Slater Written Nd Directed By Emilio Estevez
True Grit 2010 – Overly Hyped In My Opinion
Vivdirana Spanish Film 1961 Classic
Volver 2005 Spanish Film
How Much Do You Love Me 2005 French
Ninja Assassins 2009 Staring Rain On TV
93 Horsefeathers Marx Brothers On TV
2009
Underwear” Starting Val Kilmer, Graham Greene,
Constant Gardener With Rachael Weiz –
Rumor Has It – Jennifer Aniston, Kevin Costner
Queen
Hancock With Will Smith
Dave – With Eddie Murphy – SF Comedy
Joe Kid – With Clint Eastwood – Saw Opening
Iron Man – Not Bad. Another Marvel Movie.
Eternal Sunshine Of The Spotless Mind”
Gone, Baby, Gone”
Fracture
Burn After Reading”
21 Grams”
The Changling With Angelia Jolie, Directed By Clint
Kiss The Dust”
How To Lose Friends And Alienate People
Electric Mist With Tomy Lee Jones
Good German
Siberian Express
Body Of Lies
Slum Dog Millionaire
Lucky Slevin
Australia
What Just Happened
City Of Ember
Proof Of Life
Bottle Shock
Runaway Jury
Master Spy
Marie Antoinette
Interstate
He’s Just Not That Into You
Madagascar 11
Collateral With Jamie Fox And Tom Cruise
My Super Ex Girl Friend
State Of Play – In Medford Movie Theather
Bolt-On The Plane
Yes Man, In Hotel Room In DC
Avengers
Spy Games
All The Way
The Day The Earth Stood Still
Seven Pounds
Nothing But The Truth
The Reader – Oscar Winner For Best Actress 2008 Kate Winslet
Crossing Over
Kill Shot With Mickey Rourke, Diane Lane
Vanished With Jeff Bridges, Sandra Bullock
Valkarie
Star Trek – Prequel Movie (From Street Vendor)
52 The Clearing With Robert Redford – 2004
Curious Case Of Benjamin Button With Brad Pitt Best Actor Award 2009
Knowing With Nicolas Cage 2009
The Code
Counterfeit
Alexander 2004 Oliver Stone Producer
Out For Justice 1991
Echelon Conspiracy 2009
The Good Thief 2001 With Nick Nolte
Meteor = NBC Mini-Series
Wild Hogs 2007 Tim Allen, Travolta, Macy, Lawrence
28 Days Later
Wild Things 2
Mystic River Directed By Clint Eastwood, Starring Sean Pean
Criminal 2004
Essential Lover
Two Lovers
Angels And Demons 2008 Started by Tom Hanks, Directed By Ron Howard
The Informers
Duplicity
Surveillance Produced By Jennifer Lynch Starting Pullman And Ormand
Trust The Man 2008
The Mutant Chronicles 2008
Heaven 1995?
Wolverine With Hugh Jackman 2009
Dark Streets With Bijou Philips
Doubt With Meryle Strep 2008
Coco Chanel Shirley Mc Cline 2008
Ramen Girl
The Yatzuka (1974 W George Mitchum)
The Fountain 2006 W Rachel Weiss (Hot)
Easy Virtue 2009 (On Plane)
Act Of Imagination – Eddie Murphy And Serena Williams’s Daughter
I Hate Valentine’s Day 2009 (On Plane)
The Proposal 2009 With Sandra Bullock
Into The Storm (Bio Of Winston Churchill (On Plane)
MILF Hunters 5 Porno Movie Seen In Hotel
Brooks
Taken
The Big Bounce
The Heartbreak Kid (Second Time Around)
Taking Of Pelham 123 2009 With John Travolta, Denzel Washington
Cherrie 2008 With Michelle Pfiefer
Accidental Husband 2008 With Uma Thuber
Management With Jennifer Anison, Steve Chain, And Woody Harrelson, 2008
My Life In Ruins, 2008 With Nia Valdolos (My Big Fat Greek Wedding And Richard Dreyfus)
Kiss Kiss Bang Bang 2005
Spanglish 2005 With Adam Sandler
A Married Life 2008
Open Road 2009
Vanity Fair 2004 Recee Weatherspoon As Bucky Sharp
Beyond Borders 2008 Anglie Jolie, And Clive Owen
I’ll Sleep When I Am Dead 2003with Clive Owen
The King Of California 2007 With Michael Douglas
Target 1985 With Gene Hackman And Matt Dillion
The Life Of David Gale With Kevin Spacy, And Kate Winslet
Bruno
Lucky You With Drew Barrymore
The Last Word
2012 With John Cusack
Bad Lieutenant With Nicolas Cage
The Tournament 2009 Kelly Hu
Public Enemies 2009 Johny Deep
Julia And Julia 2009 Meryle Sherpa
Cold Mountain 2003 Jude Law, Nicole Kidman
Out Of Time 2003 Denzel Washington, Eva Mendez (Hot)
Night At The Museum 11 Battle For Smithsonian
Sleuth 2009 Version
Land Of The Lost 2009
The Brother’s Bloom 2008
Letter From Iwa Jima 2007 Clint Eastwood Directed
White Chicks
Star Treck Generations
Jackie Collins Hollywood Wife 2003
Charlie Wilson’s War -2008 Tom Hanks, Julia Roberts
The Whole Nine Yards 2000 Bruce Willis, Matthew Perry, Amanda Peete (Hot)
The Illusionist
2009
Underwear” Starting Val Kilmer, Graham Greene,
Constant Gardener With Rachael Weiz –
Rumor Has It – Jennifer Aniston, Kevin Costner
Queen
Hancock With Will Smith
Dave – With Eddie Murphy – SF Comedy
Joe Kid – With Clint Eastwood – Saw Opening
Iron Man – Not Bad. Another Marvel Movie.
Eternal Sunshine Of The Spotless Mind”
Gone, Baby, Gone”
Fracture
Burn After Reading”
21 Grams”
The Changling With Angelia Jolie, Directed By Clint
Kiss The Dust”
How To Lose Friends And Alienate People
Electric Mist With Tommy Lee Jones
Good German
Siberian Express
Body Of Lies
Slum Dog Millionaire
Lucky Slevin
Australia
What Just Happened
City Of Ember
Proof Of Life
Bottle Shock
Runaway Jury
Master Spy
Marie Antoinette
Interstate
He’s Just Not That Into You
Madagascar 11
Collateral With Jamie Fox And Tom Cruise
My Super Ex Girl Friend
State Of Play – In Medford Movie Theather
Bolt-On The Plane
Yes Man, In Hotel Room In DC
Avengers
Spy Games
All The Way
The Day The Earth Stood Still
Seven Pounds
Nothing But The Truth
The Reader – Oscar Winner For Best Actress 2008 Kate Winslet
Crossing Over
Kill Shot With Mickey Rourke, Diane Lane
Vanished With Jeff Bridges, Sandra Bullock
Valkarie
Star Trek – Prequel Movie (From Street Vendor)
52 The Clearing With Robert Redford – 2004
Curious Case Of Benjamin Button With Brad Pitt Best Actor Award 2009
Knowing With Nicolas Cage 2009
The Code
Counterfeit
Alexander 2004 Oliver Stone Producer
Out For Justice 1991
Echelon Conspiracy 2009
The Good Thief 2001 With Nick Nolte
Meteor = NBC Mini-Series
Wild Hogs 2007 Tim Allen, Travolta, Macy, Lawrence
28 Days Later
Wild Things 2
Mystic River Directed By Clint Eastwood, Starring Sean Pean
Criminal 2004
Essential Lover
Two Lovers
Angels And Demons 2008 Started by Tom Hanks, Directed By Ron Howard
The Informers
Duplicity
Surveillance Produced By Jennifer Lynch Starting Pullman And Ormand
Trust The Man 2008
The Mutant Chronicles 2008
Heaven 1995?
Wolverine With Hugh Jackman 2009
Dark Streets With Bijou Philips
Doubt With Meryle Strep 2008
Coco Chanel Shirley Mc Cline 2008
Ramen Girl
The Yatzuka (1974 W George Mitchum)
The Fountain 2006 W Rachel Weiss (Hot)
Easy Virtue 2009 (On Plane)
Act Of Imagination – Eddie Murphy And Serena Williams’s Daughter
I Hate Valentine’s Day 2009 (On Plane)
The Proposal 2009 With Sandra Bullock
Into The Storm (Bio Of Winston Churchill (On Plane)
MILF Hunters 5 Porno Movie Seen In Hotel
Brooks
Taken
The Big Bounce
The Heartbreak Kid (Second Time Around)
Taking Of Pelham 123 2009 With John Travolta, Denzel Washington
Cherrie 2008 With Michelle Pfiefer
Accidental Husband 2008 With Uma Thuber
Management With Jennifer Anison, Steve Chain, And Woody Harrelson, 2008
My Life In Ruins, 2008 With Nia Valdolos (My Big Fat Greek Wedding And Richard Dreyfus)
Kiss Kiss Bang Bang 2005
Spanglish 2005 With Adam Sandler
A Married Life 2008
Open Road 2009
Vanity Fair 2004 Recee Weatherspoon As Bucky Sharp
Beyond Borders 2008 Anglie Jolie, And Clive Owen
I’ll Sleep When I Am Dead 2003with Clive Owen
The King Of California 2007 With Michael Douglas
Target 1985 With Gene Hackman And Matt Dillion
The Life Of David Gale With Kevin Spacy, And Kate Winslet
Bruno
Lucky You With Drew Barrymore
The Last Word
2012 With John Cusack
Bad Lieutenant With Nicolas Cage
The Tournament 2009 Kelly Hu
Public Enemies 2009 Johny Deep
Julia And Julia 2009 Meryle Sherpa
Cold Mountain 2003 Jude Law, Nicole Kidman
Out Of Time 2003 Denzel Washington, Eva Mendez (Hot)
Night At The Museum 11 Battle For Smithsonian
Sleuth 2009 Version
Land Of The Lost 2009
The Brother’s Bloom 2008
Letter From Iwa Jima 2007 Clint Eastwood Directed
White Chicks
Star Treck Generations
Jackie Collins Hollywood Wife 2003
Charlie Wilson’s War -2008 Tom Hanks, Julia Roberts
The Whole Nine Yards 2000 Bruce Willis, Matthew Perry, Amanda Peete (Hot)
The Illusionist
After The Sunset With Pierce Bronson, Salma Hayek, Woody Harrelson, Don Cheadle
American Gangster With Denzel Washington And Russell Crowe
Out Of Reach With Steven Seagal
Amos And Andy With Nicolas Cage And Samuel Jackson
The Merchant Of Venice With AL Pacino, Jeremy Irons, Joseph Fiennes, Lynn Collins
Harrison’s Flowers With Adrian Macdowell, Elias Koteas, Brendan Gleeson, Adrian Brody, And David Stratham
Cruise December 15 -21
Sylvia – Movie About The Poet Sylvia Plath And Ted Hughes
What Happened In Vegas – With Cameron Diaz
Rendition With Meryle Strep – About The Issue Of Renditions, Well Done
Adaptation – Nicolas Cage Re Life Of Two Twin Brothers Screen Writers And The Process Of Writing A Screen Play
Bangkok Dangerous Nicolas Cage
Elizabeth
The Weather Man Nicolas Cage
Get Smart
Possession NF
Next With Nicolas Cage NF
Knocked Up NF
Untouchables AMC
Fargo AMC
Mummy Returns
2007 To 2010 Barbados
Saw A Lot Of Movies On Video And Netflix Via Mail
2003 To 2007 DC Saw An Average of 100 Per Year
2000 To 2003 Saw An Average Of 100 Per Year Mostly Videos
But Did See In Movie Theaters Twice A Month And Saw Several Bollywood Movies
Saw The Three Stooges Marathon To Start The Year
1996 -1997 Saw Less Than 50 Due To Being In Hospital Half The Year
Saw About 100 Per Year Blockbuster Was Popular
1994 during six month Thai training saw four movies per week two normal, two adult movies
1991 during training saw four movies per week, two normal, two adult movies
The ’80s Saw A Lot Via Video About 100 Per Year
The ’70s Saw On TV And In Movie Theaters
Watched a lot of Creature Features movies on TV in the early ’70s every Friday night they had a double feature. Went on average once a week to the movies with friends, mostly Robert Sicular starting from 1970 to 1974.
Favorite animation series included American Dad, Dilbert, Family Guy, Futurama, Bullwinkle, Looney Tunes .
Favorite TV series over the years include Arrested Development, Batman, Superman, Everyone Loves Raymond, Get Smart, Dragnet, Adam 12, Two and half men, Married with Children, Malcom in the Middle, Dallas, Falcon Crest, and as a child, Beverly Hillbies, Dobbie Gils, Gilligan’s Island, Green Acres, Outer limits, Twilight zone, and X Files.
Saw all planet of the Apes movies, All James Bond movies, Spider man, Superman, Start Treck and Start wars movies.
I don’t get why “the Power of Dog” has gotten so much critical buzz, awards, and Oscar nominations. I found it long, tedious, boring, too much talking, not enough action, and wondered why anyone would consider this movie to be a masterpiece. To me, it was just “Meh”.
There were a few interesting aspects to the movie, but not explored enough in my opinion. There was a brokeback mountain bromance in the movie between Phil and his nephew, Peter, who was depicted as a socially inept, sensitive, effeminate young man. But this was just hinted at and never fully developed.
The main character Phil to me was a bit flat and undeveloped as well. He had gone to Yale majoring in classics, and gone back to help manage the family ranch. He is an intelligent man, but does not live up to his potential. Rose, Phil’s sister in law is also never fleshed out as a character. She is depicted as an alcoholic wreck – a widow whose husband had died after committing suicide. She is a sad broken woman but never really drown out either.
There is a lack of action throughout the movie which just seems meandering touching on my theme and another before petering out with Phil’s mysterious death from anthrax.
The movie hints that Peter had given Phil tainted raw hides and Phil caught anthrax while working on the hide without wearing gloves. The movie would have been much more powerful if that had been further developed and Peter had intended to kill Phil.
But this was just another plot point hinted at and dropped.
The cinematography was good, the music was soaring. Overall, though, the movie just did not work for me. I’d give it a C and certainly, it does not deserve an Oscar nomination.
The Power of the Dog had its world premiere at the 78th Venice International Film Festival on September 2, 2021, where Campion won the Silver Lion for Best Direction. The film had a limited theatrical release in November 2021, and was released to stream worldwide on Netflix on December 1, 2021. The Power of the Dog received universal acclaim from critics, who praised Campion’s direction and screenplay, cinematography, score, and performances of the four leads. It was highly regarded as one of the best films of 2021 by multiple top-ten lists.
100 movies/TV series by the end of the year. At least one Korean movie per week At least one Spanish movie per month One Bollywood or another foreign language movie per month A mixture of thrillers, K Drama, comedies, romcom, etc Make a list of Oscar movies, watch several Resume going to the theater later in the year When traveling to the US watch five movies each trip
the list
January
Emily In Paris Netflix B
Supereight Stephen Spielberg B
Black Money K drama B
Extreme Job K Drama B
Freaks Netflix C
Dune World (Not the Dune) C
Assimilation – Invasion of Body snatchers remake Hoopla C
Power Play (hoopla) C
Constantine Netflix C
Ozark season 4 B
Cowboy Bebop SF Netflix K Star but not K Drama A-
February
We are all going to die K zombie drama A
Babysitter Killer Queen c
Haebing 2017 the Thaw K Drama b
Area 51 Hoopla C
Nine Teeth Vampire movie C
Chosen b Netflix Danish SF
Dark B Netflix German SF
The Power of the Dog C Oscar nominee
One Bollywood or another foreign language movie per month
A mixture of thrillers, K Drama, comedies, romcom, etc
Make a list of Oscar movies, watch several
Resume going to the theater later in the year
When traveling to the US watch five movies each trip
the list
Movie Watching Goals 2021
100 movies/TV series by the end of the year.
At least one Korean movie per week
At least one Spanish movie per month
One Bollywood or another foreign language movie per month
A mixture of thrillers, K Drama, comedies, romcom, etc
Make a list of Oscar movies, watch several
Resume going to the theater later in the year
When traveling to the US watch five movies each trip
the list
January
Bloodshot
Ozark
Bloodlines
Discovery
Humans are Useless Hoopla
Wu Assassins
6 Underground
Warrior Nuns
Alice In Borderland
I Am Not Okay with This
Constantine
The Beach
Holliday
Rebecca
About Time
Spy games
We could be heroes
Vastness of the Night Amazon
February
Hanna
The Expanse
Sneaky Pete -Amazon
How it Ends
The I Land
Wonder Woman
Get Out
Space Sweepers K SF Drama
I Care a Lot 2020 TV
Messiah
March
Itaewon Class K Drama
Sense 8
Salvation
The Order
Lock N Key
Ballad of Buster Scruggs
Titans
April
O/A
Abyss
Outer Banks
White Lines
Umbrella Acadamy
The Last Man Standing K Drama
May
Suicide Squad
The Honest candidate K Drama
Behind Her Eyes
Sisyphus K Drama
Venzano K Drama
Strangers K Drama season one
Strangers K Drama season two
Strangers K Drama season three
The Woman in the Mirror
Gemini Man
Legends
Bridgeton Netflix top-ranked series
June
Wanted with Angelina Jolie 2005?
War Dogs
The Holliday
The woman in the Mirror
How It Ends
Love and Monsters
Knives Out
July
Old Guard
Love, Death, and Robots
Borek Movie
Sweet Tooth
Mine K Drama
Glitch
Parasite K Drama
Legends of Alhambra K Drama
August
Sin City
The Talented Mr. Ripply
The negotiator K movie
No exit K movie
Crash Landing On You K Drama
September
Jackel 1997 US Movie
Night in Paradise K movie
DP K drama
Con K drama movie
October
When the Camelia Blooms K Drama
Squid Games K Drama
The Devil’s Advocate
Move to Heaven K Drama
The Money Heist Spanish Series
On Plane
Minuri K drama won an Oscar for best supporting actress
Cool Hand Luke
Citizen Kane
Jungle Cruise
Free Guy
Black Widow
King Kong V Godzilla
Crazy Rich Asians
Return to Korea
Bliss Amazon
Tomorrow’s Wars Amazon
Reflections on You (K Drama, Netflix)
Red Notice (Netflix)
Hell Bound K Drama
Crisis in Six Scenes Amazon
The Wheel of Time Amazon season one
Another life season three
Lost in Space Season three
Hostage K Drama movie
Army of Thieves
Army of Death
The Big Splash
The Dark Tower
Balgasal K SF
The Wanted
Mogadishu K Drama
Don’t Look Up Netflix special
Focus
Lucy
Jupiter Ascending
Space Between us
ARQ
Rainy Day in NYC Woody Allen Film
In Time
Silent Sea
San Andreas
Don’t look Up
Riany Day in NYC
In Time
K Drama List
Crashlanding on you
Legends of Alhambra
The negotiator movie
No exit movie
Mine
Venzeano
Sisyphus
Stranger
Space Sweepers K SF Drama
The Last Man Standing K Drama
Mr. Sunshine
Itaewon Class
Mr. Kim’s convenience
A night in Paradise
Reflections On You
Hell Bound
Balgasal
Mogadishu
To watch
Sky Castle
Kingdom
Reply 1988
Signal
My Mister
Hospital PlayList
Flower of Evil
this is an updated to my 2021 movie listing reflecting among other things the K Dramas I have recently gotten into. I will update it again at the end of the year, if not sooner.
Movie Watching Goals 2021
night at the movies
100 movies/TV series by the end of the year.
At least one Korean movie per week
At least one Spanish movie per month
One Bollywood or another foreign language movie per month
A mixture of thrillers, K Drama, comedies, romcom, etc
Make a list of Oscar movies, watch several
Resume going to the theater later in the year
When traveling to the US watch five movies each trip
the list
Movie Watching Goals 2021
100 movies/TV series by the end of the year.
At least one Korean movie per week
At least one Spanish movie per month
One Bollywood or another foreign language movie per month
A mixture of thrillers, K Drama, comedies, romcom, etc
Make a list of Oscar movies, watch several
Resume going to the theater later in the year
When traveling to the US watch five movies each trip
the list
January
Bloodshot
Ozark
Bloodlines
Discovery
Humans are Useless Hoopla
Wu Assassins
6 Underground
Warrior Nuns
Alice In Borderland
I Am Not Okay with This
Constantine
February
The Beach
Holliday
Rebecca
About Time
Spy games
We could be heroes
Vastness of the Night Amazon
Hanna
The Expanse
Sneaky Pete -Amazon
March
How it Ends
The I Land
Wonder Woman
Get Out
Space Sweepers K SF Drama
I Care a Lot 2020 TV
Messiah
Itaewon Class K Drama
April
Sense 8 –has Korean star
Salvation
The Order
Lock N Key
Ballad of Buster Scruggs
Titans
O/A
Abyss
Outer Banks
May
White Lines
Umbrella Acadamy
The Last Man Standing K Drama
Suicide Squad
The Honest candidate K Drama
Behind Her Eyes
Sisyphus K Drama
Venzano K Drama
Strangers K Drama
The Woman in the Mirror
Gemini Man
Legends
Wanted with An
Bridgeton
Agelina Jolie
War Dogs
The Holliday
The woman in the Mirror
How It Ends
Love and Monsters
Knives Out
Old Guard
Love, Death, and Robots
Borek Movie
July
61 Sweet Tooth
Mine K Drama
Glitch
Parasite K movie 2020 Oscar Winner
Legends of Alhambra K Drama
Sin City
The Talented Mr. Ripley
August
The negotiator K movie
No exit K movie
Crash Landing On Me K Drama
Jackel 1997 US Movie
Night in Paradise K movie
My Love from the Stars – K Drama
Movie Watching Goals 2021
100 movies/TV series by the end of the year.
At least one Korean movie per week
At least one Spanish movie per month
One Bollywood or another foreign language movie per month
A mixture of thrillers, K Drama, comedies, romcom, etc
Make a list of Oscar movies, watch several
Resume going to the theater later in the year
When traveling to the US watch five movies each trip
the list
January
Bloodshot
Ozark
Bloodlines
Discovery
Humans are Useless Hoopla
Wu Assassins
6 Underground
Warrior Nuns
Alice In Borderland
I Am Not Okay with This
Constantine
The Beach
Holliday
Rebecca
About Time
Spy games
We could be heroes
Vastness of the Night Amazon
February
Hanna
The Expanse
Sneaky Pete -Amazon
How it Ends
The I Land
Wonder Woman
Get Out
Space Sweepers K SF Drama
I Care a Lot 2020 TV
Messiah
March
Itaewon Class K Drama
Sense 8
Salvation
The Order
Lock N Key
Ballad of Buster Scruggs
Titans
April
O/A
Abyss
Outer Banks
White Lines
Umbrella Acadamy
The Last Man Standing K Drama
May
Suicide Squad
The Honest candidate K Drama
Behind Her Eyes
Sisyphus K Drama
Venzano K Drama
Strangers K Drama season one
Strangers K Drama season two
Strangers K Drama season three
The Woman in the Mirror
Gemini Man
Legends
Bridgeton Netflix top-ranked series
June
Wanted with Angelina Jolie 2005?
War Dogs
The Holliday
The woman in the Mirror
How It Ends
Love and Monsters
Knives Out
July
Old Guard
Love, Death, and Robots
Borek Movie
Sweet Tooth
Mine K Drama
Glitch
Parasite K Drama
Legends of Alhambra K Drama
August
Sin City
The Talented Mr. Ripply
The negotiator K movie
No exit K movie
Crash Landing On You K Drama
September
Jackel 1997 US Movie
Night in Paradise K movie
DP K drama
Con K drama movie
October
When the Camelia Blooms K Drama
Squid Games K Drama number 1 on netflix
The Devil’s Advocate
Move to Heaven K Drama
The Money Heist Spanish Series
On Plane
Minuri
Cool Hand Luke
Citizen Kane
Jungle Cruise
Free Guy
Black Widow
King Kong V Godzilla
Crazy Rich Asians
Return to Korea
Bliss Amazon
Tomorrow’s Wars Amazon
Reflections on You (K Drama, Netflix)
Red Notice (Netflix)
Reflection on You (K Drama)
Hell Bound K Drama
To watch list
Dune
Latest James Bond
Amazon Prime videos
K Drama List
Crashlanding on you
Legends of Alhambra
The negotiator movie
No exit movie
Mine
Venzeano
Sisyphus
Stranger
Space Sweepers K SF Drama
The Last Man Standing K Drama
Mr. Sunshine
Itaewon Class
Mr. Kim’s convenience
A night in Paradise
Minuri
Reflections On You
Hell Bound
To watch
My Love from the Stars K Drama
Sky Castle
Kingdom
Reply 1988
Signal
My Mister
Hospital PlayList
Flower of Evil
The Most Exciting TV Shows Coming in 2021: From ‘Wanda Vision’ to ‘Impeachment’
I May Destroy You and The Queen’s Gambit makes Willa Paskin’s list.
2020 was not a great year—even for television. There was a tremendous amount of TV shows, most of which were fine; some of which, despite not even being all that fine, hit the strange, stressful, contained spot we all found ourselves in; and some of which that was, you know, good. For this list, when I say “good” I mean “the shows I most enjoyed,” a deeply fuzzy determination based on the series’ ambition, uniqueness, and, like, how much I wanted to watch it. This list contains several shows—including the first two—that I would describe as the year’s “best,” but it’s also peppered with shows I would primarily describe as personal favas. Would I have loved Ted Lasso so much in another year? I truly don’t know. All I know is, in this one, it felt like a bomb.
At the end of the first episode of I May Destroy You, creator, writer, and star Michaela Coal’s character, Arabella, is drugged and raped in a bar. The rest of the series, inspired by Coal’s own experience, follows Arabella as she tries to process what happened—and so much else. I May Destroy You explores consent in various permutations, but it also digs deep on Arabella, a charismatic, talented, tempestuous, brilliant, and undisciplined writer, friend, goof, lover, drug taker, social media influencer, and artist in the making. In a year when people prized escape, I May Destroy You offered something tougher and more hopeful: the possibility you just might be able to wring something meaningfulout of the awful past.
In a year full of popular documentary series, City So Real is better than all the rest of them. Loosely arranged around the 2019 Chicago mayoral race, it plays fly on the wall in neighborhoods all over the city. At protests, campaign rallies, barbershops, bars, city meetings, restaurants, campaign offices, dinner parties, radio stations, and dingy administrative rooms, a cross-section of indelible Chicagoans, so distinctive they wouldn’t feel out of place in fiction, talk about their hard-nosed home and its intricate politics. The show is sprawling and yet as perfectly assembled like a jigsaw puzzle. Put together, it gives the full scope of a flawed, challenging, changing city and its stubbornly devoted residents.
The character Ted Lasso (Jason Sudeikis) first popped up in a series of sports promos, but he reappeared in the full-fledged series Ted Lassojust in time to counterprogram the state of the world. Lasso, basically, the nicest guy in existence, knows nothing about soccer when he takes over a British football club, but no matter, he knows human beings. With his emotional know-how, can-do attitude, kindly good spirits, down-home charm, and warm, fuzzy personality (and mustache), he wins over the excellent British supporting cast who, surprise surprise, are all lovely deep down, too. It’s a fantasy of American decency and British patience for cornpone jokes that I found irresistible.
Three seasons of The Great Pottery Throw Down, a craft competition shows that’s The Great British Clay-Off, arrived on HBO Max all at once this year. The artistry on the show leaves a little to be desired—the tension between utility and inspiration tilts toward the former—but I’m a sucker for watching people make things, and there’s something particularly hypnotic about people pulling shapes out of lumps of whirring clay. The show also has Keith Brymer Jones, a bulky master potter with a molting Flock of Seagulls hairstyle who is the anti–Paul Hollywood. Instead of macho shtick and a crushing congratulatory handshake, he tears up at the contestants’ accomplishments, not only when they do great work, but when they exceed themselves.
Mrs. Americatells the story of the failed fight to pass the Equal Rights Amendment when equality and second-wave feminists were both bested by the driven and polarizing Phyllis Schlafly (Cate Blanchett). Big picture, it’s a slow-motion tragedy, but episode by episode it’s juicy and thrilling to watch, and chock-full of wonderful performances. It focuses not only on Schlafly but on women’s movement boldface names like Gloria Steinem (Rose Byrne), Shirley Chisholm (Uzoh Daub), Bella Abzug (Margo Martindale), and Betty Friedan (Tracey Ullman), who were trying to do so much for so many that they were undone by a woman on a mission to remake female equality into the bipartisan issue it remains today. Mrs. America perhaps makes the mistake of framing Schlafly as primarily an opportunist, not exactly an ideologue, but it gets across its gutting point: In this instance, the past isn’t prologued, because it’s not even past.
If you were to imagine in a vacuum what a premium cable miniseries about the life of the abolitionist John Brown might look like, you’d almost surely imagine something much stuffier and soberer than The Good Lord Bird. With the award-winning James McBride novelas a guideline, this drama takes the most serious of subjects, America’s peculiar institution, and explores it with intelligence, verve, and wit. The story is told from the perspective of Onion (Joshua Caleb Johnson), the young Black boy who joins Brown’s (Ethan Hawke) ragtag group, and whom Brown, blind to the basics of the people’s he’s devoted his life to helping, spends the whole series believing to be a girl. Hawke is incredible as Brown, a loony force of nature, long-winded, hilarious, intermittently gentle, and terrifying, spitting brimstone and, well, spit. He’s part of the show’s no-sacred-cows approach to history, in which even the righteous can be ridiculous, stumbling blindly through time, but that doesn’t make them any less right.
The Queen’s Gambit opens like it’s going to be a brooding gothic about abandonment, addiction, and loneliness, only to renege and deliver something more straightforwardly satisfying: a superhero story about genius, community, and chess. The show is a realist fantasy, where all the details—the period wallpaper, the interior design, the gameplay—are accurate, but the misogyny has gone missing, with men falling all over one another to help Beth Harmon, the genius who just defeated them. Whether that’s inspiring or facile, it’s a blast. It also features a very strong supporting cast whose standouts include the director Marielle Heller as Beth’s loving, enabling adopted mother, and a shockingly charming human string bean.
Bluey, an animated Australian children’s show about a family (who happen to be dogs), is the most playful, sweet, wholesome, nondidactic, and—why it is on this list!—least annoying children’s show on television.
Netflix’s docuseries Cheer premiered at the very beginning of January, so basically, the distant past. In the interim so much has happened, including the disturbing and distressing allegationsinvolving one of the leads, the show’s emotional center. It’s hard to reconcile, but so was the show itself, a study of the grueling lengths young adults will go to belong to something bigger than themselves. Is it worth it? Should the adult in charge know better and push less? Are the demands being put on their bodies—the concussions, the broken limbs—teaching them self-discipline, or just giving them a lifetime of ailments? And why was it impossible (for me, anyway) not to get caught up in its sports-movie-triumph narrative?
This is a bit of a list trickery, in which I use the pesky 10th slot as an alert more than anything else: If you or anyone you know has ever enjoyed a teen drama that aired on the WB or UPN, or knows a current teen who seems like they would dig that kind of thing, may I please introduce you to Netflix’s Teenage Bounty Hunters, essentially a lost WB show just waiting for a time slot before Buffy, Veronica Mars, Dawson’s Creek, or Felicity. Two fraternal twin sisters—one naughty, one nice, but swapping roles all the while—who attend a Christian high school start a sideline as bounty hunters after crashing their dad’s car. It’s a case-of-the-week show, a teen show, a family mystery show, and it’s scrappy and plucky and full of banter, a lighter-side Veronica Mars. It also addresses one of the great concerns of my youth: whether all those WB shows could have had bigger audiences if only they’d been on different channels (the answer is no.) Netflix didn’t pick this show up for a second season, which means, in great WB fashion, this show already has the makings of a cult classic.
What did movies matter in 2020? What did anything? I don’t intend those questions in the nihilistic sense of “lol nothing matters.” I pose them open-endedly in the last weeks of a year that put such once foundational concepts as mattering, let alone movies, into question. All the things we lost in the coronavirus pandemic in 2020—our gathering places, our public institutions, our jobs, our sense of daily shared reality, and for far too many Americans, our loved ones’ lives—put the things we were still able to do into sharper relief. And one of the best things you can still do when holed up at home, as long as you have a home and some means of wiring yourself into the ambient digital matrix we all now exist in, is watch movies.
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Without theaters, the cinematic year (like the year) felt amorphous and hazy. What constituted a “hit” or a “flop” in 2020? Which movies were the virtual-festival darlings, the hyped-up disappointments, or the word-of-mouth successes? Because almost all of our viewing happened in private, and because the big streaming platforms guard their data like Smaug his hoard, it was hard to determine which movies people were talking about or ignoring, hard to choose what to watch, and more and more as this year of entertainment-conglomerate mergers wore on, hard to figure out where to stream it. Watercooler conversation can’t very well drive box office receipts when the only watercooler insight is your kitchen sink and the only box office is … Home Box Office. But though there were far fewer opportunities to talk about a movie on the way out of the theater—surely among life’s peak everyday experiences—there were more chances than usual to fall into weird indie rabbit holes and nurture new cinematic crushes.
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A methodological note on this year’s list: I have been loose on the parameters as to what constitutes a “2020 movie.” Some of the below titles showed at festivals in 2019, were meant to open theatrically this year, and wound up going straight to streaming instead. Others were released in both formats at different times during the year, and at least one never ended up opening at all but remains on the list as a harbinger of good films to come. This is a record of the movie year as I experienced it: fragmentary, catch-as-catch-can, often out of sync with “the conversation” yet somehow astonishingly timely. No movie on this list could have been conceived after the pandemic shut down film production, yet many if not most of them seem somehow to respond to our current historical moment of cabin fever and barely contained mass rage. If I had to find a thread running through the movies that follow (though imposing thematic coherence on any list this diffuse is a fool’s game), it would have something to do with captivity and freedom. The characters in these films are often escaping, hiding out, lying in wait, fetching the bolt cutters to find their way out of whatever traumatic past has trapped them. While you wait for your shot at freedom (in the form, it now seems, of that first vaccine injection), here are some great movies to get you through the next few months. In alphabetical order:
The Assistant
Kitty Green’s unassuming but keenly observed first narrative feature follows one terrible workday in the life of an intern of a never-seen movie producer who’s a serial sexual abuser in the Harvey Weinstein mold. Ozark’s Julia Garner is on screen, often alone, for virtually every second of the movie. Her miserably treated character is the only moral center in this austere movie’s cold and self-dealing universe, and she could easily have gone for Cinderella-style sympathy from the audience (if instead of sweeping ashes from the hearth, Cinderella stapled scripts and fielded calls from anxious wives). But Garner rejects the temptation to coast as a suffering ingenue. In a quietly bravura performance that’s dialogue-free for long stretches, she fills in a whole tragic back story just by the way she listens. (Listen to the Culture Gabfest review The Assistant.)
From its opening image—Brazil has seen from space, the fires in the Amazon visible, as a classic Caetano Veloso song plays on the soundtrack—Kleber Mendonca Filho’s genre-splicing thriller has an air of unsettling mystery. The title is the name of a remote village in the country’s hardscrabble northeast, where, for reasons never fully explained, an international team of white supremacist assassins led by the always-chilling Udo Kier descends to wreak brutal and possibly supernatural mayhem. Densely plotted and packed with vivid actors including the legendary Sonia Braga, this ambitious if the sometimes inscrutable film takes place shortly, “a few years from now.” But its merciless vision of global politics as a zero-sum class and race struggle, and its almost comedically grisly final action sequence, feels very much of the present.
Kant emir Balagan’s second feature, about a young woman working as a military nurse in post–World War II Leningrad, is filmed in a palette of impossibly rich greens, reds, and golds—every frame glows with the intensity of a stained-glass window or an illuminated manuscript. That
lush pictorial beauty offsets the extreme bleakness of the story, as the lanky “beanpole” of the title (Viktoria Miroshnichenko) contends with the psychic fallout from her service in the war. In increasingly self-destructive ways, she seeks to expiate her bottomless guilt for what she perceives as a terrible wrong done to a friend, but which the audience, with more compassion for the characters than they can summon for themselves, understands as a wrong done to Beanpole herself by the implacable cruelty of history.
In the fall of 2015, a fire broke out at a packed nightclub in Bucharest, Romania, resulting in the death of 64 people and the permanent disfigurement of more than 100 more. In the years that followed, public outrage over the incident—the club had no functioning fire exits—caused a government to fall and a new activist movement to arise. Alexander Nana’s intricate, suspenseful documentary tracks the journalistic effort to expose the complex knot of corruption, deception, and negligence that enabled both the disaster itself and the failure of the health care system to do right by the victims after. This is one of the most heartbreaking films I watched in a year already drowning in heartbreak, but also one of the most necessary at a time when the fourth estate is often the last line of defense against a global capitalist system that seems designed to be quite homicidal.
In retrospect, Chadwick Boseman’s sudden, tragic, and, for everyone but those in his most intimate circle, completely unexpected death of colon cancer in August makes this Spike Lee joint about a group of Black veterans returning to Vietnam all the more moving and urgent. But Da 5 Bloods would have been one of the best movies of the year anyway. Boseman’s role is small but pivotal: His climactic encounter with the older vet played superbly by Delray Lindo is a scene of transformation and healing that fully justifies the rush of cathartic tears it brings. In addition to being insightful about Vietnam War trauma and the complications of modern Black masculinity, Da 5 Bloods is a rollicking buddies-on-the-road comedy, full of earthy humor and jovial trash talk. The early scene when the four old soldiers, tropical drinks in hand, boogie their way to their table at a real-life Ho Chi Minh City disco called Apocalypse Now is one of the year’s great depictions of an experience so many of us missed over this homebound year: goofing off on the dance floor with friends. (Read the review.)
Kelly Reichardt’s seventh feature, a stripped-down Western about the tender friendship between two lonely men in a Pacific Northwest pioneer town in 1820, was the last film I saw in a theater in 2020, at an early March press preview surrounded by colleagues, some of them longtime friends. That whole night had an unusually celebratory feeling; First Cow had blown away everyone I spoke to about it, but the feeling it left in its wake was a quiet, subdued kind of dazzlement, the sneaking suspicion that early in the release calendar though it still was, we had probably just watched one of the most original and accomplished movies we’d see all year. Afterward, in the lobby, there was a little reception with a waiter serving “oily cakes,” the sweet fried-dough pastry that figures crucially in the movie’s plot. Munching them, it was easy to see how this confection, a rare delicacy in the movie’s hardscrabble setting, could have caused the high-stakes competition for scarce resources that the movie chronicles. But though First Cow is all about finding a way to survive in an environment of scarcity, this contemplative, compassionate drama is a miracle of filmmaking abundance, with incandescent performances from John Magar and Orion Lee and the curiously calming presence of Eve, the prettiest on-screen bovine since Buster Keaton fell in love with a heifer in the 1925 silent Go West. (Listen to the Culture Gabfest review First Cow.)
As I was finalizing this list, it occurred to me that one of the most crucial functions of movie viewing, especially in a year like this (has there ever been a year like this? Maybe 1918?), was sadly underrepresented. Sometimes all you need is some stylish escapism, a low-stakes hangout film where likable characters pursue sparkling or snarky conversations over flutes of Champagne in rooms with flattering lighting. To the rescue just in time came Steven Soderbergh’s latest comedy, about an egocentric novelist (Meryl Streep) who invites two long-estranged friends (Candice Bergen and Dianne Wiest) and her devoted nephew (Lucas Hedges) on a trans-Atlantic cruise to collect a literary prize in Europe. At first, the generically titled Let Them All Talk seemed like it was going to be a Nancy Meyers–style rom-com about frisky codgers on a boat—not that there would be anything remotely wrong with that. But by 20 minutes in, it was clear this was pure Soderbergh, a multicharacter caper film in the mode of his Ocean’s movies, Out of Sight, or Magic Mike. The difference: Instead of winning a striptease competition or robbing a high-security bank, this crew of oddballs—three strong-willed middle-aged women, an awkward young man, and the various colorful characters they cross paths with on the ship—is simply seeking to come to terms with the undone work of their own lives: the longtime friendships in need of repair, the romantic connections not yet made, the books left to write. (Read the review.)
Lee Isaac Chung’s semi-autobiographical film follows a Korean immigrant family in the 1980s as they attempt to turn a recalcitrant piece of land in rural Arkansas into a working vegetable farm. The story is seen mainly through the eyes of 7-year-old David, played with movie-stealing aplomb by the tiny but utterly self-possessed first-time actor Alan S. Kim. (His petulant delivery of “I’m not pretty! I’m good-looking!” may be my single favorite line reading of the year.) But Steven Yuen, in a marvelously understated performance as his stubborn but fiercely devoted father, gives the kid a run for his money. Minami is a drama about immigrants that don’t try to make grand statements about the immigrant experience in America. Rather, it tells the specific story of one family, dysfunctional and troubled in its particular way, but held together by a powerful bond of love. (Read the review.)
Jessica Broder’s 2017 book on retirement-age migrant workers living out of their RVs provided the source material for this lyrical portrait of a widow (Frances McDormand) who takes to the road after a mine closure eliminates the small company town she’s lived in her whole life. I don’t know how to add to what I already wrote in my review, and what so many others have said: Nomad land is a miracle of a movie that somehow transmutes painful experiences like homelessness, loneliness, and systemic exploitation by a pitiless labor market into a poetic meditation on freedom, friendship, and the passage of time. (Read the review.)
This is the only movie on the list that hasn’t yet been released at all. I saw it in late February, the week before the coronavirus started to shut down in-person press screenings, and my lovestruck review of it is still waiting in the can be published, although the headline—calling it “The First Great Horror Film of 2020”—will have to change by a digit. But I leave it on the list in anticipation of great films to come. The English director Rose Glass, making her debut feature, serves up a gory brew of body horror and spiritual cinema in the tradition of Robert Bresson. Jennifer Hele and Morfitt Clark are spellbinding as a terminally ill choreographer and her fanatically religious young caregiver. Are the ecstatic visions that ravish Maud in her sordid bedsit the work of the divine, the demonic, or her own mental and emotional instability? It’s the rare movie that delves this deeply into the experience of personal faith and (Lord, that final shot!) scares your pants off to boot.
I May Destroy You and The Queen’s Gambit makes Willa Paskin’s list.
2020 was not a great year—even for television. There was a tremendous amount of TV shows, most of which were fine; some of which, despite not even being all that fine, hit the strange, stressful, contained spot we all found ourselves in; and some of which that was, you know, good. For this list, when I say “good” I mean “the shows I most enjoyed,” a deeply fuzzy determination based on the series’ ambition, uniqueness, and, like, how much I wanted to watch it. This list contains several shows—including the first two—that I would describe as the year’s “best,” but it’s also peppered with shows I would primarily describe as personal favas. Would I have loved Ted Lasso so much in another year? I truly don’t know. All I know is, in this one, it felt like a bomb.
At the end of the first episode of I May Destroy You, creator, writer, and star Michaela Coal’s character, Arabella, is drugged and raped in a bar. The rest of the series, inspired by Coal’s own experience, follows Arabella as she tries to process what happened—and so much else. I May Destroy You explores consent in various permutations, but it also digs deep on Arabella, a charismatic, talented, tempestuous, brilliant, and undisciplined writer, friend, goof, lover, drug taker, social media influencer, and artist in the making. In a year when people prized escape, I May Destroy You offered something tougher and more hopeful: the possibility you just might be able to wring something meaningfulout of the awful past.
In a year full of popular documentary series, City So Real is better than all the rest of them. Loosely arranged around the 2019 Chicago mayoral race, it plays fly on the wall in neighborhoods all over the city. At protests, campaign rallies, barbershops, bars, city meetings, restaurants, campaign offices, dinner parties, radio stations, and dingy administrative rooms, a cross-section of indelible Chicagoans, so distinctive they wouldn’t feel out of place in fiction, talk about their hard-nosed home and its intricate politics. The show is sprawling and yet as perfectly assembled like a jigsaw puzzle. Put together, it gives the full scope of a flawed, challenging, changing city and its stubbornly devoted residents.
The character Ted Lasso (Jason Sudeikis) first popped up in a series of sports promos, but he reappeared in the full-fledged series Ted Lassojust in time to counterprogram the state of the world. Lasso, basically, the nicest guy in existence, knows nothing about soccer when he takes over a British football club, but no matter, he knows human beings. With his emotional know-how, can-do attitude, kindly good spirits, down-home charm, and warm, fuzzy personality (and mustache), he wins over the excellent British supporting cast who, surprise surprise, are all lovely deep down, too. It’s a fantasy of American decency and British patience for cornpone jokes that I found irresistible.
Three seasons of The Great Pottery Throw Down, a craft competition shows that’s The Great British Clay-Off, arrived on HBO Max all at once this year. The artistry on the show leaves a little to be desired—the tension between utility and inspiration tilts toward the former—but I’m a sucker for watching people make things, and there’s something particularly hypnotic about people pulling shapes out of lumps of whirring clay. The show also has Keith Braymer Jones, a bulky master potter with a molting Flock of Seagulls hairstyle who is the anti–Paul Hollywood. Instead of macho shtick and a crushing congratulatory handshake, he tears up at the contestants’ accomplishments, not only when they do great work, but when they exceed themselves.
Mrs. Americatells the story of the failed fight to pass the Equal Rights Amendment when equality and second-wave feminists were both bested by the driven and polarizing Phyllis Schlafly (Cate Blanchett). Big picture, it’s a slow-motion tragedy, but episode by episode it’s juicy and thrilling to watch, and chock-full of wonderful performances. It focuses not only on Schlafly but on women’s movement boldface names like Gloria Steinem (Rose Byrne), Shirley Chisholm (Uzoh Daub), Bella Abzug (Margo Martindale), and Betty Friedan (Tracey Ullman), who were trying to do so much for so many that they were undone by a woman on a mission to remake female equality into the bipartisan issue it remains today. Mrs. America perhaps makes the mistake of framing Schlafly as primarily an opportunist, not exactly an ideologue, but it gets across its gutting point: In this instance, the past isn’t prologued, because it’s not even past.
If you were to imagine in a vacuum what a premium cable miniseries about the life of the abolitionist John Brown might look like, you’d almost surely imagine something much stuffier and soberer than The Good Lord Bird. With the award-winning James McBride novelas a guideline, this drama takes the most serious of subjects, America’s peculiar institution, and explores it with intelligence, verve, and wit. The story is told from the perspective of Onion (Joshua Caleb Johnson), the young Black boy who joins Brown’s (Ethan Hawke) ragtag group, and whom Brown, blind to the basics of the people’s he’s devoted his life to helping, spends the whole series believing to be a girl. Hawke is incredible as Brown, a loony force of nature, long-winded, hilarious, intermittently gentle, and terrifying, spitting brimstone and, well, spit. He’s part of the show’s no-sacred-cows approach to history, in which even the righteous can be ridiculous, stumbling blindly through time, but that doesn’t make them any less right.
The Queen’s Gambit opens like it’s going to be a brooding gothic about abandonment, addiction, and loneliness, only to renege and deliver something more straightforwardly satisfying: a superhero story about genius, community, and chess. The show is a realist fantasy, where all the details—the period wallpaper, the interior design, the gameplay—are accurate, but the misogyny has gone missing, with men falling all over one another to help Beth Harmon, the genius who just defeated them. Whether that’s inspiring or facile, it’s a blast. It also features a very strong supporting cast whose standouts include the director Marielle Heller as Beth’s loving, enabling adopted mother, and a shockingly charming human string bean.
Bluey, an animated Australian children’s show about a family (who happen to be dogs), is the most playful, sweet, wholesome, nondidactic, and—why it is on this list!—least annoying children’s show on television.
Netflix’s docuseries Cheer premiered at the very beginning of January, so basically, the distant past. In the interim so much has happened, including the disturbing and distressing allegationsinvolving one of the leads, the show’s emotional center. It’s hard to reconcile, but so was the show itself, a study of the grueling lengths young adults will go to belong to something bigger than themselves. Is it worth it? Should the adult in charge know better and push less? Are the demands being put on their bodies—the concussions, the broken limbs—teaching them self-discipline, or just giving them a lifetime of ailments? And why was it impossible (for me, anyway) not to get caught up in its sports-movie-triumph narrative?
This is a bit of a list trickery, in which I use the pesky 10th slot as an alert more than anything else: If you or anyone you know has ever enjoyed a teen drama that aired on the WB or UPN, or knows a current teen who seems like they would dig that kind of thing, may I please introduce you to Netflix’s Teenage Bounty Hunters, essentially a lost WB show just waiting for a time slot before Buffy, Veronica Mars, Dawson’s Creek, or Felicity. Two fraternal twin sisters—one naughty, one nice, but swapping roles all the while—who attend a Christian high school start a sideline as bounty hunters after crashing their dad’s car. It’s a case-of-the-week show, a teen show, a family mystery show, and it’s scrappy and plucky and full of banter, a lighter-side Veronica Mars. It also addresses one of the great concerns of my youth: whether all those WB shows could have had bigger audiences if only they’d been on different channels (the answer is no.) Netflix didn’t pick this show up for a second season, which means, in great WB fashion, this show already has the makings of a cult classic.
Here are 32 new films to see this season, whether you’re ready to return to theaters or want to stay on the couch.
Hollywood has a crowded slate of films—delayed by the pandemic and otherwise—to release over the next three months. That makes choosing what to see more stressful than usual, especially when some titles can be seen both in theaters and at home. To make the process more manageable, I’ve scrutinized trailers and even screened some of the films below to put together this guide for all your needs, whatever they may be. My first question, to set the scene: How far would you like to venture away from your couch?
I Want to Go Back to Theaters and …
… I’M CRAVING BIG-SCREEN ACTION
F9 (JUNE 25)
The latest installment in the Fast & Furious series sees Vin Diesel’s near-indestructible Dominic Toretto face off against his brother, Jakob (played by John Cena); the return of the fan-favorite character Han (Sung Kang); and—I’m guessing—a lot of cars vrooming and whooshing about. The film has already sped into theaters overseas and earned a pandemic record-making $163 million in its opening weekend. If the director Justin Lin keeps upping the ante with the action in these movies’ inevitable sequels, as he has skillfully done in previous Fast movies, this franchise might just last forever.
SNAKE EYES: G.I. JOE ORIGINS (JULY 23)
Starring Crazy Rich Asians’ Henry Golding as the titular ninja, this G.I. Joe spin-off draws inspiration from a comic-book series that traces Snake Eyes’ backstory before he lost his voice. It’s also a blatant attempt to build another cinematic universe, but the trailer offers enough flashy sword fights and martial-arts showdowns to make the effort worthwhile for now. If nothing else, I’m curious to see if Golding’s got the chops to be a leading action star. (I have a feeling he does.)
I Want to Go Back to Theaters and …
… I’M CRAVING BIG-SCREEN ACTION
F9 (JUNE 25)
The latest installment in the Fast & Furious series sees Vin Diesel’s near-indestructible Dominic Toretto face off against his brother, Jakob (played by John Cena); the return of the fan-favorite character Han (Sung Kang); and—I’m guessing—a lot of cars vrooming and whooshing about. The film has already sped into theaters overseas and earned a pandemic record-making $163 million in its opening weekend. If the director Justin Lin keeps upping the ante with the action in these movies’ inevitable sequels, as he has skillfully done in previous Fast movies, this franchise might just last forever.
SNAKE EYES: G.I. JOE ORIGINS (JULY 23)
Starring Crazy Rich Asians’ Henry Golding as the titular ninja, this G.I. Joe spin-off draws inspiration from a comic-book series that traces Snake Eyes’ backstory before he lost his voice. It’s also a blatant attempt to build another cinematic universe, but the trailer offers enough flashy sword fights and martial-arts showdowns to make the effort worthwhile for now. If nothing else, I’m curious to see if Golding’s got the chops to be a leading action star. (I have a feeling he does.)
BLACK WIDOW (JULY 9)
The superspy played by Scarlett Johansson didn’t get a funeral in Avengers: Endgame, but she is getting the solo film her fans have been campaigning for since it was possible to binge all of the Marvel movies in less than a day. (For those counting, this is the Marvel Cinematic Universe’s 24th entry.) This prequel follows Natasha on a mission across Europe to reunite her “family,” characters who will probably be essential to the next films. Bonus tip: Don’t forget to watch for a post-credits scene.
WARNER BROS.
THE SUICIDE SQUAD (AUGUST 6)
Comic-book superheroes rarely ever actually die. The same goes for comic-book-inspired film franchises. The David Ayer–directed version of Suicide Squadbombed with critics, but the band of supervillains forced to do the government’s bidding is getting a second chance, with some fresh additions to the cast and a new director in James Gunn, the needle-drop-happy mind behind Marvel’s Guardians of the Galaxy movies. Come for Margot Robbie reprising her gonzo performance as Harley Quinn; stay for what appears to be a much more irreverent and coherent version of the story. At the very least, this version looks lit brightly enough so that we can see what’s happening.
… I LIKE MY MOVIES TO COME WITH A BEAT
IN THE HEIGHTS (JUNE 11)
A feel-good hug of a movie that might make you dance in your seat, this adaptation of the Broadway hit by Lin-Manuel Miranda and Quiana Alegria Hodes dazzles with Jon M. Chu’s maximalist direction. The story follows characters living in the disappearing Latino neighborhood of Washington Heights, all with their ideas for fulfilling their American dreams. Consider this my official endorsement of the film’s sterling quality, and an appeal for concession stands across America to please add piragua to their menu.
FOCUS FEATURES
THE SPARKS BROTHERS (JUNE 18)
The director Edgar Wright (Baby Driver, Scott Pilgrim vs. the World) trains his eye on the quirky musical duo, whose sound has influenced, well, almost every band in existence, this documentary argues. Featuring interviews with dozens of musicians (Beck, Flea, Jack Anton off) and notable no musicians (Mike Myers, Jason Schwartzman), the film, which premiered this year at Sundance, is a close look at music history and a peek inside Wright’s kinetic mind.
RESPECT (AUGUST 13)
Biopics of famous entertainers need, above all else, the right actor in the leading role. This glitzy portrait of Aretha Franklin—not to be confused with the limited series that aired earlier this year—casts Jennifer Hudson as the legendary singer, and the star seems poised to embark on another awards-season run if all goes well. She’s surrounded by an equally impressive cast: The ensemble also includes heavyweights such as Forest Whitaker and Audra McDonald, along with an unexpected dramatic turn from Marlon Wayans as Aretha’s manager and first husband, Ted White.
THE BEATLES: GET BACK (AUGUST 27)
Peter Jackson of Lord of the Rings fame trades hobbits for the Fab Four. This documentary follows the Beatles as they make the album Let It Be and includes never-before-seen footage that had been cut from Michael Lindsay-Hogg’s 1970 doc. Jackson has stated that the hours of material he’s gathered show the foursome’s camaraderie and challenge the narrative that the album was made amid discord. I’ve got a feeling he’s right; after all, the film was created with approval from Paul McCartney, Ringo Starr, and the widows of John Lennon and George Harrison.
… I WANT TO SEE SOMETHING WITH MY PARENTS
STILLWATER (JULY 30)
In this thriller directed and co-written by Tom McCarthy (Spotlight), Matt Damon plays a blue-collar, salt-of-the-earth Everyman whose estranged daughter (Abigail Breslin) gets arrested for murder abroad. The script seems to have been inspired by the Amanda Knox case but told from an astonishingly resourceful and über-patriotic parent’s perspective. Think Jason Bourne, if Bourne had a conspicuous twang and transformative facial hair.
LIONSGATE
THE PROTÉGÉ (AUGUST 20)
Everything about this spy movie’s trailer—slow-motion shoot-outs, cool disguises, the villain delivering whispered threats—screams predictability, but the film has assembled a formidable cast, including Michael Keaton and Samuel L. Jackson. And I guess this is when I admit I’m a fan of the star Maggie Q’s CW-feed take on Nikita from the early 2010s. Campy action is her sweet spot.
REMINISCENCE (AUGUST 20)
One of the Westworld co-creators, Lisa Joy, wrote and directed this tale of a scientist (Hugh Jackman) who discovers a way to time travel through memory. If it’s anything like Joy’s work on the first season of the HBO series, it’ll be twisty but enthralling. If it’s anything like the latest season, it’ll give you a massive headache. Either way, the film marks a welcome return to hard sci-fi for Jackman after he starred in the underrated The Fountain more than a decade ago. (What’s that—he was in Chippie in 2015? Why would you remind me?)
… I NEED A KID-FRIENDLY FLICK
WARNER BROS.
SPACE JAM: A NEW LEGACY (JULY 16)
LeBron James steps into Michael Jordan’s shoes—er, Air Jordans—in this update on the cult favorite about NBA stars playing basketball alongside Looney Tunes characters. The villains this time are AI-controlled digital players, whatever that means. This might turn out to be nothing more than a shameless mashup of all the intellectual property Warner Bros. has ever owned, but if it matches the earnestness of its predecessor—and if James has half as much fun as Jordan did as a movie star—it just might work.
JUNGLE CRUISE (JULY 30)
Yes, this is Disney trying to turn another one of its theme-park rides into a billion-dollar franchise, but Emily Blunt and Dwayne “The Rock” Johnson’s combined charm can not—excuse me, will not—be denied. Jesse Plemons also drops in as the kooky villain who gets in the way of our heroes’ mission to find a tree with healing powers in the middle of the Amazon. If this Disney-feed spin on The African Queen all looks a bit … much, just remember: The CGI simply adds more scenery for all three stars to chew.
… I WANT TO BE TERRIFIED
THE FOREVER PURGE (JULY 2)
Just in time for Independence Day, the horror franchise about a dystopian version of America in which lawlessness gets to run rampant for a day every year will release what is (reportedly) its final installment. In it, a band of criminals decides that the annual purge should last longer than a day. Maybe forever. What are the odds of this series delivering four more sequels?
ESCAPE ROOM: TOURNAMENT OF CHAMPIONS (JULY 16)
As a breezy, 100-minute collection of puzzles and jump scares, the first film was a surprise hit, the kind of low-stakes entertainment even non–horror fans can enjoy. This sequel finds the surviving heroes from the original getting trapped in—you guessed it—another series of escape rooms with a group of other players. Though the tests look a lot harder to solve this time around, if the film’s writers continue to focus on the riddles, they might just figure out a way to sustain a franchise.
OLD (JULY 23)
Written and directed by M. Night Shyamalan, this graphic-novel adaptation follows a vacationing family who realizes that the beach they’re relaxing on is making them age at a rapid pace—so rapid, they’ll all be dead by the end of the day. Gael García Bernal and Phantom Thread’s Vicky Kreps star as the parents; their children age quickly into teens played by rising stars Alex Wolff and Thomasina McKenzie. Shyamalan, who’s expressed endearing excitement about making this film, has said his daughters gave him the source material—and perhaps the inspiration for the film’s underlying anxiety around getting older. In other words, he sees dying people.
THE NIGHT HOUSE (AUGUST 20)
Rebecca Hall stars as a widow grieving her husband’s death while alone—or is she?—in the house, he built for them. To go any further into the plot risks spoilers, but I can tell you that Hall’s character starts seeing visions of her husband lurking around the property. Also, according to critics who attended the Sundance Film Festival in 2020, this film couples its scares with innovative but intrusive sound design. Brace your senses.
CANDYMAN (AUGUST 27)
This remake/sequel to the 1992 film possesses quite the pedigree: Jordan Peele, the reigning king of our era of elevated horror, co-wrote the script with the producer Win Rosenfeld (Black Klansman) and the director Nia DaCosta, who made a splash on the festival circuit with the thriller Little Woods and is on deck to direct the Captain Marvel sequel, The Marvels. And I haven’t even mentioned the Emmy-winning actor Yahya Abdul-Mateen II (Watchmen), who stars as an artist finding inspiration in the urban myth about the titular killer with a hook for a hand (played by Tony Todd, returning to the role), only to unleash him, whatever he is.
… I MISS SEEING FESTIVAL FAVORITES IN PERSON
ANNA KOORIS / A24
ZOLA (JUNE 30)
Starring Riley Keough and Taylor Paige, this satirical romp follows a pair of women who go on a road trip to make some quick cash dancing in strip clubs. The film, which is based on a viral Twitter thread, scored distribution through the indie studio A24 even before it screened for the first time at Sundance in 2020. The gamble has paid off so far: Critics loved it. (Perhaps more movies should be based on tweets? Don’t @ me.)
THE GREEN KNIGHT (JULY 30)
A crown descending onto Dev Patel’s head and then lighting him on fire. A bear holding a lantern at the top of a staircase. A talking fox emerging from heavy fog. Based on thetrailers, it seems the director David Lowery has shrouded his film in cryptic, poetic images—which is appropriate, given that his source material is an ambiguous 14th-century fantasy epic filled with figurative language. The story follows an Arthurian knight (Patel) being tested for his chivalry by a giant green being. If Lowery has his way, the eerie atmosphere of the film, which was supposed to premiere at SXSW in 2020, will linger in your mind long after you finish watching it.
CODA (AUGUST 13)
Though I saw this at one of Sundance’s virtual screenings—as in, alone in my living room—I was pretty sure I wasn’t the only viewer who had used up all her tissues by the time the credits rolled. (I became certain when, two days later, Apple picked up the film for distribution for a festival-record $25 million.) The film tells a coming-of-age story through an unconventional heroine: a teenager who’s the only hearing member of her family, grappling with her responsibilities to her relatives and her love of singing. It’s a crowd-pleasing tearjerker, the kind I wish I’d seen in a packed theater.
… I’M JUST A HUGE RYAN REYNOLDS FAN
LIONSGATE
THE HITMAN’S WIFE’S BODYGUARD (JUNE 16)
The Deadpool actor plays a reluctant hero who gets dragged into scary shenanigans by a fearless woman. Explosions, pop-culture references, and jokes at Reynolds’s character’s expense ensue. Judging by the trailer, it seems like the film was a lot of fun to make for all of the actors involved, including an Oscar winner.
FREE GUY (AUGUST 13)
The Deadpool actor plays a reluctant hero who gets dragged into scary shenanigans by—frankly, I could just copy my previous paragraph and paste it here for this film. But there are some significant differences worth mentioning: Reynolds’s character exists inside a video game, a different Oscar winner (Taika Waititi) tags along, and the movie will probably be rated PG-13 instead of R.
I’d Rather Stay Home but …
… I WANT A TASTE OF BIG-SCREEN ACTION
AMAZON PRIME
THE TOMORROW WAR (JULY 2, AMAZON PRIME)
Chris Pratt is drafted to fight a war in the future against alien invaders and gets to grumble things like “I was trying to save my daughter. If I got to save the world to save her, then I’m gonna do it.” It’s a time-travel movie, so I’m expecting someone he meets in the future to turn out to be him or someone he knows, only older. (By the way, when did all movie aliens start looking like the Stranger Things Demogorgon?)
Also available: Black Widow (July 9, Disney+ with Premier Access); Space Jam: A New Legacy (July 16, HBO Max); The Suicide Squad (August 6, HBO Max)
… I WANT TO DANCE ALONG
SUMMER OF SOUL (JULY 2, HULU)
The music producer and DJ Questlove’s directorial debut traces the events of the Harlem Cultural Festival, a six-week celebration in 1969 featuring performers such as Nina Simone, Stevie Wonder, and B. B. King; the archival footage on display had been shelved for more than 50 years. The film took home several documentary awards at Sundance this year, for good reason: As much as it may be a history lesson about the decade, it’s also an absorbing concert movie and a probing look at how live music captured the frustrations and fears of members of the Black community and offered them catharsis when nothing else could.
Also available: In the Heights (June 11, HBO Max)
… I’M WATCHING IT WITH MY PARENTS
NETFLIX
THE ICE ROAD (JUNE 25, NETFLIX)
When the trailer for this disaster flick began with Liam Nelson driving in the snow, looking forlorn, I felt déjà vu: Hasn’t he already done this? Turns out I was thinking of 2019’s Cold Pursuit, a farce of a film in which Nelson’s character gets in the way of a turf war among gangs in the Rockies. This, on the other hand, is pure action: Nelson plays a trucker who must drive across thousands of miles of icy pavement to rescue a group of trapped miners. A perfectly chilly way to slide into summer.
Also available: Reminiscence (August 20, HBO Max)
… I NEED A KID-FRIENDLY FLICK
LUCA (JUNE 18, DISNEY+)
Pixar’s latest is a literal fish-out-of-water tale about an anxious merboy named Luca who ventures above the surface to—actually, it’s not clear what he’s up there to do, other than eat gelato, explore a quaint Italian seaside town, and accidentally terrorize its locals. But the animation looks delightful, and the story seems to be a fable about the wonders of getting outside your comfort zone. That’s a lesson for anyone, not just the children this film is aimed at.
NETFLIX
FATHERHOOD (JUNE 18, NETFLIX)
The comedian Kevin Hart stars in this film from an About a Boy co-writer, Paul Weitz, as a single parent trying to raise his adorable daughter, Maddy (Melody Hurd). You can imagine the hijinks: Hart’s Matthew struggles to find support, can’t tie a baby wrap, and fails to figure out how to do Maddy’s hair. Be ready for tears, though; the story’s based on a memoir and appears to delve into the unexpected loss of Maddy’s mom as much as it does into father-daughter antics.
Also available: Jungle Cruise (July 30, Disney+ with Premier Access); CODA (August 13, Apple TV+)
… I WANT TO BE TERRIFIED
HULU
FALSE-POSITIVE (JUNE 25, HULU)
Pregnancy has proved potent as inspiration for horror writers, and this film offers a modern spin on the subgenre nursed into being by Rosemary’s Baby. Ilana Glazer of Broad Citystars as a woman who, after a successful IVF treatment, starts to suspect that her doctor, played by Pierce Bresnan, has more sinister intentions in mind than helping her and her spouse (Justin Theroux) conceive.
THE FEAR STREET TRILOGY (JULY 2, 9, 16, NETFLIX)
Billed as a “film trilogy event” by Netflix, this collection of movies takes R. L. Stine’s young-adult-oriented book series and spins it into an R-rated mini cinematic universe. Set in and around the fictional Ohio town of Shadyside, the three films chronicle three very different, very creepy years in local history—1994, 1978, and 1666—that all have something to do with an ancient curse. Binge if you dare.
… I WANT A DASH OF ROMANCE
GOOD ON PAPER (JUNE 23, NETFLIX)
By now anyone who’s ever tried online dating knows what a “catfish” is. In this romantic comedy, however, the heroine, played by the comedian Ilia Schlesinger, falls for a “cuttlefish”—the kind of date who isn’t hiding via the internet but putting on an entire charade in person. Schlesinger based the script on an incident that happened to her in real life, so even if the relationship doesn’t end well, you can trust that it’ll be populated with her signature zany characters.
THE LAST LETTER FROM YOUR LOVER (JULY 23, NETFLIX)
Based on a Jojo Moyes novel, this decades-spanning romance toggles between the 1960s, when a writer (Callum Turner) falls for the wife (Shailene Woodley) of his subject, and present-day, when their love letters are found by a British journalist (Felicity Jones) who becomes determined to track them down. The plot’s easy to predict, but the period costumes and production design deliver the lush aesthetic that fans of such sweeping love stories cherish.
We want to hear what you think about this article. Submit a letter to the editor or write to letters@theatlantic.com.
Shirley Li is a staff writer at The Atlantic, where she covers culture.
K Drama List
Crashlanding on you
Legends of Alhambra
The negotiator movie
Mine
Venzeano
Sisyphus
Stranger
Space Sweepers K SF Drama
The Last Man Standing K Drama
Honest Candidate
Mr. Sunshine
Itaewon Class
Mr. Kim’s convenience
A night in Paradise
No exit
My Love from the Stars K Drama
To watch
Sky Castle
Kingdom
Reply 1988
Signal
My Mister
Hospital PlayList
Flower of Evil
The Most Exciting TV Shows Coming in 2021: From ‘Wanda Vision’ to ‘Impeachment’
I May Destroy You and The Queen’s Gambit makes Willa Paskin’s list.
2020 was not a great year—even for television. There was a tremendous amount of TV shows, most of which were fine; some of which, despite not even being all that fine, hit the strange, stressful, contained spot we all found ourselves in; and some of which that was, you know, good. For this list, when I say “good” I mean “the shows I most enjoyed,” a deeply fuzzy determination based on the series’ ambition, uniqueness, and, like, how much I wanted to watch it. This list contains several shows—including the first two—that I would describe as the year’s “best,” but it’s also peppered with shows I would primarily describe as personal favas. Would I have loved Ted Lasso so much in another year? I truly don’t know. All I know is, in this one, it felt like a bomb.
At the end of the first episode of I May Destroy You, creator, writer, and star Michaela Coal’s character, Arabella, is drugged and raped in a bar. The rest of the series, inspired by Coal’s own experience, follows Arabella as she tries to process what happened—and so much else. I May Destroy You explores consent in various permutations, but it also digs deep on Arabella, a charismatic, talented, tempestuous, brilliant, and undisciplined writer, friend, goof, lover, drug taker, social media influencer, and artist in the making. In a year when people prized escape, I May Destroy You offered something tougher and more hopeful: the possibility you just might be able to wring something meaningfulout of the awful past.
In a year full of popular documentary series, City So Real is better than all the rest of them. Loosely arranged around the 2019 Chicago mayoral race, it plays fly on the wall in neighborhoods all over the city. At protests, campaign rallies, barbershops, bars, city meetings, restaurants, campaign offices, dinner parties, radio stations, and dingy administrative rooms, a cross-section of indelible Chicagoans, so distinctive they wouldn’t feel out of place in fiction, talk about their hard-nosed home and its intricate politics. The show is sprawling and yet as perfectly assembled like a jigsaw puzzle. Put together, it gives the full scope of a flawed, challenging, changing city and its stubbornly devoted residents.
The character Ted Lasso (Jason Sudeikis) first popped up in a series of sports promos, but he reappeared in the full-fledged series Ted Lassojust in time to counterprogram the state of the world. Lasso, basically, the nicest guy in existence, knows nothing about soccer when he takes over a British football club, but no matter, he knows human beings. With his emotional know-how, can-do attitude, kindly good spirits, down-home charm, and warm, fuzzy personality (and mustache), he wins over the excellent British supporting cast who, surprise surprise, are all lovely deep down, too. It’s a fantasy of American decency and British patience for cornpone jokes that I found irresistible.
Three seasons of The Great Pottery Throw Down, a craft competition shows that’s The Great British Clay-Off, arrived on HBO Max all at once this year. The artistry on the show leaves a little to be desired—the tension between utility and inspiration tilts toward the former—but I’m a sucker for watching people make things, and there’s something particularly hypnotic about people pulling shapes out of lumps of whirring clay. The show also has Keith Brymer Jones, a bulky master potter with a molting Flock of Seagulls hairstyle who is the anti–Paul Hollywood. Instead of macho shtick and a crushing congratulatory handshake, he tears up at the contestants’ accomplishments, not only when they do great work, but when they exceed themselves.
Mrs. Americatells the story of the failed fight to pass the Equal Rights Amendment when equality and second-wave feminists were both bested by the driven and polarizing Phyllis Schlafly (Cate Blanchett). Big picture, it’s a slow-motion tragedy, but episode by episode it’s juicy and thrilling to watch, and chock-full of wonderful performances. It focuses not only on Schlafly but on women’s movement boldface names like Gloria Steinem (Rose Byrne), Shirley Chisholm (Uzoh Daub), Bella Abzug (Margo Martindale), and Betty Friedan (Tracey Ullman), who were trying to do so much for so many that they were undone by a woman on a mission to remake female equality into the bipartisan issue it remains today. Mrs. America perhaps makes the mistake of framing Schlafly as primarily an opportunist, not exactly an ideologue, but it gets across its gutting point: In this instance, the past isn’t prologued, because it’s not even past.
If you were to imagine in a vacuum what a premium cable miniseries about the life of the abolitionist John Brown might look like, you’d almost surely imagine something much stuffier and soberer than The Good Lord Bird. With the award-winning James McBride novelas a guideline, this drama takes the most serious of subjects, America’s peculiar institution, and explores it with intelligence, verve, and wit. The story is told from the perspective of Onion (Joshua Caleb Johnson), the young Black boy who joins Brown’s (Ethan Hawke) ragtag group, and whom Brown, blind to the basics of the people’s he’s devoted his life to helping, spends the whole series believing to be a girl. Hawke is incredible as Brown, a loony force of nature, long-winded, hilarious, intermittently gentle, and terrifying, spitting brimstone and, well, spit. He’s part of the show’s no-sacred-cows approach to history, in which even the righteous can be ridiculous, stumbling blindly through time, but that doesn’t make them any less right.
The Queen’s Gambit opens like it’s going to be a brooding gothic about abandonment, addiction, and loneliness, only to renege and deliver something more straightforwardly satisfying: a superhero story about genius, community, and chess. The show is a realist fantasy, where all the details—the period wallpaper, the interior design, the gameplay—are accurate, but the misogyny has gone missing, with men falling all over one another to help Beth Harmon, the genius who just defeated them. Whether that’s inspiring or facile, it’s a blast. It also features a very strong supporting cast whose standouts include the director Marielle Heller as Beth’s loving, enabling adopted mother, and a shockingly charming human string bean.
Bluey, an animated Australian children’s show about a family (who happen to be dogs), is the most playful, sweet, wholesome, nondidactic, and—why it is on this list!—least annoying children’s show on television.
Netflix’s docuseries Cheer premiered at the very beginning of January, so basically, the distant past. In the interim so much has happened, including the disturbing and distressing allegationsinvolving one of the leads, the show’s emotional center. It’s hard to reconcile, but so was the show itself, a study of the grueling lengths young adults will go to belong to something bigger than themselves. Is it worth it? Should the adult in charge know better and push less? Are the demands being put on their bodies—the concussions, the broken limbs—teaching them self-discipline, or just giving them a lifetime of ailments? And why was it impossible (for me, anyway) not to get caught up in its sports-movie-triumph narrative?
This is a bit of a list trickery, in which I use the pesky 10th slot as an alert more than anything else: If you or anyone you know has ever enjoyed a teen drama that aired on the WB or UPN, or knows a current teen who seems like they would dig that kind of thing, may I please introduce you to Netflix’s Teenage Bounty Hunters, essentially a lost WB show just waiting for a time slot before Buffy, Veronica Mars, Dawson’s Creek, or Felicity. Two fraternal twin sisters—one naughty, one nice, but swapping roles all the while—who attend a Christian high school start a sideline as bounty hunters after crashing their dad’s car. It’s a case-of-the-week show, a teen show, a family mystery show, and it’s scrappy and plucky and full of banter, a lighter-side Veronica Mars. It also addresses one of the great concerns of my youth: whether all those WB shows could have had bigger audiences if only they’d been on different channels (the answer is no.) Netflix didn’t pick this show up for a second season, which means, in great WB fashion, this show already has the makings of a cult classic.
What did movies matter in 2020? What did anything? I don’t intend those questions in the nihilistic sense of “lol nothing matters.” I pose them open-endedly in the last weeks of a year that put such once foundational concepts as mattering, let alone movies, into question. All the things we lost in the coronavirus pandemic in 2020—our gathering places, our public institutions, our jobs, our sense of daily shared reality, and for far too many Americans, our loved ones’ lives—put the things we were still able to do into sharper relief. And one of the best things you can still do when holed up at home, as long as you have a home and some means of wiring yourself into the ambient digital matrix we all now exist in, is watch movies.
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Without theaters, the cinematic year (like the year) felt amorphous and hazy. What constituted a “hit” or a “flop” in 2020? Which movies were the virtual-festival darlings, the hyped-up disappointments, or the word-of-mouth successes? Because almost all of our viewing happened in private, and because the big streaming platforms guard their data like Smaug his hoard, it was hard to determine which movies people were talking about or ignoring, hard to choose what to watch, and more and more as this year of entertainment-conglomerate mergers wore on, hard to figure out where to stream it. Watercooler conversation can’t very well drive box office receipts when the only watercooler insight is your kitchen sink and the only box office is … Home Box Office. But though there were far fewer opportunities to talk about a movie on the way out of the theater—surely among life’s peak everyday experiences—there were more chances than usual to fall into weird indie rabbit holes and nurture new cinematic crushes.
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A methodological note on this year’s list: I have been loose on the parameters as to what constitutes a “2020 movie.” Some of the below titles showed at festivals in 2019, were meant to open theatrically this year, and wound up going straight to streaming instead. Others were released in both formats at different times during the year, and at least one never ended up opening at all but remains on the list as a harbinger of good films to come. This is a record of the movie year as I experienced it: fragmentary, catch-as-catch-can, often out of sync with “the conversation” yet somehow astonishingly timely. No movie on this list could have been conceived after the pandemic shut down film production, yet many if not most of them seem somehow to respond to our current historical moment of cabin fever and barely contained mass rage. If I had to find a thread running through the movies that follow (though imposing thematic coherence on any list this diffuse is a fool’s game), it would have something to do with captivity and freedom. The characters in these films are often escaping, hiding out, lying in wait, fetching the bolt cutters to find their way out of whatever traumatic past has trapped them. While you wait for your shot at freedom (in the form, it now seems, of that first vaccine injection), here are some great movies to get you through the next few months. In alphabetical order:
The Assistant
Kitty Green’s unassuming but keenly observed first narrative feature follows one terrible workday in the life of an intern of a never-seen movie producer who’s a serial sexual abuser in the Harvey Weinstein mold. Ozark’s Julia Garner is on screen, often alone, for virtually every second of the movie. Her miserably treated character is the only moral center in this austere movie’s cold and self-dealing universe, and she could easily have gone for Cinderella-style sympathy from the audience (if instead of sweeping ashes from the hearth, Cinderella stapled scripts and fielded calls from anxious wives). But Garner rejects the temptation to coast as a suffering ingenue. In a quietly bravura performance that’s dialogue-free for long stretches, she fills in a whole tragic back story just by the way she listens. (Listen to the Culture Gabfest review The Assistant.)
From its opening image—Brazil has seen from space, the fires in the Amazon visible, as a classic Caetano Veloso song plays on the soundtrack—Kleber Mendonca Filho’s genre-splicing thriller has an air of unsettling mystery. The title is the name of a remote village in the country’s hardscrabble northeast, where, for reasons never fully explained, an international team of white supremacist assassins led by the always-chilling Udo Kier descends to wreak brutal and possibly supernatural mayhem. Densely plotted and packed with vivid actors including the legendary Sonia Braga, this ambitious if the sometimes inscrutable film takes place shortly, “a few years from now.” But its merciless vision of global politics as a zero-sum class and race struggle, and its almost comedically grisly final action sequence, feels very much of the present.
Kant emir Balagan’s second feature, about a young woman working as a military nurse in post–World War II Leningrad, is filmed in a palette of impossibly rich greens, reds, and golds—every frame glows with the intensity of a stained-glass window or an illuminated manuscript. That
lush pictorial beauty offsets the extreme bleakness of the story, as the lanky “beanpole” of the title (Viktoria Miroshnichenko) contends with the psychic fallout from her service in the war. In increasingly self-destructive ways, she seeks to expiate her bottomless guilt for what she perceives as a terrible wrong done to a friend, but which the audience, with more compassion for the characters than they can summon for themselves, understands as a wrong done to Beanpole herself by the implacable cruelty of history.
In the fall of 2015, a fire broke out at a packed nightclub in Bucharest, Romania, resulting in the death of 64 people and the permanent disfigurement of more than 100 more. In the years that followed, public outrage over the incident—the club had no functioning fire exits—caused a government to fall and a new activist movement to arise. Alexander Nana’s intricate, suspenseful documentary tracks the journalistic effort to expose the complex knot of corruption, deception, and negligence that enabled both the disaster itself and the failure of the health care system to do right by the victims after. This is one of the most heartbreaking films I watched in a year already drowning in heartbreak, but also one of the most necessary at a time when the fourth estate is often the last line of defense against a global capitalist system that seems designed to be quite homicidal.
In retrospect, Chadwick Boseman’s sudden, tragic, and, for everyone but those in his most intimate circle, completely unexpected death of colon cancer in August makes this Spike Lee joint about a group of Black veterans returning to Vietnam all the more moving and urgent. But Da 5 Bloods would have been one of the best movies of the year anyway. Boseman’s role is small but pivotal: His climactic encounter with the older vet played superbly by Delray Lindo is a scene of transformation and healing that fully justifies the rush of cathartic tears it brings. In addition to being insightful about Vietnam War trauma and the complications of modern Black masculinity, Da 5 Bloods is a rollicking buddies-on-the-road comedy, full of earthy humor and jovial trash talk. The early scene when the four old soldiers, tropical drinks in hand, boogie their way to their table at a real-life Ho Chi Minh City disco called Apocalypse Now is one of the year’s great depictions of an experience so many of us missed over this homebound year: goofing off on the dance floor with friends. (Read the review.)
Kelly Reichardt’s seventh feature, a stripped-down Western about the tender friendship between two lonely men in a Pacific Northwest pioneer town in 1820, was the last film I saw in a theater in 2020, at an early March press preview surrounded by colleagues, some of them longtime friends. That whole night had an unusually celebratory feeling; First Cow had blown away everyone I spoke to about it, but the feeling it left in its wake was a quiet, subdued kind of dazzlement, the sneaking suspicion that early in the release calendar though it still was, we had probably just watched one of the most original and accomplished movies we’d see all year. Afterward, in the lobby, there was a little reception with a waiter serving “oily cakes,” the sweet fried-dough pastry that figures crucially in the movie’s plot. Munching them, it was easy to see how this confection, a rare delicacy in the movie’s hardscrabble setting, could have caused the high-stakes competition for scarce resources that the movie chronicles. But though First Cow is all about finding a way to survive in an environment of scarcity, this contemplative, compassionate drama is a miracle of filmmaking abundance, with incandescent performances from John Magar and Orion Lee and the curiously calming presence of Eve, the prettiest on-screen bovine since Buster Keaton fell in love with a heifer in the 1925 silent Go West. (Listen to the Culture Gabfest review First Cow.)
As I was finalizing this list, it occurred to me that one of the most crucial functions of movie viewing, especially in a year like this (has there ever been a year like this? Maybe 1918?), was sadly underrepresented. Sometimes all you need is some stylish escapism, a low-stakes hangout film where likable characters pursue sparkling or snarky conversations over flutes of Champagne in rooms with flattering lighting. To the rescue just in time came Steven Soderbergh’s latest comedy, about an egocentric novelist (Meryl Streep) who invites two long-estranged friends (Candice Bergen and Dianne Wiest) and her devoted nephew (Lucas Hedges) on a trans-Atlantic cruise to collect a literary prize in Europe. At first, the generically titled Let Them All Talk seemed like it was going to be a Nancy Meyers–style rom-com about frisky codgers on a boat—not that there would be anything remotely wrong with that. But by 20 minutes in, it was clear this was pure Soderbergh, a multicharacter caper film in the mode of his Ocean’s movies, Out of Sight, or Magic Mike. The difference: Instead of winning a striptease competition or robbing a high-security bank, this crew of oddballs—three strong-willed middle-aged women, an awkward young man, and the various colorful characters they cross paths with on the ship—is simply seeking to come to terms with the undone work of their own lives: the longtime friendships in need of repair, the romantic connections not yet made, the books left to write. (Read the review.)
Lee Isaac Chung’s semi-autobiographical film follows a Korean immigrant family in the 1980s as they attempt to turn a recalcitrant piece of land in rural Arkansas into a working vegetable farm. The story is seen mainly through the eyes of 7-year-old David, played with movie-stealing aplomb by the tiny but utterly self-possessed first-time actor Alan S. Kim. (His petulant delivery of “I’m not pretty! I’m good-looking!” may be my single favorite line reading of the year.) But Steven Yuen, in a marvelously understated performance as his stubborn but fiercely devoted father, gives the kid a run for his money. Minami is a drama about immigrants that don’t try to make grand statements about the immigrant experience in America. Rather, it tells the specific story of one family, dysfunctional and troubled in its particular way, but held together by a powerful bond of love. (Read the review.)
Jessica Broder’s 2017 book on retirement-age migrant workers living out of their RVs provided the source material for this lyrical portrait of a widow (Frances McDormand) who takes to the road after a mine closure eliminates the small company town she’s lived in her whole life. I don’t know how to add to what I already wrote in my review, and what so many others have said: Nomad land is a miracle of a movie that somehow transmutes painful experiences like homelessness, loneliness, and systemic exploitation by a pitiless labor market into a poetic meditation on freedom, friendship, and the passage of time. (Read the review.)
This is the only movie on the list that hasn’t yet been released at all. I saw it in late February, the week before the coronavirus started to shut down in-person press screenings, and my lovestruck review of it is still waiting in the can be published, although the headline—calling it “The First Great Horror Film of 2020”—will have to change by a digit. But I leave it on the list in anticipation of great films to come. The English director Rose Glass, making her debut feature, serves up a gory brew of body horror and spiritual cinema in the tradition of Robert Bresson. Jennifer Hele and Morfitt Clark are spellbinding as a terminally ill choreographer and her fanatically religious young caregiver. Are the ecstatic visions that ravish Maud in her sordid bedsit the work of the divine, the demonic, or her own mental and emotional instability? It’s the rare movie that delves this deeply into the experience of personal faith and (Lord, that final shot!) scares your pants off to boot.
I May Destroy You and The Queen’s Gambit makes Willa Paskin’s list.
2020 was not a great year—even for television. There was a tremendous amount of TV shows, most of which were fine; some of which, despite not even being all that fine, hit the strange, stressful, contained spot we all found ourselves in; and some of which that was, you know, good. For this list, when I say “good” I mean “the shows I most enjoyed,” a deeply fuzzy determination based on the series’ ambition, uniqueness, and, like, how much I wanted to watch it. This list contains several shows—including the first two—that I would describe as the year’s “best,” but it’s also peppered with shows I would primarily describe as personal favas. Would I have loved Ted Lasso so much in another year? I truly don’t know. All I know is, in this one, it felt like a bomb.
At the end of the first episode of I May Destroy You, creator, writer, and star Michaela Coal’s character, Arabella, is drugged and raped in a bar. The rest of the series, inspired by Coal’s own experience, follows Arabella as she tries to process what happened—and so much else. I May Destroy You explores consent in various permutations, but it also digs deep on Arabella, a charismatic, talented, tempestuous, brilliant, and undisciplined writer, friend, goof, lover, drug taker, social media influencer, and artist in the making. In a year when people prized escape, I May Destroy You offered something tougher and more hopeful: the possibility you just might be able to wring something meaningfulout of the awful past.
In a year full of popular documentary series, City So Real is better than all the rest of them. Loosely arranged around the 2019 Chicago mayoral race, it plays fly on the wall in neighborhoods all over the city. At protests, campaign rallies, barbershops, bars, city meetings, restaurants, campaign offices, dinner parties, radio stations, and dingy administrative rooms, a cross-section of indelible Chicagoans, so distinctive they wouldn’t feel out of place in fiction, talk about their hard-nosed home and its intricate politics. The show is sprawling and yet as perfectly assembled like a jigsaw puzzle. Put together, it gives the full scope of a flawed, challenging, changing city and its stubbornly devoted residents.
The character Ted Lasso (Jason Sudeikis) first popped up in a series of sports promos, but he reappeared in the full-fledged series Ted Lassojust in time to counterprogram the state of the world. Lasso, basically, the nicest guy in existence, knows nothing about soccer when he takes over a British football club, but no matter, he knows human beings. With his emotional know-how, can-do attitude, kindly good spirits, down-home charm, and warm, fuzzy personality (and mustache), he wins over the excellent British supporting cast who, surprise surprise, are all lovely deep down, too. It’s a fantasy of American decency and British patience for cornpone jokes that I found irresistible.
Three seasons of The Great Pottery Throw Down, a craft competition shows that’s The Great British Clay-Off, arrived on HBO Max all at once this year. The artistry on the show leaves a little to be desired—the tension between utility and inspiration tilts toward the former—but I’m a sucker for watching people make things, and there’s something particularly hypnotic about people pulling shapes out of lumps of whirring clay. The show also has Keith Braymer Jones, a bulky master potter with a molting Flock of Seagulls hairstyle who is the anti–Paul Hollywood. Instead of macho shtick and a crushing congratulatory handshake, he tears up at the contestants’ accomplishments, not only when they do great work, but when they exceed themselves.
Mrs. Americatells the story of the failed fight to pass the Equal Rights Amendment when equality and second-wave feminists were both bested by the driven and polarizing Phyllis Schlafly (Cate Blanchett). Big picture, it’s a slow-motion tragedy, but episode by episode it’s juicy and thrilling to watch, and chock-full of wonderful performances. It focuses not only on Schlafly but on women’s movement boldface names like Gloria Steinem (Rose Byrne), Shirley Chisholm (Uzoh Daub), Bella Abzug (Margo Martindale), and Betty Friedan (Tracey Ullman), who were trying to do so much for so many that they were undone by a woman on a mission to remake female equality into the bipartisan issue it remains today. Mrs. America perhaps makes the mistake of framing Schlafly as primarily an opportunist, not exactly an ideologue, but it gets across its gutting point: In this instance, the past isn’t prologued, because it’s not even past.
If you were to imagine in a vacuum what a premium cable miniseries about the life of the abolitionist John Brown might look like, you’d almost surely imagine something much stuffier and soberer than The Good Lord Bird. With the award-winning James McBride novelas a guideline, this drama takes the most serious of subjects, America’s peculiar institution, and explores it with intelligence, verve, and wit. The story is told from the perspective of Onion (Joshua Caleb Johnson), the young Black boy who joins Brown’s (Ethan Hawke) ragtag group, and whom Brown, blind to the basics of the people’s he’s devoted his life to helping, spends the whole series believing to be a girl. Hawke is incredible as Brown, a loony force of nature, long-winded, hilarious, intermittently gentle, and terrifying, spitting brimstone and, well, spit. He’s part of the show’s no-sacred-cows approach to history, in which even the righteous can be ridiculous, stumbling blindly through time, but that doesn’t make them any less right.
The Queen’s Gambit opens like it’s going to be a brooding gothic about abandonment, addiction, and loneliness, only to renege and deliver something more straightforwardly satisfying: a superhero story about genius, community, and chess. The show is a realist fantasy, where all the details—the period wallpaper, the interior design, the gameplay—are accurate, but the misogyny has gone missing, with men falling all over one another to help Beth Harmon, the genius who just defeated them. Whether that’s inspiring or facile, it’s a blast. It also features a very strong supporting cast whose standouts include the director Marielle Heller as Beth’s loving, enabling adopted mother, and a shockingly charming human string bean.
Bluey, an animated Australian children’s show about a family (who happen to be dogs), is the most playful, sweet, wholesome, nondidactic, and—why it is on this list!—least annoying children’s show on television.
Netflix’s docuseries Cheer premiered at the very beginning of January, so basically, the distant past. In the interim so much has happened, including the disturbing and distressing allegationsinvolving one of the leads, the show’s emotional center. It’s hard to reconcile, but so was the show itself, a study of the grueling lengths young adults will go to belong to something bigger than themselves. Is it worth it? Should the adult in charge know better and push less? Are the demands being put on their bodies—the concussions, the broken limbs—teaching them self-discipline, or just giving them a lifetime of ailments? And why was it impossible (for me, anyway) not to get caught up in its sports-movie-triumph narrative?
This is a bit of a list trickery, in which I use the pesky 10th slot as an alert more than anything else: If you or anyone you know has ever enjoyed a teen drama that aired on the WB or UPN, or knows a current teen who seems like they would dig that kind of thing, may I please introduce you to Netflix’s Teenage Bounty Hunters, essentially a lost WB show just waiting for a time slot before Buffy, Veronica Mars, Dawson’s Creek, or Felicity. Two fraternal twin sisters—one naughty, one nice, but swapping roles all the while—who attend a Christian high school start a sideline as bounty hunters after crashing their dad’s car. It’s a case-of-the-week show, a teen show, a family mystery show, and it’s scrappy and plucky and full of banter, a lighter-side Veronica Mars. It also addresses one of the great concerns of my youth: whether all those WB shows could have had bigger audiences if only they’d been on different channels (the answer is no.) Netflix didn’t pick this show up for a second season, which means, in great WB fashion, this show already has the makings of a cult classic.
Here are 32 new films to see this season, whether you’re ready to return to theaters or want to stay on the couch.
Hollywood has a crowded slate of films—delayed by the pandemic and otherwise—to release over the next three months. That makes choosing what to see more stressful than usual, especially when some titles can be seen both in theaters and at home. To make the process more manageable, I’ve scrutinized trailers and even screened some of the films below to put together this guide for all your needs, whatever they may be. My first question, to set the scene: How far would you like to venture away from your couch?
I Want to Go Back to Theaters and …
… I’M CRAVING BIG-SCREEN ACTION
F9 (JUNE 25)
The latest installment in the Fast & Furious series sees Vin Diesel’s near-indestructible Dominic Toretto face off against his brother, Jakob (played by John Cena); the return of the fan-favorite character Han (Sung Kang); and—I’m guessing—a lot of cars vrooming and whooshing about. The film has already sped into theaters overseas and earned a pandemic record-making $163 million in its opening weekend. If the director Justin Lin keeps upping the ante with the action in these movies’ inevitable sequels, as he has skillfully done in previous Fast movies, this franchise might just last forever.
SNAKE EYES: G.I. JOE ORIGINS (JULY 23)
Starring Crazy Rich Asians’ Henry Golding as the titular ninja, this G.I. Joe spin-off draws inspiration from a comic-book series that traces Snake Eyes’ backstory before he lost his voice. It’s also a blatant attempt to build another cinematic universe, but the trailer offers enough flashy sword fights and martial-arts showdowns to make the effort worthwhile for now. If nothing else, I’m curious to see if Golding’s got the chops to be a leading action star. (I have a feeling he does.)
I Want to Go Back to Theaters and …
… I’M CRAVING BIG-SCREEN ACTION
F9 (JUNE 25)
The latest installment in the Fast & Furious series sees Vin Diesel’s near-indestructible Dominic Toretto face off against his brother, Jakob (played by John Cena); the return of the fan-favorite character Han (Sung Kang); and—I’m guessing—a lot of cars vrooming and whooshing about. The film has already sped into theaters overseas and earned a pandemic record-making $163 million in its opening weekend. If the director Justin Lin keeps upping the ante with the action in these movies’ inevitable sequels, as he has skillfully done in previous Fast movies, this franchise might just last forever.
SNAKE EYES: G.I. JOE ORIGINS (JULY 23)
Starring Crazy Rich Asians’ Henry Golding as the titular ninja, this G.I. Joe spin-off draws inspiration from a comic-book series that traces Snake Eyes’ backstory before he lost his voice. It’s also a blatant attempt to build another cinematic universe, but the trailer offers enough flashy sword fights and martial-arts showdowns to make the effort worthwhile for now. If nothing else, I’m curious to see if Golding’s got the chops to be a leading action star. (I have a feeling he does.)
BLACK WIDOW (JULY 9)
The superspy played by Scarlett Johansson didn’t get a funeral in Avengers: Endgame, but she is getting the solo film her fans have been campaigning for since it was possible to binge all of the Marvel movies in less than a day. (For those counting, this is the Marvel Cinematic Universe’s 24th entry.) This prequel follows Natasha on a mission across Europe to reunite her “family,” characters who will probably be essential to the next films. Bonus tip: Don’t forget to watch for a post-credits scene.
WARNER BROS.
THE SUICIDE SQUAD (AUGUST 6)
Comic-book superheroes rarely ever actually die. The same goes for comic-book-inspired film franchises. The David Ayer–directed version of Suicide Squadbombed with critics, but the band of supervillains forced to do the government’s bidding is getting a second chance, with some fresh additions to the cast and a new director in James Gunn, the needle-drop-happy mind behind Marvel’s Guardians of the Galaxy movies. Come for Margot Robbie reprising her gonzo performance as Harley Quinn; stay for what appears to be a much more irreverent and coherent version of the story. At the very least, this version looks lit brightly enough so that we can see what’s happening.
… I LIKE MY MOVIES TO COME WITH A BEAT
IN THE HEIGHTS (JUNE 11)
A feel-good hug of a movie that might make you dance in your seat, this adaptation of the Broadway hit by Lin-Manuel Miranda and Quiana Alegria Hodes dazzles with Jon M. Chu’s maximalist direction. The story follows characters living in the disappearing Latino neighborhood of Washington Heights, all with their ideas for fulfilling their American dreams. Consider this my official endorsement of the film’s sterling quality, and an appeal for concession stands across America to please add piragua to their menu.
FOCUS FEATURES
THE SPARKS BROTHERS (JUNE 18)
The director Edgar Wright (Baby Driver, Scott Pilgrim vs. the World) trains his eye on the quirky musical duo, whose sound has influenced, well, almost every band in existence, this documentary argues. Featuring interviews with dozens of musicians (Beck, Flea, Jack Anton off) and notable no musicians (Mike Myers, Jason Schwartzman), the film, which premiered this year at Sundance, is a close look at music history and a peek inside Wright’s kinetic mind.
RESPECT (AUGUST 13)
Biopics of famous entertainers need, above all else, the right actor in the leading role. This glitzy portrait of Aretha Franklin—not to be confused with the limited series that aired earlier this year—casts Jennifer Hudson as the legendary singer, and the star seems poised to embark on another awards-season run if all goes well. She’s surrounded by an equally impressive cast: The ensemble also includes heavyweights such as Forest Whitaker and Audra McDonald, along with an unexpected dramatic turn from Marlon Wayans as Aretha’s manager and first husband, Ted White.
THE BEATLES: GET BACK (AUGUST 27)
Peter Jackson of Lord of the Rings fame trades hobbits for the Fab Four. This documentary follows the Beatles as they make the album Let It Be and includes never-before-seen footage that had been cut from Michael Lindsay-Hogg’s 1970 doc. Jackson has stated that the hours of material he’s gathered show the foursome’s camaraderie and challenge the narrative that the album was made amid discord. I’ve got a feeling he’s right; after all, the film was created with approval from Paul McCartney, Ringo Starr, and the widows of John Lennon and George Harrison.
… I WANT TO SEE SOMETHING WITH MY PARENTS
STILLWATER (JULY 30)
In this thriller directed and co-written by Tom McCarthy (Spotlight), Matt Damon plays a blue-collar, salt-of-the-earth Everyman whose estranged daughter (Abigail Breslin) gets arrested for murder abroad. The script seems to have been inspired by the Amanda Knox case but told from an astonishingly resourceful and über-patriotic parent’s perspective. Think Jason Bourne, if Bourne had a conspicuous twang and transformative facial hair.
LIONSGATE
THE PROTÉGÉ (AUGUST 20)
Everything about this spy movie’s trailer—slow-motion shoot-outs, cool disguises, the villain delivering whispered threats—screams predictability, but the film has assembled a formidable cast, including Michael Keaton and Samuel L. Jackson. And I guess this is when I admit I’m a fan of the star Maggie Q’s CW-feed take on Nikita from the early 2010s. Campy action is her sweet spot.
REMINISCENCE (AUGUST 20)
One of the Westworld co-creators, Lisa Joy, wrote and directed this tale of a scientist (Hugh Jackman) who discovers a way to time travel through memory. If it’s anything like Joy’s work on the first season of the HBO series, it’ll be twisty but enthralling. If it’s anything like the latest season, it’ll give you a massive headache. Either way, the film marks a welcome return to hard sci-fi for Jackman after he starred in the underrated The Fountain more than a decade ago. (What’s that—he was in Chippie in 2015? Why would you remind me?)
… I NEED A KID-FRIENDLY FLICK
WARNER BROS.
SPACE JAM: A NEW LEGACY (JULY 16)
LeBron James steps into Michael Jordan’s shoes—er, Air Jordans—in this update on the cult favorite about NBA stars playing basketball alongside Looney Tunes characters. The villains this time are AI-controlled digital players, whatever that means. This might turn out to be nothing more than a shameless mashup of all the intellectual property Warner Bros. has ever owned, but if it matches the earnestness of its predecessor—and if James has half as much fun as Jordan did as a movie star—it just might work.
JUNGLE CRUISE (JULY 30)
Yes, this is Disney trying to turn another one of its theme-park rides into a billion-dollar franchise, but Emily Blunt and Dwayne “The Rock” Johnson’s combined charm can not—excuse me, will not—be denied. Jesse Plemons also drops in as the kooky villain who gets in the way of our heroes’ mission to find a tree with healing powers in the middle of the Amazon. If this Disney-feed spin on The African Queen all looks a bit … much, just remember: The CGI simply adds more scenery for all three stars to chew.
… I WANT TO BE TERRIFIED
THE FOREVER PURGE (JULY 2)
Just in time for Independence Day, the horror franchise about a dystopian version of America in which lawlessness gets to run rampant for a day every year will release what is (reportedly) its final installment. In it, a band of criminals decides that the annual purge should last longer than a day. Maybe forever. What are the odds of this series delivering four more sequels?
ESCAPE ROOM: TOURNAMENT OF CHAMPIONS (JULY 16)
As a breezy, 100-minute collection of puzzles and jump scares, the first film was a surprise hit, the kind of low-stakes entertainment even non–horror fans can enjoy. This sequel finds the surviving heroes from the original getting trapped in—you guessed it—another series of escape rooms with a group of other players. Though the tests look a lot harder to solve this time around, if the film’s writers continue to focus on the riddles, they might just figure out a way to sustain a franchise.
OLD (JULY 23)
Written and directed by M. Night Shyamalan, this graphic-novel adaptation follows a vacationing family who realizes that the beach they’re relaxing on is making them age at a rapid pace—so rapid, they’ll all be dead by the end of the day. Gael García Bernal and Phantom Thread’s Vicky Kreps star as the parents; their children age quickly into teens played by rising stars Alex Wolff and Thomasina McKenzie. Shyamalan, who’s expressed endearing excitement about making this film, has said his daughters gave him the source material—and perhaps the inspiration for the film’s underlying anxiety around getting older. In other words, he sees dying people.
THE NIGHT HOUSE (AUGUST 20)
Rebecca Hall stars as a widow grieving her husband’s death while alone—or is she?—in the house, he built for them. To go any further into the plot risks spoilers, but I can tell you that Hall’s character starts seeing visions of her husband lurking around the property. Also, according to critics who attended the Sundance Film Festival in 2020, this film couples its scares with innovative but intrusive sound design. Brace your senses.
CANDYMAN (AUGUST 27)
This remake/sequel to the 1992 film possesses quite the pedigree: Jordan Peele, the reigning king of our era of elevated horror, co-wrote the script with the producer Win Rosenfeld (Black Klansman) and the director Nia DaCosta, who made a splash on the festival circuit with the thriller Little Woods and is on deck to direct the Captain Marvel sequel, The Marvels. And I haven’t even mentioned the Emmy-winning actor Yahya Abdul-Mateen II (Watchmen), who stars as an artist finding inspiration in the urban myth about the titular killer with a hook for a hand (played by Tony Todd, returning to the role), only to unleash him, whatever he is.
… I MISS SEEING FESTIVAL FAVORITES IN PERSON
ANNA KOORIS / A24
ZOLA (JUNE 30)
Starring Riley Keough and Taylor Paige, this satirical romp follows a pair of women who go on a road trip to make some quick cash dancing in strip clubs. The film, which is based on a viral Twitter thread, scored distribution through the indie studio A24 even before it screened for the first time at Sundance in 2020. The gamble has paid off so far: Critics loved it. (Perhaps more movies should be based on tweets? Don’t @ me.)
THE GREEN KNIGHT (JULY 30)
A crown descending onto Dev Patel’s head and then lighting him on fire. A bear holding a lantern at the top of a staircase. A talking fox emerging from heavy fog. Based on thetrailers, it seems the director David Lowery has shrouded his film in cryptic, poetic images—which is appropriate, given that his source material is an ambiguous 14th-century fantasy epic filled with figurative language. The story follows an Arthurian knight (Patel) being tested for his chivalry by a giant green being. If Lowery has his way, the eerie atmosphere of the film, which was supposed to premiere at SXSW in 2020, will linger in your mind long after you finish watching it.
CODA (AUGUST 13)
Though I saw this at one of Sundance’s virtual screenings—as in, alone in my living room—I was pretty sure I wasn’t the only viewer who had used up all her tissues by the time the credits rolled. (I became certain when, two days later, Apple picked up the film for distribution for a festival-record $25 million.) The film tells a coming-of-age story through an unconventional heroine: a teenager who’s the only hearing member of her family, grappling with her responsibilities to her relatives and her love of singing. It’s a crowd-pleasing tearjerker, the kind I wish I’d seen in a packed theater.
… I’M JUST A HUGE RYAN REYNOLDS FAN
LIONSGATE
THE HITMAN’S WIFE’S BODYGUARD (JUNE 16)
The Deadpool actor plays a reluctant hero who gets dragged into scary shenanigans by a fearless woman. Explosions, pop-culture references, and jokes at Reynolds’s character’s expense ensue. Judging by the trailer, it seems like the film was a lot of fun to make for all of the actors involved, including an Oscar winner.
FREE GUY (AUGUST 13)
The Deadpool actor plays a reluctant hero who gets dragged into scary shenanigans by—frankly, I could just copy my previous paragraph and paste it here for this film. But there are some significant differences worth mentioning: Reynolds’s character exists inside a video game, a different Oscar winner (Taika Waititi) tags along, and the movie will probably be rated PG-13 instead of R.
I’d Rather Stay Home but …
… I WANT A TASTE OF BIG-SCREEN ACTION
AMAZON PRIME
THE TOMORROW WAR (JULY 2, AMAZON PRIME)
Chris Pratt is drafted to fight a war in the future against alien invaders and gets to grumble things like “I was trying to save my daughter. If I got to save the world to save her, then I’m gonna do it.” It’s a time-travel movie, so I’m expecting someone he meets in the future to turn out to be him or someone he knows, only older. (By the way, when did all movie aliens start looking like the Stranger Things Demogorgon?)
Also available: Black Widow (July 9, Disney+ with Premier Access); Space Jam: A New Legacy (July 16, HBO Max); The Suicide Squad (August 6, HBO Max)
… I WANT TO DANCE ALONG
SUMMER OF SOUL (JULY 2, HULU)
The music producer and DJ Questlove’s directorial debut traces the events of the Harlem Cultural Festival, a six-week celebration in 1969 featuring performers such as Nina Simone, Stevie Wonder, and B. B. King; the archival footage on display had been shelved for more than 50 years. The film took home several documentary awards at Sundance this year, for good reason: As much as it may be a history lesson about the decade, it’s also an absorbing concert movie and a probing look at how live music captured the frustrations and fears of members of the Black community and offered them catharsis when nothing else could.
Also available: In the Heights (June 11, HBO Max)
… I’M WATCHING IT WITH MY PARENTS
NETFLIX
THE ICE ROAD (JUNE 25, NETFLIX)
When the trailer for this disaster flick began with Liam Nelson driving in the snow, looking forlorn, I felt déjà vu: Hasn’t he already done this? Turns out I was thinking of 2019’s Cold Pursuit, a farce of a film in which Nelson’s character gets in the way of a turf war among gangs in the Rockies. This, on the other hand, is pure action: Nelson plays a trucker who must drive across thousands of miles of icy pavement to rescue a group of trapped miners. A perfectly chilly way to slide into summer.
Also available: Reminiscence (August 20, HBO Max)
… I NEED A KID-FRIENDLY FLICK
LUCA (JUNE 18, DISNEY+)
Pixar’s latest is a literal fish-out-of-water tale about an anxious merboy named Luca who ventures above the surface to—actually, it’s not clear what he’s up there to do, other than eat gelato, explore a quaint Italian seaside town, and accidentally terrorize its locals. But the animation looks delightful, and the story seems to be a fable about the wonders of getting outside your comfort zone. That’s a lesson for anyone, not just the children this film is aimed at.
NETFLIX
FATHERHOOD (JUNE 18, NETFLIX)
The comedian Kevin Hart stars in this film from an About a Boy co-writer, Paul Weitz, as a single parent trying to raise his adorable daughter, Maddy (Melody Hurd). You can imagine the hijinks: Hart’s Matthew struggles to find support, can’t tie a baby wrap, and fails to figure out how to do Maddy’s hair. Be ready for tears, though; the story’s based on a memoir and appears to delve into the unexpected loss of Maddy’s mom as much as it does into father-daughter antics.
Also available: Jungle Cruise (July 30, Disney+ with Premier Access); CODA (August 13, Apple TV+)
… I WANT TO BE TERRIFIED
HULU
FALSE-POSITIVE (JUNE 25, HULU)
Pregnancy has proved potent as inspiration for horror writers, and this film offers a modern spin on the subgenre nursed into being by Rosemary’s Baby. Ilana Glazer of Broad Citystars as a woman who, after a successful IVF treatment, starts to suspect that her doctor, played by Pierce Bresnan, has more sinister intentions in mind than helping her and her spouse (Justin Theroux) conceive.
THE FEAR STREET TRILOGY (JULY 2, 9, 16, NETFLIX)
Billed as a “film trilogy event” by Netflix, this collection of movies takes R. L. Stine’s young-adult-oriented book series and spins it into an R-rated mini cinematic universe. Set in and around the fictional Ohio town of Shadyside, the three films chronicle three very different, very creepy years in local history—1994, 1978, and 1666—that all have something to do with an ancient curse. Binge if you dare.
… I WANT A DASH OF ROMANCE
GOOD ON PAPER (JUNE 23, NETFLIX)
By now anyone who’s ever tried online dating knows what a “catfish” is. In this romantic comedy, however, the heroine, played by the comedian Ilia Schlesinger, falls for a “cuttlefish”—the kind of date who isn’t hiding via the internet but putting on an entire charade in person. Schlesinger based the script on an incident that happened to her in real life, so even if the relationship doesn’t end well, you can trust that it’ll be populated with her signature zany characters.
THE LAST LETTER FROM YOUR LOVER (JULY 23, NETFLIX)
Based on a Jojo Moyes novel, this decades-spanning romance toggles between the 1960s, when a writer (Callum Turner) falls for the wife (Shailene Woodley) of his subject, and present-day, when their love letters are found by a British journalist (Felicity Jones) who becomes determined to track them down. The plot’s easy to predict, but the period costumes and production design deliver the lush aesthetic that fans of such sweeping love stories cherish.
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Oscar Winners 2021
Note: for some reason I have not seen any of these yet. I will look for them on netflix and add them to my list as time goes by.
The Most Exciting TV Shows Coming in 2021: From ‘Wanda Vision’ to ‘Impeachment’
I May Destroy You and The Queen’s Gambit makes Willa Paskin’s list.
2020 was not a great year—even for television. There was a tremendous amount of TV shows, most of which were fine; some of which, despite not even being all that fine, hit the strange, stressful, contained spot we all found ourselves in; and some of which that was, you know, good. For this list, when I say “good” I mean “the shows I most enjoyed,” a deeply fuzzy determination based on the series’ ambition, uniqueness, and, like, how much I wanted to watch it. This list contains several shows—including the first two—that I would describe as the year’s “best,” but it’s also peppered with shows I would primarily describe as personal favas. Would I have loved Ted Lasso so much in another year? I truly don’t know. All I know is, in this one, it felt like a bomb.
At the end of the first episode of I May Destroy You, creator, writer, and star Michaela Coal’s character, Arabella, is drugged and raped in a bar. The rest of the series, inspired by Coal’s own experience, follows Arabella as she tries to process what happened—and so much else. I May Destroy You explores consent in various permutations, but it also digs deep on Arabella, a charismatic, talented, tempestuous, brilliant, and undisciplined writer, friend, goof, lover, drug taker, social media influencer, and artist in the making. In a year when people prized escape, I May Destroy You offered something tougher and more hopeful: the possibility you just might be able to wring something meaningfulout of the awful past.
In a year full of popular documentary series, City So Real is better than all the rest of them. Loosely arranged around the 2019 Chicago mayoral race, it plays fly on the wall in neighborhoods all over the city. At protests, campaign rallies, barbershops, bars, city meetings, restaurants, campaign offices, dinner parties, radio stations, and dingy administrative rooms, a cross-section of indelible Chicagoans, so distinctive they wouldn’t feel out of place in fiction, talk about their hard-nosed home and its intricate politics. The show is sprawling and yet as perfectly assembled like a jigsaw puzzle. Put together, it gives the full scope of a flawed, challenging, changing city and its stubbornly devoted residents.
The character Ted Lasso (Jason Sudeikis) first popped up in a series of sports promos, but he reappeared in the full-fledged series Ted Lassojust in time to counterprogram the state of the world. Lasso, basically, the nicest guy in existence, knows nothing about soccer when he takes over a British football club, but no matter, he knows human beings. With his emotional know-how, can-do attitude, kindly good spirits, down-home charm, and warm, fuzzy personality (and mustache), he wins over the excellent British supporting cast who, surprise surprise, are all lovely deep down, too. It’s a fantasy of American decency and British patience for cornpone jokes that I found irresistible.
Three seasons of The Great Pottery Throw Down, a craft competition shows that’s The Great British Clay-Off, arrived on HBO Max all at once this year. The artistry on the show leaves a little to be desired—the tension between utility and inspiration tilts toward the former—but I’m a sucker for watching people make things, and there’s something particularly hypnotic about people pulling shapes out of lumps of whirring clay. The show also has Keith Brymer Jones, a bulky master potter with a molting Flock of Seagulls hairstyle who is the anti–Paul Hollywood. Instead of macho shtick and a crushing congratulatory handshake, he tears up at the contestants’ accomplishments, not only when they do great work, but when they exceed themselves.
Mrs. Americatells the story of the failed fight to pass the Equal Rights Amendment when equality and second-wave feminists were both bested by the driven and polarizing Phyllis Schlafly (Cate Blanchett). Big picture, it’s a slow-motion tragedy, but episode by episode it’s juicy and thrilling to watch, and chock-full of wonderful performances. It focuses not only on Schlafly but on women’s movement boldface names like Gloria Steinem (Rose Byrne), Shirley Chisholm (Uzoh Daub), Bella Abzug (Margo Martindale), and Betty Friedan (Tracey Ullman), who were trying to do so much for so many that they were undone by a woman on a mission to remake female equality into the bipartisan issue it remains today. Mrs. America perhaps makes the mistake of framing Schlafly as primarily an opportunist, not exactly an ideologue, but it gets across its gutting point: In this instance, the past isn’t prologued, because it’s not even past.
If you were to imagine in a vacuum what a premium cable miniseries about the life of the abolitionist John Brown might look like, you’d almost surely imagine something much stuffier and soberer than The Good Lord Bird. With the award-winning James McBride novelas a guideline, this drama takes the most serious of subjects, America’s peculiar institution, and explores it with intelligence, verve, and wit. The story is told from the perspective of Onion (Joshua Caleb Johnson), the young Black boy who joins Brown’s (Ethan Hawke) ragtag group, and whom Brown, blind to the basics of the people’s he’s devoted his life to helping, spends the whole series believing to be a girl. Hawke is incredible as Brown, a loony force of nature, long-winded, hilarious, intermittently gentle, and terrifying, spitting brimstone and, well, spit. He’s part of the show’s no-sacred-cows approach to history, in which even the righteous can be ridiculous, stumbling blindly through time, but that doesn’t make them any less right.
The Queen’s Gambit opens like it’s going to be a brooding gothic about abandonment, addiction, and loneliness, only to renege and deliver something more straightforwardly satisfying: a superhero story about genius, community, and chess. The show is a realist fantasy, where all the details—the period wallpaper, the interior design, the gameplay—are accurate, but the misogyny has gone missing, with men falling all over one another to help Beth Harmon, the genius who just defeated them. Whether that’s inspiring or facile, it’s a blast. It also features a very strong supporting cast whose standouts include the director Marielle Heller as Beth’s loving, enabling adopted mother, and a shockingly charming human string bean.
Bluey, an animated Australian children’s show about a family (who happen to be dogs), is the most playful, sweet, wholesome, nondidactic, and—why it is on this list!—least annoying children’s show on television.
Netflix’s docuseries Cheer premiered at the very beginning of January, so basically, the distant past. In the interim so much has happened, including the disturbing and distressing allegationsinvolving one of the leads, the show’s emotional center. It’s hard to reconcile, but so was the show itself, a study of the grueling lengths young adults will go to belong to something bigger than themselves. Is it worth it? Should the adult in charge know better and push less? Are the demands being put on their bodies—the concussions, the broken limbs—teaching them self-discipline, or just giving them a lifetime of ailments? And why was it impossible (for me, anyway) not to get caught up in its sports-movie-triumph narrative?
This is a bit of a list trickery, in which I use the pesky 10th slot as an alert more than anything else: If you or anyone you know has ever enjoyed a teen drama that aired on the WB or UPN, or knows a current teen who seems like they would dig that kind of thing, may I please introduce you to Netflix’s Teenage Bounty Hunters, essentially a lost WB show just waiting for a time slot before Buffy, Veronica Mars, Dawson’s Creek, or Felicity. Two fraternal twin sisters—one naughty, one nice, but swapping roles all the while—who attend a Christian high school start a sideline as bounty hunters after crashing their dad’s car. It’s a case-of-the-week show, a teen show, a family mystery show, and it’s scrappy and plucky and full of banter, a lighter-side Veronica Mars. It also addresses one of the great concerns of my youth: whether all those WB shows could have had bigger audiences if only they’d been on different channels (the answer is no.) Netflix didn’t pick this show up for a second season, which means, in great WB fashion, this show already has the makings of a cult classic.
What did movies matter in 2020? What did anything? I don’t intend those questions in the nihilistic sense of “lol nothing matters.” I pose them open-endedly in the last weeks of a year that put such once foundational concepts as mattering, let alone movies, into question. All the things we lost in the coronavirus pandemic in 2020—our gathering places, our public institutions, our jobs, our sense of daily shared reality, and for far too many Americans, our loved ones’ lives—put the things we were still able to do into sharper relief. And one of the best things you can still do when holed up at home, as long as you have a home and some means of wiring yourself into the ambient digital matrix we all now exist in, is watch movies.
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Without theaters, the cinematic year (like the year) felt amorphous and hazy. What constituted a “hit” or a “flop” in 2020? Which movies were the virtual-festival darlings, the hyped-up disappointments, or the word-of-mouth successes? Because almost all of our viewing happened in private, and because the big streaming platforms guard their data like Smaug his hoard, it was hard to determine which movies people were talking about or ignoring, hard to choose what to watch, and more and more as this year of entertainment-conglomerate mergers wore on, hard to figure out where to stream it. Watercooler conversation can’t very well drive box office receipts when the only watercooler insight is your kitchen sink and the only box office is … Home Box Office. But though there were far fewer opportunities to talk about a movie on the way out of the theater—surely among life’s peak everyday experiences—there were more chances than usual to fall into weird indie rabbit holes and nurture new cinematic crushes.
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A methodological note on this year’s list: I have been loose on the parameters as to what constitutes a “2020 movie.” Some of the below titles showed at festivals in 2019, were meant to open theatrically this year, and wound up going straight to streaming instead. Others were released in both formats at different times during the year, and at least one never ended up opening at all but remains on the list as a harbinger of good films to come. This is a record of the movie year as I experienced it: fragmentary, catch-as-catch-can, often out of sync with “the conversation” yet somehow astonishingly timely. No movie on this list could have been conceived after the pandemic shut down film production, yet many if not most of them seem somehow to respond to our current historical moment of cabin fever and barely contained mass rage. If I had to find a thread running through the movies that follow (though imposing thematic coherence on any list this diffuse is a fool’s game), it would have something to do with captivity and freedom. The characters in these films are often escaping, hiding out, lying in wait, fetching the bolt cutters to find their way out of whatever traumatic past has trapped them. While you wait for your shot at freedom (in the form, it now seems, of that first vaccine injection), here are some great movies to get you through the next few months. In alphabetical order:
The Assistant
Kitty Green’s unassuming but keenly observed first narrative feature follows one terrible workday in the life of an intern of a never-seen movie producer who’s a serial sexual abuser in the Harvey Weinstein mold. Ozark’s Julia Garner is on screen, often alone, for virtually every second of the movie. Her miserably treated character is the only moral center in this austere movie’s cold and self-dealing universe, and she could easily have gone for Cinderella-style sympathy from the audience (if instead of sweeping ashes from the hearth, Cinderella stapled scripts and fielded calls from anxious wives). But Garner rejects the temptation to coast as a suffering ingenue. In a quietly bravura performance that’s dialogue-free for long stretches, she fills in a whole tragic back story just by the way she listens. (Listen to the Culture Gabfest review The Assistant.)
From its opening image—Brazil has seen from space, the fires in the Amazon visible, as a classic Caetano Veloso song plays on the soundtrack—Kleber Mendonca Filho’s genre-splicing thriller has an air of unsettling mystery. The title is the name of a remote village in the country’s hardscrabble northeast, where, for reasons never fully explained, an international team of white supremacist assassins led by the always-chilling Udo Kier descends to wreak brutal and possibly supernatural mayhem. Densely plotted and packed with vivid actors including the legendary Sonia Braga, this ambitious if the sometimes inscrutable film takes place shortly, “a few years from now.” But its merciless vision of global politics as a zero-sum class and race struggle, and its almost comedically grisly final action sequence, feels very much of the present.
Kant emir Balagan’s second feature, about a young woman working as a military nurse in post–World War II Leningrad, is filmed in a palette of impossibly rich greens, reds, and golds—every frame glows with the intensity of a stained-glass window or an illuminated manuscript. That
lush pictorial beauty offsets the extreme bleakness of the story, as the lanky “beanpole” of the title (Viktoria Miroshnichenko) contends with the psychic fallout from her service in the war. In increasingly self-destructive ways, she seeks to expiate her bottomless guilt for what she perceives as a terrible wrong done to a friend, but which the audience, with more compassion for the characters than they can summon for themselves, understands as a wrong done to Beanpole herself by the implacable cruelty of history.
In the fall of 2015, a fire broke out at a packed nightclub in Bucharest, Romania, resulting in the death of 64 people and the permanent disfigurement of more than 100 more. In the years that followed, public outrage over the incident—the club had no functioning fire exits—caused a government to fall and a new activist movement to arise. Alexander Nana’s intricate, suspenseful documentary tracks the journalistic effort to expose the complex knot of corruption, deception, and negligence that enabled both the disaster itself and the failure of the health care system to do right by the victims after. This is one of the most heartbreaking films I watched in a year already drowning in heartbreak, but also one of the most necessary at a time when the fourth estate is often the last line of defense against a global capitalist system that seems designed to be quite homicidal.
In retrospect, Chadwick Boseman’s sudden, tragic, and, for everyone but those in his most intimate circle, completely unexpected death of colon cancer in August makes this Spike Lee joint about a group of Black veterans returning to Vietnam all the more moving and urgent. But Da 5 Bloods would have been one of the best movies of the year anyway. Boseman’s role is small but pivotal: His climactic encounter with the older vet played superbly by Delray Lindo is a scene of transformation and healing that fully justifies the rush of cathartic tears it brings. In addition to being insightful about Vietnam War trauma and the complications of modern Black masculinity, Da 5 Bloods is a rollicking buddies-on-the-road comedy, full of earthy humor and jovial trash talk. The early scene when the four old soldiers, tropical drinks in hand, boogie their way to their table at a real-life Ho Chi Minh City disco called Apocalypse Now is one of the year’s great depictions of an experience so many of us missed over this homebound year: goofing off on the dance floor with friends. (Read the review.)
Kelly Reichardt’s seventh feature, a stripped-down Western about the tender friendship between two lonely men in a Pacific Northwest pioneer town in 1820, was the last film I saw in a theater in 2020, at an early March press preview surrounded by colleagues, some of them longtime friends. That whole night had an unusually celebratory feeling; First Cow had blown away everyone I spoke to about it, but the feeling it left in its wake was a quiet, subdued kind of dazzlement, the sneaking suspicion that early in the release calendar though it still was, we had probably just watched one of the most original and accomplished movies we’d see all year. Afterward, in the lobby, there was a little reception with a waiter serving “oily cakes,” the sweet fried-dough pastry that figures crucially in the movie’s plot. Munching them, it was easy to see how this confection, a rare delicacy in the movie’s hardscrabble setting, could have caused the high-stakes competition for scarce resources that the movie chronicles. But though First Cow is all about finding a way to survive in an environment of scarcity, this contemplative, compassionate drama is a miracle of filmmaking abundance, with incandescent performances from John Magar and Orion Lee and the curiously calming presence of Eve, the prettiest on-screen bovine since Buster Keaton fell in love with a heifer in the 1925 silent Go West. (Listen to the Culture Gabfest review First Cow.)
As I was finalizing this list, it occurred to me that one of the most crucial functions of movie viewing, especially in a year like this (has there ever been a year like this? Maybe 1918?), was sadly underrepresented. Sometimes all you need is some stylish escapism, a low-stakes hangout film where likable characters pursue sparkling or snarky conversations over flutes of Champagne in rooms with flattering lighting. To the rescue just in time came Steven Soderbergh’s latest comedy, about an egocentric novelist (Meryl Streep) who invites two long-estranged friends (Candice Bergen and Dianne Wiest) and her devoted nephew (Lucas Hedges) on a trans-Atlantic cruise to collect a literary prize in Europe. At first, the generically titled Let Them All Talk seemed like it was going to be a Nancy Meyers–style rom-com about frisky codgers on a boat—not that there would be anything remotely wrong with that. But by 20 minutes in, it was clear this was pure Soderbergh, a multicharacter caper film in the mode of his Ocean’s movies, Out of Sight, or Magic Mike. The difference: Instead of winning a striptease competition or robbing a high-security bank, this crew of oddballs—three strong-willed middle-aged women, an awkward young man, and the various colorful characters they cross paths with on the ship—is simply seeking to come to terms with the undone work of their own lives: the longtime friendships in need of repair, the romantic connections not yet made, the books left to write. (Read the review.)
Lee Isaac Chung’s semi-autobiographical film follows a Korean immigrant family in the 1980s as they attempt to turn a recalcitrant piece of land in rural Arkansas into a working vegetable farm. The story is seen mainly through the eyes of 7-year-old David, played with movie-stealing aplomb by the tiny but utterly self-possessed first-time actor Alan S. Kim. (His petulant delivery of “I’m not pretty! I’m good-looking!” may be my single favorite line reading of the year.) But Steven Yuen, in a marvelously understated performance as his stubborn but fiercely devoted father, gives the kid a run for his money. Minami is a drama about immigrants that don’t try to make grand statements about the immigrant experience in America. Rather, it tells the specific story of one family, dysfunctional and troubled in its particular way, but held together by a powerful bond of love. (Read the review.)
Jessica Broder’s 2017 book on retirement-age migrant workers living out of their RVs provided the source material for this lyrical portrait of a widow (Frances McDormand) who takes to the road after a mine closure eliminates the small company town she’s lived in her whole life. I don’t know how to add to what I already wrote in my review, and what so many others have said: Nomad land is a miracle of a movie that somehow transmutes painful experiences like homelessness, loneliness, and systemic exploitation by a pitiless labor market into a poetic meditation on freedom, friendship, and the passage of time. (Read the review.)
This is the only movie on the list that hasn’t yet been released at all. I saw it in late February, the week before the coronavirus started to shut down in-person press screenings, and my lovestruck review of it is still waiting in the can be published, although the headline—calling it “The First Great Horror Film of 2020”—will have to change by a digit. But I leave it on the list in anticipation of great films to come. The English director Rose Glass, making her debut feature, serves up a gory brew of body horror and spiritual cinema in the tradition of Robert Bresson. Jennifer Hele and Morfitt Clark are spellbinding as a terminally ill choreographer and her fanatically religious young caregiver. Are the ecstatic visions that ravish Maud in her sordid bedsit the work of the divine, the demonic, or her own mental and emotional instability? It’s the rare movie that delves this deeply into the experience of personal faith and (Lord, that final shot!) scares your pants off to boot.
I May Destroy You and The Queen’s Gambit makes Willa Paskin’s list.
2020 was not a great year—even for television. There was a tremendous amount of TV shows, most of which were fine; some of which, despite not even being all that fine, hit the strange, stressful, contained spot we all found ourselves in; and some of which that was, you know, good. For this list, when I say “good” I mean “the shows I most enjoyed,” a deeply fuzzy determination based on the series’ ambition, uniqueness, and, like, how much I wanted to watch it. This list contains several shows—including the first two—that I would describe as the year’s “best,” but it’s also peppered with shows I would primarily describe as personal favas. Would I have loved Ted Lasso so much in another year? I truly don’t know. All I know is, in this one, it felt like a bomb.
At the end of the first episode of I May Destroy You, creator, writer, and star Michaela Coal’s character, Arabella, is drugged and raped in a bar. The rest of the series, inspired by Coal’s own experience, follows Arabella as she tries to process what happened—and so much else. I May Destroy You explores consent in various permutations, but it also digs deep on Arabella, a charismatic, talented, tempestuous, brilliant, and undisciplined writer, friend, goof, lover, drug taker, social media influencer, and artist in the making. In a year when people prized escape, I May Destroy You offered something tougher and more hopeful: the possibility you just might be able to wring something meaningfulout of the awful past.
In a year full of popular documentary series, City So Real is better than all the rest of them. Loosely arranged around the 2019 Chicago mayoral race, it plays fly on the wall in neighborhoods all over the city. At protests, campaign rallies, barbershops, bars, city meetings, restaurants, campaign offices, dinner parties, radio stations, and dingy administrative rooms, a cross-section of indelible Chicagoans, so distinctive they wouldn’t feel out of place in fiction, talk about their hard-nosed home and its intricate politics. The show is sprawling and yet as perfectly assembled like a jigsaw puzzle. Put together, it gives the full scope of a flawed, challenging, changing city and its stubbornly devoted residents.
The character Ted Lasso (Jason Sudeikis) first popped up in a series of sports promos, but he reappeared in the full-fledged series Ted Lassojust in time to counterprogram the state of the world. Lasso, basically, the nicest guy in existence, knows nothing about soccer when he takes over a British football club, but no matter, he knows human beings. With his emotional know-how, can-do attitude, kindly good spirits, down-home charm, and warm, fuzzy personality (and mustache), he wins over the excellent British supporting cast who, surprise surprise, are all lovely deep down, too. It’s a fantasy of American decency and British patience for cornpone jokes that I found irresistible.
Three seasons of The Great Pottery Throw Down, a craft competition shows that’s The Great British Clay-Off, arrived on HBO Max all at once this year. The artistry on the show leaves a little to be desired—the tension between utility and inspiration tilts toward the former—but I’m a sucker for watching people make things, and there’s something particularly hypnotic about people pulling shapes out of lumps of whirring clay. The show also has Keith Braymer Jones, a bulky master potter with a molting Flock of Seagulls hairstyle who is the anti–Paul Hollywood. Instead of macho shtick and a crushing congratulatory handshake, he tears up at the contestants’ accomplishments, not only when they do great work, but when they exceed themselves.
Mrs. Americatells the story of the failed fight to pass the Equal Rights Amendment when equality and second-wave feminists were both bested by the driven and polarizing Phyllis Schlafly (Cate Blanchett). Big picture, it’s a slow-motion tragedy, but episode by episode it’s juicy and thrilling to watch, and chock-full of wonderful performances. It focuses not only on Schlafly but on women’s movement boldface names like Gloria Steinem (Rose Byrne), Shirley Chisholm (Uzoh Daub), Bella Abzug (Margo Martindale), and Betty Friedan (Tracey Ullman), who were trying to do so much for so many that they were undone by a woman on a mission to remake female equality into the bipartisan issue it remains today. Mrs. America perhaps makes the mistake of framing Schlafly as primarily an opportunist, not exactly an ideologue, but it gets across its gutting point: In this instance, the past isn’t prologued, because it’s not even past.
If you were to imagine in a vacuum what a premium cable miniseries about the life of the abolitionist John Brown might look like, you’d almost surely imagine something much stuffier and soberer than The Good Lord Bird. With the award-winning James McBride novelas a guideline, this drama takes the most serious of subjects, America’s peculiar institution, and explores it with intelligence, verve, and wit. The story is told from the perspective of Onion (Joshua Caleb Johnson), the young Black boy who joins Brown’s (Ethan Hawke) ragtag group, and whom Brown, blind to the basics of the people’s he’s devoted his life to helping, spends the whole series believing to be a girl. Hawke is incredible as Brown, a loony force of nature, long-winded, hilarious, intermittently gentle, and terrifying, spitting brimstone and, well, spit. He’s part of the show’s no-sacred-cows approach to history, in which even the righteous can be ridiculous, stumbling blindly through time, but that doesn’t make them any less right.
The Queen’s Gambit opens like it’s going to be a brooding gothic about abandonment, addiction, and loneliness, only to renege and deliver something more straightforwardly satisfying: a superhero story about genius, community, and chess. The show is a realist fantasy, where all the details—the period wallpaper, the interior design, the gameplay—are accurate, but the misogyny has gone missing, with men falling all over one another to help Beth Harmon, the genius who just defeated them. Whether that’s inspiring or facile, it’s a blast. It also features a very strong supporting cast whose standouts include the director Marielle Heller as Beth’s loving, enabling adopted mother, and a shockingly charming human string bean.
Bluey, an animated Australian children’s show about a family (who happen to be dogs), is the most playful, sweet, wholesome, nondidactic, and—why it is on this list!—least annoying children’s show on television.
Netflix’s docuseries Cheer premiered at the very beginning of January, so basically, the distant past. In the interim so much has happened, including the disturbing and distressing allegationsinvolving one of the leads, the show’s emotional center. It’s hard to reconcile, but so was the show itself, a study of the grueling lengths young adults will go to belong to something bigger than themselves. Is it worth it? Should the adult in charge know better and push less? Are the demands being put on their bodies—the concussions, the broken limbs—teaching them self-discipline, or just giving them a lifetime of ailments? And why was it impossible (for me, anyway) not to get caught up in its sports-movie-triumph narrative?
This is a bit of a list trickery, in which I use the pesky 10th slot as an alert more than anything else: If you or anyone you know has ever enjoyed a teen drama that aired on the WB or UPN, or knows a current teen who seems like they would dig that kind of thing, may I please introduce you to Netflix’s Teenage Bounty Hunters, essentially a lost WB show just waiting for a time slot before Buffy, Veronica Mars, Dawson’s Creek, or Felicity. Two fraternal twin sisters—one naughty, one nice, but swapping roles all the while—who attend a Christian high school start a sideline as bounty hunters after crashing their dad’s car. It’s a case-of-the-week show, a teen show, a family mystery show, and it’s scrappy and plucky and full of banter, a lighter-side Veronica Mars. It also addresses one of the great concerns of my youth: whether all those WB shows could have had bigger audiences if only they’d been on different channels (the answer is no.) Netflix didn’t pick this show up for a second season, which means, in great WB fashion, this show already has the makings of a cult classic.
Here are 32 new films to see this season, whether you’re ready to return to theaters or want to stay on the couch.
Hollywood has a crowded slate of films—delayed by the pandemic and otherwise—to release over the next three months. That makes choosing what to see more stressful than usual, especially when some titles can be seen both in theaters and at home. To make the process more manageable, I’ve scrutinized trailers and even screened some of the films below to put together this guide for all your needs, whatever they may be. My first question, to set the scene: How far would you like to venture away from your couch?
I Want to Go Back to Theaters and …
… I’M CRAVING BIG-SCREEN ACTION
F9 (JUNE 25)
The latest installment in the Fast & Furious series sees Vin Diesel’s near-indestructible Dominic Toretto face off against his brother, Jakob (played by John Cena); the return of the fan-favorite character Han (Sung Kang); and—I’m guessing—a lot of cars vrooming and whooshing about. The film has already sped into theaters overseas and earned a pandemic record-making $163 million in its opening weekend. If the director Justin Lin keeps upping the ante with the action in these movies’ inevitable sequels, as he has skillfully done in previous Fast movies, this franchise might just last forever.
SNAKE EYES: G.I. JOE ORIGINS (JULY 23)
Starring Crazy Rich Asians’ Henry Golding as the titular ninja, this G.I. Joe spin-off draws inspiration from a comic-book series that traces Snake Eyes’ backstory before he lost his voice. It’s also a blatant attempt to build another cinematic universe, but the trailer offers enough flashy sword fights and martial-arts showdowns to make the effort worthwhile for now. If nothing else, I’m curious to see if Golding’s got the chops to be a leading action star. (I have a feeling he does.)
I Want to Go Back to Theaters and …
… I’M CRAVING BIG-SCREEN ACTION
F9 (JUNE 25)
The latest installment in the Fast & Furious series sees Vin Diesel’s near-indestructible Dominic Toretto face off against his brother, Jakob (played by John Cena); the return of the fan-favorite character Han (Sung Kang); and—I’m guessing—a lot of cars vrooming and whooshing about. The film has already sped into theaters overseas and earned a pandemic record-making $163 million in its opening weekend. If the director Justin Lin keeps upping the ante with the action in these movies’ inevitable sequels, as he has skillfully done in previous Fast movies, this franchise might just last forever.
SNAKE EYES: G.I. JOE ORIGINS (JULY 23)
Starring Crazy Rich Asians’ Henry Golding as the titular ninja, this G.I. Joe spin-off draws inspiration from a comic-book series that traces Snake Eyes’ backstory before he lost his voice. It’s also a blatant attempt to build another cinematic universe, but the trailer offers enough flashy sword fights and martial-arts showdowns to make the effort worthwhile for now. If nothing else, I’m curious to see if Golding’s got the chops to be a leading action star. (I have a feeling he does.)
BLACK WIDOW (JULY 9)
The superspy played by Scarlett Johansson didn’t get a funeral in Avengers: Endgame, but she is getting the solo film her fans have been campaigning for since it was possible to binge all of the Marvel movies in less than a day. (For those counting, this is the Marvel Cinematic Universe’s 24th entry.) This prequel follows Natasha on a mission across Europe to reunite her “family,” characters who will probably be essential to the next films. Bonus tip: Don’t forget to watch for a post-credits scene.
WARNER BROS.
THE SUICIDE SQUAD (AUGUST 6)
Comic-book superheroes rarely ever actually die. The same goes for comic-book-inspired film franchises. The David Ayer–directed version of Suicide Squadbombed with critics, but the band of supervillains forced to do the government’s bidding is getting a second chance, with some fresh additions to the cast and a new director in James Gunn, the needle-drop-happy mind behind Marvel’s Guardians of the Galaxy movies. Come for Margot Robbie reprising her gonzo performance as Harley Quinn; stay for what appears to be a much more irreverent and coherent version of the story. At the very least, this version looks lit brightly enough so that we can see what’s happening.
… I LIKE MY MOVIES TO COME WITH A BEAT
IN THE HEIGHTS (JUNE 11)
A feel-good hug of a movie that might make you dance in your seat, this adaptation of the Broadway hit by Lin-Manuel Miranda and Quiana Alegria Hodes dazzles with Jon M. Chu’s maximalist direction. The story follows characters living in the disappearing Latino neighborhood of Washington Heights, all with their ideas for fulfilling their American dreams. Consider this my official endorsement of the film’s sterling quality, and an appeal for concession stands across America to please add piragua to their menu.
FOCUS FEATURES
THE SPARKS BROTHERS (JUNE 18)
The director Edgar Wright (Baby Driver, Scott Pilgrim vs. the World) trains his eye on the quirky musical duo, whose sound has influenced, well, almost every band in existence, this documentary argues. Featuring interviews with dozens of musicians (Beck, Flea, Jack Anton off) and notable no musicians (Mike Myers, Jason Schwartzman), the film, which premiered this year at Sundance, is a close look at music history and a peek inside Wright’s kinetic mind.
RESPECT (AUGUST 13)
Biopics of famous entertainers need, above all else, the right actor in the leading role. This glitzy portrait of Aretha Franklin—not to be confused with the limited series that aired earlier this year—casts Jennifer Hudson as the legendary singer, and the star seems poised to embark on another awards-season run if all goes well. She’s surrounded by an equally impressive cast: The ensemble also includes heavyweights such as Forest Whitaker and Audra McDonald, along with an unexpected dramatic turn from Marlon Wayans as Aretha’s manager and first husband, Ted White.
THE BEATLES: GET BACK (AUGUST 27)
Peter Jackson of Lord of the Rings fame trades hobbits for the Fab Four. This documentary follows the Beatles as they make the album Let It Be and includes never-before-seen footage that had been cut from Michael Lindsay-Hogg’s 1970 doc. Jackson has stated that the hours of material he’s gathered show the foursome’s camaraderie and challenge the narrative that the album was made amid discord. I’ve got a feeling he’s right; after all, the film was created with approval from Paul McCartney, Ringo Starr, and the widows of John Lennon and George Harrison.
… I WANT TO SEE SOMETHING WITH MY PARENTS
STILLWATER (JULY 30)
In this thriller directed and co-written by Tom McCarthy (Spotlight), Matt Damon plays a blue-collar, salt-of-the-earth Everyman whose estranged daughter (Abigail Breslin) gets arrested for murder abroad. The script seems to have been inspired by the Amanda Knox case but told from an astonishingly resourceful and über-patriotic parent’s perspective. Think Jason Bourne, if Bourne had a conspicuous twang and transformative facial hair.
LIONSGATE
THE PROTÉGÉ (AUGUST 20)
Everything about this spy movie’s trailer—slow-motion shoot-outs, cool disguises, the villain delivering whispered threats—screams predictability, but the film has assembled a formidable cast, including Michael Keaton and Samuel L. Jackson. And I guess this is when I admit I’m a fan of the star Maggie Q’s CW-feed take on Nikita from the early 2010s. Campy action is her sweet spot.
REMINISCENCE (AUGUST 20)
One of the Westworld co-creators, Lisa Joy, wrote and directed this tale of a scientist (Hugh Jackman) who discovers a way to time travel through memory. If it’s anything like Joy’s work on the first season of the HBO series, it’ll be twisty but enthralling. If it’s anything like the latest season, it’ll give you a massive headache. Either way, the film marks a welcome return to hard sci-fi for Jackman after he starred in the underrated The Fountain more than a decade ago. (What’s that—he was in Chippie in 2015? Why would you remind me?)
… I NEED A KID-FRIENDLY FLICK
WARNER BROS.
SPACE JAM: A NEW LEGACY (JULY 16)
LeBron James steps into Michael Jordan’s shoes—er, Air Jordans—in this update on the cult favorite about NBA stars playing basketball alongside Looney Tunes characters. The villains this time are AI-controlled digital players, whatever that means. This might turn out to be nothing more than a shameless mashup of all the intellectual property Warner Bros. has ever owned, but if it matches the earnestness of its predecessor—and if James has half as much fun as Jordan did as a movie star—it just might work.
JUNGLE CRUISE (JULY 30)
Yes, this is Disney trying to turn another one of its theme-park rides into a billion-dollar franchise, but Emily Blunt and Dwayne “The Rock” Johnson’s combined charm can not—excuse me, will not—be denied. Jesse Plemons also drops in as the kooky villain who gets in the way of our heroes’ mission to find a tree with healing powers in the middle of the Amazon. If this Disney-feed spin on The African Queen all looks a bit … much, just remember: The CGI simply adds more scenery for all three stars to chew.
… I WANT TO BE TERRIFIED
THE FOREVER PURGE (JULY 2)
Just in time for Independence Day, the horror franchise about a dystopian version of America in which lawlessness gets to run rampant for a day every year will release what is (reportedly) its final installment. In it, a band of criminals decides that the annual purge should last longer than a day. Maybe forever. What are the odds of this series delivering four more sequels?
ESCAPE ROOM: TOURNAMENT OF CHAMPIONS (JULY 16)
As a breezy, 100-minute collection of puzzles and jump scares, the first film was a surprise hit, the kind of low-stakes entertainment even non–horror fans can enjoy. This sequel finds the surviving heroes from the original getting trapped in—you guessed it—another series of escape rooms with a group of other players. Though the tests look a lot harder to solve this time around, if the film’s writers continue to focus on the riddles, they might just figure out a way to sustain a franchise.
OLD (JULY 23)
Written and directed by M. Night Shyamalan, this graphic-novel adaptation follows a vacationing family who realizes that the beach they’re relaxing on is making them age at a rapid pace—so rapid, they’ll all be dead by the end of the day. Gael García Bernal and Phantom Thread’s Vicky Kreps star as the parents; their children age quickly into teens played by rising stars Alex Wolff and Thomasina McKenzie. Shyamalan, who’s expressed endearing excitement about making this film, has said his daughters gave him the source material—and perhaps the inspiration for the film’s underlying anxiety around getting older. In other words, he sees dying people.
THE NIGHT HOUSE (AUGUST 20)
Rebecca Hall stars as a widow grieving her husband’s death while alone—or is she?—in the house, he built for them. To go any further into the plot risks spoilers, but I can tell you that Hall’s character starts seeing visions of her husband lurking around the property. Also, according to critics who attended the Sundance Film Festival in 2020, this film couples its scares with innovative but intrusive sound design. Brace your senses.
CANDYMAN (AUGUST 27)
This remake/sequel to the 1992 film possesses quite the pedigree: Jordan Peele, the reigning king of our era of elevated horror, co-wrote the script with the producer Win Rosenfeld (Black Klansman) and the director Nia DaCosta, who made a splash on the festival circuit with the thriller Little Woods and is on deck to direct the Captain Marvel sequel, The Marvels. And I haven’t even mentioned the Emmy-winning actor Yahya Abdul-Mateen II (Watchmen), who stars as an artist finding inspiration in the urban myth about the titular killer with a hook for a hand (played by Tony Todd, returning to the role), only to unleash him, whatever he is.
… I MISS SEEING FESTIVAL FAVORITES IN PERSON
ANNA KOORIS / A24
ZOLA (JUNE 30)
Starring Riley Keough and Taylor Paige, this satirical romp follows a pair of women who go on a road trip to make some quick cash dancing in strip clubs. The film, which is based on a viral Twitter thread, scored distribution through the indie studio A24 even before it screened for the first time at Sundance in 2020. The gamble has paid off so far: Critics loved it. (Perhaps more movies should be based on tweets? Don’t @ me.)
THE GREEN KNIGHT (JULY 30)
A crown descending onto Dev Patel’s head and then lighting him on fire. A bear holding a lantern at the top of a staircase. A talking fox emerging from heavy fog. Based on thetrailers, it seems the director David Lowery has shrouded his film in cryptic, poetic images—which is appropriate, given that his source material is an ambiguous 14th-century fantasy epic filled with figurative language. The story follows an Arthurian knight (Patel) being tested for his chivalry by a giant green being. If Lowery has his way, the eerie atmosphere of the film, which was supposed to premiere at SXSW in 2020, will linger in your mind long after you finish watching it.
CODA (AUGUST 13)
Though I saw this at one of Sundance’s virtual screenings—as in, alone in my living room—I was pretty sure I wasn’t the only viewer who had used up all her tissues by the time the credits rolled. (I became certain when, two days later, Apple picked up the film for distribution for a festival-record $25 million.) The film tells a coming-of-age story through an unconventional heroine: a teenager who’s the only hearing member of her family, grappling with her responsibilities to her relatives and her love of singing. It’s a crowd-pleasing tearjerker, the kind I wish I’d seen in a packed theater.
… I’M JUST A HUGE RYAN REYNOLDS FAN
LIONSGATE
THE HITMAN’S WIFE’S BODYGUARD (JUNE 16)
The Deadpool actor plays a reluctant hero who gets dragged into scary shenanigans by a fearless woman. Explosions, pop-culture references, and jokes at Reynolds’s character’s expense ensue. Judging by the trailer, it seems like the film was a lot of fun to make for all of the actors involved, including an Oscar winner.
FREE GUY (AUGUST 13)
The Deadpool actor plays a reluctant hero who gets dragged into scary shenanigans by—frankly, I could just copy my previous paragraph and paste it here for this film. But there are some significant differences worth mentioning: Reynolds’s character exists inside a video game, a different Oscar winner (Taika Waititi) tags along, and the movie will probably be rated PG-13 instead of R.
I’d Rather Stay Home but …
… I WANT A TASTE OF BIG-SCREEN ACTION
AMAZON PRIME
THE TOMORROW WAR (JULY 2, AMAZON PRIME)
Chris Pratt is drafted to fight a war in the future against alien invaders and gets to grumble things like “I was trying to save my daughter. If I got to save the world to save her, then I’m gonna do it.” It’s a time-travel movie, so I’m expecting someone he meets in the future to turn out to be him or someone he knows, only older. (By the way, when did all movie aliens start looking like the Stranger Things Demogorgon?)
Also available: Black Widow (July 9, Disney+ with Premier Access); Space Jam: A New Legacy (July 16, HBO Max); The Suicide Squad (August 6, HBO Max)
… I WANT TO DANCE ALONG
SUMMER OF SOUL (JULY 2, HULU)
The music producer and DJ Questlove’s directorial debut traces the events of the Harlem Cultural Festival, a six-week celebration in 1969 featuring performers such as Nina Simone, Stevie Wonder, and B. B. King; the archival footage on display had been shelved for more than 50 years. The film took home several documentary awards at Sundance this year, for good reason: As much as it may be a history lesson about the decade, it’s also an absorbing concert movie and a probing look at how live music captured the frustrations and fears of members of the Black community and offered them catharsis when nothing else could.
Also available: In the Heights (June 11, HBO Max)
… I’M WATCHING IT WITH MY PARENTS
NETFLIX
THE ICE ROAD (JUNE 25, NETFLIX)
When the trailer for this disaster flick began with Liam Nelson driving in the snow, looking forlorn, I felt déjà vu: Hasn’t he already done this? Turns out I was thinking of 2019’s Cold Pursuit, a farce of a film in which Nelson’s character gets in the way of a turf war among gangs in the Rockies. This, on the other hand, is pure action: Nelson plays a trucker who must drive across thousands of miles of icy pavement to rescue a group of trapped miners. A perfectly chilly way to slide into summer.
Also available: Reminiscence (August 20, HBO Max)
… I NEED A KID-FRIENDLY FLICK
LUCA (JUNE 18, DISNEY+)
Pixar’s latest is a literal fish-out-of-water tale about an anxious merboy named Luca who ventures above the surface to—actually, it’s not clear what he’s up there to do, other than eat gelato, explore a quaint Italian seaside town, and accidentally terrorize its locals. But the animation looks delightful, and the story seems to be a fable about the wonders of getting outside your comfort zone. That’s a lesson for anyone, not just the children this film is aimed at.
NETFLIX
FATHERHOOD (JUNE 18, NETFLIX)
The comedian Kevin Hart stars in this film from an About a Boy co-writer, Paul Weitz, as a single parent trying to raise his adorable daughter, Maddy (Melody Hurd). You can imagine the hijinks: Hart’s Matthew struggles to find support, can’t tie a baby wrap, and fails to figure out how to do Maddy’s hair. Be ready for tears, though; the story’s based on a memoir and appears to delve into the unexpected loss of Maddy’s mom as much as it does into father-daughter antics.
Also available: Jungle Cruise (July 30, Disney+ with Premier Access); CODA (August 13, Apple TV+)
… I WANT TO BE TERRIFIED
HULU
FALSE-POSITIVE (JUNE 25, HULU)
Pregnancy has proved potent as inspiration for horror writers, and this film offers a modern spin on the subgenre nursed into being by Rosemary’s Baby. Ilana Glazer of Broad Citystars as a woman who, after a successful IVF treatment, starts to suspect that her doctor, played by Pierce Bresnan, has more sinister intentions in mind than helping her and her spouse (Justin Theroux) conceive.
THE FEAR STREET TRILOGY (JULY 2, 9, 16, NETFLIX)
Billed as a “film trilogy event” by Netflix, this collection of movies takes R. L. Stine’s young-adult-oriented book series and spins it into an R-rated mini cinematic universe. Set in and around the fictional Ohio town of Shadyside, the three films chronicle three very different, very creepy years in local history—1994, 1978, and 1666—that all have something to do with an ancient curse. Binge if you dare.
… I WANT A DASH OF ROMANCE
GOOD ON PAPER (JUNE 23, NETFLIX)
By now anyone who’s ever tried online dating knows what a “catfish” is. In this romantic comedy, however, the heroine, played by the comedian Ilia Schlesinger, falls for a “cuttlefish”—the kind of date who isn’t hiding via the internet but putting on an entire charade in person. Schlesinger based the script on an incident that happened to her in real life, so even if the relationship doesn’t end well, you can trust that it’ll be populated with her signature zany characters.
THE LAST LETTER FROM YOUR LOVER (JULY 23, NETFLIX)
Based on a Jojo Moyes novel, this decades-spanning romance toggles between the 1960s, when a writer (Callum Turner) falls for the wife (Shailene Woodley) of his subject, and present-day, when their love letters are found by a British journalist (Felicity Jones) who becomes determined to track them down. The plot’s easy to predict, but the period costumes and production design deliver the lush aesthetic that fans of such sweeping love stories cherish.
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Shirley Li is a staff writer at The Atlantic, where she covers culture.
Oscar Winners 2021
Note: for some reason I have not seen any of these yet. I will look for them on netflix and add them to my list as time goes by.
Over the last few years I finally became a K Drama fan. Part of the reason is that my Korean is now good enough to mostly follow the dialogue although i still need sub-titles. Second because of COVID we’ve been mostly at home in Korea, and third, I finally just got into K Drama. I know a bit late, but what the heck.
Here are some of my favorite K Dramas- I provide a snyopsis and my comment on each.
In general K Dramas come in two forms – movies and series. The series are reminiscent of Mexican telenovals – usually 16 episodes, occasionally 20, and occasional fewer. A few have two seasons. Most run for about a month. Almost all are available now on Netflic and Hullu with English sub-titles. A few were quite controversal.
Parasite of course won the 2020 Oscar. And Minuri won best supporting actress this year.
Parasite premiered at the 2019 Cannes Film Festival on 21 May 2019, where it became the first South Korean film to win the Palme d’Or. It was then released in South Korea by CJ Entertainment on 30 May 2019. The film was considered by many critics to be the best film of 2019. It grossed over $258 million worldwide on a production budget of about $15.5 million.
The Kim family—father Ki-taek, mother Chung-sook, daughter Ki-jung, and son Ki-woo—live in a small semi-basement apartment (banjiha),[10] have low-paying temporary jobs as pizza box folders, and struggle to make ends meet.[11] University student Min-hyuk, a friend of Ki-woo’s, gives the family a scholar’s rock meant to promise wealth. Leaving to study abroad and knowing his friend needs the income, he suggests that Ki-woo pose as a university student to take over his job as an English tutor for the daughter of the wealthy Park family, Da-hye. Ki-woo, presenting himself as a Yonsei University student, is subsequently hired by the Parks.
The Kim family schemes to get each member of the family a job by posing as unrelated and highly qualified workers to become servants of the Parks. Ki-jung poses as “Jessica” and, using Ki-Woo as a reference, becomes an art therapist to the Parks’ young son, Da-song. Ki-jung frames Yoon, Mr Park’s chauffeur, for having sex in the car, then recommends Ki-taek to replace him. Finally, Chung-sook takes over as the Parks’ housekeeper after the Kims exploit the peach allergy of the long-time housekeeper, Moon-gwang, to convince Mrs Park that she has tuberculosis. Ki-woo begins a secret romantic relationship with Da-hye.
When the Parks leave on a camping trip, the Kims revel in the luxuries of their residence before Moon-gwang abruptly appears at the door, telling Chung-sook she has left something in the basement. She enters a hidden entrance to an underground bunker created by the architect and previous homeowner, where Moon-gwang’s husband, Geun-sae, has been secretly living for over four years, hiding from loan sharks. Chung-sook refuses Moon-gwang’s pleas to help Geun-sae remain in the bunker, but the eavesdropping Kims accidentally reveal themselves. Moon-gwang films them on her phone and threatens to expose their ruse to the Parks.
A severe rainstorm brings the Parks home early, and the Kims scramble to clean up the home and subdue Moon-gwang and Geun-sae before they return. The Kims trap Geun-sae and Moon-gwang in the bunker. Mrs Park reveals to Chung-sook that Da-song had a seizure-inducing traumatic experience on a previous birthday, when he saw a “ghost” — actually Geun-sae — emerging from the basement at night. Before the Kims manage to sneak out of the house, they hear Mr Park’s off-handed comments about Ki-taek’s smell. The Kims find their apartment flooded with sewer water and are forced to shelter in a gymnasium with other displaced people.
The next day, Mrs Park hosts a house party for Da-song’s birthday with the Kim family’s help. Ki-woo enters the bunker with the scholar’s rock to find Geun-sae. Finding Moon-gwang has died from a concussion she received during the earlier fight, he is attacked by Geun-sae, who bludgeons his head with the rock and escapes, leaving Ki-woo lying in a pool of blood in the basement. Seeking to avenge Moon-gwang, Geun-sae stabs Ki-jung with a kitchen knife in front of the horrified party guests. Da-song suffers another seizure upon seeing Geun-sae, and a struggle breaks out until Chung-sook fatally impales Geun-sae with a barbecue skewer. While Ki-taek tends to a severely bleeding Ki-jung, Mr Park orders Ki-taek to drive Da-song to the hospital. In the chaos, Ki-taek, upon seeing Mr Park’s disgusted reaction to Geun-sae’s smell, angrily takes the knife and kills him. Ki-taek then flees the scene, leaving behind the rest of the Kim family.
Weeks later, Ki-woo is recovering from brain surgery. He and Chung-sook are convicted of fraud and put on probation. Ki-jung has died and Ki-taek, wanted by the police for Mr Park’s murder, cannot be found. Geun-sae has been assumed to be an insane homeless man, and neither his nor Ki-taek’s motive for the stabbings are known. Ki-woo spies on the Parks’ home, now sold to a German family unaware of its history, and sees a message in Morse code from a flickering light. Ki-taek, who escaped into the bunker via the garage, has buried Moon-gwang in the backyard and now raids the kitchen at night and flickers the light every day, hoping Ki-woo will see it. Still living in their original basement apartment with his mother, Ki-woo writes a letter to Ki-taek, vowing to earn enough money to one day purchase the house and reunite with his father.
Song Kang-ho as Kim Ki-taek (Mr Kim; 김기택; Gim Gitaek), the father of the Kim family who is hired as Park Dong-ik’s chauffeur.
Choi Woo-shik as Kim Ki-woo (Kevin; 김기우; Gim Giu), the son of the Kim family who is hired as Da-hye’s English tutor. Choi Woo-shik stated that the character is intelligent but does not have the vigour needed to succeed in examinations.[12]
Lee Sun-kyun as Park Dong-ik (Nathan; 박동익; Bak Dongik), the father of the Park family.
Cho Yeo-jeong as Choi Yeon-gyo (Madame; 최연교; Choe Yeongyo), the mother of the Park family.
Park So-dam as Kim Ki-jung (Jessica; 김기정; Gim Gijeong), the daughter of the Kim family who is hired as Da-song’s art therapist.
Lee Jung-eun as Gook Moon-gwang (국문광; Guk Mungwang), the housekeeper for the Park family, who also worked for the architect and previous owner of the house. Bong Joon-ho said her relationship with the architect and parts of her story “that happen in between the sequences in the film” will be explored in the spin-off television series.[13]
Jang Hye-jin as Chung-sook (박충숙; Bak Chungsuk), the mother of the Kim family who is hired as the housekeep for the Park family.
Park Myung-hoon as Oh Geun-sae (오근세; O Geunse), Moon-gwang’s husband.
Jung Ji-so as Park Da-hye (박다혜; Bak Dahye), the daughter of the Park family.
Jung Hyeon-jun as Park Da-song (박다송; Bak Dasong), the son of the Park family.
Park Keun-rok as Yoon (윤; Yun), Park Dong-ik’s chauffeur.
Crash Landing on You is a 2019–2020 South Korean television series written by Park Ji-Eun, directed by Lee Jeong-Hyo, and starring Hyun Bin, Son Ye-jin, Kim Jung-Hyun, and Seo Ji-Hye. It is about a South Korean chaebol heiress who, while paragliding in Seoul, South Korea, is swept up in a sudden storm, crash-lands in the North Korean portion of the DMZ, and meets a captain in the Korean People’s Army. Over time, they fall in love, despite the divide and dispute between their respective countries. Wikipedia
Genre: Romantic Drama, Romantic comedy
Created by: Studio Dragon
Written by: Park Ji-Eun
Comments:
One of my favorites. It is a classic romcom opposites attract theme. Almost a Romeo and Juliet star crossed lovers theme with the division of the Korean peninsular separating the lovers. When Captain Ri meets Se-Yeong who literary crash lands on him after a freak paragliding accident took over the DMZ, has to decide to risk everything to save her life and return her to South Korea, or turn her in as duty would dictate. He chose to follow his heart and enlists the aid of his squad of soldiers who all fall in love with her as well. She also becomes friendly with the local woman in the village.
When a notorious gangster follows her to Seoul to kill her to take revenge on Captain Ri, Captain Ri and his squad follow her to save her and bring down the gangsters. I won’t say more than that.
This series led to the North Koreans to blow up the inter-Korean liaison office as they saw the movie as an insult to the North. Some southern politicians denounced it as being too sympathetic to the North. It also of course featured rich people behaving badly in both the North and the South. – Common theme in most K Drama’s these days.
And a sub-romance between the Captain’s soon to be ex and Se-Young Ex who is End Commenta con artist who is hiding out in the north after defrauding her father and brother.
Memories of the Alhambra is a 2018 South Korean television series, starring Hyun Bin and Park Shin-Hye. Primarily set in Spain, the series centers on a company CEO and a hostel owner who gets entangled in a series of mysterious incidents surrounding a new and intricate augmented reality game inspired by the stories of the Alhambra Palace. It aired on cable network tvN from December 1, 2018, to January 20, 2019, every Saturday and Sunday at 21:00. It is also available for online streaming on Netflix.Wikipedia
Genre: Science fantasy, Action, Thriller, Romance
Created by: Jinnie Choi (Studio Dragon), Lee Myung-Han
Written by: Song Jae-Jung
Comment:
Did not finish it but will return to it soon. Had an intriguing SF plot line.
Two Flipinos kidnap some Koreans. Crisis negotiator Inspector Ha Chae-youn of the Seoul Metropolitan Police Agency, who was on a date and was called by her colleague, Superintendent Ahn Hyuk-su, is brought in to handle the situation, despite strong protests from her superior, Captain Jung Jun-gu. While Chae-youn is negotiating with the kidnappers, Captain Jung decides to send a police officer hit team to kill the men, shooting one kidnapper on the shoulder. He immediately kills the man he was holding and was shot dead afterward. The remaining kidnapper used the woman as a shield and dragged her to a room. The police team arrives and kills the kidnapper in the room. Chae-youn enters the room to find the woman who had been killed by the kidnapper before the police team entering the house. The woman dies in Chae-youn’s arms, leaving Chae-youn shocked.
Ten days later, a devastated Chae-youn decides to resign from the police force, but Captain Jung urges her to reconsider, before leaving on a work trip. Chae-youn is then urgently called upon by Ahn, who informs her that she has been urgently summoned to deal with a hostage crisis by the Commissioner himself. Upon arrival to a secret location, she meets with the Commissioner of Police Moon Jong-hyuk and Presidential Secretary Gong of National Security. She is ordered to negotiate with the kidnapper – Min Tae-gu, a Korea-based international arms dealer and UK citizen, who had kidnapped several Korean nationals from Bangkok – including a reporter named Lee Su-mok. Without any additional information, she hung up on Min twice after being offended by him and asks Secretary Gong to reveal to her the necessary details. Not wanting to talk, the two men ordered Chief Han to talk to Min instead, while she is being hesitant about doing so. Upon seeing the negotiations going sour, she takes the seat from Chief Han. While negotiating with Min video conferencing, she is shocked to discover that Captain Jung, who was supposed to be on a trip, has also been kidnapped by Min as well,
Chae-youn is later informed that the hostages are being held at an island in the Malacca Straits, where a joint military-police op has been sent to, intent on freeing them. Han also informs them that Daehan Daily, a news outlet Lee is working for, had been ordered to keep silent of their employee’s situation, as requested by the President. Min later demands to see the CEO of Daehan Daily, Yoon Dong-hoon, Lee’s boss. While talking with Dong-hoon, Min demands to know whether Lee is one of his reporters or not. Min threatens Yoon that his own family could be in danger, revealing that he knows of their whereabouts. Commissioner Moon cuts into their conversation to stop Yoon from telling the truth. Because of this, Min shoots Captain Jung dead, which further shocked Chae-youn. Commissioner Moon and Secretary Gong bring in negotiators from the National Intelligence Services to take over and order Chae-youn, Ahn, and even Han to leave the site.
Outside, Han reveals to them that Lee is a black agent working for the NIS, whose mission was to spy on Min’s syndicate. She tells them that Min is an arms dealer working in the Malacca Straits, selling every kind of weapons and equipment to other criminals in the majority of the Southeast Asian countries. Chae-youn’s two colleagues arrive in their van, and Chae-youn sought to find out the truth themselves. She then asks Ahn to follow Yoon and ask him further. Back inside, the NIS team approached Min aggressively, demanding that Min release his hostages or otherwise they will bombard his location, killing Agent Lee with him. Unbothered, Min reveals that he had also kidnapped a family of four, keeping the NIS under this thumb. Min demands to bring Chae-youn back as he will only talk to her. With no other choice, Chief Han goes over to bring Chae-youn, along with her team, back inside.
This time, Chae-youn demands the NIS to tell her everything that they know about Min. Min demands Chae-youn to bring Koo Gwan-su—chairman of Nine Electronics, an arms company. As they wait, the NIS tells Chae-youn that Min used to work for Koo as the man in charge of dealing with the company’s illegal activities. When Min decided to work alone as an arms dealer in Malacca Straits, Koo betrays Min and tipped him off to the NIS. Koo also revealed the $50 million worth of taxes that he had evaded, and due to his ‘honesty’, the government practically erased his criminal activities. When Chae-youn asks where Koo is, the NIS agent reveals to her that they were all inside the Nine Electrics weapons laboratory. Koo himself had funded the entire operation of the NIS to hunt Min down. In a hotel suite lounge somewhere downtown were Koo, NIS Deputy Chief Park In-kyu, Air Force Commander Son Jung-Tae, and the Chief of National Security himself, Hwang Ju-ik. These four men had been keeping a close eye on the entire operation.
Meanwhile, Ahn found out from the escaping Yoon that NIS Deputy Chief Park was the one who asked him to give Agent Lee a false Daehan Daily ID. Koo arrives at the site and begins to talk with Min. Min asks Koo to restore a certain Swiss bank account, and Koo agrees to it. However, Min had further demanded. He asks Koo why he had killed a woman named Yoo Hyun-Ju. Koo denies any knowledge of any Hyun-Ju, and Min began to tell Chae-youn of Hyun-Ju. Min introduced Hyun-Ju to Koo as his secretary. In reality, Hyun-Ju was to keep records of hidden, expensive paintings that Koo owned and kept. These paintings were worth 10 billion won each, and profits from these paintings would be shared between Koo, Park, Son, and Hwang. Some of the paintings were kept in a house that Hyun-Ju and presumably her husband stayed in. It is revealed that Hyun-Ju was the woman who died in Chae-youn’s arms ten days ago, and Min convinces Chae-youn that something was amiss during that operation, which resulted in Hyun-Ju’s death, and the disappearance of the paintings in the house almost immediately. To further prove his point, Min plays an audio recording of a conversation between the four corrupt men. This recording was done by Hwang himself, where Min explained that Hwang never fully trusted the three other men he was working with and had a habit of keeping recording devices for important conversations. Min then demands Hwang to show up and talk to him in one hour, otherwise, he’ll kill every hostage—including the children.
Chae-young and her team validate the information Min had given as they try to figure out the connection between Min and Hyun-Ju. Secretary Gong lies to Chae-young, telling her that Hwang was with the President and that he couldn’t come. Meanwhile, Ahn was able to track down Chief Park’s phone records. There, he found out that Captain Jung had accepted a bribe from Chief Park. Captain Jung was under the command of Chief Park, and that they planned to kill Hyun-Ju by using the Filipino kidnappers as an alibi. Chae-youn resumes the negotiations with Min, telling Min that Hyun-Ju’s case will be reopened. Min demands to talk with Commissioner Moon. Min asks if Koo is being questioned by the police and that if Hwang is really with the President. Before answering, they found out from a Thai server that Min had been live-streaming the entire situation on YouTube, which sends the country into a frenzy. Upon figuring out that Koo is not being questioned, and that Hwang is in hiding, Min shoots Agent Lee in the leg. He gives Hwang one last chance to show himself.
Back in their lounge, Hwang orders Chief Park to invent a story and Commander Son to begin the military operation immediately. Hwang wants Min dead, along with the hostages. Meanwhile, Ahn returns to Hyun-Ju’s home, where the kidnapping ten days ago occurred. There, he found a photo of Somang Orphanage, an old orphanage where Hyun-Ju came from. He goes over to the new orphanage, and he found out that Hyun-Ju’s real name wasn’t Yoon Hyun-Ju, but Min Hyun-Ju—she was Min’s younger sister. Back in the lab, the military team arrived in Min’s location and authorizes the mission, despite Chae-youn’s protests. Min reveals that a bomb is strapped on one of the hostages, revealing a suicide for all of them. Either way, the team blows up a signal tower—stopping their communication. Chae-youn tries to stop the team from entering Min’s hideout as a bomb is present. Hwang (through Commander Son) pressures them to continue, and the team enters the hideout. However, as soon as they moved in, the room had exploded, presumably from Min’s suicide bomb, and killing the hostages inside. Hwang and his cronies were finally able to relax, and the NIS were packing up their things.
As Chae-youn stares at the last footage of their negotiations with Min in despair, she notices through the background that Min wasn’t in Southeast Asia, but in South Korea all along. That night, Ahn went to the old orphanage building and found all of the hostages safe. Meanwhile, Min and his gang arrived at the Nine Electronics weapons lab. He orders his fellow gang to go home and takes the bomb with him. Min storms the lounge and finally catches Hwang, Koo, Park, and Son, with the bomb strapped to his chest. Chae-young convinced Secretary Gong to reveal the true location of Hwang and his cronies so that they can stop Min. Min shoots Koo, activates the bomb via a detonator, and Chae-youn arrives at the lounge to finally meet Min. She apologizes to Min for not being able to protect Hyun-Ju, and she vows to defend Min at any cost to bring the remaining cronies to justice. Min reveals to her that he asked Hyun-Ju to betray Koo by stealing every bit of information he had. He believed that his plan ultimately led to his sister’s death. He raises the gun at Hwang, and he was shot to the head by a sniper outside. A flashback reveals that Min backfired with his plan, telling his sister that the plan is too dangerous after all. However, Hyun-Ju wanted to proceed with the plan, so that the two of them can find a place to live in silence and peace.
As the team arrives to escort Hwang, Park, Son, and Chae-youn outside, Chae-youn overheard that the detonator wasn’t turned on, and Min planned to die in the end and bring the corrupt men to justice. Chae-young chases Hwang outside, prematurely telling them of their arrest as she shouts their rights to them. As their car leaves, the reporters then surround Chae-youn. Chae-youn and Ahn went to an overlooking spot, where they made a makeshift memorial for Min and Hyun-Ju. Chae-youn shows Ahn of Min’s pen drive presumably with the dealings of Hwang and his cronies, as stolen by Hyun-Ju. In court, Hwang, Park, Son, and Chae-young appear, with Chae-young as a prime witness. The pen drive is revealed to the court as evidence, and the film ends with Chae-young reciting an oath.
The film premiered in South Korea on September 19, 2018.[14][15]
By September 2018, the film was sold to over 22 countries. It was released in North America on September 20, in Singapore, Malaysia, and Brunei on October 4, in Hong Kong and Macau in early October, in Vietnam and Taiwan on October 19, and in Indonesia on October 24, 2018.[16][17]
very engaging police thriller taking place in Bangkok and Seoul.
Usual high level polticial corruption and rich people behaving badly. Also features a woman protagonist who goes against her superiors and saves the day.
End comment
No exit movie
Comment:
A nother engaging police crime drama. Very engrossing and great acting. Takes place in Chejuo who a mafia figure goes on the run after being betrayed by his boss.
This was another great Korean movie. It was packed with action and comedy. This movie kept you on edge on your seat and glued your eyes to the screen. I love how Jo Jung Suk always keeps his quirky side whenever he played a character. He never disappoints me in the comedy area. Love him in dramas and movies.
Exit is an interesting drama with an old concept depicted in a new way. The entire two hours were engrossing for me and I thoroughly enjoyed it. Choi Tae Joon was natural, strong and intense in playing his role and the rest of the cast also did a pretty good job. The background score is quite good though it has no OSTs. Two hours is not much.
an intense gangster drama taking place in Soeul and Cheju island. The main villain is a mafia figure who is double crossed by his bosses and hides out in Cheju where he falls in love with a deeply disturbed woman.
Mine (Korean: 마인) is a 2021 South Korean television series directed by Lee Na-Jung and starring Lee Bo-young, Kim Seo-Hyung, Lee Hyun-Wook, and Ok Ja-Yeon. It revolves around strong women who free themselves from the prejudice of society and find their real ‘mine’. It also peeps into the mysterious lives of wealthy people. The series premiered ten on May 8, 2021, and aired every …
Mine (2021) Mine. (2021) “Mine” is about strong and ambitious women who overcome the world’s prejudices to find their true selves. Seo Hee-Soo was a former top actress, but she gave up her career to marry the second son of Hyo Won Group. She does her best to fit in as a daughter-in-law of that family.
Mine. 2021 | TV-14 | 1 Season | TV Dramas. Encaged in a gold-clad life of secrets and lies, two women in a conglomerate family seek to topple all that stands in their way of finding true joy. Starring: Lee Bo-young, Kim Seo-Hyung, Lee Hyun-Wook.
Today, we present some unexpected cameo appearances in K-Dramas by popular actors and actresses. Get Ready to Be Enrolled in the “Police University” of 2021 News – Aug 1, 2021
Images for mine k drama
Comment:
One of my recent favorites. Almost a poster child for the rich family behaving badly theme. An interesting LBGT romance sub-theme as well. Another Romeo-Juliet Cinderlla romance sub-plot as well. The main protagnoist is a real sociopath. The story revolves around his murder and who wanted him dead the most. Well everyone hated him, everyone wanted him dead. The suspense was kept alive to the very end. The other theme is the two sister in laws who battle the family and in the end prevail against all the odds to ome out on top and regain what they saw as “Mine” hence the tittle. Very well done.
It’s harder to compare Mine to a current K-drama, but it sure does have the feel of a good old-fashioned American primetime soap like Dallas or Dynasty, with some hints of Succession mixed in.
Information. Title: Mine / 마인 Director: Lee Nanjing Writer: Baek MiKyung. Network: ten x Netflix. Runtime: From May 8 # of Episodes: 16. Genre: Mystery, Thriller, Human Language: Korean. Summary. Encaged in a gold-clad life of secrets and lies, two women in a conglomerate family seek to topple all that stands in their way of finding true joy.
Korean Drama ”Mine” (Synopsis + Cast + Preview) May 9, 2021. admin “Mine” (or “Blue Diamond”) is a ten original drama series that was released on 8 May 2021 and is available to watch online on Netflix*. SYNOPSIS “Mine“ drama story will center around two strong and married women Seo Hee-Soo and Jung Seo Hyun. They both are married …
3.5. Summary. The finale of Mine wraps up the story nicely — episode 16 reveals the killer and gives the audience a taste of life after Ji-yong. There are strong themes of female empowerment in the finale that works well, in the story’s conclusion. This recap of the Netflix k-drama series Mine season 1, episode 16 — the finale/ending …
A story of women who try to find their true selves, freeing themselves from prejudices in the world.
Seo Hi-Soo (Lee Bo-Young) was a star actress, but she gave up her career to marry the second son of a chaebol family. The chaebol family runs the Hyowon Group. She does her best to fit in as a daughter-in-law of that family. She acts confidently all the time to not lose her true self.
Jung Seo-Hyun (Kim Seo-Hyung) is married to the first son of the same chaebol family. She is also the daughter of a chaebol family. She is elegant and intelligent. She is also very rational.
Notes
“Mine” takes over TV N’s Sat. & Sun. 21:00 time slot previously occupied by “Vincenzo” and followed by “The Devil Judge” on July 3, 2021.
At the age of eight, Park Joo Hyeong went to Italy after being adopted. Now an adult, he is known as Vincenzo Casino to the Mafia, who employ him as a consigliere. Because mafia factions are at war with each other, he flees to South Korea, where he gets involved with Lawyer Hong Cha Young. She is the type of attorney who will do anything to win a case. Now back at his motherland, he gives an unrivaled conglomerate a taste of its own medicine with a side of justice. (Source: Netflix, Asianizing) Edit Translation
another one of my favorites. An Korean child is adotped by an Italian family who has mob connections. He graduates from Law School and becomes a lawyer to a Mafia family. He hides millions of dollars in gold bullion in an office building in South Korea. Hidden within the gold is a secret file on secrets of all the main corporation and politicial leaders in Korea known as the Guillitine file. Venzenco goes to Korea to recover the money after the godfather dies. The building tenants are being evicted by an evil corporation which wants to build their headquarters in their centrally located plaza. The tenants are being led by a lawyer. When he dies his daughter takes up the fight. She enlists the aid of Venzenco who teaches her how to do things the mafia way. There is the usual rich family behaving badly scenario, political corrution etc. And a slow burning love affair. The main villian is a real sociopath, which is also a common theme in Korean dramas nowadays. There is also an implied LGBT theme – as Venzenco is a very attractive man and both men and women try to seduce him. Another villain is a corrupt ex-prosecutor who goes to work for the evil Babel corporation and its sociopathic young secret chairman. He had been exiled to Canada as a young man when he killed a number of his classmates after witnessing his father being left to die by his mother. End comment
An unfathomable incident introduces a genius engineer to dangerous secrets of the world — and to a woman from the future who’s come looking for him. Han Tae Sul, a co-founder of Quantum and Time, is a genius engineer with the highest level of coding skills and outstanding looks that outweighs his engineer fashion sense. Due to his innovative achievements, Quantum and Time is a world-class company, dubbed “The Miracle of South Korea’s Engineering Industry.” In reality, Tae Sul has constantly caused his company’s stocks to fluctuate after his brother’s death ten years ago. One day, he witnesses something unbelievable. To reach the truth, he sets off on a dangerous journey. Kang Seo Hai is a survivor of a future dystopian world. With the survival skills that she’s learned from living amongst gangsters and warlords, she travels back to save Han Tae Sul. (Source: Netflix, Newsmen) Edit Translation
Sisyphus: The Myth is an intriguing drama. The thrilling teaser that was released late last year stoked the flames of excitement for many avid K-drama viewers. Coupled with a cast that’s headlined by bankable stars the likes of Cho Seung Woo and Park Shin Hye, it became one of the most talked-about and highly anticipated shows for 2021. When it finally aired, however, it polarized opinions here in MDL and left several viewers’ expectations somewhat unfulfilled, to the extent that the ratings steadily declined to the current score hovering at around 8.
Some continued to enjoy the show, for various reasons, and I happen to be one of them. Allow me to share my (spoiler-free) thoughts and then you can make your own decision on whether or not to embark on what has largely been a fun-filled escapist roller coaster ride.
What is it about? In a nutshell, a woman from the dystopian future of South Korea travels back in time in the hopes of altering the course of history by preventing the seemingly inevitable fate that befell the country, the looming catastrophe of nuclear war. Central to this mission is the man who invented the time-traveling machine. These two characters are played by Park Shin Hye and Cho Seung Woo respectively.
The drama contains a mix of science fiction, action, drama, and romance genres imbued with themes of revenge, redemption, remorse, love, friendship, and familial bond. The director is Jin Hyeon, who notably helmed The Legend of the Blue Sea, The Master’s Sun, and City Hunter, among others. The screenplay is written by the husband and wife team of Jeon Chan Ho and Lee Je In, for only their third production.
This show is jointly produced by Drama House and JTBC and has been publicized as the network’s 10th-anniversary special drama. Its title is derived from the ancient character from Greek mythology, King Sisyphus of Corinth, and is completely pre-produced with principal photography that has taken place toward the end of 2020.
What’s great about it?
The Production Values As expected of a JTBC production, this drama is very well, made. I love the cinematography (in particular the indoor lighting), the many gorgeous scenic views of both Seoul in the present time, and the vast landscape of the dystopian future. The set designs for various settings are quite exemplary while the special effects (CGIs, firefights, and pyrotechnics) are considered top tier for a show of this nature.
The Acting and Cast In my humble opinion, the leads are fantastic and I have absolutely no complaints. While Cho Seung Woo fully embodies the character of Han Tae Sul, the same goes for Park Shin Hye’s Kang Seo Hai. They deliver very strong performances in their portrayal of deeply flawed and emotionally scarred individuals. These are the types of roles that perhaps mature actors with adequate professional and life experiences are better-equipped to articulate and convey convincingly, which is very much the case here.
It’s interesting to note that unlike Cho Seung Woo’s other more serious roles, especially that of Hwang Shi Mock in Stranger, here his Han Tae Sul is much more comedic and mischievous with a copious dose of flamboyance and swagger. Despite possessing similar social awkwardness, this character is remarkably more fun while his ingenuity in getting out of tricky situations bears an uncanny resemblance to the MacGyver persona.
Such nuanced characterization is depicted by the other veteran supporting cast as well, notably Sung Dong Il, Kim Byung Chula, and Kim Jong Tae. Kim Byung Chula in particular surprised me with his depiction of Seo Won Ju. Despite being slightly OTT, I suspect he had the time of his life being “unleashed” from his usual more understated roles. Here he plays “dual characters” where his versatility is quite commendable.
Special mention goes to the young actor Lee Joo Won, who plays the young version of Seo Won Ju. This kid truly gave me goosebumps with his chilling portrayal.
The Action For the most part, the choreography has been outstanding. From the numerous unarmed combat sequences to the firefights involving some pretty impressive military hardware. It’s not often that we see plenty of intense (and at times, logic-defying) gun battles in a non-military drama so this aspect of the production is indeed praiseworthy. Other forms of action include a lot of hard running in chasing (and being chased by) a multitude of characters.
The Romance This particular theme is so beautifully and convincingly conveyed. It helps immensely that Cho Seung Woo and Park Shin Hye abundantly possess such wonderful chemistry which is poignantly manifested amidst the ensuing intrigue and mayhem. The pairing of Han Tae Sul and Kang Seo Hai, in many ways, makes a lot of sense. They are each plagued by a traumatic past and rendered seriously flawed, emotionally damaged, and are now fighting against the odds to change their fate.
What could’ve been better?
The Science I love the concept here about time traveling to the past to change the future which gives me vibes of The Twelve Monkeys where the premise is quite similar. However, I do feel that the science as depicted in the show is super messy. Many technical aspects are open to interpretation and left to the viewers to fill in the blanks, as the story progresses. It’s a process of trial and error where we discover new things during every episode. The finale is quite possibly the most mind-blowing of all.
The Screenplay A parallel narrative and converging plot format are used to tell the story, which includes numerous flashbacks and flashforwards by various major characters in multiple timelines – the past, present, and future. Sometimes title cards are used to indicate the date, but not when the scene is obvious. It can get a little disorienting unless viewers pay close attention to the details.
How and why certain events transpire are quite convoluted and require too much deductive reasoning to derive a sense of what the answers could be. The credibility of certain characters is questionable while quite a number of the sequences appear utterly ridiculous and fantastical, despite the sci-fi tag. The seeming lack of logic in certain respects of the overarching plot has led me to strongly suspect the screenwriters were high on recreational psychoactive substances as they were writing this.
Overall The sooner viewers suspend disbelief and forgo questioning how the technology works by accepting the science as it is, the less confusing the show would appear to be. Regardless of the perceived weaknesses resulting from the flawed execution of the concept, I found myself enjoying the wild and, at times, exhilarating ride once I shut down my cerebral process and went instinctive. I would advise you to do the same for this is the only way to truly appreciate Sisyphus: The Myth. And if you do decide to watch this, be rest assured – the ending is very much a happy one, for everyone (kind of).
At outset, the drama starts as an interesting and pioneering perspective of time travel. With the use of new ideas like uploader and downloader, the science-fiction aspect is on par with that of the contemporary world of science fiction entertainment.
Along with this, is the backdrop of a nuclear war involving Koreas, it provides an exquisite playing field for proficient storytelling. These themes remind me of the “TENET” movie.
The show is almost convincible scientifically about time travel*. But that’s where the spectacle of this show ends. This show has countless flaws.
One, after setting the story, the show becomes more character-driven and not plot-driven. Thus, giving little scope for further exploring the sci-fi elements or packing it with more plot elements. Viewers are taken through detailed narratives about various side characters. These insights could have been less detailed.
Two, Will over Wits. Almost every scene has some sort of test for characters to make a choice. Almost every character ends up making emotion-driven decisions and not reason-driven. This leads to a countless loop of bad folks coercing good folks to fall into their traps. Countless episodes are wasted in these cat-and-mouse endeavors.
Three, Lack of an alternate answer to the recurring question “Girl or World?” Right in the first instance of asking this question, the answer is undeniably obvious. Yet, the protagonist delays to choose the answer giving false hope of the possibility of an alternative answer. Had this been answered earlier, it would have ended the show quicker.
Four, Romance: The Leads’ relationship feels more like comradeship and less like a romantic one. If at all it is present, it is not so passionate and intense given their life-threatening circumstances.
Five, the beginning of the time loop. How did all this begin that is, the events right before the first loop are hardly explained. I believe that explaining a bootstrap paradox is an unimaginable task.
Despite the flaws, there are a couple of appreciable elements like One, ambitious production. The initial fights and stunts scenes felt amateurish in CGI. But the events of the future were well, produced. The drone chase scene was a personal favorite. The fights scenes were really good, especially the last fight of the future timeline. Two, despite the ever-looming question of “save the world”, the intermittent scenes of future events were very imaginative. Three, Badass FL and Genius ML both bring something unique to the plot. Four, the “Act of Kindness” (without letting the spoiler out), was the best moment in the entire drama and gave the best “glimmer of hope”, an essential feature of the Sci-Fi genre.
Acting-wise, both the leads are exceptional. PSH stunt scenes are awe-worthy. Kim Byung Chula does an incredible job. Music-wise, I liked the title music of whizzing sound and the end song. Rewatch value is lower as sci-fi elements are hardly convoluted.
Sisyphus: The Myth is an inventive concept but fails in storytelling. ~~ *Logical inconsistencies do exist.
Comment::
I have to agree with the concensus on this one. It jsut did not work for me. The plot was just too convulated and contraditory. The acting was superb but the writing sub-par particularly the ending. One principle of creative writing is that when you write you are creating an alternative world. And every world has rules. Violating the rules of your alternative unvierse leaves the readers or viewers confused, disappointed or even angry. The special effects were good, not great. The plot had too many holes in to. In the end it was defeated by the writing. End
Stranger (Korean: 비밀의숲; RR: Baillieu Sup; lit. Secret Forest) is a South Korean crime thriller drama television series. Produced by Signal Entertainment and IOK Media, it was created by Studio Dragon writer Lee Soo-Yeon and broadcast on tvN from June 10, 2017. The series was renewed for a second season, which premiered on August 15, 2020.
The series was a hit with both domestic and international viewers,[1] and received favorable reviews for its tight plot, gripping sequences, and strong performances.[2][3] It was featured on the New York Times list of Best TV Shows of 2017,[4] and won several awards including the Grand Prize for television at the Baek sang.[5]
In the first season, Hwang Si-Mok (Cho Seung-woo) is an exemplary prosecutor who suffers from hypersensitivity to certain sound frequencies. After undergoing corrective surgery, he lost his sense of empathy and lacks social skills. While investigating a murder, he meets Police Lieutenant Han Yeo-jin (Bae Dona), who assists his efforts to solve the case. As they begin to unravel the mystery behind the murder, they find that their efforts are continually being obstructed by participants in a major corruption conspiracy between the Prosecutors’ Office and a private chaebol (conglomerate).
In the second season, set two years later, a dispute arises between the Prosecutors’ Office and the National Police Agency, with the former wanting control over all investigative proceedings while the latter seeks autonomous authority to conduct investigations. Amid their respective agencies’ conflict, Hwang Si-Mok, and Han Yeo-jin team up to conduct their independent investigation of a concealed case.[6]
The entire series was written by Lee Soo-Yeon who was inspired by the Korean adage “We cannot rule those who want nothing” to create the character of Si-Mok.[7] Ahn Gil-ho directed the majority of the first season with the assistance of Yoo Je-won, while Park Hyun-Seok took over the filming duties for the second season.[8] Unlike usual South Korean dramas, the series was developed as a potential multi-seasonal program, with most of the filming have already been pre-produced before its broadcast.[9][10]
In January 2017, Cho Seung-woo and Bae Dona were offered the lead roles. The same month Shin Hye-sun was added to the cast.[11] It was the first television drama Cho Seung-woo had accepted since God’s Gift – 14 Days in 2014, after venturing into musical theatre for seven years.[12] For the second season, cast members Cho Seung-woo, Bae Dona, Lee Joon-hyuk, and Yoon Se-ah, were all confirmed to reprise their roles. Jeon Hye-jin and Choi Moo-sung were also confirmed to join the lead cast in January 2020.[6]
Filming of the first season began in April 2017, preceded by the first script reading with the cast at the CJ E&M Center in Seoul.[12] Script reading for the second season took place in January 2020.[6]
An accompanying soundtrack compilation to Stranger was released by Mog Communications and Kakao M on September 13, 2017, in South Korea.[13] It was later reissued by Universal Music Group in overseas markets on May 11, 2018.[14] A three-disc album, the latter two discs features music composed by Kim Jun-Seok and Jung Sae-rin for the program.[15][16] Ten songs were released from the soundtrack as singles in numbered parts from June to July 2017: “끝도없이 (Ad Infinitum)” by Richard Parkers, “먼지 (Dust)” Evelia, “소나기 (Downpour)” by Ohio, “괴물처럼 (Monster Like)” by Tie, “웃어요 (Smile)” by Han Hee Jung & Sorae, the titular track “비밀의숲 (Stranger)” by Yoon Do-Hyun, “사랑할것처럼 (As if to Love)” by Kim Kohen of My teen, “물결 (A Billow)” by Yean of Lovelyz, “굿바이잘가요 (Goodbye)”/”Back in Time” by Peter Han, and “묻는다 (Ask)” by Jung Won-boo of NeighBro & Jun Sang-gun.[17] Of these, the songs “소나기 (Downpour)” and “사랑할것처럼 (As if to Love)” have managed to enter the South Korean Gaon BGM Music Chart at numbers 80 and 79, respectively.[18][19]
Jin-hai commended the writing as “finely intertwined”, and wrote that audiences gave a strong response to this “drama for thinking people”.[7]The New York Times listed the series in tenth place as they’re The Best TV Shows of 2017.[25]
According to data published by Nielsen Korea, the pilot episode of the series was seen by 3.041percent of total nationwide viewers, in metropolitan Seoul, it earned a 3.2percent rating, which made it the highest-rated program of the day among non-terrestrial channel programs.[29] The program achieved its highest rating on the first-season finale, earning a 6.568percent nationwide rating and a 7.622percent rating within Seoul-based viewers.[30] On average, it was seen by 4.562percent of total viewership.[31] On the Times rating system, the series premiered with a 3.2percent rating and ended its first season with a 7.1percent rating.[32] The last episode recorded noticeably strong rating performances as it took the lead rating for the first time against hit variety show Hori’s that aired in the same time slot and became the highest-rated program of the day among non-terrestrial channels programs.[33][34]
Comment:
Well done police drama. The usual rich people behaving badly, political corruption, honest police officers trying to solve crime being thwarted by corrupt senior level figures. The romance theme was hinted at but never really developed. There was also a nice sub-theme of a serial killer whose crimes were covered up his father who was a prosecutor. The series takes place amid the South Korean government’s attempt to reform the prosecutor’s office transferring much of their power to the police. The movie is perhaps a bit too pro-government reform in that regard. I would have liked to have seen a stronger romance and would have liked to have seen the political corporation corruption case spelled out a lot more. The plot was a bit confusing but the acting was first rate. I would have to give it a B.
End comment
Space Sweepers
Space Sweepers is a 2021 South Korean space Western film directed by Jo Sung-hee, starring Song Jong-ki, Kim Tae-Ri, Jin Seon-kyu, and Yoo Hai-jin. Regarded as the first Korean space blockbuster, it was released on Netflix on February 5, 2021.Wikipedia
Director Sung-hee
Produced by: Yoon In-beom, Kim Soo-jin
Writer(s): Yoon Seung-min, Yoo-king Seo-ae, Jo Sung-hee
In the year 2092, Earth has become nearly uninhabitable. The UTS Corporation builds a new orbiting home for humanity that mimics the natural processes on Earth; however, only a chosen few are permitted to ascend and become UTS citizens, while those remaining on Earth breathe polluted air.
To regulate the population in orbit and keep an eye on the non-citizens, UTS governs them via a strict set of rules and taxes. Many non-citizens from all across the globe work as space sweepers, collecting space debris floating in Earth’s orbit and selling it to the company factory for survival. The plot follows such a crew of space sweepers and their ship, the Victory.
Victory’s crew has Kim Tae-ho, Tiger Park, and Bubs (an android), all led by Captain Jang. Tiger Park handles the ship’s machinery and was a drug baron on Earth. Bubs used to be a robot soldier but now helps repair the ship and cast the net for space junk while saving up to get a complete skin graft. Jang was one of the child geniuses sponsored by UTS and created several hi-tech inventions for the company but, after discovering the company’s true workings, became a pirate and tried to assassinate James Sullivan. Her crew was killed and Sullivan survived, so she changed identities and had an eye transplant. Tae-ho, once a child soldier, is on a search for his daughter (Su-ni); who was lost and ejected into space after space debris collided with the station they were staying at. His sole life aim is to pay for the authorities’ recovery team to locate her body tracker before she drifts out of orbit and gets lost in space forever.
After picking up a car floating in orbit, they discover a child in it. News reports say that she is a robot named Dorothy, and has a weapon of mass destruction inside her created by the terrorist group Black Fox. The crew also finds a smartphone in Dorothy’s bag with several missed calls from someone named Kang Hyeon-u. They call back and, assuming the other party to be part of the Black Fox group, negotiate two million dollars for returning Dorothy. Tiger finds Dorothy drawing in his cabin and starts a conversation with her, as he finds himself drawn to her.
Tae-ho and Tiger carry Dorothy to a nightclub to collect the ransom, but she wanders off in the crowd. UTS soldiers have lain in wait, and a massacre ensues. Tiger and Tae-ho locate Dorothy when Soldier 01 zeroes in and shoots at them. Dorothy’s eyes change color, and the trio is protected from the blast by a sort of force field around them. Jang is watching everything through a feed on the ship. She also notices the man who came to collect Dorothy shouting after her and calling her Kotani. The trio makes it back to the ship, and Dorothy busies herself drawing and playing. When asked by Jang what her name is, Dorothy says Kotani is her Korean name. Tae-ho ignores her, thinking she is a robot, while Tiger becomes friendly with her and suggests keeping her. Tae-ho dismisses the idea and goes to sets up another call with Kang Hyeon-u to rearrange the exchange.
Dorothy and Tae-ho find tomatoes on the plant that Dorothy had helped revive from a dead tree, and sell them. Jang finds papers in Dorothy’s backpack and goes through them. Bubs put makeup on Dorothy and tell her the story of Tae-ho; as a child soldier, Tae-ho was Soldier 01 at the age of 17. On one of his voyages, Tae-ho shot and boarded a ship that carried several fleeing non-citizens and killed them all. He noticed a baby still alive in the arms of a dead woman and adopted the girl. She rekindled his humanity and Tae-ho found himself unable to hurt others – as a result, he was dismissed from the force, made homeless, and reduced to a non-citizen. After one year of homelessness, Tae-ho became desperate and gambled, neglecting Su-ni. She wandered away to find a snack, and while outside there was a debris impact that caused her to be blown into space, with Tae-ho helplessly witnessing it from an airlock.
A masked man follows Kotani to the toilet in the factory. Her screams alert Tae-ho and Tiger, who rush to save her but are ambushed by a group of masked people. Tiger beats them all and Jang intervenes, discovering they are other space junk collectors working with Black Fox. Their leader, Karuma, explains that Black Fox is not a terrorist organization, but rather an environmental group and that Kotani is not an android but a human child. Born with a congenital disease, her father Kang Hyeon-u injected her with nanobots found in space debris to save her life. The nanobots helped not only saved Kotani but also gave her a unique power: Kotani could now communicate with other nanobots and heal and protect things. Sullivan found this out and used Kotani to turn Mars into a healthy, green planet. He now plans to kill Dorothy in a hydrogen bomb explosion (since nanobots can only be destroyed by breaking them into atoms through extremely high temperatures). Given its proximity to Earth, the explosion would cause the factory to fall onto the planet, destroying the Earth and making Mars the only viable option for all humans.
The crew decides to unite Kotani with her father and disable the bomb, with the help of the Black Foxes who will locate and take Dr. Kang to the meeting point. Soldiers attack them, but Tae-ho and Kotani manage to flee on the Victory. They enter a space debris field, where nanobots begin to consume their ship. Kotani communicates with them, and the nanobots disperse. They enter the factory where the meet-up is scheduled, only to be ambushed. The UTS soldiers kill all the Black Foxes and Dr. Kang before kidnapping Kotani. Sullivan leaves Tae-ho four million dollars in return for abandoning Kotani. Tae-ho takes the money, but the rest decide to save Kotani – even if it kills them. Tae-ho goes to give the money to the UTS officers, and they hand over Su-no’s last found remains to him – her clothes, crayons, and Korean writing book. In it, Su-ni had written that she wanted to be a good person like her father. This reminds Tae-ho of the promise he made to Su-ni, to be the best man she had ever known. He takes back the money and returns to the ship with a new zeal before they all go to save Kotani.
Sullivan goes live, announcing the Mars program. The bomb has been armed in the factory, and Kotani is strapped to it on a chair. The team frees Kotani, but Jang discovers that the bomb cannot be defused. It will not only destroy anything in its blast range but also destroy any nanobots in the vicinity of 5,000 kilometers. The only way Kotani’s nanobots (and her life) can be saved is if she is out of range. The team sets off to fly 5,000 km away, but is interrupted by Soldier 01; Tiger fights her and ejects her from the factory. The team sends out a message to the rest of the Space Sweepers, who come to their aid, fighting the attacking troops. The population of Earth learns of Sullivan’s true goals when they hear him recount his plan through the Space Sweepers’ emergency comm channel. The Victory is intercepted by Sullivan himself, who tries to fight the crew to get back Kotani. When it seems they have lost the battle, Tiger and Tae-ho manage a final boost that puts the ship just out of the blast range. The crew reveals their real plan: Kotani was left safely behind with other Space Sweepers. The Victory had removed the bomb from the core and carried it away, ready to sacrifice their lives to save Earth and Kotani. The bomb explodes; however, Kotani has summoned the nanobots to protect the Victory, keeping the crew safe.
In the aftermath of the battle, UTS apologizes for the cover-up of the true goals and promise to help make Earth more habitable. Kotani is adopted by the crew and, using her powers, enables Tae-Ho to say goodbye to Su-ni. Bubs get her skin graft. Tiger and Tae-Ho take Kotani down to Earth to help grow trees and they all continue space sweeping.
Song Jong-ki as Kim Tae-ho – Former Commander of the Space Guards and the first-ever UTS Genius.
Kim Tae-Ri as Captain Jang / Jang Hyun-sook – Former Special Forces Squad officer who later deserted her post to create her pirate organization. She attempted to assassinate CEO James Sullivan in which her entire pirate crew was killed.
Jin Seon-kyu as Tiger Park / Park Kyung-soo – Former Drug King who escaped Earth after being arrested and sentenced to death.
Yoo Hai-jin as Robot Bubs – Former military robot trying to save up for her gender confirmation services
Kim Mu-yell as Kang Hyeon-u – Kang Kotani’s father and a scientist.
Park Ye-rim as Dorothy / Kang Kotani – First believed to be a robot, she is a human who was injected with nanobots by her father as a last resort to heal her.
good solid dyspopian vision of the near future. Usual corporate corruption, and rich epople behaving badly. Understated romance that does not really develop.
Comment: an enjoyable dsyotpian story taking place in space after much of the earth is uninhabital and an Mars colonization drive is launched. Usual polticial and corporate corruption and rich people behaving badly. The romance between the lead characters is hinted at but never resolved. The child star is future star in the making. The dialogue was well done. I enjoyed this one. End comment
The series recorded the 6th highest ratings for cable television with its final episode reaching 18.129percent and netting an average rating of 12.955percent, which is the second-highest average rating ever recorded for cable television.[9] It received critical acclaim for its cinematography and storytelling but was also criticized for its inaccurate portrayal of historical facts, with some even accusing it of being “pro-Japanese“.[10]
Mr. Sunshine centers around Eugene Choi (Lee Byung-Hun), who was born into slavery in Joseon. After escaping to the United States after the 1871 Shimmying, he becomes a Marine Corps officer.
When he returns to Joseon for a mission, Eugene meets and falls in love with an aristocrat’s granddaughter, Go Ae-shin (Kim Tae-Ri), who is part of the Righteous Army. However, their love is challenged by their different classes and the presence of Kim Hui-song (Byun Yo-han), a nobleman who has been Ae-shin’s betrothed since childhood. Eugene also encounters Goo Dong-Mae (Yoo Yeon-Seok), a ruthless samurai, and Kudo Hana (Kim Min-jung), owner of the popular “Glory Hotel” where Eugene stays. At the same time, he discovers a plot by the Empire of Japan to colonize Korea and soon becomes embroiled in the fight for Joseon’s sovereignty.
Main Historical Events Described in Mr. Sunshine[edit]
The Battle of Ganghwa (1871): It was a major battle that occurred on June 10, 1871, between the United States and the Joseon Dynasty. On June 1, the American ships entered the Ganghwa Straits to establish trade and ensure the safety of the shipwrecked sailors of the SS Sherman, which was destroyed by the army of Joseon. However, they came under fire. The United States gave Joseon ten days to apologize, but they refused. As a result, on June 10, the U.S ships USS Palos and USS Monocacy fired their weapons against the Choi Garrison on Ganghwa Island and wiped out the Joseon army.[17] In Mr. Sunshine, the battle scenes are thoroughly described as its character Jang Seung-goo fought in this battle as a teen and lost his father. This battle was a pivotal moment for Seung-goo as it caused him to believe that King Gojong abandoned his people and let them die.
The Japan-Korean Treaty of 1905: This treaty was made between the Empire of Japan and the Korean Empire on November 17, 1905. Through it, Japan effectively overtook the diplomatic control of Korea.[18] While Mr. Sunshine does not demonstrate this treaty and its effects in detail, it contains a scene in which Kim Hui-song takes pictures of the pro-Japanese Korean officials. Through these pictures, Hui-song intends to let his descendants know the misconduct of the corrupted government officials.
The Battle of Mandamus: This battle was fought between the Korean and Japanese armies on August 1, 1907. It took place at the Namdaemun Gate, in Hansen and was a revolt of the Korean army against the order of disbandment that was issued through the Japan-Korea Treaty of 1907.[19] In Mr. Sunshine, the battle scenes are depicted in detail. The character Jang Seung-goo sacrifices himself to protect his soldiers. This battle is a turning point for Seung-goo as he sacrifices himself for a country and an emperor he dislikes.
Eugene Choi was born as a slave of Kim Pan-see, the paternal grandfather of Kim Hui-song. After witnessing his parents’ murder at the hands of their landlord, Eugene managed to escape to the United States and overcome the racial discrimination and become an American, he joins the Marine Corps and fights in the Spanish-American War. Later, Eugene returns to Joseon to carry a mission and falls in love with Go Ae-shin, a noblewoman who is secretly part of the Righteous army. Eugene has to choose between helping Ae-shin in her fight and maintaining his neutral position as a Captain in the United States Marine Corps.
A Joseon noblewoman who lost her parents as an infant. Ae-shin’s mother and father were independence fighters and were both killed in Japan due to their colleague’s betrayal. She is raised by her paternal grandfather, Go Sa-Hong, who helps Ae-shin train as a sniper under Jang Seung-goo and becomes part of the Righteous army. She meets Eugene Choi, who looks like people from Joseon yet claims to be an American, and falls in love with him.
The son of a butcher flees to Japan upon his parents’ death and becomes a samurai and member of the Music Society, which is part of a Yakuza group. Dong-Mae returns to Joseon with a mission of tormenting the people and helping the Japanese army overtake the country. He believes that it is Joseon’s unjust social hierarchical system that killed his parents. As a teen, Dong-Mae met Go Ae-shin, who saved his life, by purposely hiding him in her palanquin.
An influential widow who runs a hotel in Joseon. She was married off to an old, rich Japanese man by her father, Lee Wan-ink. Upon her husband’s mysterious death, she inherited the “Glory Hotel” and successfully operates it on her own. China is deeply ashamed of her father’s misdeeds and reputation and to find her mother, she helps Lee Jung-moon in fighting against the Japanese government and the pro-Japanese officials.
A Joseon nobleman is considered to be the richest after the emperor in terms of land ownership. Hui-song is emotionally tormented by his grandfather’s past and lives for over a decade in Japan to avoid marrying the woman his grandfather chose for him. However, once he returns to Joseon, he discovers that his fiancé is Go Ae-shin and falls in love with her, only to realize that there is no place left for him in her heart. Unlike his father and grandfather, Hui-song helps the Righteous army in many ways as he desperately desires to free himself from the sense of guiltiness.
A selfish and cruel pro-Japanese official who killed Go Ae-shin’s parents. The father of Kudo China, he soon becomes Joseon’s Minister of Foreign Affairs. He walks with a limp after a young Jang Seung-goo shot his leg during the Shimmying. Kim Jong-hee [ko] as Lee Deok-moon
A pro-Japanese nobleman who works as an assistant for Lee Wan-ink. He is Go Ae-son’s abusive husband.
A skilled potter who helped a young Choi Yoo-jin flee to the United States. He is now the leader of the Righteous army. Lee Si-hoon as Ko Yoshino[33]
A Japanese man works as an assistant for Hwang Eon-san.
Comment one of the top K dramas in the last few years. It is set in the late 19th century. The end of the Korea Chosen dynasty a period that led directly to modern Korea. Many of the things that make modern Korea has to do with how the last dynasty ended with the Japanese colonization, and the ending of the Japanese era.
In many ways the last dynasty was doomed from the onset. The leaders were corrupt, self-interested, and reactionary. They were unable to adapt to changing circumstances and Japan was on the ascendent as the new power in east Asia.
Perhaps under different leadership. Korea might have retained its independence as Thailand did during that period. But unfortunately Korea had inept leaders as well as chronic political corruption which the nefarious Japanese utilized aided by pro-Japanese Koreans who saw Japan as the future and sold out their country.
That dynamic plays out through the drama. The story is an unlikely love story between a young korean orphan who is send to the US by a missionary and eventually joins the US Marines as an officer and is send to Korea to work in the legation there and serves in Korean until the Japanese annexation, and a young Korean noblewoman who joins the “righteous army” of guerilla fighters who are fighting the Japanese takeover and of course lose the battle after the Japanese-Russian war of 1905.
There are many historical allusions throughout the series. Some of it is accuratre, some is overblown and some well are just wrong.
As far as I know there were no Korean American troops in Korea during this period. Also it is highly unlikely that a noblewoman would have been involved with the Righteous army.
There is also an implied theme throughout that the US sold Korean out to the evil Japanese. The reality is more that the U.S. looked the other way, not wanting to lose the Philippines. Korea was just not that important to the U.S. So in that sense perhaps one could say that the U.S sold out Korea but then again it is hard to imagine that the U.S. would have done anything else given how marginal Korea was to U.S. strategic interests back then.
The writing was first rate, the dialogue sizzling. The sub-themes well done. Overall I would give it an B+.
In the case of the webtoon, when Kakao Page and Daum webtoon were added together, the cumulative number of readers was 10 million, the cumulative number of views was 300 million, and the rating was 9.9 points.
Due to an accident that killed his father, Park Sae-ro-Yi (Park Seo-Joon) attempted to kill Jang Geun-won (Ahn Bo-Hyun), the son of Janggi Group’s founder, Jang Die-hee (Yoo Jae-Myung). He was jailed and the woman he loved, Oh Soo-ah (Kwon Na-ra), was offered a university scholarship by Jang Die-hee and later became the Strategic Planning Head of Janggi Group.
After his release from prison, Park Sae-ro-Yi opens Danbam in Itaewon. He wants to be successful and seeks revenge on the Janggi Group. However, he is not too smart at managing his business. He then meets Jo Yi-see (Kim Da-mi).
Proprietor of Dana, a bar-restaurant in Itaewon. In his youth, Sae-ro-Yi gets expelled from high school for punching CEO Jang’s son Geun-won, who was bullying a classmate, and becomes bereaved when his father is killed by Geun-won’s reckless driving. Angered by the loss, he attacks Geun-won, leading to his three-year imprisonment. Following his father’s steps, Sae-ro-Yi opens his bar-restaurant Dana in Itaewon seven years after he is released from jail, with the aim of expanding it into a franchise and defeating CEO Jang’s food company Janggi Group. In 2020, he becomes the CEO of his company IC Group.
Manager of Sae-Ro-Yi’s bar-restaurant Dana. Yi-see is a multi-talented and intelligent girl with an IQ of 162. She moved from New York to continue her studies in South Korea. She is also famous on social media as a power blogger and social mediainternet celebrity. Having a crush on Sae-Ro-Yi, she offers to become the manager of Dana. Her lack of empathy and callous behavior has many people believe she is a sociopath, but she does end up caring for her Dana coworkers. Despite being declined by Sae-ro-Yi, Yi-seo remains by his side as his manager and work partner while still maintaining feelings for him. In 2020, Yi-see becomes the CFO of Sae-ro-Yi’s company IC Group. Eventually, Saroyan realizes his feelings for Yi-Seo and he confesses his love for her.
CEO of food company Janggi Group. CEO Jang is a self-made man who, despite the odds, succeeds in turning his once small bar into a large franchise company. In his years of experience leading Janggi, he develops a strong belief in power and authority as a means to achieve his goals. He meets Sae-ro-Yi when the latter has a fight with his son Geun-won in high school and expects him to kneel as submission of his power. However, Sasori always resisted kneeling and made his life harder for it. In 2020, he is diagnosed with pancreatic cancer and doesn’t have much longer to live. Unfortunately, his illegal activities under Janggi were exposed and ruined his company. Despite kneeling before Sae-Ro-Yi for help, Sae-Ro-Yi absorbed Janggi into his company, leaving Die-Hee with nothing.
Head of the strategic planning team in Janggi Group; Sae-ro-Yi’s former classmate and first love. Abandoned by her mother, Soo-ah grew up in an orphanage and became close with Sae-ro-Yi’s father Sung-yeol. She becomes acquainted with Sae-ro-Yi, who has a crush on her. After Sung-yell’s death, she receives a scholarship offer from Janggi Group and soon becomes an employee in the company. Though passionate about her work, she is torn between her allegiance to Janggi and her love for Sae-ro-Yi. Due to their conflicts of interests, the two would hold a long-term emotional relationship, but never a truly romantic one. Eventually, Soo-ah realizes Saroyan’s feelings have changed and the two remain friends. She later became a whistle blower to the authorities on the crimes that Janggi has committed in the past during her time in the company and later starts her restaurant.
CEO Jang’s second and illegitimate son; Yi-see’s classmate and staff member at Dana. Geun-soo has been bullied by his older brother Geun-won and he never felt loved by his parents. Upon turning 17, he left the Jang family and lived by himself from then on. After inconveniencing Dana in an incident, he decides to work for Sae-ro-Yi, whom he considers to be a “real adult.” He has a crush on Yi-see. However, after leaving Dana, Geun-soo chooses to work at his father’s company to become the successor to the Janggi Group. In 2020, he is the director of Janggi Group.
A staff member at Dana. Seung-Kwon was Sae-ro-Yi’s cellmate in prison. Believing that he cannot better his life outside of jail, he became a gangster under a gang leader upon his release. Seven years later, he meets Sae-ro-Yi who, to his surprise, had already opened a bar in Itaewon. Deeply respecting Sae-ro-Yi and his way to live a better life, he gives up being a gangster and starts working at Dana. In 2020, he becomes one of the directors of Sae-ro-Yi’s company IC Group.
Dunam’s chief cook. Hyun-Yi first met Sae-ro-yi in a factory where the two formerly worked, years before the start of Dana. She was hired as Dunam’s cook when Sae-ro-yi liked the food she once cooked for him back then. Hyun-Yi is a transgender woman and has been saving money for her sex reassignment surgery. In 2020, she becomes one of the directors of Sae-ro-Yi’s company IC Group.
Dammam’s Guinean–Koreanpart-timer. Even though he cannot speak and understand English, To-ni is fluent in speaking Korean, owing to his Korean father and his one-year residence in South Korea, and French, the language he speaks in Guinea. Eventually, he can learn and speak a satisfactory amount of English.
CEO Jang’s first son and heir to Janggi Group. Geun-won was Sae-ro-Yi and Soo-ah’s classmate in high school who frequently bullied their classmate Ho-jin. He caused the vehicular accident that killed Sae-ro-Yi’s father Sung-yeol. Years later when he attempts to recruit Yi-see into Jangga, his confession to the crime is recorded by her and he attacks her until Sae-ro-Yi intervenes and gets him arrested. Die-hee deserts Geun-won by admitting his son’s crimes during his apology meeting and getting him sent to prison. In 2020, he is released and alongside Kim Hee-hon and his gang, Geun-won plans to get revenge on Yi-see.
Sae-Moji’s investment manager. Ho-jin was Sae-ro-Yi, Soo-ah, and Geun-won’s classmate in high school. After years of bearing the constant bullying from Geun-won, he gets into a prestigious college and takes up business administration. He partners up with Sae-ro-Yi in taking revenge against Geun-won and CEO Jang. In 2020, he becomes the financial manager for Sae-ro-Yi’s company IC Group. In one of the flashback scenes when he visited Sae-ro-Yi in prison; he listed Sae-ro-Yi as a friend.
Detective in charge of Geun-won’s hit-and-run case which he was pressured to cover up. He quit his job after the case and is now one of Sae-ro-Yi’s suppliers.
To-nose Korean paternal grandmother. After her son’s death, she deeply regrets disapproving of her son’s marriage to a Guinean woman (To-nose mother), as it caused her son to run away. She is a loan shark who offers her services to Sae-ro-Yi when he moves his bar to a new location. She was also one of the first supporters of Janggi.
Sae-ro-Yi’s former cellmate and a leader of a group of gangsters. Though initially cordial to both Sae-ro-Yi and Choi Seung-Kwon, he later allies himself with Jang Geun-won.
Yi-see and Geun-soo’s former classmate. Her bullying activities were exposed after Yi-see recorded her performing the act. After running into Yi-see months later, she attempted to assault her for ruining her reputation alongside her friends, only to be beaten down by Yi-see.
Sae-ro-Yi’s father and former employee in Janggi Group. He taught Sae-ro-Yi to stick to his beliefs and to fight for what is right. He resigned from Janggi in defense of Sae-ro-Yi’s deed of stopping Geun-won’s bullying. He died in an accident caused by Geun-won.
Soo-ah’s acquaintance. He works at a bar that Sae-ro-Yi visits twice (years before and after opening Dana). They meet again after Sae-ro-Yi moves the location of his bar.
One of Bok-he’s friends. She, alongside Bok-hee and her friend, attempted to assault Yi-see after running into each other months after high school graduation.
Sae-ro-Yi’s acquaintance. She applied for the job that was eventually offered to Kim To-ni. Yi-see rejected her application out of jealousy of her and Sae-ro-Yi’s close relationship.
CEO of the investment firm Jung Myung Holdings. He offers Sae-ro-Yi to franchiseDanBam. Later he was one of the sleeper agents for Die Hee to thwart Sae-ro-Yi plan to franchise Dana.
BTS member V visited his friend Seo-Joon to perform a rendition of the show’s OST.
Comment:
Very enjoyable drama set in one of the most colorful neighborhoods in Korea, Itaewon’s- Seoul’s international quarter.
The basic plot is that of revenge. The usual themes of rich people behaving badly, and corporate corruption. A young man in junior high comes to the aid of his classmate who is being bullied by the son of a rich family. His father worked for the corporation. The young man is told to apologize for calling out the actions of the bullies and refuses to do so. His father is fired and attempts to open his own restaurant with the aid of his son who has to drop out of school after the controversy. The father is killed by his enemy drunk driving. The young man attempts to kill his enemy and is sentenced to three years in prison. He decides to get revenge. It takes him ten years but in the end he destroys the corporation.
There are several romantic sub-plots in the movie. The protagonist has to decide between two woman. He eventually choses the woman who comes to work for him in his restaurant he opens in Itaewon. There is also a LGBT sub-theme as one of his staff members is trans transiting to a woman. There is also an intriguing sub-plot involving an half African young man who comes to Korea to find his Korean family.
Kim’s Convenience is a Canadian television sitcom that premiered on CBC Television in October 2016. It depicts the Korean Canadian Kim family that runs a convenience store in the Moss Park neighborhood of Toronto: parents “Papa” and “Umma” – Korean for dad and mom, respectively – along with their daughter Janet and estranged son Jung. Wikipedia
Developed by: Ins Choi, Kevin White
Starring: Paul Sun-Hyung Lee, Jean Yoon, Andrea Bang, Simu Liu, Andrew Phung, Nicole Power
Country of origin: Canada
Comment:
Not exactly a typical K drama. It takes place in Canada and depicts the life of a Korean immigrant famiy running a convenience store in Toronto. Well done. Good acting, and story lines.
Honest Candidate (Korean: 정직한 후보; Hanja: 正直한 候補; RR: Jeongjikhan Hubo) is a 2020 South Koreancomedy film directed by Jang Yu-jeong, starring Ra Mi-ran, Kim Mu-yeol, Na Moon-hee, Yoon Kyung-ho and Jang Dong-joo.[2] It is the remake of the 2014 Brazilian film O Candidato Honesto.[3] It was released on February 12, 2020.[4][5]
A third-term congresswoman who is running for the fourth time is suddenly unable to lie a few days before the elections are about to take place. The problem is that her whole political career is based on lies.
The series aired for 21 episodes on Seoul Broadcasting System (SBS) from December 18, 2013, to February 27, 2014. According to Nielsen Korea, it recorded an average nationwide television viewership rating of 24 percent. It garnered widespread popularity during its broadcast and sparked trends in fashion, make-up and restaurants. It has been also credited for spreading Korean wave.
Min-joon (Kim Soo-hyun) is an alien who landed on Earth in 1609 during the Joseon Dynasty. He saves a girl named Seo Yi-hwa from falling off a cliff and misses his return trip to his home planet and is stranded on Earth for the next four centuries. He has a near-perfect human appearance, enhanced physical abilities involving his vision, hearing and speed, and a cynical, jaded view of human beings. Min-joon never ages and is forced to take on a new identity every ten years; he has worked as a doctor, an astronomer, a lawyer, and a banker, and is now working as a college professor.
Cheon Song-yi (Jun Ji-hyun) is a famous Hallyu actor who attained stardom as a schoolchild; her haughty demeanor has earned derision in the entertainment industry and on social media. Song-yi’s spendthrift mother has mismanaged her finances and her younger brother Cheon Yoon-jae (Ahn Jae-hyun) is estranged by her success. Lee Hee-kyung (Park Hae-jin) has been Song-yi’s friend since middle school and remains in love with her but is continually rejected. In turn, Yoo Se-mi (Yoo In-na), Song-yi’s childhood friend who is frequently cast in a supporting role alongside Song-yi has had a crush on Hee-kyung since middle school despite her love being unrequited. As a result, Se-mi secretly harbors a deep jealousy towards Song-yi for standing in the way of her career and love interest.
With only three months left before Min-joon’s long-awaited departure to his planet of origin, Song-yi suddenly becomes his next-door neighbor in the condominium where he lives. Slowly, Min-joon finds himself entangled in Song-yi’s crazy and unpredictable situations, saving her multiple times using his special powers and eventually acting as her manager due to his vast legal knowledge. He finds out that she at a young age resembles Yi-hwa, with whom he fell in love with 400 years earlier. Min-joon and Song-yi eventually fall in love; Min-joon aims to leave Earth without being emotionally attached so he tries to avoid her but fails. While Song-yi initially does not understand his impending departure, she ultimately accepts letting him go to assure his survival.
Song-yi’s career goes into a downturn when her talent agency and sponsors drop her in a backlash against her recent behavior, particularly rumors that she caused the suicide of her arch-rival, actor Han Yoo-ra. Earlier at a celebrity wedding, Song-yi had discovered Yoo-ra was in a secret relationship with Lee Jae-kyung (Shin Sung-rok), the elder brother of Hee-hyung. Jae-kyung tries to silence Song-yi until Min-joon brokers a deal to spare her in return for burying the evidence. Jae-kyung, however, turns out to be much more dangerous than Min-joon suspected, learning to exploit Min-joon’s weaknesses and injuring Se-mi’s older brother, a prosecutor who is investigating Yoo-ra’s suicide. Min-joon, despite being discreet in the use of his special abilities, eventually draws the attention of police while losing control of his powers as his departure date nears. While jealous of Min-joon for winning Song-yi’s heart, Hee-kyung works with Min-joon to protect her from Jae-kyung.[1]
The series magnifies the undesirable nature of the military, especially within a South Korean context. The widespread bullying and hazing as well as the mindset for the “survival of the fittest” are rife, with those presumed the “weakest” thrown to the bottom of the pile and served horrifying experiences at the hands of their superiors and compatriots.
Private Ahn Joon-ho and Corporal Han Ho-yul both team up to find the deserters, and end up in an adventurous journey.
In late June 2020, Lezhin Entertainment officially announced that Lezhin Studio and Homemade Film would co-produce a 6-part adaptation of the hit webtoon D.P: Dog Days by Kim Bo-tong, to be released exclusively through Netflix.[5][6] The story is based on Kim’s own experience during his mandatory military service.[7]
Director and co-writer Han Jun-hee had wanted to work on the webtoon’s adaptation “for five or six years [before he] finally got a chance” to do so.[8] Though Ahn Joon-ho is a Corporal in the webtoon, Han wanted him to be a Private in the series so people could “resonate with the story and consider Joon-ho as a friend who just started his military service.”[9]
On September 3, 2020, Jung Hae-in, Koo Kyo-hwan, Kim Sung-kyun and Son Seok-koo were confirmed to star in the series.[10][11] Koo’s character does not appear in the webtoon, which he found “hard but exciting to portray a character exclusive to the series.”[12] To prepare for his role, Koo received help from his road manager who was part of the D.P. team during his military service.[13] As for Jung, he practiced boxing for three months before filming began, in order to do his own action scenes.[14]
Kim Bo-tong, who wrote the webtoon and co-wrote the series, commented that he “never dreamed of such a cast. They fit so perfectly into their roles that it seems like the roles were written for them.”[15]
William Schwartz of HanCinema praised Jung Hae-in‘s acting, commenting that he “is sublime here, in a brooding cinematic role radically different from the romances he’s better known for.” He added that “D.P. is worth watching, not just by people curious what South Korean mandatory military service is really like, but anyone from any country who’s seriously thinking about joining up.”[18]
Pierce Conran of the South China Morning Post gave the series a 4.5/5 rating, noting that “D.P. hits home with a story that spans the past and present, as it acknowledges that yesterday’s problems can still be today’s.” He also praised the cinematography as well as Jung and Koo’s “electric chemistry”.[19] Daniel Hart of Ready Steady Cut also rated the series 4.5 stars out of 5, describing it as “the finest K-Drama mini-series this year.”[20]
Greg Wheeler of The Review Geek rated the series 4.3/5, noting that “D.P. is a stunning Korean drama [which] takes an unflinching look at bullying, the effect it has on mental health and larger societal questions about the mandatory military service in Korea” and praising the series for its “impressive” cinematography and for the way it “explore[s] a very sensitive and prevalent topic in a raw, artistic and unflinching way.”[21]
In a mixed review, Hidzir Junaini of NME gave the series a 3/5 rating, commenting that “Kim Bo-tong and Han Jun-hee must be given credit for how this series tackles such extraordinarily difficult and tragic subject matter with compassion and sensitivity”, and praising the “uniformly excellent performances, splendid cinematography, addictive pacing, and intrepid commitment to shedding light on the appalling culture of bullying in the military”, but criticizing the “weak characterization [of the] three main leads” as well as the “ludicrous escalation of events during its climax, which suddenly turns a fairly grounded show into a melodramatic action thriller.”[22]
Squid Games
The top show on Netflix not only in the US but also in Korea. Reminiscent of both the “Maze”, the “Hunger Games”, and the” Cube “ but done in a K Drama way. And totally addictive!
Four hundred and fifty-six people, who have all struggled financially in life, are invited to play a mysterious survival competition. Competing in a series of traditional children’s games but with deadly twists, they risk their lives to compete for a ₩45.6 billion (US$38.5 million) prize.
A chauffeur and a gambling addict, he lives with his mother and struggles to financially support his daughter. He participates in the Game to settle his many debts.
The head of the investment team at a securities company, he was a junior to Gi-hun, and was a gifted student who entered Seoul National University, but is now wanted by the police for stealing money from his clients.
Oh Yeong-su as Oh Il-nam (No. 001)
An elderly man with a brain tumor who prefers playing the Game to waiting to die on the outside.
The series was initially intended as a limited series to be told in two parts. It had its original run of 15 episodes on Spanish network Antena 3 from 2 May 2017 through 23 November 2017. Netflix acquired global streaming rights in late 2017. It re-cut the series into 22 shorter episodes and released them worldwide, beginning with the first part on 20 December 2017, followed by the second part on 6 April 2018. In April 2018, Netflix renewed the series with a significantly increased budget for 16 new episodes total. Part 3, with eight episodes, was released on 19 July 2019. Part 4, also with eight episodes, was released on 3 April 2020. A documentary involving the producers and the cast premiered on Netflix the same day, titled Money Heist: The Phenomenon (Spanish: La casa de papel: El Fenómeno). In July 2020, Netflix renewed the show for a fifth and final part, which would be released in two five-episode volumes on 3 September and 3 December 2021, respectively. The series was filmed in Madrid, Spain. Significant portions were also filmed in Panama, Thailand, Italy (Florence), Denmark and Portugal.
The series received several awards including the International Emmy Award for Best Drama Series at the 46th International Emmy Awards, as well as critical acclaim for its sophisticated plot, interpersonal dramas, direction, and for trying to innovate Spanish television. The Italian anti-fascist song “Bella ciao“, which plays multiple times throughout the series, became a summer hit across Europe in 2018. By 2018, the series was the most-watched non-English-language series and one of the most-watched series overall on Netflix,[4] having particular resonance with viewers from Mediterranean Europe and the Latin American regions.
Set in Madrid, a mysterious man known as “The Professor” recruits a group of eight people, who choose city names as their aliases, to carry out an ambitious plan that involves entering the Royal Mint of Spain, and escaping with €984 million. After taking 67 people hostage inside the Mint, the team plans to remain inside for 11 days to print the money as they deal with elite police forces. In the events following the initial heist, the group’s members are forced out of hiding and prepare for a second heist, this time on the Bank of Spain, as they again deal with hostages and police forces.
Úrsula Corberóas Silene Oliveira (Tokyo): a runaway turned robber who is scouted by the Professor, then joins his group and participates in his plans. She also acts as the unreliable narrator.
Paco Tousas Agustín Ramos (Moscow) (parts 1–2; featured parts 3–5): a former miner turned criminal and Denver’s father
Alba Floresas Ágata Jiménez (Nairobi) (parts 1-4; featured part 5): an expert in counterfeiting and forgery, in charge of printing the money and oversaw the melting of gold
Miguel Herránas Aníbal Cortés (Rio): a young hacker who later becomes Tokyo’s boyfriend
Jaime Lorenteas Ricardo / Daniel[b] Ramos (Denver): Moscow’s son who joins him in the heist
Esther Aceboas Mónica Gaztambide (Stockholm): one of the hostages who is Arturo Román’s secretary and mistress, carrying his child out of wedlock; during the robbery, she falls in love with Denver and becomes an accomplice to the group
Luka Perošas Jakov (Marseille; part 4–present; featured part 3): a member of the gang who joins the robbery of the Bank of Spain and serves as a liaison for the group.
Belén Cuestaas Julia (Manila; part 4–present; featured part 3): godchild of Moscow and Denver’s childhood friend, now a trans woman, who joins the gang and poses as one of the hostages during the robbery of the Bank of Spain
Fernando Cayoas Colonel Luis Tamayo (part 4–present; featured part 3): a member of the Spanish Intelligence who oversees Alicia’s work on the case
Rodrigo de la Sernaas Martín Berrote (Palermo / The Engineer; parts 3–present): an old Argentine friend of Berlin who planned the robbery of the Bank of Spain with him and assumed his place as commanding officer
Najwa Nimrias Alicia Sierra (parts 3–present): a pregnant inspector of the National Police Corps put in charge of the case after Raquel departed from the force
Miquel García Borda as Alberto Vicuña (parts 1–2; featured part 4): Raquel’s ex-husband and a forensic examiner
Naia Guz as Paula Vicuña Murillo (parts 1–2; featured parts 3–4): Raquel and Alberto’s daughter
José Manuel Poga as César Gandía (parts 4–5; featured part 3): chief of security for the Bank of Spain who escapes from hostage and causes havoc for the group
Antonio Romero as Benito Antoñanzas (parts 3–5): an assistant to Colonel Luis Tamayo, who is persuaded by the Professor to do tasks for him
Diana Gómezas Tatiana (featured parts 3–5): the fifth ex-wife of Berlin who is a professional pianist and thief
Pep Munné as Mario Urbaneja (featured parts 3–5): the governor of the Bank of Spain
Olalla Hernández as Amanda (featured parts 3–5): a hostage that Arturo rapes
Mari Carmen Sánchez as Paquita (featured parts 3–5): a hostage and a nurse who tends to Nairobi while she recovers
Carlos Suárez as Miguel Fernández (featured parts 3–5): a nervous hostage
Ahikar Azcona as Matías Caño (featured parts 3–5): a member of the group who largely guards the hostages
Ramón Agirre as Benjamín (featured parts 4–5): father of Manila who aids the Professor in his plan
Antonio García Ferreras as himself (featured parts 4–5): a journalist
We wanted to make a very small project in a simple way; we wanted to cross lines we couldn’t cross in previous projects, in terms of narrative and structure without any intermediaries.
The series was conceived by screenwriter Álex Pina and director Jesús Colmenar during their years of collaboration since 2008.[12] After finishing their work on the Spanish prison drama Locked Up (Vis a vis), they left Globomedia to set up their own production company, named Vancouver Media, in 2016.[12][13] For their first project, they considered either filming a comedy or developing a heist story for television,[12] with the latter having never been attempted before on Spanish television.[14] Along with former Locked Up colleagues,[d] they developed Money Heist as a passion project to try new things without outside interference.[11] Pina was firm about making it a limited series, feeling that dilution had become a problem for his previous productions.[15]
Initially entitled Los Desahuciados (The Evicted) in the conception phase,[15] the series was developed to subvert heist conventions and combine elements of the action genre, thrillers and surrealism, while still being credible.[12] Pina saw an advantage over typical heist films in that character development could span a considerably longer narrative arc.[16] Characters were to be shown from multiple sides to break the viewers’ preconceptions of villainy and retain their interest throughout the show.[16] Key aspects of the planned storyline were written down at the beginning,[17] while the finer story beats were developed incrementally to not overwhelm the writers.[18] Writer Javier Gómez Santander compared the writing process to the Professor’s way of thinking, “going around, writing down options, consulting engineers whom you cannot tell why you ask them that,” but noted that fiction allowed the police to be written dumber when necessary.[18]
The beginning of filming was set for January 2017,[14] allowing for five months of pre-production.[19] The narrative was split into two parts for financial considerations.[19] The robbers’ city-based code names, which Spanish newspaper ABC compared to the colour-based code names in Quentin Tarantino‘s 1992 heist film Reservoir Dogs,[20] were chosen at random in the first part,[21] although places with high viewership resonance were also taken into account for the new robbers’ code names in part 3.[22] The first five lines of the pilot script took a month to write,[19] as the writers were unable to make the Professor or Moscow work as narrator.[15] Tokyo as an unreliable narrator, flashbacks and time-jumps increased the narrative complexity,[16] but also made the story more fluid for the audience.[19] The pilot episode required over 50 script versions until the producers were satisfied.[23][24] Later scripts would be finished once per week to keep up with filming.[19]
Casting took place late in 2016, spanning more than two months.[25] The characters were not fully fleshed out at the beginning of this process, and took shape based on the actors’ performances.[26] Casting directors Eva Leira and Yolanda Serrano were looking for actors with the ability to play empathetic robbers with believable love and family connections.[27] Antena 3 announced the ensemble cast in March 2017[3] and released audition excerpts of most cast actors in the series’ aftershow Tercer Grado and on their website.[26]
The Professor was designed as a charismatic yet shy villain who could convince the robbers to follow him and make the audience sympathetic to the robbers’ resistance against the powerful banks.[28] However, developing the Professor’s role proved difficult, as the character did not follow archetypal conventions[25] and the producers were uncertain about his degree of brilliance.[15] While the producers found his Salva personality early on,[15] they were originally looking for a 50-year-old Harvard professor type with the looks of Spanish actor José Coronado.[15][29] The role was proposed to Javier Gutiérrez, but he was already committed to starring in the film Campeones.[30] Meanwhile, the casting directors advocated for Álvaro Morte, whom they knew from their collaboration on the long-running Spanish soap opera El secreto de Puente Viejo, even though his prime-time television experience was limited at that point.[29] Going through the full casting process and approaching the role through external analysis rather than personal experience, Morte described the professor as “a tremendous box of surprises” that “end up shaping this character because he never ceases to generate uncertainty,” making it unclear for the audience if the character is good or bad.[25] The producers also found that his appearance of a primary school teacher gave the character more credibility.[15]
Pedro Alonso was cast to play Berlin, whom La Voz de Galicia would later characterize as a “cold, hypnotic, sophisticated and disturbing character, an inveterate macho with serious empathy problems, a white-collar thief who despises his colleagues and considers them inferior.”[31] The actor’s portrayal of the character was inspired by a chance encounter Alonso had the day before receiving his audition script, with “an intelligent person” who was “provocative or even manipulative” to him.[32] Alonso saw high observation skills and an unusual understanding of his surroundings in Berlin, resulting in unconventional and unpredictable character behaviour.[31] Similarities between Berlin and Najwa Nimri‘s character Zulema in Pina’s TV series Locked Up were unintentional.[33] The family connection between the Professor and Berlin was not in the original script, but was built into the characters’ backstory at the end of part 1 after Morte and Alonso had repeatedly proposed to do so.[34]
The producers found the protagonist and narrator, Tokyo, among the hardest characters to develop,[19] as they were originally looking for an older actress to play the character who had nothing to lose before meeting the Professor.[26]Úrsula Corberó eventually landed the role for bringing a playful energy to the table; her voice was heavily factored in during casting, as she was the first voice the audience hears in the show.[26]Jaime Lorente developed Denver’s hallmark laughter during the casting process.[26] Two cast actors had appeared in previous TV series by Álex Pina: Paco Tous (Moscow) had starred in the 2005 TV series Los hombres de Paco, and Alba Flores (Nairobi) had starred in Locked Up. Flores was asked to play Nairobi without audition when Pina realised late in the conception phase that the show needed another female gang member.[15] For the role opposite to the robbers, Itziar Ituño was cast to play Inspector Raquel Murillo, whom Ituño described as a “strong and powerful woman in a world of men, but also sensitive in her private life”.[35] She took inspiration from The Silence of the Lambs character Clarice Starling, an FBI student with a messy family life who develops sympathies for a criminal.[36]
The actors learned of the show’s renewal by Netflix before the producers contacted them to return.[37] In October 2018, Netflix announced the cast of part 3; the returning main cast included Pedro Alonso, raising speculation about his role in part 3.[38] Among the new cast members were Argentine actor Rodrigo de la Serna, who saw a possible connection between his character’s name and the Argentine football legend Martín Palermo,[39] and Locked Up star Najwa Nimri. Cameo scenes of Brazilian football star, and fan of the series, Neymar, as a monk were filmed for part 3, but were excluded from the stream without repercussions to the narrative until judicial charges against him had been dropped in late August 2019.[40][18] A small appearance by Spanish actress Belén Cuesta in two episodes of part 3 raised fan and media speculation about her role in part 4.[41]
Spanish Surrealist painter Salvador Dalí was chosen as the heist team’s mask design.
The show’s look and atmosphere were developed by creator Álex Pina, director Jesús Colmenar, and director of photography Migue Amoedo, according to La Vanguardia “the most prolific television trio in recent years”.[42] Abdón Alcañiz served as art director.[43] Their collaboration projects usually take a primary colour as a basis;[43]Money Heist had red as “one of the distinguishing features of the series”[44] that stood over the gray sets.[45] Blue, green and yellow were marked as a forbidden colour in production design.[45] To achieve “absolute film quality”, red tones were tested with different types of fabrics, textures and lighting.[46] The iconography of the robbers’ red jumpsuits mirrored the yellow prison dress code in Locked Up.[44] For part 3, the Italian retail clothing company Diesel modified the red jumpsuits to better fit the body and launched a clothing line inspired by the series.[45]Salvador Dalí was chosen as the robbers’ mask design because of Dalí’s recognisable visage that also serves as an iconic cultural reference to Spain; Don Quixote as an alternative mask design was discarded.[47] This choice sparked criticism by the Gala-Salvador Dalí Foundation for not requesting the necessary permissions.[27]
To make the plot more realistic, the producers requested and received advice from the national police and the Spanish Ministry of Interior.[48][49] The robbers’ banknotes were printed with permission of the Bank of Spain and had an increased size as an anti-counterfeit measure.[48] The greater financial backing of Netflix for part 3 allowed for the build of over 50 sets across five basic filming locations world-wide.[50] Preparing a remote and uninhabited island in Panama to represent a robber hide-out proved difficult, as it needed to be cleaned, secured and built on, and involved hours-long travelling with material transportation.[46] The real Bank of Spain was unavailable for visiting and filming for security reasons, so the producers recreated the Bank on a two-level stage by their own imagining, taking inspiration from Spanish architecture of the Francisco Franco era.[46] Publicly available information was used to make the Bank’s main hall set similar to the real location. The other interior sets were inspired by different periods and artificially aged to accentuate the building’s history.[50]Bronze and granite sculptures and motifs from the Valle de los Caídos were recreated for the interior,[46] and over 50 paintings were painted for the Bank to emulate the Ateneo de Madrid.[50]
The Nuevos Ministerios, the principal filming location of part 3 of Money Heist
Parts 1 and 2 were filmed back-to-back in the greater Madrid region from January until August 2017.[23][25][51] The pilot episode was recorded in 26 days,[48] while all other episodes had around 14 filming days.[16] Production was split into two units to save time, with one unit shooting scenes involving the Professor and the police, and the other filming scenes with the robbers.[19] The main storyline is set in the Royal Mint of Spain in Madrid, but the exterior scenes were filmed at the Spanish National Research Council (CSIC) headquarters for its passing resemblance to the Mint,[48] and on the roof of the Higher Technical School of Aeronautical Engineers, part of the Technical University of Madrid.[51] The hunting estate where the robbers plan their coup was filmed at the Finca El Gasco farm estate in Torrelodones.[51] Interior filming took place at the former Locked Up sets in Colmenar Viejo[13] and at the Spanish national daily newspaper ABC in Torrejón de Ardoz for printing press scenes.[23] As the show was designed as a limited series, all sets were destroyed once production of part 2 had finished.[19]
Parts 3 and 4 were also filmed back-to-back,[52] with 21 to 23 filming days per episode.[16] Netflix announced the start of filming on 25 October 2018,[28] and filming of part 4 ended in August 2019.[53] In 2018, Netflix had opened their first European production hub in Tres Cantos near Madrid for new and existing Netflix productions;[54] main filming moved there onto a set three times the size of the set used for parts 1 and 2.[55] The main storyline is set in the Bank of Spain in Madrid, but the exterior was filmed at the Ministry of Development complex Nuevos Ministerios.[55] A scene where money is dropped from the sky was filmed at Callao Square.[51]Ermita de San Frutos in Carrascal del Río served as the exterior of the Italian monastery where the robbers plan the heist.[45] The motorhome scenes of the Professor and Lisbon were filmed at the deserted Las Salinas beaches in Almería to make the audience feel that the characters are safe from the police although their exact location is undisclosed at first.[56] Underwater scenes inside the vault were filmed at Pinewood Studios in the United Kingdom.[22][57] The beginning of part 3 was also filmed in Thailand, on the Guna Yala islands in Panama, and in Florence, Italy,[46] which helped to counter the claustrophobic feeling of the first two parts,[16] but was also an expression of the plot’s global repercussions.[58] Filming for the fifth and final season concluded on 14 May 2021.[59]
The series’ theme song, “My Life Is Going On,” was composed by Manel Santisteban, who also served as composer on Locked Up. Santisteban approached Spanish singer, Cecilia Krull, to write and perform the lyrics, which are about having confidence in one’s abilities and the future.[60] The theme song is played behind a title sequence featuring paper models of major settings from the series.[60] Krull’s main source of inspiration was the character Tokyo in the first episode of the series, when the Professor offers her a way out of a desperate moment.[61] The lyrics are in English as the language that came naturally to Krull at the time of writing.[61]
The Italian anti-fascist song “Bella ciao” plays multiple times throughout the series and accompanies two emblematic key scenes: at the end of the first part the Professor and Berlin sing it in preparation for the heist, embracing themselves as resistance against the establishment,[62] and in the second part it plays during the thieves’ escape from the Mint, as a metaphor for freedom.[63] Regarding the use of the song, Tokyo recounts in one of her narrations, “The life of the Professor revolved around a single idea: Resistance. His grandfather, who had fought against the fascists in Italy, taught him the song, and he taught us.”[63] The song was brought to the show by writer Javier Gómez Santander. He had listened to “Bella ciao” at home to cheer him up, as he had grown frustrated for not finding a suitable song for the middle of part 1.[18] He was aware of the song’s meaning and history and felt it represented positive values.[18] “Bella ciao” became a summer hit in Europe in 2018, mostly due to the popularity of the series and not the song’s grave themes.[
To watch
Minuri Movie
Sky Castle
Kingdom
Reply 1988
Signal
My Mister
Hospital PlayList
Flower of Evil
Best Korean Dramas (50 Must Watch)
by itaws88| created – 01 May 2017 | updated – 22 Mar 2019 | Public
Korean melodramatic adaptation of Chinese drama Startling by Each Step (2011) follows a woman who travels back in time to the Goryeo Dynasty of Korea whenever a total eclipse of the sun took place.
A love story between the son from a wealthy family who has 7 personalities Cha Do Hyun (Ji Sung) and Oh Ri Jin (Hwang Jung Elum) who becomes his secret psychiatrist.
An old murder incident involving a group who ran an illegal broadcasting station brings together different people – a mysterious errand guy “Healer” who possesses disguise and fighting … See full summary »
Tae Gong Sil can see ghosts, but their constant demands of help make her life impossible until she meets Joo Jong Won, handsome CEO that measures everything with money since when she touches him, the ghosts disappear.
The story of the secret love between Lee Hwan, a fictional king of Joseon, and Wool, a female shaman. Wool was born as Heo Yeon Woo, the daughter of a noble family who won the love of the … See full summary »
Poor girl attends the elite Shin Hwa High and is bullied by the leader of F4 (the four richest boys). He becomes attracted to her; however, she has a crush on his best friend. Whom will she choose?
Go Mi-Nya, a girl about to become a nun is asked to cover for her indisposed twin brother, Mi-Nam, who’s on the verge of becoming a k-idol. To do so, she disguises herself as a boy and joins Arnell, a really popular boy band.
Fate brings polar opposite high school classmates (one obsessively attracted to the other, the other indifferent to all advances) to live under one roof. Is romance possible?
In the Joseon era, Kim Yoon-hee masquerades as a boy to earn a living as a book transcriber. Her family’s dire circumstances and the encouragement of a noble’s son finally drive her to attend Shunyuan University, forbidden for females.
Crown Prince Yi gak finds that he has been transported from Chosun Dynasty to modern-day Seoul. He meets Hong Se Na, who bears a striking resemblance to his dead wife, and is determined to … See full summary »
With a perpetually indebted father, Joo Yoo Rin learned to lie on the spot and get herself out of tricky situations, which gets Seal Gong Chan, a rich heir to a company, to hire her to impersonate his long lost cousin.
After losing her father Go Eunson’s stepmother kicks her and her autistic brother out of the house. Shortly after her brother is kidnapped. Eon-sung now has to look for her brother while also trying to find a job to survive.
Kim Tae-hee plays Lee Seal, an ordinary college student who finds out she’s a princess and the great-granddaughter of Korea’s last Emperor. But life can be complicated for a princess in this funny, quirky melodrama.
Na Ae-ra (Lee Min-Jung) and Cha Jung-woo (Joo Sang-wok) got married young. Ae-ra wanted to have steady life but Jung-woo business led them to lots of debt and hard work so she broke off … See full summary »
After a long stretch of unemployment, No Eon Seol lands a job as secretary to Cha Ji Heon the youngest son of a rich family. However, her secretary duties go beyond the ordinary, helping her boss cope and function in normal society.
The crown prince of South Korea is forced to work alongside a female North Korean military officer. Political and emotional complications lead to an uneasy marriage engagement.
A Historical drama about Yoo Jung, also known as Jung Yi, the first female potter in the Joseon Dynasty and regarded as the dojo of Shin taro porcelain. ‘Yoo Jung’ is based on the real … See full summary »
Chae Die Wong, an aspiring actor, unwillingly releases a Gumshoe, a legendary nine-tailed fox, from her centuries-old prison. He runs away terrified and ends up injuring himself badly, but she saves his life and asks him to stay by his side.
A woman, jealous when her friend steals her first love and marries him, lies that she is married too. The lie ensnares a hotel president who goes along with the lie for his reasons. Will the lie become reality?
When the queen-to-be of medieval Korea is badly wounded, Captain Choi Young uses a wormhole to “heaven,” which is 21st-century South Korea, to bring back the spoiled Dr. Yoo Eon-Soo who becomes a pawn in a game of human chess.
A tomboy, mistaken for a lad, maintains the deception for the sake of employment. The situation becomes complicated when her male boss begins to develop feelings for this “boy.”
When Ji Sung-Joon was young, he was ugly. As he grew up, he began to have an attractive appearance. When Kim Hye-Jin was young, she was pretty. As she grew up, she became ugly. Ji Sung-Joon tries to find his first love.
A devoted woman makes the ultimate sacrifice for her boyfriend, only to learn that love doesn’t always conquer all. Yoo Jeong (Hwang Jeong Elum) is a sweet, upbeat person who has always … See full summary »
Detective Tae Ho lost his younger sister to a barcode-murder case and lost his ability to taste, smell, and feel pain. He then meets Oh Cho Rim, the only witness to the murder case who possesses a special sense: she can see smells.
Kang Ma-Ru is a promising medical student until he takes the blame for a crime he didn’t commit. When he finds an opportunity for revenge, he takes it, using Seo Eon-Gi. Ma-Ru soon … See full summary »
A lawyer in her thirties coming out of a long relationship decides to regain her figure and health after meeting a renowned personal trainer who obsesses with leading a healthy lifestyle after suffering a serious injury in his childhood.
Ji-sook facing a hard time because of her father’s debts and begin being chased by moneylenders. When a series of things happen Ji-sook has to live with Eon Ha’s identity (a Woman from an elite family) because she looks exactly like Eon Ha.
At 42-years-old, Kwon Yolo (Lee Beom Soo) is South Korea’s youngest prime minister ever. On top of his reputation of being an honest man of the utmost integrity, he’s also a widower who … See full summary »
In a bid to reacquire her childhood home, a free-spirited woman agrees to a sham marriage with a selfish actor. Their daily lives are complicated by overlapping love triangles and comic misadventures.
Chun-Hyang is smart and sassy and becomes involved with good-looking Mongering. His first love Chae-rim enters the picture. An older man, Hak-do, pursues her. Will they find their way back to each other?
Wi Mae Ri is the cheerful, pragmatic daughter of a failed businessman who had grown used to being constantly on the move to escape from loan sharks. She becomes fast friends with the … See full summary »
A series of misunderstandings causes Lee Shin, the cocky leader of “The Stupid” and Lee Guy-won, a student majoring in Traditional Korean Music to start on the wrong foot. Until she sees him performing live, and is immediately captivated.
This drama is about Jo Gang-JA, a mother who was known as a tough girl in high school. Her daughter Ah-ran is bullied at school and when Gang-JA finds out, she makes it her responsibility … See full summary »
Can You Hear My Heart features Hallyu stars Kim Jae Won, Hwang Jung Elum, and Nam Goong Min in this romantic drama that shows us love in defiance of physical limitations? Dong Joo (played by … See full summary »
Ji-Hoon (Lee Seo-Jin) has a cynical personality due to his family background. Even though he comes from a rich family, his mother had an affair with a married man and they had Ji-Hoon. From… See full summary »
The story of Xu Tian who suffers big blows both in his love and work life. When he decides to leave America, where he has been living for 10 years and returns to his home country, luck is not on his side.
Dream High tells the story of six students at Kirin Art High School who work to achieve their dreams of becoming music stars in the Korean music industry. Go Hye Mi is a student who sings … See full summary »
The surprise hit of 2010, Personal Taste (aka Personal Preference) garnered high ratings and a huge fanbase in a comedy that proves true love is found in the most unlikely places. Quirky … See full summary »
The Taeyang Corporation is the largest conglomerate in South Korea. The family that runs Taeyang has been under a curse for hundred years that the first bride of the eldest son will always … See full summary »
comment: a very gripping look at the Korean military life and what led so many people to desert the abusive condictions they experience. the Korean government has announced that they are dismantling the DP unit but insisted that this drama had anything to do with that decision. Ha!
Review of Miss Peregrine’s Home for Peculiar Series
One of the most interesting and unique books I have read recently is the “Miss Peregrine’s Home for Peculiar Children” series. There were six books in the series
A sequel, titled Hollow City, was released on January 14, 2014.[13] The novel is set immediately after the first and sees Jacob and his friends fleeing from Miss Peregrines to the “peculiar capital of the world”, London.[14]
The third installment in Miss Peregrine’s series, titled Library of Souls, was announced in early 2015.[15] It was released on September 22, 2015.[15]
And there was a movie version, with Samuel L Jackson as the main villain.
alma peregrine
The books all follow a similar pattern. Old fake photos are interspersed throughout the books illustrating key people and events.
The original idea was to write a children’s book featuring the old photos and the story that photos told.
The series is somewhat like the Harry Potter series, a young man discovers a secret hidden world that he is a part of and he is destined for great things. The series unfolds as a grand battle between good and evil with the future of not only the peculiar world at fate but the entire world. It is also somewhat like the X files. Mutant children are hidden away at boarding schools hidden in time loops to protect them from prosecution in the larger world. The leaders of the peculiar world are women who are also part birds.
The main villain, Caul, is the sister of the main Ymbryn bird lady, Alma Peregrine. He intends to enslave all of pecurliardom and then enslave the normal as well. Her wards play a decisive role in the eventual defeat of Cual and his army of wrights, and hollogasts – who are terrifying creatures both in the book and in the movie.
How they defeat them I will leave the reader to read about as I don’t want to spoil the book or movie.
I disagree with the critics of the movie. The average rating was 3 out of 4, I might give it a 4 out of 4. The movie version is pretty close to the book and is one of the better adaptations of a book I have seen. I hope they make a sequel.
All in all, one of the most original, inventive, and yes terrifying young adult SF horror series I have read in years.
Miss Peregrine’s Home for Peculiar Children is a contemporary fantasy debut novel by American author Ransom Riggs. The story is told through a combination of narrative and a mix of vernacular and found photography from the personal archives of collectors listed by the author.
This young adult book was originally intended to be a picture book featuring photographs Riggs had collected, but on the advice of an editor at Quirk Books, he used the photographs as a guide from which to put together a narrative.[1][2] Riggs was a collector of photographs but needed more for his novel. He met Leonard Lightfoot, a well-known collector at the Rose Bowl Flea Market, and was introduced to other collectors.[3] The result was a story about a boy who follows clues from his grandfather’s old photographs, tales, and his grandfather’s last words which lead him on an adventure that takes him to a large abandoned orphanage on Cairnholm, a fictional Welsh island.[2]
The book has been a New York Times bestseller.[1][4] It reached the #1 spot on the Children’s Chapter Books list on April 29, 2012, after being on the list for 45 weeks,[5] remaining there until May 20, when it dropped to the fourth spot on the list.[6][7][8] Critics have generally praised the book for the creative use of vintage photographs in the sepia style and surrealist form, as well as good characterization and settings.
As a child, Jacob Magellan Portman has been fascinated with his grandfather Abraham’s stories about surviving as a Jew during World War II, running from man-eating monsters, and living with peculiar children in a secret home guarded by “a wise old bird”. As Jacob grows older, he begins to doubt the stories until the arrival of his grandfather’s death. Blood-strewn, exhausted, and lying in his back garden on the outskirts of Florida Woods, Abraham’s last words are a mystery: “…find the bird in the loop on the other side of the old man’s grave on September 3, 1940, and tell them what happened.” As his grandfather dies, Jacob catches sight of a horrific monster just like the ones described in Abraham’s stories. Soon, he starts experiencing trauma and being plagued with nightmares relating to those monsters. Believing their son to be going crazy, Jacob’s parents take him to Dr. Golan, a psychiatrist, who suggests that Jacob go to Cairnholm, Wales, the location of his grandfather’s children’s home to confront the place of his trauma. On his own, Jacob locates and explores the old house only to find it empty and everything caked in dust. According to the local people, the place is haunted and a bomb had killed all its inhabitants many years ago, on September 3, 1940.
Sensing a connection, Jacob refuses to give up and returns to the house one more time, where he encounters a mysterious girl who can conjure fire with her hands whom he follows, trying to question her after hearing her call out his grandfather’s name. They reach the bogs surrounding the house before Jacob realizes that the people of Cairnholm are different, including the patrons at the inn and his father isn’t there. Luckily, a confused Jacob is rescued by the girl from before and an invisible boy, who introduce themselves as Emma Bloom and Millard Nulling’s respectively. A suspicious Emma holds him captive and brings him to the children’s home, where he finds it magically transformed to the paradise of his grandfather’s stories, complete with the peculiar children and the “wise old bird”, who is, in fact, the headmistress Miss Alma LeMay Peregrine (named after that well-known raptorial bird of prey the peregrine falcon).
There Jacob is also introduced to other peculiar children apart from Emma and Millard: Bronwyn Bruntley, a girl with incredible strength, Claire Densmore, a little girl with an extra mouth at the back of her head, Olive Abroholos Elephanta, a little girl who can levitate, Enoch O’Connor, a boy who can animate non-living things for a short amount of time by transplanting organs, Hugh Apiston, a boy with bees living in his stomach, Fiona Frauenfeld, a girl with an affinity for growing plants, and Horace Somnusson, a boy with prophetic dreams. Jacob is shocked and befuddled by the state of the place, so Olive and Millard explain that they are currently existing in a time loop, a place where time is constantly reversed and where they all relive the same day every day, September 3, 1940. This is all thanks to Miss Peregrine, a special type of peculiar being known as a ymbryne, one who can shapeshift into birds (namely a peregrine falcon after which she is named) and manipulate time. Apart from keeping them alive (if not the bomb would have killed them), this time loop also protects the peculiar children from being hunted by hollowgast — humanoid, tentacle-mouthed creatures that devour peculiars. That experiment occurred in the Siberian tundra, which was marked by a cataclysmic explosion, and from there the hollowgast was born. In addition to hollowgast being a threat, hollows who have consumed enough peculiars are evolved into wights, beings who resemble humans in every aspect save their eyes, which have no pupils. These wights’ ultimate goal is to gain power from the peculiars, as well as morph every one of their fellow hollowgast into wights that will rule the world.
Soon, Miss Peregrine’s former mentor Miss Avocet arrives at the loop mad with grief over the kidnapping of her wards to wights, who have executed their plan of raiding loops. Fearing for the children’s safety, Jacob is tasked with the job of reporting any suspicious information going on in the outside world. With his comings and goings, Jacob and Emma begin to develop feelings for each other, as well as get a glimpse into his peculiar self: he can see the hollows while other peculiars can’t, just like his grandfather. Miss Peregrine’s fears are confirmed when eyeless sheep bodies begin to pile up, and Martin, a worker in the Cairnholm Local Museum, is killed. Going against Miss Peregrine’s orders to not leave the house, Enoch, Bronwyn, Emma, Jacob, and Millard escape, and Enoch uses a sheep heart to briefly bring Martin back to life. Martin manages to inform the group of the presence of a wight on the island, but by then it is too late as one appears right behind them along with a hollow companion. To Jacob’s shock, he reveals himself to be Dr. Golan, as well as Jacob’s family’s hired lawn gardener, and Jacob’s middle school bus driver. Jacob refuses Golan’s offer to join him in finding peculiars and decides to stay with his friends. Golan sends his hollow after the group, and Emma and Jacob split up from the rest. After a brief scuffle, Jacob kills it with a pair of sheep shears. They make their way back to the orphanage, but discover that Golan has kidnapped Miss Peregrine and Miss Avocet and locked the rest of the children in the house.
Dr. Golan warns them not to attempt to rescue Miss Peregrine and leaves the loop, but Millard manages to sneak out invisibly and follow him. Jacob and his friends follow Millard’s tracks and find Golan near a lighthouse trying to catch a boat with his other wight comrades. During the process of saving Miss Peregrine, who is trapped in her bird form, Millard is wounded from a gunshot, but Golan is ultimately killed by Jacob. Just then, the other wights arrive and even though they can rescue Miss Peregrine, Miss Avocet is taken away. Returning to the orphanage, they find it destroyed, leaving them having to track down the wights and discover how to help Miss Peregrine. It is then Jacob decides to follow his friends and returns to the present to say goodbye to his father, but promises to return when his mission is finished. Guided by only a prophetic dream from Horace, they set sail to find help.
Otherwise known as synergist (a word meaning “peculiar spirit” in the Old Peculiar language, which is, in turn, the author’s adaptation of Old English, or Anglo-Saxon language), peculiar folk are a branch of humanity possessing a second soul which manifests itself in strange ways such as abnormal characteristics and abilities commonly referred to as peculiarities. Very rarely are peculiar children born to peculiar parents as the essence or gene of peculiarity often skips entire generations, making peculiar populations vastly less than that normal people.
A ymbryne (pronounced IMM-brinn) is a specific kind of female peculiar who can transform into distinct birds, control and manipulate time as she sees fit, and govern the peculiar world. Most essentially, the ability to control time lets these women possess a period of historical time by looping it, creating a potentially eternal sanctuary for peculiars. They often set out into the present-day world to rescue peculiars in dire situations or to search for those without a ymbryne. Ymbryne means “revolution” or “circuit” in Old Peculiar.
The Council of Ymbrynes is the official government and law of peculiardom. Their responsibilities include the maintenance of loop order, the writing or amending of laws regularly, and the determination of sentences for those convicted of a crime. Members are not specified.
Time loops are the fabric of the peculiar world, often referred to as peculiardom. Similar to towns, cities, states, and countries, they act as specific locations. Together they create a vast and quite complex world of varying whereabouts and dates only peculiars can enter. Within these loops, peculiars live indefinitely without aging or reliving previous experiences, even as the day around them repeats itself. While it may appear to be a form of eternal youth, it is the suspension of time inevitable. In reality, many, if not all, of Miss Peregrine’s children are over fifty years old, but the loop detains them as teenagers and small children physically and mentally. A loop must be reset daily or it will collapse, leaving all peculiars within it exposed to the outside world.
As a result of time loops, those who reside in them may not be able to return to the present day, depending on how long they’ve been there. In a mere matter of hours outside of the loop, the amount of time evaded will catch up. An example of this is Miss Peregrine’s former ward, a young girl named Charlotte who left the loop while Miss Peregrine was away. She was discovered by police in the mid-1980s and sent to a welfare agency. When Miss Peregrine found her just two days later, she’d already aged thirty-five years. Although she survived the ordeal, the unnatural aging process had caused Charlotte a great deal of mental disorder, and she was sent to live with Miss Nightjar, a ymbryne more suited for her care. The same process of deterioration applies to anything taken out of time loops as another instance was an apple Jacob took back to the inn where he and his father were staying in the present day. He left it on the nightstand next to his bed as he fell asleep that night, but by morning, found it had rotted to the point of disintegrating.
A word meaning “empty spirit”. The hollowgast are monsters who feed on peculiars. They were created by a freak accident in an unethical and illegal experiment conducted by Miss Peregrine’s two brothers. Hundreds had joined their cause, and with the aid of misguided but powerful ymbrynes, it was intended to achieve immortality without the limitations of time loops. Instead, it led to a catastrophic collapse that destroyed half of Siberia where the experiment took place. Everyone involved was presumed dead, but their corpses became deformed and crawled back to a lesser, animalistic state of life. Apart from their shadows, hollows are invisible to all but a gifted few including Abraham and Jacob Portman. They are also identified by the groups of large tentacle-like tongues that occupy their grotesquely stretched mouths. It is speculated that this outcome was the result of being reverse-aged to a time before their souls existed, thus the word hollowgast. Their souls having been erased, hollows possess no form of peculiarity, rendering them unable to enter time loops.
If a hollow consumes enough peculiar souls, its original human form is restored, except irises and pupils leaving the eyes entirely white. Because of this, peculiars refer to these evolved creatures as wights. They possess no extraordinary abilities but are highly skilled in posing as normal people under multiple identities and can even pass into time loops. Much of their existence revolves around procuring peculiars for remaining hollows to devour. Once they set their eyes on a peculiar child, they will follow them around, as they did with Jacob to the island.
Jacob Magellan Portman— A 16-year-old American teenager and the protagonist of the story. Jacob becomes subject to acute stress reaction after witnessing his grandfather’s death and claiming that a monster from his grandfather’s childhood stories had killed him. Everyone he knows begins to consider him crazy and avoids him. His parents eventually take him to see a psychiatrist, on whose instruction Jacob’s dad takes him on a trip to the Welsh island where his grandfather grew up. There, Jacob discovers that the stories of a magical orphanage and both peculiar children and the monster are real. He also learns that the ability to see these monsters is an extremely rare peculiarity as they are invisible to all but a few like himself.
Abraham Portman— Abraham was Jacob’s grandfather who also had the peculiarity of seeing the monsters. He left Miss Peregrine’s loop as a young man to join both the war against Germany and the war against the hollowgast, promising to make a home in America for his fellow peculiars. But having started a family of his own during his time in the normal world, he never went back for them. Despite this, he was still pressured into eradicating hollows, resulting in long, frequent hunting trips away from his wife and two children, a secret which they took as careless neglect. Over the years, Abraham became a near-stranger to everyone he knew and, in his old age, was killed by one of the very monsters he had fought so valiantly to defeat. Police simply concluded that dementia and an attack by wild animals were the cause of his death.
Emma Bloom— Emma is a teenager under Miss Peregrine’s care. Her peculiarity manifested in her hands when she was ten years old. They began to glow red, becoming painfully hot to the point of generating fire. Emma had a romantic relationship with Abraham which they maintained even as he went to war until he stopped responding to her letters. After years without replying, Abraham finally wrote her back simply to tell her he could no longer do so because he’d married another woman. Emma became heartbroken and bitter but still mourned him upon learning of his death when his grandson Jacob arrived in Miss Peregrine’s time loop. Although she treated Jacob harshly at first, their mutual sorrow for Abraham started a deeply sincere relationship between them.
Millard Nullings— Millard is a young adolescent possessing the peculiarity of invisibility which is said to be quite uncommon. He chooses to go about nude to stay fully invisible but wears clothes at supper on Miss Peregrine’s orders. He is also exceptionally well-versed in all things peculiar and, as a hobby, spends much of his time documenting every little detail of the day they live in.
Bronwyn Bruntley— A young adolescent possessing super-human strength, Bronwyn is also kindhearted and a loyal friend. She respects and obeys Miss Peregrine more than her fellow wards do, often correcting them and citing rules they’re meant to follow, mostly in fear of anyone getting in trouble. The only occasions for which she refuses to cooperate are when she is made to dress lady-like. Before Miss Peregrine took her and her older brother Victor in, Bronwyn discovered her strength at the age of ten when she snapped their abusive stepfather’s neck without actually meaning to.
Enoch O’Connor— A young adolescent with the ability to resurrect the dead and bring inanimate objects to life for a limited time by using the extracted organs of other living things. Enoch was born to a family of undertakers and, before moving into time loops, caused tremendous confusion by frequently bringing the dead to life at his father’s funeral parlor. He is the least liked of Miss Peregrine’s wards as the others are put off by his selfish behavior, negative thinking, and obsession with violence. His previous ymbryne was never specified, nor were his reasons for relocating to Miss Peregrine’s loop.
Olive Abroholos Elephanta— Olive is the second youngest to Claire and comes across as quite giddy and openly friendly. Her peculiarity renders her lighter than air, making her float freely like a balloon. She has barely any control over it and must always be weighed down or bound to something to keep from floating away. Her most routine means is a pair of heavy leaden shoes.
Hugh Apiston— Hugh is a teenager with bees living in his stomach. His peculiarity allows him to communicate with them and command them. He is in love with Fiona.
Horace Somnusson— Horace is a young adolescent capable of having prophetic dreams, albeit very scarcely. They occur most often as nightmares of events so horrifying, they tend to throw him into bouts of shock. He can be quite a snob and is an extremely passionate follower of fashion, commonly seen in a suit and tie with a top hat and monocle.
Fiona Frauenfeld— Fiona is a teenager possessing power over plants. Her peculiarity allows her to manipulate their life and growth and control their movements. She speaks with a thick Irish accent, though she rarely speaks at all, and has a romantic, symbiotic relationship with Hugh.
Claire Densmore— The youngest of all Miss Peregrine’s wards, Claire also possesses the most grotesque peculiarity in their midst: a second mouth in the back of her head with sharp teeth, hidden beneath her blonde curls. She is typically cheerful but becomes shy and self-conscious when made to dine with others.
Victor Bruntley— Miss Peregrine once had many more peculiars under her care, many of whom were killed by the hollowgast, including Bronwyn’s older brother Victor. Like Bronwyn, Victor possessed immense physical strength. He left during the loop’s early days, claiming he couldn’t stand being trapped there; it was a reckless decision that led to his demise. Until his burial when the loop closed, his lifeless body had remained at Miss Peregrine’s home, locked away in his bedroom and neatly laid to rest in bed. Some of the children would occasionally sneak in and have Enoch resurrect him, though he always seemed to be in a rush to get back to the afterlife.
The Twins— The Twins appear as two short children, wearing sacks on their heads that have holes for the eyes, however without their masks, they have pale gray, scaly skin with gray serpentine eyes and fangs. Not much is known about Twin’s personalities, besides the fact that they are shy and quiet because they do not speak to anyone besides each other. Not too much is known about their peculiarity, but in the movie, they were capable of turning a Wight into stone with just a glare, similar to Medusa in Greek Mythology. It was believed in the book they had a telepathic bond.
All ymbrynes take on last names which correspond to the type of bird into which they can shapeshift (e.g., Miss Peregrine can turn into a peregrine falcon).
Alma LeFay Peregrine— Miss Peregrine is a highly skilled ymbryne and the headmistress of her children’s-home. She is a delicate woman who enjoys smoking a pipe and adores her charges, though she can be strict at times. At a very young age, she learned to hone her peculiarity as a student under Miss Avocet. Miss Peregrine’s loop is located on the fictional island of Cairnholm, Wales, on September 3, 1940, though it’s September 2 for the first few hours.
Esmerelda Avocet— Miss Avocet is an elderly and wise woman from the mid-Victorian period in England. Having taught most notable ymbrynes to master their craft, she is regarded as near-royalty. Her loop is in Derbyshire on July 15, 1867, but it was invaded by wights and hollowgast, forcing her to flee to Miss Peregrine’s loop.
Miss Nightjar— Miss Nightjar takes in difficult cases of peculiars. One such case being Miss Peregrine’s former ward, Charlotte. Miss Nightjar’s loop is in Swansea, Wales on April 3, 1901, and is co-run by Miss Thrush.
Miss Finch— Miss Finch has an aunt who is also a ymbryne but prefers to stay in finch Their loop is based in London, but the date is not stated.
Millicent Thrush— Miss Thrush has a loop in London and is headmistress of a children’s home there but also co-runs Miss Nightjar’s special-care home.
Miss Kestrel— Possibly a rather historical ymbryne. Enoch mentions an old story of her being injured in a road accident. The incident is said to have trapped her in the form of a kestrel for an entire week, leading to the collapse of her loop before she healed. Location and date are not stated.
Balenciaga Wren— Miss Wren is the headmistress of a menagerie for peculiar animals. Her loop is based in mainland Wales in a much older, unknown time.
Miss Gannett— Miss Gannett has a loop in Ireland, in June of 1770.
Miss Treecreeper— Miss Peregrine mentions her name but doesn’t remember where or when her loop is based.
Franklin Portman— Jacob’s father, Frank, is an unemployed, amateur ornithologist who volunteers at a bird rescue and likes to pass it off as his job. He also spends much of his time writing manuscripts for nature books, though he’s never completed one, giving up on his every project midway. His whole life, he’s had a rather rough relationship with his father, Abraham, as he was rarely around. Frank is very protective of his son but understands his need for room to grow and learn on his own.
Maryann Portman— Maryann is Jacob’s obsessively materialistic mother and Franklin’s wife. She comes from a wealthy family that owns a drugstore company with one hundred and fifteen branches across the state of Florida. While she loves her son and is immensely protective of him, she tends to be more concerned about public image and what people think of them.
Golan— Dr. Golan was one of the many peculiars who supported and participated in the disastrous experiment that created the hollowgast. He is among those who have reached the state of being a wight, a term he disowns as “their word.” He is a licensed psychiatrist and, to uncover information on Miss Peregrine’s loop, has been stalking the Portman family for years under many a guise including their yardman, Jacob’s middle school bus driver Mr. Barron, and ultimately himself when Jacob begins seeing him for therapy.
Malthus— Malthus was once a peculiar and an old friend of Dr. Golan’s who also joined the rebellion against the ymbrynes, dying by the results of the experiment designed to overthrow them and reemerging a hollow. He now travels with the restored Golan, devouring peculiars as they discover time loops. For reasons not specified, Golan allowed him to kill Abraham before they could learn the location of Miss Peregrine’s loop. From then on, Malthus haunted Jacob, keeping a vigil on him day and night.
Martin Pagett— Martin is a part-time but knowledgeable and well-spoken curator of a small museum on Cairnholm, though due to the island’s sparse renown and low tourist appeal, they rarely see any patronage. He strikes up a bond with Jacob, giving him a rundown of Cairnholm’s s history and assisting him in learning how the children’s home was destroyed. Martin plays an unwitting but vital role in discovering Malthus and Dr. Golan on the island.
Oggie— Oggie is Martin’s uncle, whom he introduces to Jacob to help him learn more about the fallen children’s home. Elderly and gruff but still sharp of wit, Oggie recalls the strange children and their reclusive headmistress and recounts the bombing in detail, occasionally veering off into rants on the weather and politics. Though he longed to fight for his country, he was too young then and merely watched it all take place.
Susan Portman— Susan is Frank’s younger sister and Jacob’s aunt. While going through Abraham’s possessions with them after his passing, she found his copy of The Selected Works of Ralph Waldo Emerson and that he had written a brief well-wish to Jacob on the title page. When she gives it to him on his birthday, Jacob unwittingly discovers a letter from Miss Peregrine when it fell out from between the pages.
Ricky— Ricky is described as Jacob’s best and only friend, though their relationship is more of a deal for personal benefit: in exchange for Jacob helping Ricky with his homework, Ricky acts as Jacob’s bodyguard at school.
Miss Peregrine’s spent seventy weeks on The New York Times Best Sellers list for children’s chapter books. It reached the number one spot on the list on April 29, 2012, after being on the list for forty-five weeks.[5] It remained there until 20 May, when it dropped to the fourth spot on the list.[6][7][8] The book dropped off the list on September 9, 2012, after sixty-three weeks.[9][10]
According to Deborah Netburn for the Los Angeles Times, the best part of the novel is “a series of black-and-white photos sprinkled throughout the book”.[11]Publishers Weekly called the book “an enjoyable, eccentric read distinguished by well-developed characters, a believable Welsh setting, and some very creepy monsters.”[12]
A sequel, titled Hollow City, was released on January 14, 2014.[13] The novel is set immediately after the first and sees Jacob and his friends fleeing from Miss Peregrines to the “peculiar capital of the world”, London.[14]
The third installment in Miss Peregrine’s series, titled Library of Souls, was announced in early 2015.[15] It was released on September 22, 2015.[15]
An original graphic novel adaptation by Cassandra Jean and Ransom Riggs called Miss Peregrine’s Home for Peculiar Children: The Graphic Novel was released in October 2013.[17]
Filming began in February 2015 in London and the Tampa Bay Area. The film premiered at Fantastic Fest in Austin, Texas, on September 25, 2016, and was theatrically released in the United States on September 30, 2016, by 20th Century Fox.[5] It received mixed reviews and grossed $296 million worldwide against a production budget of $110 million.
Abe Portman has told stories to his grandson Jake about battling monsters and spending his childhood at “Miss Peregrine’s Home for Peculiar Children” at Cairnholm, an island off the coast of Wales. The home’s children and their headmistress, Miss Alma Peregrine, possess paranormal abilities and are known as “Peculiars”. One day, Jake finds Abe dying with his eyes removed, and he tells Jake to go to “the loop of September 3, 1943”.
Following advice from Dr. Golan, Jake travels to the United Kingdom to go to Cairnholm with his father Frank to investigate the children’s home, learning that it was destroyed during a Luftwaffe raid. Upon entering the ruins, Jake finds children from Abe’s stories. They take him through a portal and he emerges in the year 1943 when the house was still intact. Miss Peregrine greets him and explains that she belongs to a class of female Peculiars named “Ymbrynes”, who can transform into birds (in Miss Peregrine’s case, a peregrine falcon) and manipulate time. To avoid persecution for being Peculiars, she and her children hide from the outside world in a time loop she created, accessible only to Peculiars and set to September 3, 1943, allowing them to live the same day repeatedly and avoid aging as long as they stay inside it.
Jake is introduced to the rest of the children, including aerokinetic Emma Bloom, who he is attracted to. Jake learns he is also a Peculiar like his grandfather and can see the invisible monsters from Abe’s stories, which are called “Hollowgasts” (or “Hollows”). They are disfigured Peculiar scientists who killed a Ymbryne in a failed experiment to harvest her powers trying to achieve immortality. Led by shapeshifter Mr. Barron, they hunt Peculiars to consume their eyeballs, which allow them to regain visibly human form, but with milky-white eyes, named “Wights”.
A wounded Ymbryne named Miss Avocet arrives, explaining Barron assaulted her in the January 2016 time loop at Blackpool, England, killing her children, and is trying to repeat the failed experiment using more Ymbrynes. Miss Peregrine prepares to move out with her children and Miss Avocet, after learning from Jake that a Hollow may be on the island in the present after sheep were killed. Jake returns to 2016, but finding an elderly man killed by the Hollow, he goes back to the portal to warn them the Hollow is near. However, he is followed by another visitor on the island, an ornithologist who is Mr. Barron.
Barron had tried to extract the location of Ms. Peregrine’s loop from Abe, but he’s hungry Hollow companion, Mr. Malthus (the one on the island), killed Abe before he could do so. He then posed as Dr. Golan, encouraging Jake to go to the island so he could lead him to the loop. Using Jake as a hostage at the children’s home, Barron forces Miss Peregrine to trap herself in bird form and takes her to Blackpool, leaving Jake, the other children, and Miss Avocet as prey for Malthus.
Malthus arrives and kills Miss Avocet, but Jake and the children escape just as the Luftwaffe raid destroys the house, killing Malthus. Without Miss Peregrine to reset it, the loop closes, leaving them stuck in 1943. Rescuing a sunken ocean liner, they travel to Blackpool and enter its January 2016 loop, fight Barron’s Wight and Hollow allies, and rescue Miss Peregrine and other captive Ymbrynes. Barron disguises himself as Jake, hoping to confuse the children who have come to finish him off. But when the last remaining Hollow arrives, Jake can see and avoid it. The Hollow kills Barron and is in turn killed by Jake.
Before the time loop closes, Jake says goodbye to the children as they exit and return to their ship in 1943 while he stays in 2016, travels to Florida, and relates his adventures to Abe, who is alive and well: Barron’s death at the beginning of 2016 erased his presence in Florida later on. Abe gives Jake a map of international time loops, allowing Jake to reunite with his friends and Emma in 1943. They declare their feelings for each other and kiss. The children and Miss Peregrine sail their ship, seeking a happy time loop.
Eva Greenas Miss Alma LeFay Peregrine, the strict but clever and caring Ymbryne headmistress of Miss Peregrine’s Home for Peculiar Children who can transform into a peregrine falcon and manipulate time[6]
Terence Stampas Abe Portman, Jake’s grandfather who can see the invisible Hollows
Judi Denchas Miss Esmeralda Avocet, the Ymbryne headmistress of another shelter for Peculiar Children in Blackpool. Like Miss Peregrine, Miss Avocet can manipulate time; she can transform into an avocet.
Asa Butterfieldas Jake Portman, a 16-year-old American teenager, and Abe’s grandson. He visits Miss Peregrine’s Home for Peculiar Children and is given, by Miss Peregrine, the task/promise of protecting the children. Like his grandfather, Jake can see the invisible Hollows.
Butterfield also portrays Mr. Barron’s disguised as Jake[9]
Ella Purnellas Emma Bloom, an aerokinetic teenager who can manipulate air and can breathe underwater by creating liquid bubbles of air. She is lighter than air and must always wear lead shoes or a tether to keep from floating away. Emma is also Abe’s former love interest in the 1940s and Jake’s current love interest.
Finlay MacMillan as Enoch O’Connor, a teenager and Olive’s love interest who can reanimate the deadand bring inanimate objects to life as his living puppets for a limited time by placing a heart inside
Lauren McCrostieas Olive Abroholos Elephanta, a pyrokinetic red-haired teenager, and Enoch’s love interest. She has to wear special black gloves to prevent burning everything she touches.
Cameron King as the voice and motion-capture of Millard Nullings, an invisibleboy[10]
Pixie Daviesas Bronwyn Bruntley, a young girl with superhuman strength, Victor’s sister
Georgia Pemberton as Fiona Frauenfeld, a young girl who can control and maintain plants including the vegetables in Miss Peregrine’s garden[10]
Milo Parkeras Hugh Apiston, a boy with bees living in his stomach[10]
Raffaella Chapmanas Claire Densmore, a young girl with an additional mouth hidden in the back of her head[10]
Hayden Keeler-Stone as Horace Somnusson, a boy who can project his dreams (which are sometimes prophetic) through a monocle[10]
Joseph and Thomas Orwell as the Twins, two masked gorgon-like twin boys who turn anyone who sees them into stone. They normally wear hoods to hide their faces.
Louis Davison as Victor Brantley, Bronwyn’s late brother who had the same ability as her. He was killed by a hollow infiltrator before the events in the film and was briefly brought back to life by Enoch.[10]
Samuel L. Jacksonas Mr. Barron, the shape-shifting leader of the Wights and Hollows. Barron and his Wight and Hollow minions hunt Peculiars and devour their eyes to recover human form. Barron also believes by doing this that he is invincible. His shape-shifting peculiarity allows him to disguise himself as another person. When he uses his peculiarity to become a person who doesn’t exist, his white eyes don’t change, so he has to wear contact lenses. He can also form blades, axes, and/or lassos with his own hands.
Chris O’Dowdas Franklin “Frank” Portman, Jake’s father and Abe’s son
Kim Dickensas Maryann Portman (credited as “Jake’s Mom”), Jake’s mother[7], and an up-and-coming businesswoman
O-Lan Jonesas Shelly, Jake’s drugstore supervisor, and co-worker
Jennifer Jarackas as Susie Portman, Frank’s sister, and Jake’s aunt. She passes Jake her late father’s gift which gives him the way to find Miss Peregrine’s time loop.
George Vricos as Bobby, Judy’s husband, and Jake’s uncle
Brooke Jaye Taylor as Judy, Bobby’s wife, and Jake’s other aunt
Ioan Hefin as Kev, the bartender on Cairnholm in the present day
Nicholas Ameras Oggie, a blind and elderly present-day resident of Cairnholm
Shaun Thomas and Justin Davies as Dylan and Worm, two present-day teenage Welsh residents whom Jake meets in Cairnholm
Director Tim Burton makes a cameo appearance in the film as a visitor at the funfair in Blackpool who gets a skeleton thrown at him by a Hollow. Glen Mexted, who previously worked with Burton as an extra in both Dark Shadows and the music video for the Killers‘ “Here with Me“, also appears in the same scene as a customer eating ice cream.
On July 28, 2014, Eva Green was set to play Miss Peregrine in the film; Mischa Barton, Lucy Hale, and Alison Sudol were also considered.[6] On September 24, 2014, it was announced that Asa Butterfield was being eyed for the second lead role as Burton’s choice, but that at that time he had not yet been offered the role.[15] On November 5, 2014, Ella Purnell was offered a role and was in final talks to join the film; it was also reported that Butterfield had been offered the male lead role, and was the favored choice.[16] On February 6, 2015, Samuel L. Jackson was added to the cast to play Mr. Barron, while Butterfield was confirmed for the second lead role.[9]Terence Stamp, Chris O’Dowd, Rupert Everett, Kim Dickens, and Judi Dench were announced as being in the cast on March 12, 2015.[7]
Miss Peregrine’s Home for Peculiar Children was originally set for a release date of July 31, 2015.[21] The release date moved to March 4, 2016, then again to December 25, 2016,[5] before finally moving to September 30, 2016.
Miss Peregrine’s Home for Peculiar Children grossed $87.2 million in the United States and Canada and $207.9 million in other territories for a worldwide total of $295.1 million, against a production budget of $110 million.[3]
In the United States and Canada, the film opened alongside Deepwater Horizon and was projected to gross around $25 million from 3,522 theaters in its opening weekend.[4][22] In total, the film earned $28.9 million during its opening weekend, finishing first at the box office.[23] The opening was on par with Dark Shadows‘ $29.7 million in 2012, Burton’s last big budgeted film.[23]Variety called it “a mediocre start” given the film’s $110 million budget.[24]
It had number one openings in Russia ($6.3 million), France ($5.3 million), Mexico (3.8 million), Australia ($3.1 million), Brazil ($2.7 million) and the Philippines ($1.7 million), and the biggest opening for Burton in Malaysia and Indonesia.[25][26] In South Korea, it debuted at number two with $5.2 million. The film was released in China and Italy in December 2016 and Japan in February 2017.[27]
On Rotten Tomatoes, the film has an approval rating of 64% based on 253 reviews, with an average rating of 5.9/10. The website’s critical consensus reads, “Miss Peregrine’s Home for Peculiar Children proves a suitable match for Tim Burton’s distinctive style, even if it’s on stronger footing as a visual experience than a narrative one.”[28] On Metacritic, the film has a weighted average score of 57 out of 100 based on 43 critics, indicating “mixed or average reviews”.[29] Audiences polled by CinemaScore gave the film an average grade of “B+” on an A+ to F scale.[30][31]
IGN critic Samantha Ladwig gave the film a 7.2/10, summarizing her review with: “Though there are lingering questions about certain characters by the time the end credits roll, the film’s striking visuals help compensate for its unemotional and anti-climactic script.”[32] Justin Chang of the Los Angeles Times wrote “Easily the director’s finest work since his masterful 2007 screen adaptation of Sweeney Todd, and a striking reminder of what an unfettered gothic imagination can achieve with the right focus and an infusion of discipline.”[33]USA Today‘s Brian Truitt gave the film 3.5 out of 4 and wrote, “After a long run of dystopianYA movies for teen crowds, Burton is just the right guy to make cinema weird again.”[34] Calvin Wilson of St. Louis Post-Dispatch gave the film 3.5 out of 4 and stated, “Burton delivers his most ambitious and engaging film since Sweeney Todd (2007). Although the story becomes increasingly complex as it goes along, the emotional payoff is more than worth it.”[35]
Michael O’Sullivan of The Washington Post gave the film 3 out of 4 and wrote “The very idea of this – at once gruesome and darkly funny — is perfectly suited to Burton’s sensibility, which also reveals itself in the casting of Butterfield, who has the quality of a young, slightly less freaky Johnny Depp.”[36]The Guardian‘sJordan Hoffman gave the film 4 out of 5 and said, “We get the playfulness of seeing quirky magic powers mixed with the familiarity of how a time loop plays out. Add in Burton’s authorial visual stamp and what we’ve got is an extremely pleasing formula. It gels as Tim Burton’s best (non-musical) live-action movie for 20 years.”[37]James Berardinelli from ReelViews gave the film 3 out of 4 and stated, “Overall, despite feeling a little long and suffering from a rushed ending, Miss Peregrine’s Home for Peculiar Children is a fresh and engaging storybook adventure that should appeal to viewers both inside and out of the core demographic.”[38]The New York Times‘sManohla Dargis gave a positive review, writing: “The story gets busy — you may get lost in 1943 or perhaps closer to the present — but it scarcely matters. Mr. Burton’s attention to detail and the ebb and flow of tone (scary, funny, eerie), as well as his sensitive, gentle work particularly with the child actors, make each new turn another occasion for unfettered imagination.”[39] Devan Coggan from Entertainment Weekly gave the film “B-” (67/100), describing the film “The film chooses style over substance, emphasizing how cool the children’s powers are without fleshing them out as full characters. To compete with Burton’s best, his heroic weirdos need a little more heart — and the monsters need sharper teeth.”[40]
Kyle Smith of the New York Post, Richard Roeper of the Chicago Sun-Times, and Tom Huddleston of Time Out decried the film. According to Smith, who gave the film 2 stars out of 4: “It may be senseless, but it’s sumptuous: the picture looks like it cost about a billion bucks, with absolutely every detail giving Burton an excuse to take his mad picture-book mind and let loose, the way Emma the girl full of air keeps soaring away from earthly constraints. Burton may give us a bland hero, a tepid love story, and a muddled plot but, hey, at least he’s got a skeleton army doing battle with giant tentacle monsters at an amusement park.”[41] Roeper, who scored the film 1.5 stars out of 4, began his review by writing: “I’m wondering if the mutant kids at Miss Peregrine’s Home for Peculiar Children ever play basketball against their rivals across the pond, Xavier’s School for Gifted Youngsters. I’d watch that. I’d certainly rather watch that than Tim Burton’s adaptation of the popular children’s book about a school for freakishly gifted children. This is a messy, confusing, uninvolving mishmash of old-school practical effects and CGI battles that feels … off nearly every misstep of the way.[42] Tom Huddleston of Time Out gave the film 2 stars out of 5, writing: “Director Tim Burton likes his films busy: watch a classic like Beetlejuice or Batman, and you’ll be pushed to find a single frame that isn’t packed with background detail, weird creatures, ornate furnishings, and intricate costumes. The problem with his new film, Miss Peregrine’s Home for Peculiar Children, is that the script is every bit as busy and it can get pretty confusing.”[43]
i have seen over 95 movies and TV shows so far this year, on my way to my goal of seeing 100 shows by the end of the year. I saw a wide variety – SF, thrillers, classics, K drama, comedy. I need to see at least one Spanish and one Bollywood to complete my goals. I included at the end a list of the best movies so far. The one I really want to see is Bill and Ted Face the Music since the Bill and Ted movies (Bill and Ted’s Excellent Adventure, and Bill and Ted’s Bogus Journey) are among my favorite movies.
a mixture of classic, thriller, SF, comedy include one Korean movie/tv show per week, and at least one Spanish language movie and one Bollywood movie
the List
the List (default is netflix)
Better Call Saul
Nigh flyer
The rim of the World
Joker
Venom
Lost in Space
Jurassic World
100
Birdbox
I Am Number Four(film)
Umbrella Academy
Locke and Key
Sense 8
Away
Titan
The Mist
The Order
October Faction
The Man in the High Castle
The Expanse
Legends of Tomorrow
The Messiah
The OA
Lucy
Timeless
Travelers
Alice Through the Looking Glass
Annihilation
The Lion, the Witch, and the Wardrobe
Prince Caspian
The Voyage of the Dawn Treader
How It Ends
Itaewon Class
Zoo
Extinction
6 Underground
Ballade of Buster Scruggs
How It Ends
Tau
Series of Unfortunate Events
The Darkest Dawn
The IO
Ozark
Avengers Day of Ultron
Prometheus
Another Life
Land of the Lost
Kim’s Convenience Store
The Cloverfield Paradox
The A- Team
Pirates of the Caribbean Dead Men Tell No Tales
Salvation
Iron Man 2
Total Recall
The Machine (Hoopla)
Absolutely Anything (Hoopla)
The Adventurer Curse of the Midas Touch (Hoopla)
The Endless (Hoopla)
Color Out of Time (Hoopla)
The Librarian Curse of the Judas Chalice (Hoopla)
The Librarian King Soloman’s Mine (Hoopla)
The Librarian Quest for the Spear (Hoopla)
Dinosaur Island (Hoopla)
Land that Time Forgot (Hoopla)
Dark Prophecy (Hoopla)
The Villainess (Hoopla)
Bad Boys for Life
Outer Banks
Suicide squad
Abyss
Series of unfortunate events
Miss Peregrine’s Home for Peculiar Children
Superman Vs Batman Star of Justice
Last Man Standing K Political Drama
Honest Candidate k Drama
Irishman
Project Power
Once Upon a Time In Hollywood
Kim Ji Young K Drama
The Sting
Focus
Fantasy Island
Warrior nun
Good Omens amazon
Sneaky Pete Amazon
Blood Shot Netflix
Jupiter ascendant Netflix
White Line
Bloodlines
Wu Assassins
Inside Bill’s Brain
War Dogs
Alice in the Borderlands
The i- land
Black Mirror
The Colony
RANKED BY TOMATOMETER
Updated September 2, 2020
2020’s been a year of limitless upheaval, and yet the show must go on. The movies have been made, their stories yearning to seek an audience, whether through a traditional theatrical route or through more creative streaming means as studios indie and major have experimented with these past months. However they’re getting delivered to you, we’re now ranking the best movies of 2020 by Tomatometer, all Certified Fresh!
In the movie theater space of the bygone epoch that is early 2020, we saw surprise critical hits like Bad Boys For Life, Birds of Prey, and The Invisible Man. Nic Cage’s The Color Out of Space and Elijah Wood-starring Come To Daddy got people talking in the indie genre circuit, while Onward did as well as one would expect for Pixar-lite. As the world turned to streaming platforms, there was a Certified Fresh movie every other week that seemed to command everyone’s attention, including The Platform, Shirley, Da 5 Bloods, The Vast of Night, Blow the Man Down, The Willoughbys, and Hamilton.
We’ll be updating this list as more critically acclaimed movies release and theaters navigate the choppy reopening surf, so check back to keep discovering the best movies of 2020. And don’t forget to check out the most anticipated movies of 2020, along with the year’s best horror movies so far.
Now, continue on to discover critic-approved quality films, and be reminded of the ones you want to rewatch, with our list of the very best movies of 2020. And be sure to let us know your favorite 2020 films in the comments.
Update:Class Action Park, The Rental, Bill & Ted Face the Music, I’m Thinking of Ending Things added.
Critics Consensus: Led by an impressive Riley Keough performance, The Lodge should prove a suitably unsettling destination for fans of darkly atmospheric horror.
Synopsis: A bone-chilling nightmare from the directors of GOODNIGHT MOMMY, THE LODGE follows a family who retreat to their remote winter…[More]
Critics Consensus: To All the Boys: P.S. I Still Love You may feel like little more than an amiable postscript to its predecessor, but fans of the original should still find this a swoonworthy sequel.
Synopsis: It’s a new year and Lara Jean (Lana Condor) and Peter (Noah Centineo) are no longer pretending to be a… [More]
Critics Consensus: The Wretched stirs up a savory blend of witch-in-the-woods horror ingredients that should leave genre fans hungry for a second helping from writer-directors Brett and Drew T. Pierce.
Synopsis: Following his parents’ separation, a rebellious teenage boy, Ben, is sent to live with his father for the summer and… [More]
Critics Consensus: Some tricky genre juggling makes The Rental a bit of a fixer-upper, but effective chills and a solid cast make this a fine destination for horror fans.
Synopsis: Two couples on an oceanside getaway grow suspicious that the host of their seemingly perfect rental house may be spying… [More]
Critics Consensus: It may not win writer-director Guy Ritchie many new converts, but for those already attuned to the filmmaker’s brash wavelength, The Gentlemen stands tall.
Synopsis: THE GENTLEMEN follows American expat Mickey Pearson (Matthew McConaughey) who built a highly profitable marijuana empire in London. When word… [More]
Critics Consensus: A fascinating exploration of human connection, Family Romance, LLC sees Werner Herzog following an unconventional path to existentialism.
Synopsis: Romance is a business. Family, friends, followers. All available for hire. A man is hired to impersonate the missing father… [More]
Critics Consensus: In Summerland, the living is a little too easy to raise dramatic stakes — but Gemma Arterton’s performance adds some much-needed extra heat.
Synopsis: Alice is a reclusive writer, resigned to a solitary life on the seaside cliffs of Southern England while World War… [More]
Critics Consensus: Like a favorite song you know by heart, Military Wives offers few surprises — but its pleasures are no less formidable for their familiarity.
Synopsis: Military Wives centers on a group of women from different backgrounds whose partners are away serving in Afghanistan. Faced with…[More]
Critics Consensus: Loaded up with action and a double helping of leading-man charisma, Bad Boys for Life reinvigorates this long-dormant franchise by playing squarely to its strengths.
Synopsis: The Bad Boys Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) are back together for one last ride in… [More]
Critics Consensus: Greyhound’s characters aren’t as robust as its action sequences, but this fast-paced World War II thriller benefits from its efficiently economical approach.
Synopsis: In the early days of WWII, an international convoy of 37 Allied ships, led by captain Ernest Krause (Hanks) in… [More]
Critics Consensus: With a fresh perspective, some new friends, and loads of fast-paced action, Birds of Prey captures the colorfully anarchic spirit of Margot Robbie’s Harley Quinn.
Synopsis: You ever hear the one about the cop, the songbird, the psycho and the mafia princess? “Birds of Prey (And… [More]
Critics Consensus: Its unusual approach won’t be for all viewers, but True History of the Kelly Gang takes a distinctively postmodern look at Australia’s past.
Synopsis: Set against the badlands of colonial Australia where the English rule with a bloody fist and the Irish endure, Ned… [More]
Critics Consensus: Uneven yet revealing, Tigertail offers a well-acted — and ultimately valuable — look at the immigrant experience in America.
Synopsis: In this poignant multi-generational drama, Pin-Jui (Hong-Chi Lee) is a free-spirited yet impoverished young Taiwanese factory worker, who makes the… [More]
Critics Consensus: Brutally uncompromising in its portrayal of Nazi Germany, The Painted Bird is a difficult watch that justifies its stark horror with searing impact.
Synopsis: In an effort to save their child from the massive extermination of Jews, a Jewish couple send their son to… [More]
Critics Consensus: Led by Beanie Feldstein’s charming performance, How to Build a Girl puts a disarmingly earnest spin on the familiar coming-of-age comedy formula.
Synopsis: Johanna Morrigan (Beanie Feldstein) is a bright, quirky, 16-year-old who uses her colorful imagination to regularly escape her humdrum life…[More]
Critics Consensus: VHYes is a unique film for specific tastes — and a rare, albeit grimy gift for viewers who can appreciate its retro aesthetic and absurd humor.
Synopsis: A bizarre retro comedy shot entirely on VHS, VHYes takes us back to a simpler time, when twelve-year-old Ralph mistakenly… [More]
Critics Consensus: Porno mines sexual repression to produce a laughably lurid — and genuinely scary — outing that should delight genre fans in search of a good time.
Synopsis: Four repressed, religious teens and a straight-edge projectionist working at a small-town movie theater in the 1990s discover a secret… [More]
Critics Consensus: Its reach may occasionally exceed its grasp, but To the Stars uses its period setting as an effective backdrop for an insightful look at female friendship.
Synopsis: In a god-fearing small town in 1960s Oklahoma, bespectacled and reclusive teen Iris endures the booze-induced antics of her mother… [More]
Critics Consensus: As wholesomely goofy as its heroes, Bill and Ted Face the Music is a rare long-belated sequel that largely recaptures the franchise’s original charm.
Synopsis: The stakes are higher than ever for the time-traveling exploits of William “Bill” S. Preston Esq. and Theodore “Ted” Logan…. [More]
Critics Consensus: The Old Guard is occasionally restricted by genre conventions, but director Gina Prince-Bythewood brings a sophisticated vision to the superhero genre – and some knockout action sequences led by Charlize Theron.
Synopsis: Led by a warrior named Andy (Charlize Theron), a covert group of tight-knit mercenaries with a mysterious inability to die… [More]
Critics Consensus: Once Were Brothers my frustrate Band fans looking for a less narrowly focused overview, but the group’s music and history remain as engrossing as ever.
Synopsis: Once Were Brothers: Robbie Robertson and The Band is a confessional, cautionary, and occasionally humorous tale of Robbie Robertson’s young… [More]
Critics Consensus: Like the grieving Scrabble enthusiast at the heart of its unique story, Sometimes Always Never scores high enough to be well worth a play.
Synopsis: Alan is a stylish tailor with moves as sharp as his suits. He has spent years searching tirelessly for his… [More]
Critics Consensus: The Whistlers finds writer-director Corneliu Porumboiu working in a more crowd-pleasing vein than previous efforts, with thoroughly entertaining results.
Synopsis: In THE WHISTLERS, not everything is as it seems for Cristi, a police inspector in Bucharest who plays both sides… [More]
Critics Consensus: The Way Back’s occasionally frustrating treatment of a formulaic story is often outweighed by Ben Affleck’s outstanding work in the central role.
Synopsis: Back in high school, Jack Cunningham (Ben Affleck) had everything going for him. A basketball phenom, he could have punched… [More]
Critics Consensus: While it doesn’t probe particularly far below the surface of its central character, The Traitor tells its fact-based story with enough energy to entertain.
Synopsis: THE TRAITOR tells the true story of Tommaso Buscetta, the man who brought down the Cosa Nostra. In the early… [More]
Critics Consensus: Formally provocative and emotionally raw, She Dies Tomorrow confirms writer-director Amy Seimetz as a filmmaker with a unique — and timely — vision.
Synopsis: After waking up convinced that she is going to die tomorrow, Amy’s carefully mended life begins to unravel. As her… [More]
Critics Consensus: If the strain of its ambitious juggling act sometimes shows, Zombi Child remains an entertainingly audacious experience, enlivened with thought-provoking themes.
Synopsis: Haiti, 1962: A man is brought back from the dead only to be sent to the living hell of the… [More]
Critics Consensus: Funny, heartfelt, and brought to life by a smartly assembled ensemble, Big Time Adolescence finds fresh pleasures in the crowded coming-of-age genre.
Synopsis: A seemingly bright and mostly innocent 16-year-old named Mo (Griffin Gluck) attempts to navigate high school under the guidance of… [More]
Critics Consensus: Aided by stellar performances from Jessie Buckley and Jesse Plemons, I’m Thinking of Ending Things finds writer-director Charlie Kaufman grappling with the human condition as only he can.
Synopsis: Despite second thoughts about their relationship, a young woman (Jessie Buckley) takes a road trip with her new boyfriend (Jesse… [More]
Critics Consensus: If Sea Fever never quite heats up as much as it could, it remains an engrossing, well-acted sci-fi thriller with effective horror elements.
Synopsis: Siobhán’s a marine biology student who prefers spending her days alone in a lab. She has to endure a week… [More]
Critics Consensus: A welcome return for director Richard Stanley, Color Out of Space mixes tart B-movie pulp with visually alluring Lovecraftian horror and a dash of gonzo Nicolas Cage.
Synopsis: After a meteorite lands in the front yard of their farm, Nathan Gardner (Nicolas Cage) and his family find themselves… [More]
Critics Consensus: 1BR’s occasionally ordinary storytelling is more than outweighed by tight direction, interesting ideas, and an effective blend of horror and thoughtful drama.
Synopsis: After leaving behind a painful past to follow her dreams, Sarah scores the perfect Hollywood apartment. But something is not… [More]
Critics Consensus: Led by a daring performance from Jean Dujardin, Deerskin finds writer-director Quentin Dupieux working in a more accessible — yet still distinctive — vein.
Synopsis: In this black comedy of middle-aged masculinity gone awry, Academy Award winner Jean Dujardin (The Artist) is a recent divorcee… [More]
Critics Consensus: Spaceship Earth achieves liftoff as an engaging behind-the-scenes record of an audacious experiment — and settles into orbit as poignant proof of the power of a shared dream.
Synopsis: Spaceship Earth is the true, stranger-than-fiction, adventure of eight visionaries who in 1991 spent two years quarantined inside of a… [More]
Critics Consensus: The Trip to Greece sees this series subject to the laws of diminishing returns, but Rob Brydon and Steve Coogan remain reliably enjoying company.
Synopsis: When Odysseus left Troy it took him ten years to get back to his home in Ithaca. Steve and Rob… [More]
Critics Consensus: Sorry We Missed You may strike some as tending toward the righteously didactic, but director Ken Loach’s passionate approach remains effective.
Synopsis: Ricky and his family have been fighting an uphill struggle against debt since the 2008 financial crash. An opportunity to… [More]
Critics Consensus: Elevated by outstanding work from Elisabeth Moss, Shirley pays tribute to its subject’s pioneering legacy with a biopic that ignores the commonly accepted boundaries of the form.
Synopsis: Renowned horror writer Shirley Jackson is on the precipice of writing her masterpiece when the arrival of newlyweds upends her… [More]
Critics Consensus: Les Misérables transcends its unwieldy story with compelling ideas and an infectious energy that boils over during a thrilling final act.
Synopsis: Stephane, only just arrived from Cherbourg, joins the anti-criminality brigade of Montfermeil in a sensitive district of the Paris suburbs….[More]
Critics Consensus: Other adaptations may do a better job of consistently capturing the spirit of the classic source material, but Jane Austen fans should still find a solid match in this Emma.
Synopsis: Jane Austen’s beloved comedy about finding your equal and earning your happy ending, is reimagined in this delicious new film… [More]
Critics Consensus: Sensitive, well-acted, and solidly directed, Words on Bathroom Walls is an admirable addition to a genre that too rarely does justice to its worthy themes.
Synopsis: WORDS ON BATHROOM WALLS tells the story of witty and introspective Adam (Charlie Plummer), who appears to be your typical… [More]
Critics Consensus: Effective space alien horror with a Soviet-era twist, Sputnik proves there are still some scary good sci-fi thrillers left in the galaxy.
Synopsis: Due to her controversial methods, young doctor Tatiana Yurievna (Oksana Akinshina) is on the precipice of losing her medical license…. [More]
Critics Consensus: A smart, well-acted, and refreshingly messy coming-of-age story, Selah and the Spades suggests a bright future for debuting writer-director Tayarisha Poe.
Synopsis: In the closed world of an elite Pennsylvania boarding school, Haldwell, the student body is run by five factions. Seventeen-year-old… [More]
Critics Consensus: The Truth may not stand with Hirokazu Kore-eda’s best work, but it finds the writer-director revisiting familiar themes with a typically sensitive touch.
Synopsis: Legends of French cinema Catherine Deneuve and Juliette Binoche join masterful filmmaker Hirokazu Koreeda (Shoplifters, Still Walking) to paint a… [More]
Critics Consensus: It may suffer in comparison to Pixar’s classics, but Onward makes effective use of the studio’s formula — and stands on its own merits as a funny, heartwarming, dazzlingly animated adventure.
Synopsis: In “Onward,” teenage elf brothers Ian and Barley Lightfoot (voices of Tom Holland and Chris Pratt) get an unexpected opportunity… [More]
Critics Consensus: Swallow’s unconventional approach to exploring domestic ennui is elevated by a well-told story and Haley Bennett’s powerful leading performance.
Synopsis: On the surface, Hunter (Haley Bennett) appears to have it all. A newly pregnant housewife, she seems content to spend… [More]
Critics Consensus: Inviting viewers into a fascinating world of bibliophiles, The Booksellers is a documentary that’s easy to curl up and get lost in.
Synopsis: Antiquarian booksellers are part scholar, part detective and part businessperson, and their personalities and knowledge are as broad as the…[More]
Critics Consensus: An appealing animated adventure whose silliness is anchored in genuine emotion, The Willoughbys offers fanciful fun the entire family can enjoy.
Synopsis: Convinced they’d be better off raising themselves, the Willoughby children hatch a sneaky plan to send their selfish parents on… [More]
Critics Consensus: From the horror of natural disaster to the spirit summoned behind the titular effort, Rebuilding Paradise stirringly depicts one community’s perseverance.
Synopsis: On the morning of Nov. 8, 2018, a devastating firestorm engulfed the picturesque city of Paradise, California. By the time… [More]
Critics Consensus: An intimate two-hander anchored by a pair of well-matched actors, Bull takes an achingly empathetic look at life on the economic margins.
Synopsis: In a near-abandoned subdivision west of Houston, a wayward teen runs headlong into her equally willful and unforgiving neighbor, an… [More]
Critics Consensus: Beautifully animated and narratively engaging, Weathering with You further establishes writer-director Makoto Shinkai as a singularly talented filmmaker.
Synopsis: The summer of his high school freshman year, Hodaka runs away from his remote island home to Tokyo, and quickly… [More]
Critics Consensus: Filmed with impressive skill and brought to life by unforgettable performances, Beanpole takes a heartbreakingly empathetic look at lives shattered by war.
Synopsis: 1945, Leningrad. World War II has devastated the city, demolishing its buildings and leaving its citizens in tatters, physically and… [More]
Critics Consensus: Formally thrilling and narratively daring, Bacurau draws on modern Brazilian sociopolitical concerns to deliver a hard-hitting, genre-blurring drama.
Synopsis: A few years from now… Bacurau, a small village in the Brazilian sertão, mourns the loss of its matriarch, Carmelita,… [More]
Critics Consensus: Relic ratchets up its slowly building tension in an expertly crafted atmosphere of dread, adding up to an outstanding feature debut for director/co-writer Natalie Erika James.
Synopsis: When Edna, the elderly and widowed matriarch of the family, goes missing, her daughter Kay and granddaughter Sam travel to… [More]
Critics Consensus: Smart, well-acted, and above all scary, The Invisible Man proves that sometimes, the classic source material for a fresh reboot can be hiding in plain sight.
Synopsis: Trapped in a violent, controlling relationship with a wealthy and brilliant scientist, Cecilia Kass (Moss) escapes in the dead of… [More]
Critics Consensus: A Good Woman Is Hard to Find, but it isn’t difficult to see a star in the making while watching Sarah Bolger’s powerful performance in this gritty thriller.
Synopsis: Sarah is a recently widowed young mother. Her son Ben has been an elective mute since the day he witnessed… [More]
Critics Consensus: Premature transcends its familiar trappings with sharp dialogue and a strong sense of setting that further establish Rashaad Ernesto Green as a gifted filmmaker.
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Jake Cosmos Aller Presents 2019 the year in Movies
Jake’s Cosmos Aller’s Movies Watched During 2019.
Like my book list, I have been keeping a list of movies and TV shows watched during the year. Here is my list of movies watched during 2019.
I saw movies/TV shows during the year. Many of them I saw while flying to and from Asia four times this year – I almost always watch five movies enroute as I can’t sleep very well on planes.
cosmos’s 2019 play listWould love to see what my friends have watched. For the first time I tried to grade the movie/show. I have been binge watching a lot of shows as well as movies of course. Most were English movies, but I did see some Korean movies as well.
For 2019 I hope to see a lot more movies as a megabox theater opened about one mile from my house. It has a great shabu shabu restaurant, will soon have a sauna and a bowling ally. I can see spending a lot of time there! saw Bohemian Rhapsody there on Christmas day.
hope to hear from you regarding your own favorite movies of the year.
Purpose: Movie List
Keep daily track of all movies watched, including title, main actors, and plot synopsis and mini review, include in daily journal and copy to Movie list. Use in conjunction with book read list to keep track of books and movies read and watched. Also plays attended and TV movie events.
Also note when something is well written or produced and lesions I can learn for my own writing projects, and continue to write fan boy stories and alternative endings.. This year watch more Korean movies and TV and occasional Spanish or Bollywood movies as well as usual mix of SF, Thrillers, and comedies. Diversity the list a bit.
best movies of the year for me were
Bird Box
Godzilla Kings of the Monsters
Godzilla
Avengers Ultra
Avengers End Game
Avengers infinity End
SPider Man Coming Home
A Wrinkle in Time 2018 version
Aquarman
Justice League
best series for me were
Night flyer series b
War of the Worlds
Kim’s connivence Netflix Korean drama
another life Netflix drama
stranger things season three
discover season two
Enterprise -finished series
rim of the world Netflix original drama
colony Netflix
I Island Netflix
THE AO
List
A series of unfortunate Events (Nextfix)
Aquarman (theater) B
49 Days Korean Movie B
Dr Who Shada YS B
Alien Code YS B
Doomsday Device YS B
Genesis YS D
Point B YS B
Memories of Alhambra Korean SF series B
Glass in theater C
Winter Kills YS C -disappointing despite great cast
Heist 2001 version YS B
Curse of the Golden Flower YS
HG Wells Men in The Moon YS A-1
The Rift YS
Narnia Voyage of the Dawn Treader YS B
Operation Chromite YS B
The Assassin YS C did not finish
Chuyang YS B
The Girl with the Dragon Tattoo YS A
Eraser b
The Snows of Kilimanjaraco c
Justice League b
The Ghost and the Darkness b
The A Team b
Jack Reacher, Never Go Back b
Night flyer series b
Cold Pursuit
War of the Worlds
Agatha Christie – And then there were None
Kungfu Yoga
Kim’s connivence Netflix Korean drama
another life Netflix drama
stranger things season three
discover season two
Enterprise -finished series
rim of the world Netflix original drama
colony Netflix
I Island Netflix
THE AO
Better Call Saul
Bird Box
Godzilla Kings of the Monsters
Godzilla
Avengers Ultron
Avengers End Game
Avengers infinity End
SPider Man Coming Home
BatMan First Knight Arises
Sense Netflix Series
Venom neflix
A Wrinkle in Time 2018 version
A wrinkle in time 2003 version (earlier)
A wrinkle in Time OSF 2016
Lost In Space season two
Jurasic Park Lost Lost World
JokerJoker (2019 film)
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Joker
Joker (2019 film) poster.jpg
Theatrical release poster
Directed by Todd Phillips
Produced by
Todd Phillips
Bradley Cooper
Emma Tillinger Koskoff
Written by
Todd Phillips
Scott Silver
Based on Characters
by DC Comics
Starring Joaquin Phoenix
Music by Hildur Guðnadóttir
Cinematography Lawrence Sher
Edited by Jeff Groth
Production
companies
Warner Bros. Pictures
DC Films
Joint Effort
Bron Creative
Village Roadshow Pictures[1]
Distributed by Warner Bros. Pictures
Release date
August 31, 2019 (Venice)
October 4, 2019 (United States)
Running time
122 minutes[2]
Country United States
Language English
Budget $55–70 million[3][4]
Box office $1.063 billion[5][6]
Joker is a 2019 American psychological thriller film directed and produced by Todd Phillips, who co-wrote the screenplay with Scott Silver. The film, based on DC Comics characters, stars Joaquin Phoenix as the Joker. Joker provides a possible origin story for the character; set in 1981, it follows Arthur Fleck, a failed stand-up comedian whose descent into insanity and nihilism inspires a violent counter-cultural revolution against the wealthy in a decaying Gotham City. Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, Glenn Fleshler, Bill Camp, Shea Whigham, and Marc Maron appear in supporting roles. Joker was produced by Warner Bros. Pictures, DC Films, and Joint Effort, in association with Bron Creative and Village Roadshow Pictures, and distributed by Warner Bros.Phillips conceived Joker in 2016 and wrote the script with Silver throughout 2017. The two were inspired by 1970s character studies and the films of Martin Scorsese (particularly Taxi Driver and The King of Comedy), who was initially attached to the project as a producer. The graphic novel Batman: The Killing Joke (1988) was the basis for the premise, but Phillips and Silver otherwise did not look to specific comics for inspiration. Phoenix became attached in February 2018 and was cast that July, while the majority of the cast signed on by August. Principal photography took place in New York City, Jersey City, and Newark, from September to December 2018. Joker is the first live-action theatrical Batman film to receive an R-rating from the Motion Picture Association of America, due to its violent and disturbing content.
Joker premiered at the 76th Venice International Film Festival on August 31, 2019, where it won the Golden Lion, and was released in the United States on October 4, 2019. The film polarized critics; while Phoenix’s performance, Phillips’ direction, musical score, cinematography and production values were praised, the dark tone, portrayal of mental illness, and handling of violence divided responses.[7] Joker also generated concerns of inspiring real-world violence; the movie theater where the 2012 Aurora, Colorado mass shooting occurred during a screening of The Dark Knight Rises refused to show it. Despite this, the film became a major box office success, setting records for an October release. Joker has grossed over $1 billion, making it the first R-rated film to pass the billion-dollar mark at the worldwide box office, the seventh-highest-grossing film of 2019, and the 33rd-highest-grossing film of all time. At the 77th Golden Globe Awards, the film received four nominations, including Best Motion Picture – Drama.
Contents
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Writing
3.3 Pre-production
3.4 Filming
3.5 Post-production
4 Marketing
5 Release
5.1 Theatrical
5.1.1 Security concerns
5.2 Home media
6 Reception
6.1 Box office
6.2 Critical response
6.3 Industry response
6.4 Social commentary
6.5 Accolades
7 Future
8 Notes
9 References
10 External links
Plot
In 1981, party clown, social outsider and aspiring stand-up comedian Arthur Fleck lives with his mother, Penny, in Gotham City. Gotham’s class society is rife with crime and unemployment, leaving segments of the population disenfranchised and impoverished. Arthur suffers from a medical disorder that causes him to laugh at inappropriate times, and depends on social services for medication. After a gang of delinquents attacks Arthur in an alley, his co-worker, Randall, gives him a gun for protection. Arthur meets his neighbor, single mother Sophie Dumond, and invites her to his upcoming stand-up comedy show at a nightclub.
While entertaining at a children’s hospital, Arthur’s gun falls out of his pocket. Randall lies that Arthur bought the gun himself and Arthur is fired by his agent. On the subway, still in his clown makeup, Arthur is beaten by three drunken Wayne Enterprises businessmen who were harassing a female passenger; he shoots two in self-defense and executes the third. The murders are condemned by billionaire mayoral candidate Thomas Wayne, who labels those envious of more successful people as “clowns”. Demonstrations against Gotham’s rich begin, with protesters donning clown masks in Arthur’s image. Funding cuts shutter the social service program, leaving Arthur without medication.
Arthur has difficulty delivering jokes for his comedy routine, but nevertheless, receives a standing ovation from the audience. After a date with Sophie, Arthur returns home and intercepts a letter written by Penny to Thomas Wayne, alleging that he is Thomas’s illegitimate son, and immediately berates his mother for hiding the truth. At Wayne Manor, Arthur talks to Thomas’s young son, Bruce, but flees after a scuffle with butler Alfred Pennyworth. Following a visit from two Gotham City Police Department detectives investigating Arthur’s involvement in the train murders, Penny suffers a stroke and is hospitalized. While Arthur stays with his mother in an emergency room, his childhood idol, talk show host Murray Franklin, mocks Arthur on TV by showing clips from the comedy routine on his show.
At a public event, Arthur confronts Thomas, who tells him that Penny is delusional and not his biological mother, and Arthur begins to laugh before getting punched by Thomas. In denial, Arthur visits Arkham State Hospital and steals Penny’s case file; the file says Penny adopted Arthur as a baby and allowed her abusive boyfriend to harm them both. However, Penny alleged that Thomas used his influence to fabricate the adoption and commit her to the asylum to hide their affair. Distraught, Arthur returns home and enters Sophie’s apartment unannounced. Frightened, Sophie tells him to leave; their previous encounters were apparently delusions. The following day, Arthur goes to the hospital and kills Penny, suffocating her with a pillow.
Arthur is invited to appear on Murray’s show due to the unexpected popularity of his comedy routine’s clips. As he prepares, Arthur is visited by Randall and fellow ex-colleague Gary. Arthur murders Randall for revenge, but leaves Gary unharmed for treating him well in the past. En route to the studio, Arthur is pursued by the two detectives onto a train filled with some of the clown protesters. One detective accidentally shoots a protester and incites a riot, allowing Arthur to escape.
Before the show goes live, Arthur requests that Murray introduce him as Joker, a reference to Murray’s previous mockery. Arthur walks out to applause, but the mood quickly changes when he tells morbid jokes, confesses to be the killer from the train murders, and rants about how society abandons and harasses the disenfranchised. Arthur then fatally shoots Murray and is arrested as riots break out across all of Gotham. One rioter corners the Wayne family in an alley and murders Thomas and his wife Martha, sparing Bruce.[a] Arthur watches the city go up in chaos from the window of the police car and laughs in satisfaction. Rioters in an ambulance crash into the police car and free Arthur; he dances before the crowd and smears the blood on his face into a smile. At Arkham, Arthur laughs to himself about a joke and tells his psychiatrist she would not understand it. He runs from orderlies, leaving a trail of bloodied footprints.
Cast
Joaquin Phoenix as Arthur Fleck / Joker:
A mentally ill, impoverished stand-up comedian disregarded by society,[9] whose history of abuse causes him to become a nihilistic criminal.[10] Phoenix had been interested in a low-budget “character study” of a comic book character, and said the film “feels unique, it is its own world in some ways, and maybe […] It might as well be the thing that scares you the most.”[11] Phoenix lost 52 pounds (24 kg) in preparation,[12][13] and based his laugh on “videos of people suffering from pathological laughter.”[14] He also sought to portray a character who audiences could not identify with and did not look to previous Joker actors for inspiration; instead, he read a book about political assassinations so he could understand killers and motivations.[10] Phoenix believes that Fleck is the actual Joker;[15] however, director Todd Phillips said that he intentionally left it ambiguous as to whether Arthur becomes the actual Joker as seen in traditional Batman stories or inspires a separate character.[16]
Robert De Niro as Murray Franklin:[17]
A talk show host who plays a role in Arthur’s downfall.[18] De Niro said his role in Joker pays homage to his character from The King of Comedy (1983), Rupert Pupkin, who is a comedian obsessed with a talk-show host.[17]
Zazie Beetz as Sophie Dumond:[19]
A cynical single mother and Arthur’s love interest.[19][20] Beetz, a “huge fan” of Phoenix, said that it was “an honor” to co-star with him,[21] and that she learned a lot working with him on set.[22]
Frances Conroy as Penny Fleck: Arthur’s mentally and physically ill mother,[23] who formerly worked for Thomas Wayne.[24] Hannah Gross portrays a young Penny.[25]
Additionally, Brett Cullen plays Thomas Wayne, a billionaire philanthropist running for mayor of Gotham.[26] Unlike in the comics, Thomas plays a role in the Joker’s origins and is less sympathetic than traditional incarnations.[27] Alec Baldwin was initially cast in the role but dropped out due to scheduling conflicts.[28][29] Douglas Hodge plays Alfred Pennyworth, the butler and caretaker of the Wayne family,[30] and Dante Pereira-Olson plays Bruce Wayne, Thomas’s son, who becomes the Joker’s archenemy Batman as an adult.[31][32]
Additional cast members include: Glenn Fleshler and Leigh Gill as Randall and Gary, Arthur’s clown co-workers;[33][34] Bill Camp and Shea Whigham as two detectives in the Gotham City Police Department;[35] Marc Maron as Gene Ufland, a producer on Franklin’s show;[36][37] Josh Pais as Hoyt Vaughn, Arthur’s agent;[33][38] Brian Tyree Henry as a clerk at Arkham State Hospital;[39] Ben Warheit as a Wall Street banker who gets murdered by Arthur on a subway platform;[40] Gary Gulman as a comedian who performs his act at the restaurant before Arthur does;[41] and Bryan Callen as Javier, a co-worker of Arthur.[42] Justin Theroux has an uncredited cameo as a celebrity guest on Franklin’s show.[43]
Production
Development
Joker director Todd Phillips in 2016
Between 2014 and 2015, Joaquin Phoenix expressed interest in acting in a low-budget “character study” type of film about a comic book villain, like the DC Comics character Joker.[11] Phoenix had previously declined to act in the Marvel Cinematic Universe because he would have been required to play the roles, such as the Hulk and Doctor Strange, in multiple films.[44] He did not believe his idea for a film should cover the Joker, as he thought the character had been depicted in a similar way before, and tried to think of a different one. Phoenix’s agent suggested setting up a meeting with Warner Bros., but he declined.[11] Similarly, Todd Phillips had been offered to direct comic-based films a number of times, but declined because he thought they were “loud” and did not interest him. According to Phillips, Joker was created from his idea to create a different, more grounded comic book film.[12] He was attracted to the Joker because he did not think there was a definitive portrayal of the character, which he knew would provide considerable creative freedom.[16]
Phillips pitched the idea for Joker to Warner Bros. after his film War Dogs premiered in August 2016.[12] Prior to War Dogs, Phillips was mostly known for his comedy films, such as Road Trip (2000), Old School (2003), and The Hangover (2009); War Dogs marked a venture into more unsettling territory.[45] During the premiere, Phillips realized “War Dogs wasn’t going to set the world on fire and I was thinking, ‘What do people really want to see?’”[12] He proposed that DC Films differentiate its slate from the competing Marvel Studios’ by producing low-budget, standalone films.[46][47] After the successful release of Wonder Woman (2017), DC Films decided to deemphasize the shared nature of its DC-based film franchise, the DC Extended Universe (DCEU).[48] In August 2017, Warner Bros. and DC Films revealed plans for the film, with Phillips directing and co-writing with Scott Silver, and Martin Scorsese set to co-produce with Phillips.[49]
According to Kim Masters and Borys Kit of The Hollywood Reporter, Jared Leto, who portrayed the Joker in the DCEU, was displeased by the existence of a project separate from his interpretation.[50][51] In October 2019, Masters reported that Leto “felt ‘alienated and upset’” when he learned that Warner Bros.—which had promised him a standalone DCEU Joker film—let Phillips proceed with Joker, going as far as to ask his music manager Irving Azoff to get the project canceled. Masters added that Leto’s irritation was what caused him to end his association with Creative Artists Agency (CAA), as he believed “his agents should have told him about the Phillips project earlier and fought harder for his version of Joker.” However, sources associated with Leto deny that he attempted to get Joker canceled and left CAA because of it.[51]
Warner Bros. pushed for Phillips to cast Leonardo DiCaprio as the Joker,[45] hoping to use his frequent collaborator Scorsese’s involvement to attract him.[50] However, Phillips said that Phoenix was the only actor he considered,[52] and that he and Silver wrote the script with Phoenix in mind, “The goal was never to introduce Joaquin Phoenix into the comic book movie universe. The goal was to introduce comic book movies into the Joaquin Phoenix universe.”[53] Phoenix said when he learned of the film, he became excited because it was the kind he was looking to make, describing it as unique and stating it did not feel like a typical “studio movie.”[11] It took him some time to commit to the role, as it intimidated him and he said “oftentimes, in these movies, we have these simplified, reductive archetypes, and that allows for the audience to be distant from the character, just like we would do in real life, where it’s easy to label somebody as evil, and therefore say, ‘Well, I’m not that.’”[53]
Writing
It was a yearlong process from when we finished the script just to get the new people on board with this vision, because I pitched it to an entirely different team than made it. There were emails about: ‘You realize we sell Joker pajamas at Target.’ There were a zillion hurdles, and you just sort of had to navigate those one at a time […] At the time, I would curse them in my head every day. But then I have to put it in perspective and go, ‘They’re pretty bold that they did this.’
– Todd Phillips[12]
Phillips and Silver wrote Joker throughout 2017, and the writing process took about a year.[54] According to producer Emma Tillinger Koskoff, it took some time to get approval for the script from Warner Bros., partly because of concerns over the content. Similarly, Phillips commented that there were “a zillion hurdles” during the year-long writing process due to the visibility of the character.[12] Phillips said that while the script’s themes may reflect modern society, the film was not intended to be political.[54] While the Joker had appeared in several films before, Phillips thought it was possible to produce a new story featuring the character. “It’s just another interpretation, like people do interpretations of Macbeth,” he told The New York Times.[52]
The script draws inspiration from Scorsese films such as Taxi Driver (1976), Raging Bull (1980), and The King of Comedy (1983),[49][45] as well as Phillips’ Hangover Trilogy.[55] Other films Phillips has cited as inspiration include character studies released in the 1970s—such as Serpico (1973) and One Flew Over the Cuckoo’s Nest (1975)—the silent film The Man Who Laughs (1928), and several musicals. Phillips said that aside from the tone, he did not consider Joker that different from his previous work, such as his Hangover films.[54] While the film’s premise was inspired by Alan Moore and Brian Bolland’s graphic novel Batman: The Killing Joke (1988), which depicts the Joker as a failed stand-up comedian,[12] Phillips said it does not “follow anything from the comic books… That’s what was interesting to me. We’re not even doing Joker, but the story of becoming Joker.”[56] Phillips later clarified that he meant they did not look to a specific comic for inspiration, but rather “picked and chose what we liked” from the character’s history.[57]
Phillips and Silver found the most common Joker origin story, in which the character is disfigured after falling into a vat of acid, too unrealistic.[12] Instead, they used certain elements of the Joker lore to produce an original story,[58] which Phillips wanted to feel as authentic as possible.[12] Because the Joker does not have a definitive origin story in the comics, Phillips and Silver were given considerable creative freedom and “pushed each other every day to come up with something totally insane.”[54] However, they did try to retain the ambiguous “multiple choice” nature of the Joker’s past by positioning the character as an unreliable narrator—with entire storylines simply being his delusions[16]—and left what mental illnesses he suffers from unclear.[45] As such, Phillips said the entire film is open to interpretation.[16] One segment that has been confirmed to be real, according to Phillips in an interview, was Arthur’s appearance on Murray Franklin’s show, as the original intention was to cut to Sophie who is watching him on her TV just to show the audience she is still alive, but it was decided it would disrupt the narrative which was to see everything from Arthur’s point of view.[59]
Pre-production
Following the disappointing critical and financial performance of Justice League (2017), in January 2018 Walter Hamada replaced Jon Berg as the head of DC-based film production at Warner Bros.[60] Hamada sorted through the various DC films in development, canceling some while advancing work on others; the Joker film was set to begin filming in late 2018 with a small budget of $55 million.[3] Masters reported that Warner Bros. was reluctant to let Joker move forward, and gave it a small budget in an effort to dissuade Phillips.[51] By June, Robert De Niro was under consideration for a supporting role in the film.[61] The deal with Phoenix was finalized in July 2018,[62] after four months of persuasion from Phillips.[12] Immediately afterwards,[62] Warner Bros. officially green-lit the film,[63] titled it Joker, and gave it an October 4, 2019, release date.[64] Warner Bros. described the film as “an exploration of a man disregarded by society [that] is not only a gritty character study, but also a broader cautionary tale.”[65]
Scorsese’s longtime associate Koskoff joined to produce,[66][67] although Scorsese left his producing duties due to other obligations.[66] Scorsese considered serving as an executive producer, but was preoccupied with his film The Irishman.[12] It was also confirmed that the film would have no effect on Leto’s Joker[68] and would be the first in a new series of DC films unrelated to the DCEU.[3] In July, Zazie Beetz was cast in a supporting role,[20] and De Niro entered negotiations in August.[18][69] Frances McDormand declined an offer to portray the mother of the Joker, and Frances Conroy was cast.[70][23] At the end of July, Marc Maron, who had recently finished filming the third season of the web television series GLOW,[37] and Bryan Callen joined the cast.[36][71] Alec Baldwin was cast as Thomas Wayne on August 27, but dropped out two days later due to scheduling conflicts.[28]
Filming
A corrugated silver metal subway train sits with its doors open in a station. Its rollsign reads “0 Local / To Old Gotham all times / Downtown & Tricorner”.
A New York City Subway C train with a rollsign for the fictional 0 train left over from filming for Joker
Principal photography commenced in September 2018 in New York City,[b] under the working title Romeo.[74] Shortly after filming began, De Niro, Brett Cullen, Shea Whigham, Glenn Fleshler, Bill Camp, Josh Pais, and Douglas Hodge were announced to have joined the film, with Cullen replacing Baldwin.[33][75] Bradley Cooper joined the film as a producer,[76] and the director of photography was Lawrence Sher, both of whom Phillips had previously collaborated with.[33] On September 22, a scene depicting a violent protest filmed at the Church Avenue station in Kensington, Brooklyn,[77] although the station was modified to look like the Bedford Park Boulevard station in the Bronx.[78] Filming of violent scenes also took place at the abandoned lower platform of the Ninth Avenue station in Sunset Park, Brooklyn.[79]
According to Beetz, Phillips rewrote the entire script during production; because Phoenix lost so much weight for the film, there would not be an opportunity for reshoots. She recalled, “we would go into Todd’s trailer and write the scene for the night and then do it. During hair and makeup we’d memorize those lines and then do them and then we’d reshoot that three weeks later.”[80] Phillips recalled Phoenix sometimes walked off-set during filming because he lost self-control and needed to compose himself—to the confusion of other actors, who felt they had done something wrong. De Niro was one of the few Phoenix never walked out on, and De Niro said he was “very intense in what he was doing, as it should be, as he should be.”[81]
Filming in Jersey City started on September 30 and shut down Newark Avenue, while filming in November, starting on November 9, shut down Kennedy Boulevard. Filming in Newark began on October 13 and lasted until October 16.[74] Shortly before the Newark filming, SAG-AFTRA received a complaint that extras were locked in subway cars for more than three hours during filming in Brooklyn, a break violation. However, the issue was quickly resolved after a representative visited the set.[82] That month, Dante Pereira-Olson joined the cast as a young Bruce Wayne.[30] Whigham said towards the end of October the film was in “the middle” of production, adding that it was an “intense” and “incredible” experience.[35] By mid-November, filming had moved back to New York.[83] Filming wrapped on December 3, 2018,[84] with Phillips posting a picture on his Instagram feed later in the month to commemorate the occasion.[85]
Post-production
Phillips confirmed he was in the process of editing Joker in March 2019.[86] At CinemaCon the following month, he stated the film was “still taking shape” and was difficult to discuss, as he hoped to maintain secrecy.[87] Phillips also stated that most reports surrounding the film were inaccurate, which he felt was because it is “an origin story about a character that doesn’t have a definitive origin.”[88] Brian Tyree Henry was also confirmed to have a role in the film.[38] The visual effects were provided by Scanline VFX and Shade VFX and supervised by Matthew Giampa and Bryan Godwin, with Erwin Rivera serving as the overall supervisor.[89]
In August 2018, Hildur Guðnadóttir was hired to compose the film’s score.[90] Guðnadóttir began writing music after reading the script and meeting with Phillips, who “had a lot of strong ideas” about how he thought the score should sound. She worked on the Joker score alongside the score for the drama miniseries Chernobyl; Guðnadóttir said switching between the two was challenging because the scores were so different.[91] Additionally, the film features the songs “That’s Life”, “Send In the Clowns”, and “Rock and Roll Part 2”.[45][92] The use of “Rock and Roll Part 2” generated controversy when it was reported that its singer Gary Glitter (a convicted sex offender) would receive royalties, but it was later confirmed he would not.[92] The score was released on October 2, 2019 by WaterTower Music.[93]
The film’s final budget was $55–70 million, considered by The Hollywood Reporter “a fraction” of the cost of a typical comic book-based film.[3][4] In comparison, the previous villain-centric DC film, Suicide Squad (2016), cost $175 million.[45] $25 million of Joker’s budget was covered by the Toronto-based financing company Creative Wealth Media, while Village Roadshow Pictures and Bron Studios each contributed to 25% of it.[94][4] Joker was also the first live-action theatrical film in the Batman film franchise to receive an R-rating from the Motion Picture Association of America, due to “strong bloody violence, disturbing behavior, language, and brief sexual images.”[95] In the United Kingdom, the BBFC gave the film a 15 certificate.[96]
Marketing
Phillips has promoted the film by posting set photos on his Instagram feed.[97] On September 21, 2018, he released test footage of Phoenix in-costume as the Joker, with “Laughing” by The Guess Who accompanying the footage.[98] At CinemaCon on April 2, 2019, Phillips unveiled the first trailer for the film,[38] which was released online the following day.[99] The trailer, prominently featuring the song “Smile” performed by Jimmy Durante, generated positive responses, with some commentators comparing it to Taxi Driver and Requiem for a Dream and praising Phoenix’s performance.[100][101] Writers described the trailer as dark and gritty,[102] with ComicBook.com’s Jenna Anderson feeling it appeared more like a psychological thriller than a comic book film.[38] Mark Hamill, who has voiced the Joker since the 1992 cartoon Batman: The Animated Series, expressed enthusiasm in a Twitter post.[103][104] Conversely, io9’s Germain Lussier said the trailer revealed too little and that it was too similar to photos Phillips posted on Instagram. While he still believed it exhibited potential, Lussier overall thought the trailer was not “a home run.”[105] The trailer received over eight million views in the first few hours of release.[106]
On August 25, 2019, Phillips released six brief teasers that contained flashes of writing, revealing the second trailer would be released on August 28.[107] Filmmaker Kevin Smith commended the trailer, stating he thought the film “would still work even if [DC Comics] didn’t exist” and praising its uniqueness.[108] Overall, Deadline Hollywood estimated that Warner Bros. spent $120 million on promotion and advertisements.[4]
Release
Theatrical
Joaquin Phoenix (left) at the 76th Venice International Film Festival, where Joker premiered.
Joker premiered at the 76th Venice International Film Festival on August 31, 2019, where it received an eight-minute standing ovation and won the Golden Lion award.[109][110] It also screened at the Toronto International Film Festival on September 9, 2019.[111] The film was released theatrically by Warner Bros. Pictures on October 4, 2019 in the United States, and a day earlier in Australia and several other international markets.[112][113]
Security concerns
On September 18, 2019, the United States Army distributed an email warning service members of potential violence at theaters screening the film and noting the Joker character’s popularity among the incel community. A separate memo revealed the Army received “credible” information from Texas law enforcement “regarding the targeting of an unknown movie theater during the release.”[114] However, according to Deadline Hollywood, the FBI and the United States Department of Homeland Security found no credible threats surrounding the release of the film.[115]
In an interview with TheWrap, Phillips expressed surprise at the backlash, stating he thought “it’s because outrage is a commodity” and calling critics of the film “far-left”.[116] Phoenix walked out of an interview by The Telegraph when asked if the film could inspire mass shooters. He later returned to finish the interview, but did not answer the question.[117] Following this, journalists were disinvited from the premiere at TCL Chinese Theatre, with only photographers being allowed to interact with the filmmakers and cast on the carpet. In a statement to Variety, Warner Bros. said that “A lot has been said about Joker, and we just feel it’s time for people to see the film.”[118][119]
The film did not play at the Aurora, Colorado movie theater where the 2012 mass shooting occurred during a screening of The Dark Knight Rises. Three families of victims, as well as the mother of a witness, signed a letter to Warner Bros. with the request.[120] Additionally, Landmark Theaters has prohibited moviegoers from wearing Joker costumes during its run, while the Los Angeles and New York City Police Departments increased police visibility at area theaters, though they did not receive “any specific threat.”[121][24]
Home media
Joker was released on Digital HD on December 17, 2019,[122] and will be released on DVD, Blu-ray and Ultra HD Blu-ray on January 7, 2020.[123] It will be available on HBO Max when it launches in 2020.[124]
Reception
Box office
As of December 23, 2019, Joker has grossed $333.5 million in the United States and Canada, and $729.5 million in other territories, for a worldwide total of $1.063 billion.[5][6] It is the seventh-highest-grossing film of 2019 and the highest-grossing R-rated film of all time,[125] as well as the first R-rated film to pass the billion-dollar mark.[126] In terms of budget-to-gross ratio, Joker is also the most profitable film based on a comic book,[127] due to its small budget and little decline in week-to-week grosses during its theatrical run.[128] Deadline Hollywood estimated it would turn a profit of about $464 million when factoring together all expenses and revenues.[129]
In August 2019, BoxOffice magazine analyst Shawn Robbins wrote that he expected Joker to gross $60–90 million during its opening weekend in North America.[130] Following the film’s premiere, BoxOffice predicted Joker could open to $70–95 million domestically.[131] Later updating to $85–105 million, Robbins suggested it could become the first October release to open to over $100 million, and surpass the record set by Venom in 2018.[132] However, Comscore’s senior media analyst Paul Dergarabedian thought the film would open closer to $50 million because it is not a “typical comic-book movie.”[133] Three weeks prior to its release, official industry tracking projected the film would debut to $65–80 million, with some estimates going as high as $90 million.[134] The week of its release, Atom Tickets announced pre-sale totals for the film were outpacing those of Venom and It Chapter Two ($91.1 million debut), and that Joker was its second-bestselling R-rated film of 2019 behind John Wick: Chapter 3 – Parabellum.[135]
Joker opened in 4,374 theaters in North America and made $39.9 million on its first day, including $13.3 million from Thursday night previews, besting Venom’s respective October records.[4] It went on to break Venom’s record for the biggest October opening, finishing the weekend with a domestic total of $96.2 million. The film set career records for Phoenix, Phillips, and De Niro, and was the fourth-largest debut for an R-rated film of all-time.[136] It was also Warner Bros.’ biggest domestic opening in two years.[137] In its second weekend the film fell just 41.8% to $55.9 million, remaining in first and marking the best second-weekend October total (besting Gravity’s $43.1 million in 2013).[138] It made $29.2 million in its third weekend and $19.2 million in its fourth, finishing second behind Maleficent: Mistress of Evil both times.[139][140]
Worldwide, the film was projected to debut to around $155 million, including $75 million from 73 overseas territories.[141] It made $5.4 million from four countries on its first day and $18.7 million from 47 in its second, for a two-day total of $24.6 million. It went on to greatly exceed expectations, making $140.5 million from overseas territories and a total $234 million worldwide. Its largest markets were South Korea (a Warner Bros. record $16.3 million), the United Kingdom ($14.8 million), Mexico ($13.1 million) and Japan ($7 million).[142] With this, it became the biggest worldwide opening for an October film.[137] During its second weekend, the film made an additional $125.7 million worldwide,[143] and $77.9 million in its third.[144] By this point, industry analysts expected Joker to become the highest-grossing R-rated film of all time, with some suggesting that it could finish its run with over $1 billion.[145] The film became the highest-grossing R-rated film in its fourth weekend, during which it grossed $47.8 million overseas,[146] and passed the billion-dollar mark about a month into its theatrical release.[126]
Critical response
Joaquin Phoenix (pictured in 2018) received universal critical acclaim for his performance as the Joker, a performance cited as one of the best of his career.[147]
On review aggregator website Rotten Tomatoes, the film holds an approval rating of 69% based on 526 reviews, with an average rating of 7.26/10. The site’s critical consensus reads, “Joker gives its infamous central character a chillingly plausible origin story that serves as a brilliant showcase for its star – and a dark evolution for comics-inspired cinema.”[148] Metacritic, which uses a weighted average, assigned the film a score of 59 out of 100 based on 58 critics, indicating “mixed or average reviews.”[149] Audiences polled by CinemaScore gave the film an average grade of “B+” on an A+ to F scale, while those at PostTrak gave it an overall positive score of 84% (with an average 4 out of 5 stars) and a 60% “definite recommend.”[4]
Mark Kermode of The Observer rated the film 4 out of 5 stars, stating that, “Joker has an ace card in the form of Joaquin Phoenix’s mesmerisingly physical portrayal of a man who would be king.”[150] Writing for IGN, Jim Vejvoda gave Joker a perfect score, writing the film “would work just as well as an engrossing character study without any of its DC Comics trappings; that it just so happens to be a brilliant Batman-universe movie is icing on the Batfan cake.” He found it a powerful and unsettling allegory of contemporary neglect and violence, and described Phoenix’s performance as the Joker as engrossing and “Oscar-worthy.”[151] Similarly, Xan Brooks of The Observer—who also gave the film a perfect score—called it “gloriously daring and explosive” and appreciated how Phillips used elements from Scorsese films to create an original story.[152] Variety’s Owen Gleiberman wrote, “Phoenix is astonishing as a mentally ill geek who becomes the killer-clown Joker in Todd Phillips’ neo-Taxi Driver knockout: the rare comic-book movie that expresses what’s happening in the real world.”[153]
ComicBook.com’s Brandon Davis acclaimed Joker as a groundbreaking comic book adaptation that he found scarier than most 2019 horror films. Davis compared it favorably to the 2008 Batman film The Dark Knight, praised the cinematography and performances, and called it a film that needed to be seen to be believed.[154] Deadline Hollywood’s Pete Hammond believes the film redefines the Joker and is “impossible to shake off.” Hammond also praised the story and performances, and summarized the film as “a bravura piece of filmmaking that speaks to the world we are actually living in today in ways that few movies do.”[155] Peter Travers of Rolling Stone said he was lost for words in describing Phoenix’s performance, calling the film “gut-wrenching” and “simply stupendous.”[156]
However, David Ehrlich of IndieWire was more mixed and gave the film a “C+.” He felt that while “Joker is the boldest and most exciting superhero movie since The Dark Knight,” it was “also incendiary, confused, and potentially toxic.” Ehrlich thought that the film would make DC fans happy and praised Phoenix’s performance, but criticized Phillips’ direction and the lack of originality.[157] A more critical review came from Glenn Kenny of RogerEbert.com, who gave the film two stars out of four. Though he praised the performances and thought the story worked, Kenny criticized the social commentary and Phillips’ direction, finding the film too derivative and believing its focus was “less in entertainment than in generating self-importance.”[158] In an analysis of the character Joker, Onmanorama’s Sajesh Mohan wrote that the movie was cliché-ridden—the only original part being Joaquin Phoenix’s acting. “The movie, with great pain and in detail, explains how Arthur Fleck turns into Joker dejected by the way the world treats him. Thanks to Phillips and Silver, Phoenix was able to bring out the king among the Jokers,” the analysis read.[159]
Time magazine’s Stephanie Zacharek, in a negative review, labeled Phoenix’s performance as over-the-top and felt that while Phillips tried to “[give] us a movie all about the emptiness of our culture… he’s just offering a prime example of it.” She argued the plot was nonexistent, “dark only in a stupidly adolescent way,” and “stuffed with phony philosophy.”[160] Meanwhile, NPR’s Glen Weldon thought the film lacked innovation and said its sympathetic take on the Joker was “wildly unconvincing and mundanely uninteresting.” Weldon also described Joker as trying too hard to deviate from the comics and, as a result, coming off as an imitation of films like Taxi Driver.[161] Peter Bradshaw of The Guardian called it “the most disappointing film of the year.” While praising Phoenix’s performance and the first act, he criticized the film’s political plot developments and overall found it too derivative of various Scorsese films.[162]
Industry response
Joker generated positive responses from industry figures. DC Comics chief creative officer Jim Lee praised it as “intense, raw and soulful,” and said that it remained true to the character despite deviating from the source material.[147] Actor Mark Hamill, who has voiced the Joker in animation and video games, thought the film “brilliantly” reinvented the character and gave it “[two] thumbs up.”[163] Documentary filmmaker Michael Moore called Joker a “cinematic masterpiece” and said it was a “danger to society” if people did not see it.[164] Josh Brolin, who portrays Thanos in the Marvel Cinematic Universe, found the film powerful: “To appreciate Joker I believe you have to have either gone through something traumatic in your lifetime (and I believe most of us have) or understand somewhere in your psyche what true compassion is.”[165] Actor Vincent D’Onofrio vocally praised Phoenix’s performance in the film on Twitter, stating that he “deserves recognition for this performance,” while actress Jessica Chastain agreed, replying, “it’s one of the greatest pieces of acting I’ve ever seen.”[166] Actress and writer Phoebe Waller-Bridge also praised the film, stating: “I think the reason people got so uncomfortable is because it feels too true, too raw. I was watching it and thinking to myself, God, if this came out a year into Obama’s time in office, I don’t think we’d be feeling as worried about it”.[167]
Social commentary
Further information: Mental healthcare in the United States
Joker deals with the themes of mental illness and its effects.[168] Its depiction of the Joker has been described as reminiscent of those who commit mass shootings in the United States as well as members of the online incel community.[169][170] Vejvoda, Hammond, and The Guardian’s Christina Newland interpreted the film as a cautionary tale—society’s ignorance of those who are less fortunate will create a person like the Joker.[151][155][171] Stephen Kent, writing for The Washington Examiner, described Arthur Fleck as blending shared aspects of mass shooters, and interpreted its message as a reminder that society is riddled with men like the Joker.[169] Writing in People’s World, Chauncey K. Robinson said the film “walks a fine line between exploration and validation” of Joker’s character, and is “ultimately an in-your-face examination of a broken system that creates its own monsters.”[172]
Some writers have expressed concern that Joker’s sympathetic portrayal of a homicidal maniac could inspire real-world violence.[173][174] Richard Lawson of Vanity Fair found the film was too sympathetic towards “white men who commit heinous crimes;” and that the social-politics ideologies represented in the film are “evils that are far more easily identifiable” to people “who shoot up schools and concerts and churches, who gun down the women and men they covet and envy, who let loose some spirit of anarchic animus upon the world—there’s almost a woebegone mythos placed on them in the search for answers.”[175] Jim Geraghty of National Review wrote he was “worried that a certain segment of America’s angry, paranoid, emotionally unstable young men will watch Joaquin Phoenix descending into madness and a desire to get back at society by hurting as many people as possible and exclaim, ‘finally, somebody understands me!’”[176] Contrarily, Michael Shindler, reviewing the film in Mere Orthodoxy, while agreeing that Joker depicts a sympathetic wish fulfillment fantasy, contends (drawing on insights from Sigmund Freud and Jacques Lacan) that it is for precisely that reason that the film will, if anything, preemptively quell real-world violence by rendering “the Flecks of the world into meek somnambulists.”[177]
British neurocriminologist Adrian Raine commented on Joker’s depiction: “For 42 years, I’ve studied the cause of crime and violence. And while watching this film, I thought, ‘Wow, what a revelation this was’. I need to buy this movie down the road, make excerpt clips of it to illustrate […] It is a great educational tool about the making of the murderer. That threw me.”[178] Psychiatrist Kamran Ahmed highlighted the factors in Arthur’s childhood such as parental abuse and loss, and family history of mental illness in the genesis of his condition.[179] American psychiatrist Imani Walker, who is known for her Bravo television series Married to Medicine Los Angeles and working with violent criminals with mental disorders, analyzed the Joker’s apparent mental disorders and circumstances, but also notes that Arthur was trying to get help before his downfall. She says of Arthur and others in poverty who have mental illness: “We as a society don’t even pretend that they’re real people. And that’s what this movie is about. He never had a chance.”[180]
During a Five Star Movement event in October 2019, Italian comedian and politician Beppe Grillo gave a speech wearing the Joker’s makeup.[181] References to the character were also found in anti-government protests worldwide.[182] During the 2019 Lebanese protests, a group of graffiti artists called Ashekm painted a mural of the Joker holding a Molotov cocktail, and it was also reported that there was a Joker facepaint station at the protests in Beirut.[182] In Los Ángeles, Chile, during the 2019 Chilean protests, the phrase “We are all clowns”, which is adopted by Gotham City protesters in the movie, was written at the foot of a statue.[182] In Hong Kong, protesters challenged an emergency decree prohibiting the wearing of masks by wearing those of fictional characters such as the Joker.[182]
Micah Uetricht, managing director of Jacobin, opined in a review published by The Guardian that he was shocked that the media did not understand the movie’s message: “we got a fairly straightforward condemnation of American austerity: how it leaves the vulnerable to suffer without the resources they need, and the horrific consequences for the rest of society that can result.”[183] Ahmed also highlights the lack of funding for already-stretched mental health services worldwide being alluded to.[179]
Accolades
Main article: List of accolades received by Joker (2019 film)
Joker won the Golden Lion at the 76th Venice International Film Festival.[184] The film received four nominations at the 77th Golden Globe Awards, including Best Motion Picture – Drama, Best Director for Todd Phillips, and Best Actor – Motion Picture Drama for Joaquin Phoenix.[185] It received seven nominations at the 25th Critics’ Choice Awards, including Best Picture, Best Actor for Phoenix, and Best Adapted Screenplay.[186] The American Film Institute included Joker as one of the top 10 films of 2019.[187]
Future
Joker was intended to be a standalone film with no sequels,[87] although Warner Bros. intends for it to launch DC Black, a line of DC Comics-based films unrelated to the DCEU with darker, more experimental material.[46][188] While Phillips said in August 2019 that he would be interested in making a sequel, depending on the film’s performance and if Phoenix is interested,[55] he later clarified that “the movie’s not set up to [have] a sequel. We always pitched it as one movie, and that’s it.”[189] In October 2019, Phoenix spoke to Peter Travers of possibly reprising the role of Arthur, centering around Travers’ asking of Phoenix if he considers Joker to be his “dream role.” Phoenix stated, “I can’t stop thinking about it … if there’s something else we can do with Joker that might be interesting,”[190] and concluded, “It’s nothing that I really wanted to do prior to working on this movie. I don’t know that there is [more to do] … Because it seemed endless, the possibilities of where we can go with the character.”[191]
On November 20, 2019, The Hollywood Reporter announced that a sequel was in development, with Phillips, Silver, and Phoenix expected to reprise their duties; however, Deadline Hollywood reported the same day that The Hollywood Reporter’s story was false and that negotiations had not even begun.[192][193] Phillips responded to the reports by saying that he had discussed a sequel with Warner Bros. and it remained a possibility, but it was not in development.[194]
lost in space
Lost in Space Season 2 is now streaming on Netflix, just in time for the Christmas celebrations. The second season of Netflix’s sci-fi space adventure continues the story of Robinsons and their robot companion who are stranded on an alien planet, trying to survive against all odds, and planning a way to somehow reach the Resolute spacecraft. Just like season 1, the second season of Lost in Space also has ten episodes, and starts with the group trying to power up the Jupiter 2 spacecraft and ensure survival by reaching their destination – the Alpha Centauri star system.
Here’s Netflix’s official synopsis of Lost in Space Season 2:
There’s more danger — and adventure — ahead for the Robinson family! With the Jupiter 2 stranded on a mysterious ocean planet without their beloved Robot, the Robinsons must work together, alongside the mischievous and manipulative Dr. Smith and the always charming Don West, to make it back to the Resolute and reunite with the other colonists. But they quickly find all is not as it seems. A series of incredible new threats and unexpected discoveries emerge as they look for the key to finding Robot and safe passage to Alpha Centauri. They will stop at nothing to keep their family safe… survival is a Robinson specialty after all.
Developed by Matt Sazama and Burk Sharpless, the second season of Lost in Space brings JJ Field on board who plays the recurring guest role of Ben Adler, an expert on AI and advanced spaceship systems. Molly Parker and Toby Stephens return as parents Maureen and John respectively, alongside Taylor Russell, Maxwell Jenkins, and Mina Sundwall portraying the siblings Judy, Will, and Penny. The showrunners have trimmed down the average length of episodes in season 2, most of which are now below the 50-minute mark.
The second season of Lost in Space is spread across 10 episodes and is now streaming on Netflix.
Nadeem SarwarEmail NadeemAside from dreaming about technology, Nadeem likes to get bamboozled by history and ponder about his avatars in alternate dimensions. More
wrinkle in time
A Wrinkle in Time is a 2018 American science fantasy adventure film directed by Ava DuVernay and written by Jennifer Lee and Jeff Stockwell, based on Madeleine L’Engle’s 1962 novel of the same name. Produced by Walt Disney Pictures and Whitaker Entertainment, the story follows a young girl who, with the help of three astral travelers, sets off on a quest to find her missing father. The film stars Oprah Winfrey, Reese Witherspoon, Mindy Kaling, Storm Reid, Gugu Mbatha-Raw, Michael Peña, Zach Galifianakis, and Chris Pine.
It is Disney’s second film adaptation of L’Engle’s novel, following a 2003 television film. Development began in 2010, with DuVernay signing on to direct in February 2016. Principal photography began on November 2, 2016 in Los Angeles, California. Near the end of filming, production moved to New Zealand, where photography ended on February 25, 2017. With an estimated production budget of $103 million, the film became the first live-action film with a nine-digit budget to be directed by a black woman.[7][8][9]
With a total production and marketing budget of around $150 million,[10] the film was one of the biggest box office bombs in history, with losses of up to $131 million.[11][12][13] It was the second least successful film of the year, behind Mortal Engines. The film received mixed reviews, with critics taking issue “with the film’s heavy use of CGI and numerous plot holes”, while others “celebrated its message of female empowerment and diversity”.[14]
Contents
Plot[edit]
Thirteen-year-old middle school student Meg Murry struggles to adjust to her school and home life since her father Alex, a renowned scientist, mysteriously disappeared while studying astrophysics when she was very young. Both Meg and her mother Kate believed he solved the question of humanity’s existence and theorized that he was teleported to another world.
One evening, Meg’s younger brother Charles Wallace welcomes Mrs. Whatsit, a red-haired stranger in an extravagant white dress, into the Murry family house. Mrs. Whatsit claims that the tesseract, a type of space-travel Alex was working on, is real. The next day, while walking their dog, they meet one of Meg’s classmates, Calvin O’Keefe. He joins them to go to the house of Mrs. Who, a friend of Charles Wallace’s and a strange woman who speaks only in quotations.
Meg and Charles Wallace invite Calvin to dinner. Afterwards Meg and Calvin go into her backyard where Mrs. Whatsit appears with Mrs. Who and another woman, Mrs. Which. The three reveal themselves as astral travelers and lead Meg, Calvin, and Charles Wallace through a tesseract, taking them to a distant planet named Uriel, third planet from the star Malak in Messier 101.
After learning from the flowers that Alex has been to Uriel and since departed, Mrs. Whatsit transforms into a beautiful green flying creature and flies the children into the atmosphere where they see a dark shadow known as The IT. After gaining the women’s trust, Meg and the others tesser to another planet called Orion in the ‘belt’ of the name sake constellation to meet with a seer called Happy Medium to seek his help to find Alex.
Happy Medium shows them that Meg’s father tessered to Uriel, then Ixchel and got trapped when he tessered to Camazotz, The IT’s homeworld. After Mrs. Which explains that The IT represents all the greed, anger, pride, selfishness, and low self-esteem in the world, she shows the children personal examples of these characteristics, including an elderly friend and neighbor of Charles Wallace’s getting mugged at a bus stop, Meg’s school bully Veronica Kiley’s extreme self-consciousness about her weight, and that Calvin, despite being popular at school, is forced and abused by his father to be a perfectionist. Given the news that Alex is on dangerous and evil Camazotz, the three Mrs. insist that they all travel back to Earth to regroup and make a plan, but Meg’s strong will to not leave without her father overrides the tesseract, and she unintentionally redirects them to Camazotz.
Upon arriving in a field on Camazotz, Mrs. Which, Mrs. Whatsit, and Mrs. Who find they are unable to stay because Camazotz’s evil is stronger than their light. Before they depart, they bestow gifts: Mrs. Who gives Meg her glasses, Mrs. Whatsit gives Meg the knowledge of her faults, and Mrs. Which gives the command to never separate.
After the Mrs. leave, trees sprout up out of the ground and a forest appears. Meg and Calvin get separated from Charles Wallace by the wild forest. They desperately race to get to the wall to prevent a tornado-earthquake storm called the Land Monster that is destroying the forest. Once creatively getting past the wall, they reunite with Charles Wallace and stumble across an neighborhood where all the children are bouncing balls in perfect sync. After calling their children inside, a lady invites them to come inside her house for a meal, Meg declines the offer and reminds Calvin and Charles Wallace to not trust anyone in Camazotz.
Next, the surroundings change and the three children find themselves on a beach where they meet The IT in its bodyguard form, Red. He offers the starving children food and tells them that Alex is safe and happy. He says there is nothing to worry about, but Calvin and Meg realize something is wrong when Charles Wallace proclaims that the food tastes like sand. When Red starts repeating the times tables, Charles Wallace is hypnotized by the rhythm, enabling The IT to take control of his mind.
As Meg and Calvin pursue Red and Charles Wallace, they find themselves in a seemingly empty, white, spherical room after Meg pushes umbrellas out of her way, the “CENTRAL Central Intelligence.” Charles Wallace’s personality is different and he insults Meg and Calvin, while Red shuts down and disappears. Using Mrs. Who’s glasses, Meg discovers and then climbs an invisible staircase to a room where her father is imprisoned. After a tearful reunion, Meg brings Alex out of captivity, but Charles Wallace, under the influence of The IT’s power, forcefully drags them to meet his master. As Calvin and Meg fall under The IT’s power, Alex opens another tesser and prepares to escape with the children, abandoning Charles Wallace. Meg refuses and projects out of the tesser herself, leaving her alone. When she confronts Charles Wallace, she realizes The IT uses deception and hatred to fuel his power. Expressing her love for her brother and using the knowledge that she is imperfect, Meg frees Charles Wallace and let The IT free the control on Camazotz. The three Mrs. reappeared and congratulate Meg’s victory and Mrs. Which says that she and Charles Wallace became true warriors and they tesser back home.
After returning home, Meg, Charles Wallace reunited with her dad and mom and they assure each other that they love each other. Calvin leaves Meg to talk to his father after saying a few words to Meg and she stares at the sky, thanking the Mrs.
Cast[edit]
Oprah Winfrey as Mrs. Which, an astral being as old as the universe
Reese Witherspoon as Mrs. Whatsit, an astral being from the planet Uriel
Mindy Kaling as Mrs. Who, an astral being from the planet Ixchel
Storm Reid as Meg Murry, a gifted young girl
Lyric Wilson as a young Meg
Levi Miller as Calvin O’Keefe, Meg’s classmate and friend
Deric McCabe as Charles Wallace Murry, Meg’s precocious adopted six-year-old brother
Chris Pine as Dr. Alexander Murry, Meg and Charles Wallace’s long-lost father and Kate’s husband
Gugu Mbatha-Raw as Dr. Kate Murry, Meg and Charles Wallace’s mother and Alex’s wife
Zach Galifianakis as Happy Medium, a seer from the planet Orion.
Michael Peña as Red,[15] a form of the IT
David Oyelowo as The IT, Red’s true diabolical form[15]
Andre Holland as James Jenkins, the principal of Meg, Calvin and Charles Wallace’s school[15]
Rowan Blanchard as Veronica Kiley, a student who bullies Meg[15]
Bellamy Young as Camazotz Woman,[15] a mother from the Camazotz neighbourhood
Conrad Roberts as Elegant Man,[15] an elder neighbour and friend of Charles Wallace.
Yvette Cason as Teacher,[15] a gossipy, jealous, teacher
Will McCormack as Teacher,[15] another gossipy, jealous teacher
Daniel MacPherson as Mr. O’Keefe,[15] Calvin’s abusive father
Production[edit]
Development[edit]
In October 2010, Walt Disney Pictures retained the film rights for the 1962 novel A Wrinkle in Time, by Madeleine L’Engle, which had previously been made as a 2003 television film. Following the financial success of Tim Burton’s Alice in Wonderland (2010), Disney hired Jeff Stockwell to write the screenplay for Cary Granat and his new Bedrock Studios. Granat had previously worked with Disney on the Chronicles of Narnia and Bridge to Terabithia films.[16] The project’s budget was slated to be $35 million, which the company compared to “District 9” and “Bridge to Terabithia,” both of which were made for less than $30 million.[17]
However, A Wrinkle in Time was part of a new California Film Commission tax credit program, which offset production costs considerably.[18] On August 5, 2014, Jennifer Lee was announced as the screenwriter, taking over from Stockwell, who wrote the first draft.[19][20]
On February 8, 2016, it was reported that Ava DuVernay had been offered the job of directing the film, and she was confirmed to direct later that same month.[21][22] She became the first non white woman to direct a live-action film with a production budget of more than $100 million.[23] The decision received positive sentiments in the media industry. Oprah Winfrey was happy to see this because DuVernay herself broke barriers for non white people in the film industry.[24] “So I do imagine, to be a brown-skinned girl of any race throughout the world, looking up on that screen and seeing Storm, I think that is a capital A, capital W, E, some, AWESOME, experience.”[24]
Irene Monroe of The Cambridge Day expressed her feelings that Ava DuVernay was a superb choice of a director, due to the fact that she was able to correctly highlight and expose the struggles experienced by young African-American girls.[24]
Casting[edit]
On July 26, 2016, Variety reported that Oprah Winfrey began final negotiations to join the film to play Mrs. Which, the eldest of the three Mrs. Ws, celestial beings who guide the children along their journey.[25] On September 7, 2016, Reese Witherspoon and Mindy Kaling were in talks to join the film, with Witherspoon to play Mrs. Whatsit, a chatty, grandmotherly sprite, and Kaling to play the quotation-reciting Mrs. Who.[26] On September 13, 2016, Storm Reid was cast in the lead role of Meg Murry, a young girl traumatized by the disappearance of her scientist father years before.[27]
In October 2016, Gugu Mbatha-Raw and Chris Pine were cast as Meg’s parents, Drs. Kate and Alex Murry.[28][29]On November 1, 2016, additional cast announcements included Zach Galifianakis as Happy Medium, André Holland as Principal Jenkins, Levi Miller as Calvin, and Deric McCabe as Charles Wallace, along with Bellamy Young, Rowan Blanchard and Will McCormack.[30] Later, Michael Peña joined the cast to play Red.[31] The film producers are James Whitaker and Catherine Hand.[30]
Filming[edit]
Principal photography on the film began November 2, 2016, in Los Angeles, California.[30][32][33] Tobias A. Schliessler was the film’s cinematographer, Naomi Shohan as production designer, Paco Delgado as costume designer, and Rich McBride as the film’s visual effects supervisor.[30][34] During production, DuVernay asked McBride to be as flexible as possible on visual effects sequences to enable her to make changes and incorporate new ideas during shooting.[35]
Filming for A Wrinkle in Time took place in multiple locations including Eureka, California, in Humboldt County, starting November 29, 2016.[36]
After Los Angeles, production moved to New Zealand for two weeks.[30] During the last two weeks of February 2017, filming locations for A Wrinkle in Time were in Central Otago, New Zealand.[37] Actors and crew were in New Zealand for two weeks to shoot scenes in the Southern Alps, including at Hunter Valley Station near Lake Hāwea, with cast and crew treated to a traditional Māori powhiri and karakia.[38] Filming wrapped in New Zealand’s South Island after two weeks, and DuVernay declared the cast and crew’s love for New Zealand in an Instagram post.[39]
Music[edit]
Main article: A Wrinkle in Time (soundtrack)
On September 28, 2017, Ramin Djawadi was announced as the composer for the film, replacing Jonny Greenwood, who was initially chosen to compose, and scored the film.[40] On February 20, 2018, it was announced that the soundtrack would feature appearances from Sade, Sia, Kehlani, Chloe x Halle, Freestyle Fellowship, DJ Khaled, and Demi Lovato.[41]
Release[edit]
A Wrinkle in Time premiered at the El Capitan Theatre on February 26, 2018, with its theatrical release on March 9, 2018.[42][43] This was a month ahead of its initial release date of April 6, 2018.[44]
A Wrinkle in Time was released by Walt Disney Studios Home Entertainment on 4K UHD Blu-Ray, Blu-Ray, and DVD on June 5, 2018.[45]
Reception[edit]
Box office[edit]
A Wrinkle in Time grossed $100.5 million in the U.S. and Canada, and $32.2 million in other territories, for a worldwide total of $132.7 million.[5] A combined $250 million was spent on production and advertisement.[46][12][13] Following Disney’s Q2 earnings report in May 2018, Yahoo! Finance deduced the film would lose the studio $86–186 million,[47] and in April 2019, Deadline Hollywood calculated the film lost $130.6 million, when factoring together all expenses and revenues.[48] The film’s financial failure meant that Ava DuVernay became the first African-American woman to direct a film that earned and lost at least $100 million domestically.[49][9]
In the U.S. and Canada, A Wrinkle in Time was released alongside The Hurricane Heist, Gringo, and The Strangers: Prey at Night, and was projected to gross $30–38 million from 3,980 theaters in its opening weekend.[50] It made $10.2 million on its first day, including $1.3 million from Thursday night previews. It went on to debut to $33.3 million, finishing second behind Disney’s own Black Panther ($41.1 million in its fourth weekend).[51] In its second weekend, the film made $16.6 million, dropping 50% to fourth place.[52] On June 15, in its 15th week of release, the film returned to a total of 285 theaters, often as part of a double-feature with Incredibles 2. It ended up making $1.7 million (a 1,600% increase from the previous weekend), pushing the total U.S. gross to $100 million.[53]
Internationally, the film opened in six countries alongside the U.S. and grossed $6.3 million in its opening weekend, Russia being the largest market with $4.1 million.[54]
Critical response[edit]
On review aggregator website Rotten Tomatoes, the film has an approval rating of 42% based on 306 reviews, and an average rating of 5.26/10. The website’s critical consensus reads, “A Wrinkle in Time is visually gorgeous, big-hearted, and occasionally quite moving; unfortunately, it’s also wildly ambitious to a fault, and often less than the sum of its classic parts.”[55] On Metacritic, the film earned a weighted average score of 53 out of 100, based on 52 critics, indicating “mixed or average reviews.”[56] Audiences polled by CinemaScore gave the film an average grade of “B” on an A+ to F scale, while PostTrak reported filmgoers gave it a 75% overall positive score; audience members under age 18 gave it an average grade of “A–” and a positive score of 89%.[51]
Alonso Duralde of TheWrap praised the film’s visuals and performances, writing, “Awash in bold colors, bright patterns and ebullient kids, director Ava DuVernay’s new take on ‘A Wrinkle in Time’ dazzles its way across time and space even if it doesn’t quite stick the landing.”[57] David Ehrlich of IndieWire gave the film a “C+” and praised what he described as its ambition, saying: “It almost doesn’t matter that the movie is too emotionally prescriptive to have any real power, or too high on imagination to leave any room for wonder; DuVernay evinces such faith in who she is and what she’s doing that ‘A Wrinkle in Time’ remains true to itself even when everything on screen reads false.”[58] Jamie Broadnax, a freelance writer and member of the Critic’s Choice Awards,tweeted that after seeing the film for the second time, she still was unable to conceptualize and take in the visuals displayed throughout the film and the numerous performances from various characters.[59] Kat Candler, an American independent filmmaker, stated that the film was a “gorgeous love letter to the warriors of the next generation”.[59] Mercedes Howze of the New Pittsburgh Courier stated that the visuals were extraordinary and that the film “continues to make lasting impressions on innocent minds to change what it looks like to be a young black woman”.[60]
Vince Mancini of Uproxx gave the film a negative review, saying, “…if anything, the trouble with ‘Wrinkle’ is that you never really get a sense of DuVernay’s personal touch. In fact, it feels a lot like Brad Bird’s big budget, equally smarmy 2015 Disney film Tomorrowland. Both attempt to be so broad and universal that they feel disconnected from anything human. But universality doesn’t work that way, no matter how much you tell everyone to think like a kid.”[61] Conner Schwerdtfeger, former entertainment journalist for CinemaBlend, stated that the movie was “all over the place and underperformed,” but that DuVernay deserves some praise for the attempt at filming the seemingly unfilmable.[59] Sean Mulvihill, actor in “Living Luminaries: On the Serious Business of Happiness,” stated that the film had no flow, and although some moments “come alive” in the film, it could not save it.[59] Todd McCarthy of The Hollywood Reporter felt that the film was “unable to charm or disarm” the audience.[62] Wenlei Ma, film and TV critic of news.com.au, stated that, following the halfway mark in the film, movie-goers find themselves “not caring about the other characters besides Meg” and that it seemed to “drag” in the latter half.[63] She highlighted the film’s disappointment, regardless of the value parents find in the messages for children via quotations from Gandhi and Nelson Mandela.[63]
Accolades[edit]
First-generation (Murry series):
A Wrinkle in Time (1962; Newbery Award Winner) ISBN 0-374-38613-7
A Wind in the Door (1973) ISBN 0-374-38443-62.5. Intergalactic P.S. 3 (1970) ISBN 0-525-63405-3
A Swiftly Tilting Planet (1978) ISBN 0-374-37362-0 —National Book Award in category Children’s Books (paperback).[38][c]
Many Waters (1986) ISBN 0-374-34796-4
Second-generation (O’Keefe Family series):
The Arm of the Starfish (1965) ISBN 0-374-30396-7
Dragons in the Waters (1976) ISBN 0-374-31868-9
A House Like a Lotus (1984) ISBN 0-374-33385-8
An Acceptable Time (1989) ISBN 0-374-30027-5
Time Quintet series (Murry series #1-4, O’Keefe Family series #4):
A Wrinkle in Time (1962)
A Wind in the Door (1973)
A Swiftly Tilting Planet (1978)
Many Waters (1986)
An Acceptable Time (1989)
bird Box (film)
From Wikipedia, the free encyclopedia
bird box
Bird Box is a 2018 American post-apocalyptic thriller film directed by Susanne Bier from a screenplay written by Eric Heisserer, and based on the 2014 novel of the same name by Josh Malerman. The film follows a woman, played by Sandra Bullock, as she tries to protect herself and two children from malevolent supernatural entities that make people who look at them go insane and commit suicide.
Bird Box had its world premiere at the AFI Fest on November 12, 2018, and began a limited release on December 14, before streaming worldwide on Netflix on December 21, 2018.
In a post-apocalyptic world, Malorie Hayes advises two young, unnamed children that they will be going downstream on a river in a rowing boat. She strictly instructs them to not remove their blindfolds, or else they will die. From this point, the film alternates between two stages of Malorie’s story, separated by five years, until they conjoin: her attempt to navigate the river and the events that led to it.
Five years earlier, a pregnant Malorie is visited by her sister, Jessica. A news report is being shown on television about unexplained mass suicides in Romania that are quickly spreading across Europe. Malorie has a routine pregnancy checkup with Jessica accompanying her to the hospital. When leaving the hospital, Malorie sees a woman bashing her head into a glass panel followed by others panicking as chaos quickly erupts throughout the town. Malorie realizes the “violence” that was spreading across Europe had already reached North America. Malorie and Jessica attempt to drive away from the violence, but Jessica witnesses the phenomenon affecting the masses and sees the entity, loses control of herself as she drives, and the car ends up overturning. An injured Malorie then witnesses Jessica walk into the path of an oncoming garbage truck, killing herself.
Malorie attempts to flee on foot through the mass chaos on the streets. A woman, Lydia, invites Malorie over to a house for safety, even though her husband, Douglas, disagrees. However, right before she reaches Malorie, she goes into a trance, begins talking to her dead mother, and casually climbs into a burning car, which subsequently explodes. Malorie is rescued and brought into their house by Tom, a fleeing passerby. While recovering at their base, Charlie, one of the survivors who seems to have somewhat comprehensive knowledge of what could be happening, theorizes that demonic entities have invaded Earth, taking the form of their victims’ worst fears and driving them insane before causing them to die by suicide. At the insistence of Tom, they cover all windows in the house and blindfold themselves whenever they must venture outside. Later, Greg volunteers to tie himself to a chair while monitoring the surveillance cameras to see the entity on TV as it approaches but ends up killing himself by rocking his chair violently and slamming his head into a hearthstone after seeing it.
As the supply of food decreases (and with the arrival of a new survivor, Olympia, who is also pregnant), most of the group go to a supermarket close by to restock. Malorie finds pet birds and decides to take them along with their supplies. The group attempts to help a coworker of Charlie’s who is locked outside the supermarket begging for help, and whom Charlie describes as “a little crazy.” As they contemplate the risks of opening the door, the birds that Malorie was saving go into a hysterical fury. The group is attacked by the infected coworker, who was not killed by the entities but is instead used to infect others. Charlie sacrifices himself to save the others, who are able to make it back safely to the house.
Sometime after, Felix (a survivor) and Lucy steal the car and drive away. Soon thereafter, Olympia lets Gary, a stranger and apparent lone survivor of another group, into the house, against Douglas’ objections. Douglas gets extremely upset and starts threatening the others with a shotgun and is knocked unconscious by Cheryl (an elderly survivor). Douglas is subsequently imprisoned in the garage. Later, Olympia and Malorie go into labor, and Cheryl helps with the births. Gary starts to take out various drawings of the entity and seems to undergo a trance, indicating that he could have already been partially overtaken by the entity when he arrived. He opens the garage door to kill Douglas. He peeks outside and is completely taken over; he then knocks out Tom and proceeds to remove all the coverings from all the windows. Despite Malorie’s warnings, Olympia fails to look away from the windows and jumps out of the window. Gary forces Cheryl to look and as a result, Cheryl repeatedly stabs herself in the neck with a pair of scissors she is carrying. Douglas blindly attempts to kill Gary with a shotgun but fails, which results in Gary being able to kill Douglas with the scissors. While Malorie tries to protect the newborn babies (Malorie’s boy and Olympia’s girl), Tom recovers consciousness in time to overpower and kill Gary.
Five years later, Tom and Malorie are living together with the children, whose only names are “Boy” and “Girl.” They receive a transmission from Rick, a survivor stating that they are well and safe at a community hidden in the forest. The four decide to go to the community but are ambushed by a group of infected survivors along the way. Without hesitation, Tom runs out to distract the group while Malorie and the children attempt to make an escape. When the group notices Malorie and the children escaping, Tom decides to open his eyes and shoot the group dead. He is overtaken by one of the entities, but he manages to shoot the last member of the group before shooting himself.
Malorie, the children, and their pet birds, which are being carried in a box to provide a warning against the entity, make their way blindfolded down the river on a boat. They fight off an infected survivor and survive raging rapids.
The boat flips in the rapids, but Malorie, Boy, and Girl manage to all find each other. Soon after, all three are separated when Malorie accidentally slides down a hill. The entities attempt to convince Boy and Girl to remove their blindfolds using Malorie’s voice. Malorie is able to tell them to fight the urge. Once they are all together again, they are chased by the entity, which is implied by camera movement and wind.
The three eventually reach the community, a former school for the blind. Malorie releases the pet birds from the box to the other birds up on the ceiling and finally gives the children names: Tom and Olympia.
Cast[edit]
Sandra Bullock as Malorie
Trevante Rhodes as Tom
Jacki Weaver as Cheryl
John Malkovich as Douglas
Sarah Paulson as Jessica
Rosa Salazar as Lucy
Danielle Macdonald as Olympia
Lil Rel Howery as Charlie
Tom Hollander as Gary
Machine Gun Kelly as Felix (credited as Colson Baker)
BD Wong as Greg
Pruitt Taylor Vince as Rick
Vivien Lyra Blair as Girl/Olympia
Julian Edwards as Boy/Tom
Parminder Nagra as Dr. Lapham
Rebecca Pidgeon as Lydia
Amy Gumenick as Samantha
Taylor Handley as Jason
Happy Anderson as River Man
Production[edit]
Development[edit]
The film rights to Bird Box were optioned by Universal Pictures in 2013, prior to the book’s release.[3][4] Scott Stuber and Chris Morgan were set to produce the film, with It and Mama director Andy Muschietti attached as director.[4] Screenwriter Eric Heisserer was in negotiations to pen the script.[5] In July 2017, after Stuber became head of the feature film division of Netflix, it was announced that Netflix had acquired the rights to the book and would develop the film, with Sandra Bullock and John Malkovich starring.[6][7] Susanne Bier was announced as the director.[6]
Casting[edit]
In July 2017, Sandra Bullock and John Malkovich were cast in the film as Malorie Hayes and Douglas.[6][7] In October 2017, Danielle Macdonald, Trevante Rhodes, Jacki Weaver, Sarah Paulson, Rosa Salazar, Lil Rel Howery, and Amy Gumenickjoined the cast.[8][9] In November 2017, Machine Gun Kelly and David Dastmalchian were also added.[10][11]
Filming[edit]
Principal photography began in California in October 2017.[12] Wilderness scenes were shot on the Smith River in the far northern part of the state.[13] The house exterior is from a place in Monrovia.[14] Cinematography partially took place in Santa Cruz,[15] and the final scene was shot at Scripps College.[16][17][18][19]
The production used real-life birds during filming as much as possible, replacing them with digital birds for sequences when the birds became “agitated.”[20]
The film uses footage of the Lac-Mégantic rail disaster, which caused the death of 47 people in the town of Lac-Mégantic, Quebec on July 6, 2013. The stock-footage was purchased from a vendor and Netflix stated it would stay in the movie even after a request to remove it from survivors of the disaster.[21] Netflix later removed the footage and replaced with an outtake from a canceled U.S. TV series.[22] The same footage was also used in another Netflix production, Travelers, but has since been removed.[23]
Visual effects[edit]
The visual effects were created by Industrial Light & Magic and supervised by Marcus Taormina.[24]
Music[edit]
Oscar winners Trent Reznor & Atticus Ross (Nine Inch Nails) were hired to score the film. The soundtrack album itself was released about two weeks after the release of the film, on January 1, 2019. It was first released for sale only on Nine Inch Nails’s website, and later on iTunes, Apple Music, Spotify and other platforms. The version that was released was an “Abridged” album, containing an hour and 6 minutes of music; 10 tracks. In a statement on the Nine Inch Nails website, Trent Reznor said:
“Like all soundtrack records we release, we aim for these to play like albums that take you on a journey and can exist as companion pieces to the films and as their own separate works. We created a significant amount of music and conceptual sound for bird box, a lot of which never made it to your ears in the final version of the film. We’ve decided to present you with this version of the soundtrack record that represents what bird box is to us. We hope you enjoy. For those interested, we will be releasing a more expansive (read: more self-indulgent) physical-only offering this spring that will contain an additional hour of music and artwork that colors further outside the lines…”[25]
The full version of the soundtrack was released on November 22, 2019, exclusively on a special edition vinyl box set (with a digital download at purchase).[26] The full version contains 13 more tracks and an extra hour of music, resulting in a 2 hours and 6 minute, 23 track album.
Release[edit]
The film had its world premiere at the AFI Fest on November 12, 2018.[27] However, due to the Woolsey Fire that hit California and out of respect for the victims of the Thousand Oaks shooting, Netflix cancelled AFI Fest’s red carpet coverage scheduled for the premiere.[28] The film began a limited theatrical run on December 14, 2018, before streaming on Netflix on December 21, 2018.[29]
Reception[edit]
On review aggregator Rotten Tomatoes, the film holds an approval rating of 63% based on 156 reviews, with an average rating of 5.73/10. The website’s critical consensus reads, “Bird Box never quite reaches its intriguing potential, but strong acting and an effectively chilly mood offer intermittently creepy compensation.”[30] On Metacritic, the film has a weighted average score of 51 out of 100, based on 26 critics, indicating “mixed or average reviews”.[31]
Brian Tallerico from RogerEbert.com stated that “Most of the problems with Bird Box come back to a thin screenplay, one that too often gives its characters flat, expository dialogue and then writes itself into a corner with a climax that’s just silly when it needs to be tense.”[32] Amy Nicholson, in a review for British newspaper The Guardian, gave a negative appraisal, awarding the film 2 out of 5 stars and concluding that “as the film staggers on in its quest to give us entertainment satisfaction or death, we’re tempted to identity [sic] with the movie’s first victim, a woman in a tracksuit banging her head against the glass, ready to get this painful sight over with.”[33] Writing for Forbes, Sarah Aswell described the movie as one “that embraces everything about the (horror genre) formula, both good and bad – this movie has moments of true, delightful, fright, but it also has some of the corniness and shallowness that many horror movies can’t shake.”[34] New York Times found the film occasionally riveting and disappointing.[35]
Audience viewership[edit]
According to Nielsen, Bird Box was watched by nearly 26 million viewers in its first seven days of release in the United States. It also revealed that a significant part of its audience were young aged 18 to 34 (36%), female (57%), and either African American (24%) or Latino (22%).[36] Netflix also released its own viewing figure that gave a worldwide audience of over 45 million in seven days, with views defined by the company as the film streaming for over 70 percent of its time. The viewing figure was claimed to be the best ever for a Netflix film.[37][38] This audience figure released by Netflix was met with skepticism from some analysts, who cited a lack of independent verification of the view count.[39][40] According to Netflix, the film was viewed by 80 million households in the first 4 weeks following its release.[41][42] A Barclays study deduced that had the film received a traditional theatrical release, it would have grossed about $98 million worldwide.[43]
Accolades[edit]
Bird Box blindfold challenge[edit]
In Australia, Netflix originally partnered with four Twitch streamers in performing what they called a Bird Box challenge, in which they would play some popular video games while blindfolded.[45] However, the challenge became widely mimicked on the Internet by individuals wearing blindfolds while trying to do ordinary activities, causing injuries to some. In response, Netflix released several messages over social media advising people not to undertake the challenge or hurt themselves.[40]Nevertheless, in January 2019, a 17-year-old girl in a blindfold taking part in the craze drove into oncoming traffic in Utah and crashed her car, prompting the police in the state to issue the same warning as Netflix.[46]
All episodes of the first season of Sense8 were written by the Wachowskis and Straczynski; in the second season, Lilly Wachowski took a break from the show, and the episodes were written by just Lana Wachowski and Straczynski, with the exception of the series finale which was written by Lana, David Mitchell, and Aleksandar Hemon. Most episodes were directed by the Wachowskis (or just Lana, in the second season), with the remainder being divided between their frequent collaboratorsJames McTeigue, Tom Tykwer, and Dan Glass. Sense8 was filmed almost entirely on location in a multitude of cities around the world.
The second season began with a two-hour Christmas special in December 2016, with the remaining 10 episodes released in May 2017. However the following month Netflix announced that they had cancelled the series, which had ended with a cliffhanger in expectation of a third season, then under negotiation. In response to criticism of the cancellation, especially with an unresolved story, Netflix produced a two-and-a-half-hour series finale, which was released on June 8, 2018. The season was overall met with positive critical reception and received a Primetime Emmy Award nomination for Outstanding Cinematography for a Single-Camera Series (One Hour), and two nominations by the GLAAD Media Awards for Outstanding Drama Series and Outstanding TV Movie or Limited Series for the season proper and series finale, respectively.
The story of Sense8 begins when the psychic connection of eight strangers from different cultures and parts of the world is “birthed” by a woman called Angelica, who kills herself to avoid capture by a man named “Whispers”. The eight eventually discover they now form a cluster of “sensates”: human beings who are mentally and emotionally linked, can sense and communicate with each other, and can share their knowledge, language, and skills.
In the first season, the eight—Capheus, Sun, Nomi, Kala, Riley, Wolfgang, Lito, and Will—are shown trying both to live their everyday lives and to figure how and why they are connected. Meanwhile, a sensate named Jonas, who was involved with Angelica, comes to their aid, while the Biologic Preservation Organization (BPO) and Whispers, a high-ranking sensate inside BPO, attempt to hunt them down.
In the second season, the eight have grown accustomed to their connection and help each other on a daily basis. They learn more about Homo sensorium (the scientific name of sensates), the history and goals of BPO, the role of Angelica in it, and their powers and how to temporarily suspend them. They also meet other sensates, not all of whom are friendly. At the same time, Jonas attempts to both aid them and look after himself after being captured by Whispers, who is now involved in a cat-and-mouse game with Will, each of them trying to outsmart the other.
In the series finale, the cluster and the people closest to them meet up in person to save Wolfgang who has been captured by BPO. To that end, the cluster has kidnapped Whispers and Jonas to use them as a bargaining chip and source of information, respectively. The heroes discover the two men’s and Angelica’s personal motivations, meet potential allies from both sapiens and sensorium, and deal with the Chairman of BPO, who launches a global attack against sensates and their allies.
Aml Ameen (season 1) / Toby Onwumere (season 2)[9] as Capheus “Van Damn” Onyango,[10] a matatu driver in Nairobi who is trying to earn money to buy HIV/AIDS medication for his mother. Capheus’ matatu is called the “Van Damn” and sports drawings of Jean-Claude Van Damme as he is a passionate fan of his movies. This, along with his bravery to protect his matatu and its passengers from bandits, earned him his widely used Van Damn nickname (sometimes also called Van Damme).[11][12]
Doona Bae as Sun Bak, daughter of a powerful Seoul businessman and a burgeoning star in the underground kickboxing world.[11][13]
Brian J. Smith as Will Gorski, a Chicagopolice officer haunted by an unsolved murder from his childhood.[11][21] Speaking about the Wachowskis picking names that carry a significance for their characters, Smith said about “Will”: “The whole idea of Will Gorski, the idea of someone who’s got this drive to act and to do, not just to be done to. It’s very central to Will’s character.”[15]
Freema Agyeman as Amanita “Neets” Caplan, Nomi’s girlfriend, who later becomes an ally for the new sensates.[22]
Terrence Mann as Milton Bailey “Whispers” Brandt, a sensate who turned against his own kind and who is a high-ranking member of an organization determined to neutralize sensates, known as the Biologic Preservation Organization (BPO).[8] Whispers uses many fake names, such as Dr. Matheson or Gibbons,[23]and is commonly known among sensates as “The Cannibal” for devouring his own cluster.[24] Angelica and the people she’s been involved with call him Whispers, after she likened him to the voice in ones’ head that beckons them to commit suicide; “That voice never shouts. It only whispers.”[25]
Anupam Kher as Sanyam Dandekar, Kala’s loving father, a chef and restaurant owner.[26]
Naveen Andrews as Jonas Maliki, a sensate from a different cluster who wants to help the newly-born cluster of sensates.[8][27]
Daryl Hannah as Angelica “Angel” Turing, a sensate from the same cluster as Jonas, who becomes the “mother” of the new sensates’ cluster as she activates their psychic connection.[28]
According to the Wachowskis, the origins of Sense8 date back several years before the announcement of the show to “a late-night conversation about the ways technology simultaneously unites and divides us”.[33] When deciding to create a television series, Lana chose to brainstorm ideas with Straczynski because of his extensive experience working with the format, by inviting him to her house in San Francisco.[34][35] After several days of discussion, they decided on creating a show that would explore the relationship between empathy and evolutionin the human race, necessitating filming on location in several countries over the world.[34][36] The title of the show was thought up by Lana on their second day of brainstorming, as a play on the wordsensate and the notion of eight main characters.[37][38]
On October 2, 2012, Variety first reported the existence of the show. The Wachowskis and Straczynski had written three hour-long spec scripts, and were attempting to shop them around.[39] Their first meeting with potential buyers was with Netflix. The Wachowskis and Straczynski talked to them about subjects such as gender, identity, secrecy, and privacy.[40] Netflix announced that they had ordered a 10-episode first season for the series on March 27, 2013,[33] which during filming was extended to 12.[41][35] Straczynski and the Wachowskis mapped out five seasons worth of stories for the series from the beginning,[35] including the series’ final episode.[42] Lilly Wachowski, after completing her gender transition, decided to take some time off and did not return as writer or director for the second season,[36] although she remained active as co-creator.[43]
Producer Roberto Malerba has disclosed that the first season had an average budget of about $4.5 million per episode, and the second season $9 million per episode.[44][45]
Initial writing for the first season was split between the Wachowskis and Straczynski.[46] The show was transformed when they decided to limit the storytelling, with the exception of the opening scene of the first episode, to the perspective of the eight characters.[47] Lana Wachowski, a trans woman, has written her first transgender character in her career in the series: Nomi Marks. For that she partly used her own experiences.[48]Jamie Clayton, who plays Nomi, has provided the example of a scene where a young Nomi is bullied by boys in a gym shower, as a scene that was based on experiences from Lana’s life.[49] Freema Agyeman, who plays Nomi’s girlfriend Amanita, has shared that her character was based heavily on Lana’s wife, Karin Winslow.[50]
Unlike the first season, where the Wachowskis and Straczynski split the number of scripts in half and worked remotely from each other,[34] writing for the second season was performed by Lana and Straczynski by collaborating inside a shared writers’ room.[47]David Mitchell and Aleksandar Hemon worked as additional writers on the second season and were credited as “consultants”.[51][52][53] They spent a week in September 2015 with Lana, Straczynski, and script supervisor Julie Brown, proposing to them situations to be further developed by Lana and Straczynski.[51] Later, once filming began, Lana did a lot of rewrites on a daily basis as she got inspired by the locations, actors, and so on, even on the set.[54][55][56] When the series finale special was announced, Lana, Mitchell, and Hemon returned as writers.[51]
On June 20, 2014, Deadline Hollywood announced the cast of the eight lead characters, along with Freema Agyeman, Naveen Andrews, Daryl Hannah, Alfonso Herrera, Eréndira Ibarra, and Terence Mann.[57] For the roles of those characters living outside of America, the filmmakers wanted to assemble a cast of international actors that matched the nationality of their respective characters, if possible. For example, Doona Bae, Tina Desai, and Max Riemelt are from Seoul, Mumbai, and Berlin like their respective characters.[58] Jamie Clayton is a trans woman like the character she plays.[14] In November, Deadline Hollywood wrote than Christian Oliver had joined the cast as a recurring villain.[59]
On April 26, 2016, Deadline Hollywood reported that Aml Ameen abruptly left production a couple of episodes into filming of the second season over a conflict with Lana Wachowski that started during the table read for the season and progressively got worse.[9] Subsequent to Ameen’s departure, the role of Capheus was recast to Toby Onwumere after a seven-day auditioning process.[60] Earlier in April, Kick Gurry revealed he had been cast in the second season.[61] In May, Deadline Hollywood reported Ben Cole had been cast as Todd, a sensate who would rather be “normal”.[62] In September, Sylvester McCoy reportedly revealed he filmed three or four episodes of the second season.[63]
To properly tell the international aspects of the story, filming for Sense8 took place almost entirely on location around the globe. In the first season, filming took place in nine cities located in eight countries: Berlin, Chicago, London, Mexico City, Mumbai, Nairobi, Reykjavík, San Francisco, and Seoul.[64] Production began on June 18, 2014, in San Francisco.[65] The writers wanted to feature an event in each city.[66] They were able to schedule the Pride[67] scenes with its Dykes on Bikes on the Dyke March[68][69] in San Francisco, the Fourth of July fireworks celebration in Chicago, and the Ganesha Chaturthi Hindu festival in Mumbai.[70] Filming wrapped in Iceland on January 21, 2015.[71] By the end of the shooting, the filmmakers had completed 100,000 miles (160,000 km) of flight time, or four times around the globe.[64]
For the second season, production credited 16 cities located in 11 countries for having been part of the filming.[72]The major locations they filmed in include all of the first season’s except Reykjavík, and the following new ones: Amsterdam, Argyll, Chippenham, Los Angeles, Malta, Positano, Redwoods, and São Paulo.[53] Production start for the main unit of the second season was given an expected date of March 2016,[73] but a separate shoot involving the principal actors began on December 30, 2015, in Berlin, to capture footage during the Christmas holidays.[74][75][76] Main unit filming resumed in Berlin in the middle of March 2016.[77] In São Paulo, they filmed unrehearsed in front of a crowd of millions in its 20th Gay Pride Parade.[78] In Amsterdam, they were the first production to film in the Rijksmuseum.[79] On September 19, 2016, with the completion of the Malta shoot, filming for the second season came to an end.[80][81] Overall, the cast and crew flew in excess of 250,000 miles (400,000 km) to complete the season.[82] Filming for the series finale took place in Berlin, Brussels, Naples, and Paris.[83] Production began in Berlin on October 2, 2017.[84][85] In Paris, they filmed a four-minute fireworks show near the Eiffel Tower.[86] Filming wrapped in Berlin on November 12, 2017.[87][88]
Netflix required the production to shoot with 4K resolution cameras to make the look of the show future-proof.[73]During the first season, cinematographer John Toll, once again collaborating with the Wachowskis after Cloud Atlas and Jupiter Ascending,[89] personally handled the cinematography in San Francisco, Chicago, London, Iceland, and Seoul.[90] In the second season he handled the majority of the locations.[91] Additional cinematographers worked with the rest of the directors in the remaining locations.[73] James McTeigue worked with Danny Ruhlman,[66] and Tom Tykwer worked with Frank Griebe and Christian Almesberger.[92][93] Toll returned as cinematographer for the series finale, teaming up again with Lana.[94]
The show’s directors were attached to locations instead of episodes[95] and with several countries appearing in every episode, in reality none of them has a singular director.[96] During the first season, the Wachowskis were responsible for directorial duties in scenes shot in Chicago,[97] San Francisco,[98] London, and Iceland.[99]McTeigue worked on the Mexico City and Mumbai parts[66] along with some in Reykjavík,[96] and Tykwer helmed Berlin[100][101] and Nairobi.[102] Dan Glass made his directorial debut in the Seoul part of the story.[103] In total, the Wachowskis were credited for directing seven episodes, McTeigue and Tykwer two each, and Glass one.[3]
In the second season, Lana Wachowski took over many of the filmmaking aspects of the show.[36]Production sound mixer Stevie Haywood recounted Lana’s directing style was to use two cameras as the default setup, and develop the shot over “enormously long takes” which could last up to fifteen to twenty minutes.[104] McTeigue returned as director for Mexico City,[105] and Tykwer for the Nairobi parts.[106] According to Glass, in the second season he directed the second unit in Seoul, and he also did some directing in Berlin.[107] Overall, six episodes of the second season, including the Christmas special and series finale,[94] credit Lana as director, three credit McTeigue, and Tykwer and Glass get credited each in one.
Seoul unit director Dan Glass and Jim Mitchell were the visual effects supervisors of the first season. The season had a total VFX shot count of about 1200.[108][109] An in-house VFX team was established in Chicago which completed over 700 shots. The major external VFX vendors were Locktix VFX (160–180 shots), Technicolor VFX(over 100 shots),[110] and Encore VFX.[103] Because of the series’ tight budget and timeline the production made the decision to do most of the effects, including the telepathy scenes, in-camera and only enhance them digitally where appropriate.[70] Technicolor provided dailies and worked with cinematographer John Toll and the Wachowskis to color grade the show. Technicolor finished the show in 4K and delivered both 2K and 4K masters.[110][111]
In the second season, the visual effects supervisors were Dan Glass and Ryan Urban.[53] Technicolor were again responsible for managing dailies and color grading the show, while their VFX department delivered over 600 shots for the first 11 episodes, and an additional 109 for the series finale.[112][113]Sense8 was edited in the Wachowskis’ headquarters in Chicago,[110][111][114]Kinowerks,[115] by Joe Hobeck and Joseph Jett Sally in the first season and by Sally and Fiona Colbeck in the second.[116][53]
The score of Sense8 was composed by Johnny Klimek and Tom Tykwer, with additional contributions by Gabriel Isaac Mounsey,[117] and recorded by the MDR Leipzig Radio Symphony Orchestra.[118][119] Each season’s score was written up to a year and a half before filming began,[118] enabling the production to play it back to the actors before shooting a scene.[120] A soundtrack album for the first season was released digitally by WaterTower Musicon May 5, 2017. It includes 10 tracks by Klimek and Tykwer.[118] For the second season, Klimek and Tykwer provided to the editorial about 10 “mother” themes, each with a length of over five minutes, before filming began.[118] In the Christmas special episode “Happy F*cking New Year”, a cover of Leonard Cohen‘s “Hallelujah” is featured, which was arranged by Gary Fry and recorded by the Apollo Chorus of Chicago, with the lead vocalistbeing Daniel Martin Moore.[121][122]
The theme music of Sense8 was picked by the Wachowskis from the two hours of original music Tykwer and Klimek had written.[123] The show received a nomination for Outstanding Original Main Title Theme Music during the 68th Primetime Creative Arts Emmy Awards.[124] For the series almost two-minute long title sequence, Karin Winslow rented a car and with the help of a camera assistant traveled in the eight featured countries of the first season and captured over a hundred shots. “My directive from Lana was to go out and describe each country by what you see; find the nuances, find the food, find what people are doing, get a feel for the place,” said Winslow.[125] For the second season, and again for the finale, some of the footage was replaced by new shots.[53][117]
On June 1, 2017, Netflix announced they had cancelled the series after two seasons.[126][127] Later that month, Chief Content Officer of Netflix Ted Sarandos during his talk on Produced By Conference, commented that the show was cancelled because its audience, despite being very passionate, was not large enough to support the high production costs.[128] As a response to the cancellation, fans created online petitions, called Netflix, and tweeted #RenewSense8 and other hashtags, in an attempt to bring back the show. On June 29, 2017, the official social media accounts of the show posted a letter by Lana Wachowski which announced the release of a two-hour special targeting 2018.[129] A release date of June 8, 2018 and a final running time of 151 minutes were reported later.[130][131]
Netflix billed the second special in their announcement as the series finale, but Lana left open the future of Sense8 past the special’s release.[132] On August 5, 2017, during a Facebook Live with Lana and the cast about the show’s revival, Lana joked that because she believed that the fans of the show would go and create more fans, she was writing the entire third season.[133][134] A few days later, Brian J. Smith said during an interview that he believed if “a truly eyebrow-raising amount of people” watched the special, they would make more.[135]Conversely, shortly after the special’s release, executive producerGrant Hill said that they followed Netflix’s directive to design it as the series finale,[136] and that there have not been any talks about the possibility of another revival.[137]
Straczynski and Hemon have shared some hints about the character trajectories that were planned for the third season and beyond.[138][139][140]
Critical reception of the first season of Sense8 has been generally favorable. Rotten Tomatoes, a review aggregator website, reported a 71% critical approval rating with an average rating of 6.25/10 based on 62 reviews. The website’s critical consensus reads, “Some of the scenarios border on illogical, but the diverse characters and the creative intersections between their stories keep the Wachowskis’ Sense8 compelling.”[141]On Metacritic, which uses a weighted average, the season is assigned a score of 64 out of 100, based on 24 critics, indicating “generally favorable reviews”.[142]
Sense8 continued to be positively received in its second season. Rotten Tomatoes indexed 15 reviews for the early released Christmas special, and reported an 87% critical approval rating for it, with an average rating of 6.88/10. The website assigned the following consensus to the special: “Sense8 serves up a heaping helping of yuletide queerness and sci-fi slyness in this narratively messy but richly felt special.”[143] Based on 28 reviews, Rotten Tomatoes assigned the 10 episodes that followed the special a critical approval rating of 93%, with an average rating of 7.57/10. The critical consensus reads, “Sense8 maintains its stunning visuals, Wachowski wackiness, and great heart — though its individual characters deserve more development.”[144] On Metacritic, the season was assigned a score of 73 out of 100, based on 8 critics, indicating “generally favorable reviews”.[145]Rotten Tomatoes also collected 28 reviews for the series finale, and calculated a 93% critical approval rating, and an average rating of 7.15/10. The finale’s critical consensus reads, “A hard fought coda to a beloved series, Sense8′s epilogue exemplifies its strange, sensual, somewhat silly delights.”[146]
In a report released by Netflix, it was discovered that at least 70% of the viewers that watched up to the third episode ended up watching the entire first season,[147] and Straczynski was told there are people that watch it “straight through – three, four, six times.”[148] In another report released by Netflix, Sense8 was listed among the shows whose viewers tend to heavily binge-watch their first seasons, rather than savoring their episodes by watching them at a slower pace.[149] Netflix’s Chief Content Officer Ted Sarandos praised the success of Sense8in the up-and-coming French and German markets[150] but also globally.[151] Vice president of international series for Netflix Erik Barmack has named Sense8 one of the most popular Netflix series in the Brazilian market.[152]Less than three days after the premiere of the first season, Variety reported that it had been pirated more than half a million times, regardless of the series’ digital distribution.[153] Netflix also placed the second season of Sense8 at fifth place on their list for the year 2017 about couples where one of the two cannot resist the urge to wait, and ends up watching episodes ahead of their significant other.[154]
Former Colombian President and 2016 Nobel Peace Prize recipient Juan Manuel Santos heavily referenced Sense8 in a speech he made in April 2019 during the graduation ceremony of students of the University of Los Andes who participated in the Ser Pilo Paga program. Santos recited the basic premise of the show about the fictional species Homo sensorium who can feel empathy for one another, and expressed his wish and belief that one day humanity will be the same, “united in diversity and tolerance”.[155]
The red carpetpremiere of Sense8 took place on May 27, 2015, in San Francisco’s AMCMetreon,[179][180] where the first three episodes were previewed.[181] Starting in the middle of July 2015, Netflix Brazil released a series of documentary shorts called Sense8: Decoded. Inspired by Sense8 and directed by João Wainer, the shorts briefly touch upon subjects such as psychiatry, feminism, being transgender and Buddhism.[182][183][184][185] Later in the month, Netflix released a music track titled Brainwave Symphony on Spotify.[186] To produce it they subjected eight strangers to a series of various stimuli and they recorded their individual brainwaves using EEG sensors. After extracting a melody from each of them they arranged them in a way to produce a track which mirrors the escalating action of the season.[187][188] In early August 2015, Netflix made available Sense8: Creating the World, a half-hour web television documentary, shot around the world, about the making of the first season of the series.[70][189]
On May 3, 2016, publicity stills of the ongoing production of the second season were posted online, accompanied by a short message by Lana Wachowski introducing the #Road2Sense8 hashtag under which new pictures would be posted.[190][191][192] On December 3, 2016, the Christmas special episode was screened at São Paulo’s Comic Con Experience, in advance of its Netflix premiere on December 23.[193] The second episode of the second season was screened out of competition during the Series Mania festival in Paris, on April 18, 2017.[194][195] On April 23, a screening of the second and third episodes took place in Chicago’s Music Box Theatre, in a benefit for the American Civil Liberties Union, followed by Lana Wachowski taking questions from the audience,[196][197] and again on April 26, in the red carpet premiere of the second season, at New York City’s AMC Lincoln Square.[198][54]
Several screenings of the series finale took place prior to its release on Netflix, on June 8, 2018. The first screening took place in The Music Box Theatre in Chicago, on May 25, as a benefit for EMILY’s List, followed by a Q&A session with Lana and select cast members.[199] The second screening took place in the Latin America Memorial in São Paulo, on June 1, with several cast members attending.[200] The red carpet premiere followed in ArcLight Hollywood, in Los Angeles, on June 7.[201]Linda Perry made a guest appearance to perform “What’s Up?”.[202] Netflix organized an event for the fans on the day of the special’s release, June 8, in Posillipo, in Naples, where a big portion of the special was filmed. Among other things, fans could try a slice of a special “Sense8” pizza that was created by famous pizza maker Gino Sorbillo with the help of the cast.[203]
The OA
From Wikipedia, the free encyclopedia
the OA
This article is about the television series. For the peninsula in Scotland, see The Oa. For other uses of the letters OA, see OA (disambiguation).
The OA is an American mystery drama web television series with science fiction, supernatural and fantasy elements.[6][7] The OA debuted on Netflix on December 16, 2016.[8][9] Created and executive produced by Brit Marling and Zal Batmanglij, the series is their third collaboration.[8][9] The series consists of two seasons of eight episodes each, nearly all directed by Batmanglij, and is produced by Plan B Entertainment and Anonymous Content.[10] In the series, Marling stars as a young woman named Prairie Johnson who resurfaces after having been missing for seven years. Prairie now calls herself “The OA” and can see, despite having been blind before her disappearance.
On February 8, 2017, Netflix renewed the series for a second season, dubbed “Part II”, that was released on March 22, 2019. Although the OA was planned by its creators to be a five-part story told in five seasons,[11] on August 5, 2019, Netflix canceled the series after two seasons.[12] The OA received generally favorable critical reception, averaging 77% on Part I and 92% on Part II on Rotten Tomatoes. The series’ directing, visuals and acting were often singled out, as was its social impact.[13]
The series centers around Prairie Johnson, an adopted young woman who resurfaces after having been missing for seven years. Upon her return, Prairie calls herself “The OA” (for “Original Angel”), exhibits scars on her back, and can see, despite having been blind when she disappeared. The OA refuses to tell the FBI and her adoptive parents where she has been and how her eyesight was restored, and instead quickly assembles a team of five locals (four high school students and a teacher) to whom she reveals that information, also explaining her life story. Finally, she asks for their help to save the other missing people whom she claims she can rescue by opening a portal to another dimension.[14]
Part II[edit]
The second season follows the OA as she traverses to another dimension and ends up in San Francisco to continue her search for her former captor Hap and her fellow captives, as Prairie crosses paths with private eye Karim Washington to assist in his investigation of the surreal disappearance of a missing girl that involves an abandoned house with a supernatural history and an online puzzle game. Meanwhile, in the original dimension, a series of unfortunate events propels the OA’s five companions to embark on a road trip across America to assist the OA on her journey.
Cast[edit]
The following actors appear in the series:[15][16]
Main[edit]
Brit Marling as Prairie Johnson / the OA / Nina Azarova / “Brit”
Emory Cohen as Homer Roberts[17]
Scott Wilson as Abel Johnson, Prairie’s adoptive father (season 1, guest season 2)
Phyllis Smith as Betty “BBA” Broderick-Allen[18]
Alice Krige as Nancy Johnson, Prairie’s adoptive mother (season 1, guest season 2)
Patrick Gibson as Steve Winchell / “Patrick Gibson”[19]
Brendan Meyer as Jesse
Brandon Perea as Alfonso “French” Sosa
Ian Alexander as Buck/Michelle Vu[20]
Jason Isaacs as Hunter Aloysius “Hap” Percy / Dr. Percy / “Jason Isaacs”[21]
Kingsley Ben-Adir as Karim Washington (season 2)
Will Brill as Scott Brown (season 2, recurring season 1)
Sharon Van Etten as Rachel DeGrasso (season 2, recurring season 1)[22]
Paz Vega as Renata Duarte (season 2, recurring season 1)
Chloe Levine as Angie (season 2, recurring season 1)
Guest[edit]
Hiam Abbass as Khatun (season 1)
Zoey Todorovsky as Nina Azarova, a young Prairie Johnson
Marcus Choi as Mr. Vu
Robert Eli as Ellis Gilchrist, a high school principal (season 1)
Nikolai Nikolaeff as Roman Azarov, Nina’s father
Sean Grandillo as Miles Brekov (season 1)
Zachary Gemino as Carlos Sosa, Alfonso’s brother
Riz Ahmed as Elias Rahim, an FBI trauma counselor
Robert Morgan as Stan Markham, a sheriff (season 1)
Michael Cumpsty as Leon Citro (season 1)
Bria Vinaite[23] as Darmi (season 2)
Zendaya as Fola Uzaki (season 2)
Zoë Chao as Mo (season 2)
Irène Jacob as Élodie (season 2)
Eijiro Ozaki as Azrael / Old Night, a giant octopus (voice) (season 2)
Vincent Kartheiser as Pierre Ruskin (season 2)
Liz Carr as Marlow Rhodes (season 2)
Episodes[edit]
Part I (2016)[edit]
Part II (2019)[edit]
Production[edit]
The series was conceived by Brit Marling and Zal Batmanglij and they began working on the concept in December 2012.[24][25] They spent two years working on The OA on their own,[26] before pitching to studios.[27] From the early stages of development onward, they were telling the story out loud and noting one another’s reactions to the story to refine it accordingly.[28] They found it difficult to summarize the series in a written story, so they developed it aurally. When executives read the script of the first hour, they asked if the story “really [went] somewhere”. Marling and Batmanglij then began to tell the story from beginning to end,[28] playing all the characters and acting out the big moments through many hours.[29] They worked with Brad Pitt’s Plan B Entertainment, which connected with the story and shared notes before it went to networks and studios.[26] Following a multiple-network bidding war, the series was first announced on March 5, 2015, when Netflix ordered eight one-hour long episodes with Plan B and Anonymous Content also on board. The announcement revealed that Marling would star, Batmanglij would direct, and both would write and executive produce. Marling and Batmanglij held similar positions in their previous two collaborations, Sound of My Voice and The East.[30]
Rostam Batmanglij, Zal’s brother, worked as one of the composers on the series, and he also wrote its theme music.[31] He previously composed for both Sound of My Voice and The East. Choreographer Ryan Heffington created The Movements, which are inspired by interpretive dance. Heffington first professionally worked with them on The East, and had been an acquaintance of both from earlier than that.[32]
The final chapter of Part I includes a dedication to Allison Wilke. Wilke, also known professionally as A.W. Gryphon, was a producer on the series who died of breast cancer three days after the series was finished and a month before its release.[33]
Cancellation and fan response[edit]
On August 5, 2019, Netflix canceled the series after two seasons,[12] leaving the show with a cliffhanger ending. Marling wrote that she and Batmanglij were “deeply sad” that they would not be able to finish the show.[34] Fans responded with a #SaveTheOA[35] and #TheOAisReal campaign on Twitter,[36] a Change.org petition,[34] and by posting video of themselves performing The Movements from the show.[37] Additionally, the OA fan base raised funds for a digital billboard in Times Square.[38] Marling wrote that she was moved by the fan support. One fan went on a hunger strike to protest for the show’s return; Marling and Batmanglij visited her and offered her food and water.[39] Some fans online have put forward a theory that the cancellation announcement was just a meta publicity stunt.[40][41]
Reception[edit]
Critical response[edit]
Season one[edit]
The first season of The OA garnered a polarized but generally positive response from critics. Rotten Tomatoes assigned the first season a 77% critical approval rating and an average rating of 7.59/10 based on 66 reviews, writing that “The OA is more than OK.”[42] Metacritic, based on 17 reviews, assigned the series a rating of 61 out of 100, indicating “generally favorable reviews”.[43] Most reviewers acknowledged the series’ ambition and praised its mystery and direction. Reviewers made both favorable[6][44][45][46] and unfavorable[47][48][49] comparisons to another Netflix Original, Stranger Things.
John Doyle of The Globe and Mail wrote, “The OA is Netflix’s strongest and strangest original production since Stranger Things. In terms of substantive, original drama, it transcends it. Mind you, it is unclassifiable in the context of drama, mystery, science-fiction and fantasy, since it is straddling all sorts of lines and blurring them. It is outright astounding and brilliant, too.”[6] Tim Surette at TV Guide said that “the final moments of Episode 5 – probably the best episode of the first season – was some of the most reaffirming television I’ve ever seen, not just for the show but for life itself. I’ve never really had this kind of a relationship with a series while watching it, but it’s that experience that makes it well worth viewing.”[50] New York Magazine’s review was entitled “Netflix’s The OA Is an Extraordinary, Binge-Worthy December Surprise”.[51]
Tristram Fane Saunders of The Daily Telegraph gave a mixed review of 3 out of 5 stars and noted the series’ potential but criticized its similarity to fellow Netflix Original Stranger Things, claiming that the series was attempting to be “stranger than Stranger Things” but “on the basis of the first four episodes, the answer is a resounding no”. Saunders’s review also highlighted the series’ lack of originality and characterization, and derided the dialogue as “portentous [and] self-consciously literary”. It also criticized the slow pace as “glacial”. However, Saunders also acknowledged the series told an interesting and compelling story, writing that “The OA may be utter hokum, but you’ll still be hooked.”[52] Daniel Fienberg of The Hollywood Reporter gave a negative review, stating that the series was “a failed, but not wholly worthless, experiment in TV auteurism”. Fienberg added “the problem, of course, is that telling you what The OA is vaguely like is just another tease and telling you what it actually is is a recipe for disappointment, because after an enticing and somewhat infuriating build-up, The OAbecomes something quite ludicrous as it stumbles toward a climax that is, if I’m generous, merely unearned and if I’m not being generous, a series of offensive overreaches.”[53]
Variety published diverging opinions about the series: its TV critic at the time, Sonia Saraiya, gave the show a mixed-to-negative review that praised the direction and acting but opined that overall “it is hard to take The OA seriously”, detailing that “none of it makes any sense”, and concluded that “[a]s an exercise in vision, The OA is exciting. As that other thing — a television show — it’s an especially cryptic attempt to say very little of consequence.”.[54] A few days later, on the other hand, the magazine’s chief film critic Peter Debruge wrote an extremely positive column with the headline “Why The OA is One of the Year’s Most Important Films”, stating that the show’s first season had “the most effective ending [he had] ever seen in a TV series”, and that its “final twist […] left [him] crying uncontrollably for nearly half an hour”.[55]
Season two[edit]
The second season received very positive reviews upon its release. On Rotten Tomatoes, the second season has an approval rating of 92% based on 36 reviews, with an average rating of 7.7/10. The website’s critical consensus reads, “The OA’s second season provides satisfying answers to its predecessors’ most maddening enigmas, all while maintaining the singular ambience that fans have come to crave.”[56] On Metacritic, it has a weighted average score of 70 out of 100, based on 6 critics, indicating “generally favorable reviews”.[57] Critics acknowledged the second season’s vast improvements on its narrative and characterization, particularly praising its surrealism, directing and acting.
Empire Magazine crowned The OA the best TV show of 2019 (so far) in September of 2019.[58] The Playlist stated in their review that: “The OA: Part II packs each frame so dense with detail, that not one second of the new season’s more-than-eight-hour runtime seems wasted, expositional, cheap, or unearned.”[59] Jesse Scheden of IGN gave The OA: Part II a score of 8.8 out of 10, saying the season is “bigger, more ambitious and much weirder than its predecessor”.[60] Rachel Syme of The New Republic praised the season, labeling the show as “the best, most inaccessible show on television”, saying that “[she wishes] more television was this unafraid to leave its audiences fumbling for understanding.”[61]
Daniel Fienberg of The Hollywood Reporter wrote: “The only thing I’m sure of when it comes to The OA is that the process of watching and experiencing an episode is unlike the viewing of any other show on TV and, good or bad, there’s value in that.” Alex McLevy of The A.V. Club echoed that sentiment, saying “sacrificing your expectations of plausibility feels like a worthwhile price of admission.”[62] Jen Chaney of New York Magazine called the season a mind-bender and praised the way it depicted the aftermath of a school shooting.[63]
Ed Power of The Daily Telegraph, gave it 4 out of 5 stars, and wrote that the show “truly comes into its own when you stop attempting to piece together the storyline and instead submit to Marling and Batmanglij’s vision.”[64] Emily Todd VanDerWerff of Vox, initially critical of the first season, wrote of the series: “over time, I kept thinking about it. And thinking about it. And thinking about it. Until I convinced myself that The OA is kind of genius, while simultaneously being incredibly silly.”[65]Haleigh Foutch of Collider said, “Netflix has carved out a space for itself as a home for innovative genre storytelling, and The OA might just be their crowning achievement in that regard.”[66]
Accolades[edit]
Better Call Saul
From Wikipedia, the free encyclopedia
better-call-saul
This article is about the television series. For the Breaking Bad episode, see Better Call Saul (Breaking Bad). For the Homeland episode, see Better Call Saul (Homeland).
Better Call Saul is an American television crime drama series created by Vince Gilligan and Peter Gould. It is a spin-off prequel of Gilligan’s prior series Breaking Bad. Set in the early 2000s, Better Call Saul follows the story of con-man turned small-time lawyer, Jimmy McGill (Bob Odenkirk), beginning six years before the events of Breaking Bad, showing his transformation into the persona of criminal-for-hire Saul Goodman. Jimmy becomes the lawyer for former beat cop Mike Ehrmantraut (Jonathan Banks), whose relevant skill set allows him to enter the criminal underworld of drug trafficking in Albuquerque, New Mexico. The show premiered on AMC on February 8, 2015. The 10-episode fourth season aired between August and October 2018. The show has been renewed for a fifth season, which is scheduled to premiere on February 23, 2020.
Jimmy is initially working as a low-paid sole practitioner, with the back room of a nail salon as his home and office. His friend and romantic interest, Kim Wexler(Rhea Seehorn) works as a lawyer at the firm of Hamlin, Hamlin & McGill (HHM), where Jimmy and she were once employed in the mailroom. Partners at HHM include Jimmy’s nemesis, Howard Hamlin (Patrick Fabian), and brother, Chuck McGill (Michael McKean). Mike conducts illegal drug-related activity with Nacho Varga (Michael Mando) in addition to becoming right-hand man for drug lord Gus Fring (Giancarlo Esposito) who runs a fast food restaurant as a business front. Odenkirk, Banks, and Esposito are all reprising their roles from Breaking Bad.
Like its predecessor, Better Call Saul has received critical acclaim, with particular praise for its acting, characters, and cinematography; many critics have called it a worthy successor to Breaking Bad and one of the best prequels ever made. Some have also deemed it superior to its predecessor.[5][6][7] It has garnered many nominations, including a Peabody Award, 23 Primetime Emmy Awards, seven Writers Guild of America Awards, five Critics’ Choice Television Awards, a Screen Actors Guild Award, and two Golden Globe Awards. The series premiere held the record for the highest-rated scripted series premiere in basic cable history at the time of its airing. Despite the initial popularity, Better Call Saul has not attained the same viewership numbers as Breaking Bad did at its highest.
Better Call Saul follows the life of the character Saul Goodman beginning about six years prior to the events of Breaking Bad.[8] In 2002, Goodman, born as James “Jimmy” McGill, is a former con artist trying to follow a legitimate career as an aspiring lawyer in Albuquerque, New Mexico.[9] After secretly completing law school and attaining admission to the bar, he unsuccessfully seeks to become an associate in the law firm in which his older brother Charles “Chuck” McGill is a senior partner. However, Jimmy’s work is frequently overshadowed by Chuck’s, and he struggles to find a way to prove himself, even with the help of an associate in the firm, Kim Wexler, with whom he also becomes romantically involved. At the same time, Jimmy takes care of Chuck, who claims to have electromagnetic hypersensitivity, a condition that makes him physically ill in the presence of anything with an electrical component and has caused him to take an extended leave from his firm and regular law work. Interspersed among Jimmy’s activities are the prior histories of other Breaking Bad characters, including Mike Ehrmantraut, a former police officer who becomes involved in illegal drug trafficking schemes, and drug kingpins Hector Salamanca and Gus Fring, who help distribute drugs illegally brought to the area from Mexico.
The series also provides brief glimpses of Saul’s fate after the events of “Granite State”, the penultimate episode of Breaking Bad, in which Saul fears for his own safety and takes on a new identity in Omaha, Nebraska as Gene, the manager of a Cinnabon store. In Better Call Saul flash forwards, “Gene” reminisces about his past, but remains paranoid that someone might discover his true identity.
The fourth season features scenes taking place closer to the time of events in Breaking Bad, which was set in 2008; the story, as described by co-creator Vince Gilligan, “brings us into the world—or at least points us on a path toward the world of Walter White and the territory of Walter White”.[9] In “Quite a Ride”, the cold open takes place concurrent to events near the end of Breaking Bad, with Jimmy as Saul destroying documents and taking money from the Saul Goodman office made memorable in that series.[10]
Vince Gilligan and Peter Gould began planning a television spinoff of Breaking Bad as early as 2009. While filming “Full Measure”, Gilligan asked Bob Odenkirk, the actor of series character Saul Goodman, what he thought of a spinoff of the show.[11] In July 2012 Gilligan hinted at a possible Goodman spinoff,[12] stating that he liked “the idea of a lawyer show in which the main lawyer will do anything it takes to stay out of a court of law”, including settling on the courthouse steps.[13]Gilligan noted that over the course of Breaking Bad, there were a lot of “what if”s their team considered, such as if the show won a Primetime Emmy Award, or if people would buy “Los Pollos Hermanos” T-shirts. The staff did not expect these events to come to fruition, but after they did, they started considering a spin-off featuring Saul as a thought experiment. Further, Saul’s character on Breaking Bad became much more developed than the staff had originally planned, as he was originally slated to appear in only three episodes; with the growth of Saul’s character, Gilligan saw ways to explore Saul’s backstory.[14]
In April 2013, Better Call Saul was confirmed to be in development by Gilligan and Gould; the latter wrote the Breaking Badepisode that introduced the character.[15][16]
Casting[edit]
Bob Odenkirk stars as lawyer Jimmy McGill (known as Saul Goodman in Breaking Bad). In January 2014, it was announced that Jonathan Banks would reprise his Breaking Bad role as Mike Ehrmantraut and be a series regular.[17]
New cast members include Michael McKean as McGill’s elder brother Chuck. McKean previously guest-starred in an episode of Odenkirk’s Mr. Show and Gilligan’s X-Files episode “Dreamland”.[18][19] The cast also includes Patrick Fabian as Howard Hamlin, Rhea Seehorn as Kimberly “Kim” Wexler, and Michael Mando as Ignacio “Nacho” Varga.[20] In October 2014, Kerry Condon was cast[21] as Stacey Ehrmantraut, Mike’s daughter-in-law. In November 2014, it was announced that Julie Ann Emery and Jeremy Shamos had been cast as Betsy and Craig Kettleman, described as “the world’s squarest outlaws.”[22]
Going into Season 3, it was announced that Giancarlo Esposito would return to play Gus Fring.[23]
The showrunners have teased that “familiar faces” from Breaking Bad will make appearances during Season 4. They will also cast an actor for the character “Lalo”, mentioned only by name in the episode “Better Call Saul” episode of Breaking Bad.[24]Both Bryan Cranston and Aaron Paul said, as of Season 3, they are both open to reappearing on the show as Walter Whiteand Jesse Pinkman, respectively, if asked, believing that Gilligan would have a sufficiently good reason to bring them in.[25]Paul had previously mentioned the possibility of a cameo during Season 1 but this fell through.[26][27] Anna Gunn also mentioned a “talk” with Gilligan over possible guest appearances as Skyler White.[28] Dean Norris, another Breaking Badalumnus, stated he could not be part of the earlier seasons, partly due to his involvement in the CBS series Under the Dome.[29] Gilligan said that by Season 3 that show had been on long enough that any reuse of Breaking Bad characters would be more than “just a cameo or an Alfred Hitchcock walkthrough”, and that their appearances would be necessary for the story.[25]
Development history[edit]
As of July 2013, the series had yet to be greenlighted.[30] Netflix was one of many interested distributors, but ultimately a deal was made between AMC and Breaking Bad production company Sony Pictures Television.[31] Gilligan and Gould serve as co-showrunners and Gilligan directed the pilot.[32] Former Breaking Bad writers Thomas Schnauz and Gennifer Hutchison joined the writing staff, with Schnauz serving as co-executive producer and Hutchison as supervising producer.[33] Also on the writing staff are Bradley Paul, and Gordon Smith, who was a writer’s assistant on Breaking Bad.[32]
In developing the series, the producers considered making the show a half-hour comedy,[15] but ultimately chose an hour-long format more typical of a drama.[13] In October 2014, Odenkirk called the show “85 percent drama, 15 percent comedy.”[34]During his appearance on Talking Bad, Odenkirk noted that Saul was one of the most popular characters on the show, speculating that the audience likes the character because he is the program’s least hypocritical figure, and is good at his job.[35] Better Call Saul also employs Breaking Bad’s signature time jumps.[36]
As filming began on June 2, 2014,[37] Gilligan expressed some concern regarding the possible disappointment from the series’ turnout, in terms of audience reception.[38][39]
The first teaser trailer debuted on AMC on August 10, 2014, and confirmed its premiere date of February 2015.[40] In November 2014, AMC announced the series would have a two-night premiere; the first episode aired on Sunday, February 8, 2015, at 10:00 pm (ET), and then moved into its regular time slot the following night, airing Mondays at 10:00 pm.[41] In May 2015, Gilligan confirmed that more of the prominent characters from Breaking Bad would be making guest appearances in season 2, but remained vague on which characters were likely to be seen.[42]
In June 2014, prior to the series’ launch, AMC had renewed the series for a second season of 13 episodes to premiere in early 2016;[32] however, it was later reduced to 10 episodes.[43] The second season premiered on February 15, 2016.[44]
In March 2016, AMC announced that Better Call Saul was renewed for a 10-episode third season which premiered April 10, 2017.[45][46] AMC renewed the series for a 10-episode fourth season in June 2017 which premiered on August 6, 2018.[47][48]The series was renewed for a fifth season on July 28, 2018, just prior to the airing of the fourth season.[49] The fifth season is not expected to air until 2020; according to AMC’s Sarah Barnett, the delay was “driven by talent needs”.[50] Filming for the fifth season started in April 2019, and finished in September 2019.[51][52] AMC later affirmed the ten-episode fifth season will start airing with a special Sunday broadcast on February 23, 2020, with following episodes to air on Mondays.[53]
Like its predecessor, Better Call Saul is set and filmed primarily in and around Albuquerque, New Mexico.[54] The production used sets at Albuquerque Studios.[55]
Cast and characters[edit]
Bob Odenkirk (Jimmy McGill)
Jonathan Banks(Mike Ehrmantraut)
Rhea Seehorn (Kim Wexler)
Patrick Fabian(Howard Hamlin)
Michael Mando(Nacho Varga)
Michael McKean(Chuck McGill)
Giancarlo Esposito(Gus Fring)
Tony Dalton (Lalo Salamanca)
Main cast[edit]
Main article: List of Breaking Bad and Better Call Saul characters
Bob Odenkirk as Saul Goodman/Jimmy McGill/Gene Takovic, a lawyer and a former scam artist, who becomes involved with the criminal world.
Jonathan Banks as Mike Ehrmantraut, a former Philadelphia police officer working as a parking lot attendant at the Albuquerque court house, and later a private investigator, bodyguard and “cleaner”.
Rhea Seehorn as Kim Wexler, a lawyer formerly working at the Hamlin, Hamlin & McGill (HHM) law firm, now running her own practice, who is Jimmy’s girlfriend and confidante.[56][57]
Patrick Fabian as Howard Hamlin, the managing partner at Hamlin, Hamlin & McGill, first appearing as Jimmy’s nemesis, until it becomes clear that he acts under Charles McGill’s orders.
Michael Mando as Nacho Varga, who works in his father’s upholstery shop and is also an intelligent, ambitious member of Hector Salamanca’s gang.
Michael McKean as Chuck McGill, Jimmy’s elder brother and a founding partner of HHM who is confined to his home by electromagnetic hypersensitivity and expresses disdain for his brother’s legal abilities. (seasons 1–3, recurring season 4)
Giancarlo Esposito as Gus Fring, a methamphetamine distributor who uses his fast foodrestaurant chain Los Pollos Hermanos as a front. (seasons 3–present)
Tony Dalton as Lalo Salamanca, nephew of Hector and cousin of Tuco, Leonel, and Marco, who helps run the family drug business after Hector’s stroke. (season 5, recurring season 4)[58]
Recurring cast[edit]
Introduced in season 1[edit]
Kerry Condon as Stacey Ehrmantraut, Mike’s widowed daughter-in-law and the mother of Kaylee Ehrmantraut.
Faith Healey (season 1) and Abigail Zoe Lewis (season 2–present) as Kaylee Ehrmantraut, Mike’s granddaughter.
Eileen Fogarty as Mrs. Nguyen, owner of a nail salon which houses Jimmy’s law office (and sometime home) in its back room.
Peter Diseth as Bill Oakley, a deputy district attorney.
Joe DeRosa as Dr. Caldera, a veterinarian with ties to the criminal underworld.
Dennis Boutsikaris as Rich Schweikart, the attorney for Sandpiper Crossing.
Mark Proksch as Daniel “Pryce” Wormald, a drug company employee who begins supplying Nacho and hires Mike as security.
Brandon K. Hampton as Ernesto, Chuck’s assistant who works at HHM.
Josh Fadem as Camera Guy, or Joey Dixon, one of the three UNM film students who help Jimmy film various projects.
Julian Bonfiglio as Sound Guy, one of the three UNM film students Jimmy hires for various film projects.
Hayley Holmes as Drama Girl, one of the three UNM film students Jimmy hires for various projects.
Jeremy Shamos and Julie Ann Emery as Craig and Betsy Kettleman, a county treasurer and his wife, accused of embezzlement.
Steven Levine and Daniel Spenser Levine as Lars and Cal Lindholm, twin skateboarders and small-time scam artists.
Míriam Colón as Abuelita, Tuco’s grandmother and Hector’s mother.
Barry Shabaka Henley as Detective Sanders, a Philadelphia cop who was formerly partnered with Mike on the force.
Mel Rodriguez as Marco Pasternak, Jimmy’s best friend and partner-in-crime in Cicero, Illinois.
Clea DuVall as Dr. Cruz, a doctor who treats Chuck and suspects his condition is psychosomatic.
Jean Effron as Irene Landry, an elderly client of Jimmy McGill overcharged by the Sandpiper Crossing elder care home.
Introduced in season 2[edit]
Ed Begley Jr. as Clifford Main, managing partner at Davis & Main.
Omar Maskati as Omar, Jimmy’s assistant at Davis & Main.
Jessie Ennis as Erin Brill, a lawyer at Davis & Main who is ordered to shadow Jimmy.
Juan Carlos Cantu as Manuel Varga, Nacho’s father who owns an upholstery shop.
Vincent Fuentes as Arturo Colon, a criminal associate of Hector Salamanca (seasons 2–4).
Rex Linn as Kevin Wachtell, chairman of Mesa Verde Bank and Trust and a client of HHM and Kim.
Cara Pifko as Paige Novick, senior legal counsel for Mesa Verde Bank and Trust and a friend of Kim.
Ann Cusack as Rebecca Bois, Chuck’s ex-wife.
Manuel Uriza as Ximenez Lecerda, an associate of Hector Salamanca.
Introduced in season 3[edit]
Bonnie Bartlett as Helen, Irene’s friend and member of the affected class in the Sandpiper lawsuit.
Kimberly Hebert Gregory as ADA Kyra Hay.
Tamara Tunie as Anita, a member of Mike and Stacey’s support group.
Introduced in season 4[edit]
Rainer Bock as Werner Ziegler, an engineer hired by Gus to plan and oversee construction of his meth “superlab”.
Ben Bela Böhm as Kai, a rebellious member of the crew Werner Ziegler assembles for the construction of Gus’s meth “superlab”.
Stefan Kapičić as Casper, a member of Werner Ziegler’s team.
Poorna Jagannathan as Maureen Bruckner, a specialist from Johns Hopkins who flew to Albuquerque to treat Hector after Gus arranged for a “generous grant.”
Breaking Bad characters[edit]
Raymond Cruz as Tuco Salamanca, a ruthless, psychopathic drug distributor in the South Valley. (seasons 1–2)
Cesar García as No-Doze, Tuco’s henchman. (season 1)
Jesús Payán Jr. as Gonzo, Tuco’s henchman. (season 1)
T.C. Warner as Nurse (season 1)
Kyle Bornheimer as Ken, an arrogant, self-absorbed stockbroker (season 2)
Stoney Westmoreland as Officer Saxton, an Albuquerque Police Department officer (season 2)
Jim Beaver as Lawson, a black market weapons dealer in Albuquerque (season 2)
Maximino Arciniega as Domingo “Krazy-8” Molina, one of Tuco’s distributors (seasons 2–present)
Mark Margolis as Hector Salamanca, Tuco’s uncle and high-ranking member of the cartel (seasons 2–present)
Debrianna Mansini as Fran, a waitress at Loyola’s Diner (seasons 2, 4)
Daniel and Luis Moncada as Leonel and Marco Salamanca, Tuco’s cousins and Hector’s nephews who are hitmen for the cartel (seasons 2, 4)
Jennifer Hasty as Stephanie Doswell, a real estate agent (season 2)
Tina Parker as Francesca Liddy, Jimmy’s receptionist (seasons 3-present)
Jeremiah Bitsui as Victor, Gus’s henchman (seasons 3–present)
Ray Campbell as Tyrus Kitt, a henchman on Gus Fring’s payroll (seasons 3–present)
JB Blanc as Dr. Barry Goodman, a doctor on Gus Fring’s payroll (seasons 3–present)
Steven Bauer as Don Eladio Vuente, the head of the Juarez drug cartel (season 3)
Javier Grajeda as Juan Bolsa, a high-level member of the Juárez drug cartel (seasons 3–present)
Lavell Crawford as Huell Babineaux, a professional pickpocket hired by Jimmy (seasons 3–present)
Laura Fraser as Lydia Rodarte-Quayle, a Madrigal Electromotive executive and associate of Gus Fring (seasons 3–present)
Eric Steining as Nick, a member of Gus’s security team, later managed by Mike. (season 4)
Franc Ross as Ira, a burglar Jimmy hires; in Breaking Bad, he is the owner of Vamonos Pest who appears in “Hazard Pay”. (season 4)
David Costabile as Gale Boetticher, a chemist who is consulted by Gus (season 4)
Episodes[edit]
Main article: List of Better Call Saul episodes
Season 1 (2015)[edit]
Main article: Better Call Saul (season 1)
Tired of public defender work, Jimmy works to represent the Kettlemans, who are accused of embezzlement. Jimmy cares for his brother Chuck, who is housebound without electricity because he believes he has electromagnetic hypersensitivity. While pursuing an elder law career, Jimmy discovers clients being defrauded by the Sandpiper retirement home and begins a class action lawsuit with Chuck. When the case grows, Chuck suggests giving it to HHM, but secretly arranges with Howard to cut Jimmy out. The case continues growing and HHM brings on Davis & Main. Unhappy at Howard’s treatment of him, Kim recommends Jimmy to D&M.
Season 2 (2016)[edit]
Main article: Better Call Saul (season 2)
Jimmy works at D&M but quits after being reprimanded for his client outreach methods. Kim is demoted because of Jimmy’s actions. To reclaim her status, she secures Mesa Verde Bank as a client for HHM but Howard denies her credit. Kim and Jimmy practice in a shared office. Jimmy secretly causes Chuck to make an error that delays new branch construction, so Mesa Verde drops HHM to hire Kim. Nacho hires Mike to remove Tuco from the Salamanca organization. Mike goads Tuco into fighting and Tuco is imprisoned. Hector is suspicious so Mike prepares to assassinate him but is interrupted.
Season 3 (2017)[edit]
Main article: Better Call Saul (season 3)
Chuck discovers Jimmy’s fraud and tricks him into confessing, leading to suspension of Jimmy’s law license. Chuck’s ouster at HHM leads to his suicide. Gus stops Mike from killing Hector. Mike attacks Hector’s trucks and steals $250,000 from one. Mike asks for help laundering the money. Gus arranges for Mike’s hire as a contracted security expert at Madrigal and payment of monthly consulting fees. Hector plans to take over Manuel’s business so Nacho attempts to kill Hector by changing his angina medication for a placebo. Hector suffers a stroke and Gus’ first aid saves him, though he remains comatose.
Season 4 (2018)[edit]
Main article: Better Call Saul (season 4)
Jimmy regains his outgoing demeanor after Howard shoulders blame for Chuck’s death. Jimmy manages a cell phone store but makes more reselling prepaid phones. His reinstatement request is denied over lack of remorse for Chuck. After faking mourning, he successfully appeals, but reveals he’s going to practice as Saul Goodman. Gus learns Nacho attempted to kill Hector and blackmails him into undermining the Salamancas. Mike escorts engineers who evaluate the laundry’s potential as a meth lab and Gus hires Werner to oversee construction. Hector recovers mentally and can move his right index finger. Lalo Salamanca arrives to run Hector’s business.
Talking Saul[edit]
Talking Saul is a live aftershow hosted by Chris Hardwick, which features guests discussing episodes of Better Call Saul. The show uses the same format as Talking Dead, Talking Bad, and other similar aftershows also hosted by Hardwick. AMC announced that Talking Saul would air after the second season Better Call Saul premiere on February 15, 2016, and again after the second-season finale on April 18, 2016.[60] It returned following the season 3 premiere and finale.[61]
Season 1 (2016)[edit]
These episodes discuss season two of Better Call Saul.
Season 2 (2017)[edit]
These episodes discuss season three of Better Call Saul.
Broadcast[edit]
In December 2013, Netflix announced that the entire first season would be available for streaming in the U.S. after the airing of the first-season finale, and in Latin America and Europe each episode would be available a few days after the episode airs in the U.S.[66] However, the first season was not released on Netflix in the U.S. until February 1, 2016.[67][68] Internationally, episodes of the second season became available the day after they aired in the U.S.[69]
Netflix is the exclusive video-on-demand provider for the series and makes the content available in all its territories, except for Australia and New Zealand.[66] In Australia, Better Call Saul premiered on the streaming service Stan[70] on February 9, 2015, acting as the service’s flagship program.[71] In New Zealand, the show is exclusive to the New Zealand-based subscription video-on-demand service, Lightbox.[72] The episodes were available for viewing within three days of broadcast in the U.S.[73]
In the United Kingdom and Ireland, the series was acquired by Netflix on December 16, 2013,[74] and the first episode premiered on February 9, 2015, with the second episode released the following day. Every subsequent episode was released each week thereafter.[75] In India, the series is broadcast on Colors Infinity within 24 hours of the U.S. broadcast.[76]
The series premiere drew in 4.4 million and 4 million in the 18–49 and 25–54 demographics, respectively, and received an overall viewership of 6.9 million.[77] This was the record for the highest-rated scripted series premiere in basic cable history, until it was surpassed later the same year by another AMC series, Fear the Walking Dead.[78]
Reception[edit]
Critical response[edit]
Better Call Saul has received widespread critical acclaim.
Season 1[edit]
Main article: Better Call Saul (season 1) § Reception
The first season of Better Call Saul received critical acclaim, particularly for its acting, writing, and directing with many critics calling it a worthy successor to Breaking Bad. On Rotten Tomatoes, the first season has a rating of 98%, based on 66 reviews, with an average rating of 8.16/10. The site’s critical consensus reads, “Better Call Saul is a quirky, dark character study that manages to stand on its own without being overshadowed by the series that spawned it.”[79] On the review aggregator website Metacritic, the first season has a score of 78 out of 100, based on 43 critics, indicating “generally favorable reviews”.[80]
Season 2[edit]
Main article: Better Call Saul (season 2) § Reception
The second season, much like the previous, received critical acclaim. On Rotten Tomatoes, the second season has a score of 97%, based on 31 reviews, with an average rating of 8.7/10. The site’s critical consensus reads, “Better Call Saul continues to tighten its hold on viewers with a batch of episodes that inject a surge of dramatic energy while showcasing the charms of its talented lead.”[81] On Metacritic, the second season has a score of 85 out of 100, based on 18 critics, indicating “universal acclaim”.[82]
Season 3[edit]
Main article: Better Call Saul (season 3) § Reception
The third season, much like the previous two, received critical acclaim, particularly for the character development of Jimmy McGill. On Rotten Tomatoes, the third season has an approval rating of 97% based on 38 reviews, with an average rating of 8.78/10. The site’s critical consensus is, “Better Call Saul shows no signs of slipping in season 3, as the introduction of more familiar faces causes the inevitable transformation of its lead to pick up exciting speed.”[83] On Metacritic, the season has a score of 87 out of 100, based on 18 critics, indicating “universal acclaim”.[84]
Season 4[edit]
Main article: Better Call Saul (season 4) § Reception
The fourth season has also received critical acclaim. On Rotten Tomatoes, the season has a 99% approval rating with an average score of 8.93 out of 10 based on 36 reviews. The site’s critical consensus states, “Well-crafted and compelling as ever, Better Call Saul deftly balances the show it was and the one it will inevitably become.”[85] On Metacritic, the season has a score of 87 out of 100, based on 16 reviews, indicating “universal acclaim”.[86]
Awards and accolades[edit]
Ratings[edit]
Home media[edit]
The first season was released on Blu-ray and DVD in region 1 on November 10, 2015; bonus features include audio commentaries for every episode, uncensored episodes, deleted scenes, gag reel, and several behind-the-scenes featurettes. A limited edition Blu-ray set was also released with 3D packaging and a postcard vinyl of the Better Call Saul theme song by Junior Brown.[136] The second season was released on Blu-ray and DVD in region 1 on November 15, 2016; bonus features include audio commentaries for every episode and several behind-the-scenes featurettes.[137] The third season was released on Blu-ray and DVD in region 1 on January 16, 2018; bonus features include audio commentaries for every episode and several behind-the-scenes featurettes.[138] The fourth season was released on Blu-ray and DVD in region 1 on May 7, 2019; bonus features include audio commentary for every episode and several behind-the-scenes featurettes.[139]
Comics[edit]
AMC has released two digital comic books for Better Call Saul. The first, titled Better Call Saul: Client Development, released in February 2015, in advance of the series premiere, details the history of Saul and Mike, acting as a spin-off of the Breaking Bad episode that introduced Saul.[140] In February 2016, in advance of the second-season premiere, AMC released Better Call Saul: Saul Goodman and the Justice Consortium in the Clutches of the Judgernaut![141
the colony
Colony (TV series)
From Wikipedia, the free encyclopedia
This article is about the 2016 American TV series. For other uses, see Colony (disambiguation).
Colony is an American science fiction drama television series created by Carlton Cuse and Ryan J. Condal, starring Josh Holloway and Sarah Wayne Callies.[3] A ten-episode first season premiered with an online preview release of the first episode on USA Network’s website on December 15, 2015, following the launch of a game-like website[4] to promote the show. The series had its broadcast premiere on USA Network on January 14, 2016.[5] In April 2017, Colony was renewed for a third season which premiered on May 2, 2018.[6][7] On July 21, 2018, USA announced they had cancelled the series after three seasons.[8]
In a dystopian near-future Los Angeles, residents live under a regime of military occupation by an organization known as the Transitional Authority. The Authority serves an extraterrestrial group referred to as the “Hosts”, about whom little is known. The symbol of the collaborating forces features stylized birds of prey, or raptors, which gives rise to their nickname, the “Raps”. The Authority enforces Host policy via militarized police called Homeland Security and nicknamed the “Redhats”.
The Hosts took control on a day known simply as the “Arrival”. Late that day, massive rectangular blocks descended from the sky, linking together to build walls dividing the city. One of these walls, 20 to 30 stories tall, many meters thick, and many miles in length, surrounds the central part of Los Angeles, where the series is set. Other similar walls have been constructed around neighbouring urban areas, called “blocs”, with the whole referred to as a “colony”. Traffic passes through the walls at heavily secured checkpoints, called “gateways”, which allow the Authority to strictly control the movement of people and the distribution of consumables, such as food and fuel, which are rationed. The geographical extent of the alien invasion is unclear, but it is presumably worldwide.
A privileged class of elites, drawn by the Hosts from the local population, are denigrated by some bloc residents as collaborators. The ruling forces maintain control through the separation of loved ones, shoot-on-sight curfews, forced disappearances, random checkpoints, frequent electronic identity checks, limitation of motor vehicle usage (most people walk or ride bicycles), pervasive visual propaganda, slave labor in a place called the “Factory” (later revealed to be located on the Earth’s moon to mine radioactive materials), and electronic surveillance with Host-provided drone aircraft that launch from the wall. Some medical problems, such as diabetes, have been “deemed unworthy for treatment” by the Hosts, to cull the population.
A resistance movement is referred to as both the “Resistance” and the “Insurgency”. An informal barter-based black market has also sprung up, trading in surplus materials and home-produced goods.
Allusion to historical events[edit]
In a May 21, 2015, interview with Collider, executive producer Carlton Cuse stated that the show was “conceived as a metaphor for France during the Nazi occupation”.[9] In a separate interview with Entertainment Weekly, co-creator Ryan Condal detailed that the original concept behind Colony was that they “were actually inspired by Nazi-occupied Paris during WWII, where people went on living their lives, having coffee in street-side cafes while Nazi officers marched along the roads”.[10]
Plot[edit]
The series begins less than a year after the arrival of aliens who occupy Earth. It follows the Bowmans and their extended family in Los Angeles. Their son, Charlie, was on a school sports trip and was separated from them when alien walls sectioned off part of the city. The father, Will Bowman, is a former FBI agent and retired Army Ranger who reluctantly joins the Redhats (humans collaborating with the aliens) and is tasked with tracking down members of the resistance, after being threatened that he and his family would be sent to “the Factory” if he did not comply. Unbeknownst to Will, his wife, Katie, is an operative in the resistance. She later reveals this, and they begin to trade information. Their son, Bram, discovers a way under the wall, and later joins a rival resistance group.
Cast and characters[edit]
The cast at Camp Conival presentation for Colony offsite at Petco Park during San Diego Comic-Con 2016. From left: Adrian Pasdar, Tory Kittles, Sarah Wayne-Callies, Ryan Condal, Peter Jacobson, Amanda Righetti and Josh Holloway
Main[edit]
Josh Holloway as Will Bowman: A former U.S. Army Ranger and FBI Special Agent initially working under the alias Billy “Sully” Sullivan as a truck driver and mechanic.[3][11] To protect his family from being sent to the Factory, and to find his missing son Charlie, Will starts working for the Redhats hunting down Resistance members.
Sarah Wayne Callies as Katie Bowman: Will’s wife and a secret Resistance operative. She owns and operates “The Yonk”, a New Orleans-themed bar.[3]
Peter Jacobson as Alan Snyder: The Proxy Governor of the Los Angeles Bloc and an unrepentant Collaborator.[12] Snyder claims to be a former Stanford University provost but is later revealed to be the corrupt purchasing manager of a small community college. Snyder is removed as Proxy and made warden of a labor camp outside the bloc.
Amanda Righetti as Madeline “Maddie” Kenner (seasons 1–2): Katie’s younger sister[13]
Tory Kittles as Eric Broussard: A former U.S. Marine Corps Force Recon, CIA assassin, and private military contractor.[14] Now a resistance operative, he infiltrates the Redhats and is Katie’s main Resistance contact.
Alex Neustaedter as Bram Bowman: Will and Katie’s teenaged son[12]
Isabella Crovetti as Grace Kathryn “Gracie” Bowman: Will and Katie’s young daughter[15]
Jacob Buster as Charlie Bowman (guest season 1; season 2–3): Will and Katie’s younger son, who was separated from the rest of his family a year before the start of the series, when the wall went up. He is found by Will at the beginning of season 2 and reunited with his family.[16]
Recurring[edit]
Kim Rhodes as Rachel (season 1): A doctor and Resistance cell member
Paul Guilfoyle as Alexander Quayle (season 1): A former CIA Berlin station chief and Defense Intelligence Agency officer turned Los Angeles Resistance leader[17]
Cooper J. Friedman as Hudson (seasons 1–2): Madeline’s diabetic son
Carl Weathers as Bolton “Beau” Miller (season 1): A former San Francisco Police Department officer turned Homeland Security officer and Will Bowman’s partner[17][18]
Ally Walker as Helena Goldwyn: Chief of staff and later Governor-General of the Los Angeles Colony of which the Bloc is a part[19]
Kathy Baker as Phyllis (season 1): Will’s boss at Homeland Security whom he suspects (and she implies) is a former CIA agent[17]
Kathleen Rose Perkins as Jennifer McMahon (seasons 1–2): A former online dating service database administrator turned Homeland Security agent, below Phyllis and above Will and Beau[17]
Gonzalo Menendez as Captain Lagarza (season 1): A Redhat officer[12]
Erin Way as Lindsey (seasons 1–2): The Proxy government-provided tutor for Gracie Bowman
Kathryn Morris as Charlotte Burgess (season 1): A cultural director in the Green Zone who becomes Maddie’s boss[20]
Adrian Pasdar as Nolan Burgess (seasons 1–2): Charlotte’s husband and an important player in the politics of the occupational government[20]
Bethany Joy Lenz as Morgan (season 2):[a] A software engineer and Los Angeles Resistance member[21][22][23]
Charlie Bewley as Eckhart (seasons 1–2): A resistance cell member
Mac Brandt as Sgt. Jenkins (season 2): A labour camp guard
Christian Clemenson as Dan Bennett (season 2): The new head of Homeland Security
Toby Huss as Bob Burke (season 2): Homeland Security Investigator and Will Bowman’s new partner
William Russ as Hennessey (season 2): An ex-spy[24]
Keiko Agena as Betsy (season 2): A co-worker of Will Bowman and Jennifer at Homeland Security[24]
Meta Golding as Noa (season 2): A member of a resistance cell from outside the walls
John Hoogenakker as Scott Garland (season 3): A former FBI Agent and a Greyhat Lieutenant with the charge of hunting the resistance in the California Woodlands
Wayne Brady as Everett Kynes (season 3): Head of the autonomous Seattle colony[25]
Peyton List as Amy Leonard (season 3): A doctor and Resistance dispatcher who works with Broussard but distrusts Will
Notes[edit]
^ Guest star Thora Birch played Morgan in season 1
Episodes[edit]
Season 1 (2016)[edit]
^ The pilot episode was released online on December 15, 2015.[26]
Season 2 (2017)[edit]
Season 3 (2018)[edit]
Specials[edit]
Reception[edit]
Critical response[edit]
The show has received generally positive reviews. On Metacritic it holds a score of 69/100, based on 22 reviews, indicating “generally favorable reviews.”[64] On Rotten Tomatoes, it holds a score of 80%, based on 24 reviews with an average rating of 6.4/10. The critics’ consensus reads: “Colony offers an engaging enough narrative, a few scares, and an overall good time, even if none of it is particularly original.”[65]
Stephen King praised the series saying: “In a year of remarkable TV, Colony is really something special: smart, suspenseful, subversive… thought-provoking.”[66]
The I-Land
theI Land
The I-Land is an American science fiction thriller web television miniseries created by Anthony Salter. The series is executive produced by Neil LaBute, Chad Oakes and Mike Frislev. The series stars Kate Bosworth, Natalie Martinez, Ronald Peet, Kyle Schmid, Gilles Geary, Sibylla Deen, Anthony Lee Medina, Kota Eberhardt, Michelle Veintimilla and Alex Pettyfer. It was released on September 12, 2019 on Netflix.[9]
Contents
1Premise
2Cast and characters
2.1Main
2.2Recurring
3Production
3.1Development
3.2Casting
3.3Filming
4Episodes
5Release
6References
7External links
Premise[edit]
The I-Land begins when “ten people wake up on a treacherous island with no memory of who they are or how they got there, they set off on a trek to try to get back home. They soon discover this world is not as it seems. Faced with the island’s extreme psychological and physical challenges, they must rise to their better selves — or die as their worst ones.”[10]
Cast and characters[edit]
Main[edit]
Kate Bosworth as KC
Natalie Martinez as Chase
Ronald Peet as Cooper
Kyle Schmid as Moses
Gilles Geary as Mason
Sibylla Deen as Blair
Anthony Lee Medina as Donovan
Kota Eberhardt as Taylor
Michelle Veintimilla as Hayden
Alex Pettyfer as Brody
Recurring[edit]
Clara Wong as Carol
Keilyn Durrel Jones as Carter[11]
Bruce McGill as Warden Wells
María Conchita Alonso
Production[edit]
Development[edit]
On September 28, 2018, it was announced that Netflix had given the production a series order for a seven-episode first season. Neil LaBute was set to serve as co-director, writer and showrunner for the miniseries along with directorial credits from Jonathan Scarfe and writing credits from Lucy Teitler. Executive producers were expected to include LaBute, Chad Oakes, and Mike Frislev with Lucy Teitler and Jonathan Scarfe serving as co-executive producers and Kate Bosworth acting as a producer. Production companies involved with the miniseries were slated to consist of Nomadic Pictures Entertainment.[10] The production company reportedly spent a budget of $14 million for the first season, with each episode costing $2 million.[12] On August 20, 2019, it was reported that the miniseries was set to be released on September 12, 2019.[9]
Casting[edit]
Alongside the series order announcement, it was confirmed that Kate Bosworth, Natalie Martinez, and Alex Pettyfer would star in the miniseries.[10] In October 2018, it was announced that Kyle Schmid had been cast in a starring role.[13] In December 2018, it was reported that Clara Wong had joined the cast in a recurring capacity.[14] In August 2019, Gilles Geary joined the main cast in the role of Mason.[15] In the same month, it was confirmed that Michelle Veintimilla, Kota Eberhardt, Sibylla Deen, Ronald Peet and Anthony Lee Medina will star in the miniseries.[9]
Filming[edit]
Filming for the first season took place in Pinewood Indomina Studios, Dominican Republic, San Pedro De Macoris and Las Terrenas, Samaná, Dominican Republic from October 15, 2018 to December 19, 2018.[12][16][17]
Episodes[edit]
Release[edit]
On August 20, 2019, the teaser trailer for the miniseries was released.[9][18] On August 29, 2019, the official trailer for the miniseries was released.[19]
Rim of the World
is a 2019 American science fiction adventure film directed by McG from a screenplay by Zack Stentz. It stars Jack Gore, Miya Cech, Benjamin Flores Jr. and Alessio Scalzotto. The film, which was Stentz’ modern take on the kid-centered film of the 1980s,[2] was streamed on Netflix on May 24, 2019.[3][4] It was the most watched content in the SVOD service in the U.K. the week it was released, overtaking the series Dead to Me and Riverdale.[5]
Three young teens, ZhenZhen, Alex, and Dariush, attend a summer camp in Southern California called Rim of the World. ZhenZhen is from China who runs away from her hated father. Dariush is the funny African American that is the son of a millionaire that has gone bankrupt, and Alex is the timid and scared son to a single widowed mother because his father died from a house fire. During a canoeing trip the three wander off in the woods and find another young teen, Gabriel, that is an escaped juvenile delinquent. While deep in the woods, the group sees the sky turning orange, hears explosions and receive alerts on their phones to avoid the metropolitan area. The group of four return to camp to find that the camp has evacuated except for Conrad, a drunk counselor that they cannot seem to wake. Overhead, US aircraft are fighting alien ships. An escape pod from the International Space Station crashes to Earth with a dying astronaut inside. She gives Alex a key which she says needs to get to a NASA station, JPL, in order for the aliens to be stopped. The alien kills the astronaut and then attacks the group along with its alien dog. The group manages to kill the alien dog with fire from the escape pod, which only seems to anger the alien. The alien is then shot by aircraft, but not before killing Conrad.
With the key in hand, the group escapes the camp while the alien is seemingly dead. They make their way to the Sheriffs Office where they discover that Asia and Europe have been destroyed and the use of nuclear weapons in the Los Angeles Basin has been approved. While at the Sheriffs Office they discover an inmate, Lou, that has been left behind. Alex and ZhenZhen decide to release him before the group continues on their way to JPL. After leaving the Sheriffs Office the group is found by some Marines who take the key and put the children on a bus to take them to safety. Aliens attack the convoy, killing the soldiers. The group takes the key back and continues on their way to JPL. After stopping to rest for the night, they are attacked by a gang of masked individuals led by Lou from the Sheriff’s Office. He agrees to let the teens go if Alex gives him the key. Alex refuses and right before Lou attacks him, the alien that died at the camp but has regenerated itself ambushes the group, killing Lou and allowing the teens to escape.
The teens finally make it to JPL only to find that the doctor who needs the key is dead. The teens are able to make radio contact with a general who explains that the key can be used to destroy the alien mothership in orbit via a Cold War defense project name Excalibur. ZhenZhen goes into the basement to start the generators while Alex goes on the roof to the communication tower. Dariush and Gabriel stay in the command center of JPL to insert the key into the systems. Alex is attacked on the roof by the alien and ZhenZhen is attacked in the basement by an alien dog but manages to lock it in the basement and get back to the command room to help Gabriel insert the launch key since Dariush has passed out from blood loss due to an injury.
After successfully inserting the launch keys, the General warns ZhenZhen, Dariush, and Gabriel to get out of the building because JPL is not safe and there are two units on the way to get them. In the meantime, Alex has managed to lure the alien into a highly flammable engine test room and burns the alien to a crisp. With the building crumbling around him, Alex manages to escape and reunite with his friends. The group of teens watch from the ground as the mothership is blown up in the atmosphere above them. ZhenZhen rewards Alex for his bravery with a big kiss. Alex is reunited with his mother and the children are deemed heroes who have saved the world. Pictures show the teens being knighted by the Queen of England, being awarded crowns and sashes, and riding in parades throughout America.
Cast[edit]
Jack Gore as Alex, a timid, smart 13-year-old
Miya Cech as ZhenZhen, a girl that runaways from China because her father wanted a boy.
Benjamin Flores Jr. as Dariush, a spoiled rich boy teenager
Alessio Scalzotto as Gabriel, a teenager with Dyscalculia who escaped from a juvenile detention center
Andrew Bachelor as Logan, a camp counselor
Annabeth Gish as Grace, Alex’s mother
Scott MacArthur as Lou
Dean Jagger as Captain Hawking
Michael Beach as General Khoury
Lynn Collins as Major Collins
David Theune as Head Counselor
Tony Cavalero as Conrad
Carl McDowell as Carl
Punam Patel as Angeline
Jason Rogel as Customs Official
Chris Wylde as Uncle Chris
Rudy Mancuso as Wes
Amanda Cerny as Lucy/”Hot Counselor”
Allan Graf as Taxi Driver
Cameron Fuller as Young Soldier
Richard Gore as Alex’s dad
Peter Parros as Dariush’s dad
Annie Cavalero as Zip Line Counselor
Production[edit]
In March 2018, it was reported that McG would direct Rim of the World for Netflix from a screenplay by Zack Stentz. In an interview, Stentz revealed that he started working on the script as early as 2017 and the deal with Netflix was closed a year later.[6] Principal production commenced in May 2018 in Los Angeles, California.[7][8] In June 2018, the cast was announced.[9]
Principal photography began in June 2018[10][9] and reportedly lasted 40 days.
Reception[edit]
On the review aggregator website, Rotten Tomatoes, the film holds an approval rating of 25% based on 12 reviews, with a weighted average of 3.8/10.[11]
Another Life TV series
Another Life (2019 TV series)
From Wikipedia, the free encyclopedia
another life
Another Life is an American science fiction drama web television series created by Aaron Martin that premiered on Netflix on July 25, 2019.[1] The series stars Katee Sackhoff, Selma Blair, Tyler Hoechlin, Justin Chatwin, Samuel Anderson, Elizabeth Ludlow, Blu Hunt, A.J. Rivera, Alexander Eling, Alex Ozerov, Jake Abel, JayR Tinaco, Jessica Camacho, Greg Hovanessian, Barbara Williams and Lina Renna.
Contents
External linksSynopsis
Another Life opens with the arrival on Earth of Möbius strip-shaped flying objects, which when they land, crystal-encrusted menhirs seem to self-construct or “grow” from them. Erik Wallace (Justin Chatwin) is a scientist employed by the United States Interstellar Command who is tasked with figuring out how to communicate with the alien monolith that has landed in the United States. However, this task proves difficult and so far unsuccessful. Wallace’s wife, Captain Niko Breckinridge (Katee Sackhoff), is tasked with taking the spaceship Salvare and its crew to find the origin of this sophisticated alien object.
Cast and characters
Main
Katee Sackhoff as Niko Breckinridge, an astronaut who commands a crew on a mission to explore the genesis of an alien artifact.
Justin Chatwin as Erik Wallace, a scientist of the United States Interstellar Command, dedicated to finding intelligent life out in the universe. He is also the husband of Niko.
Samuel Anderson as William, a holographic interface of a sentient AI onboard The Salvare.
Blu Hunt as August Catawnee, the lead engineer and youngest member of the crew aboard The Salvare.
A.J. Rivera as Bernie Martinez, the Salvare’s microbiologist and part-time chef.
Jake Abel as Sasha Harrison, the son of the U.S. Secretary of Defense, serving as the government’s representative and diplomatic liaison aboard The Salvare.
Alex Ozerov as Oliver Sokolov, one of The Salvare’s engineers.
Alexander Eling as Javier Almanzar, a former hacker who is onboard The Salvare as an expert in computer engineering.
JayR Tinaco as Zayn Petrossian, the Salvare’s medic.
Lina Renna as Jana Breckinridge-Wallace, the daughter of Niko and Erik.
Selma Blair as Harper Glass, a media influencer who attempts to break one of the biggest stories in human history.
Elizabeth Ludlow as Cas Isakovic, Niko’s second-in-command and pilot of The Salvare. She is awakened in episode 2.
Recurring
Jessica Camacho as Michelle Vargas, the Salvare’s communications expert.
Barbara Williams as General Blair Dubois, General of United States Interstellar Command, in charge of United States’ response to the Artifact.
Greg Hovanessian as Beauchamp McCarry, Niko’s third-in-command and pilot of The Salvare. He is awakened in episode 7.
Parveen Dosanjh as Dr. Nani Singh, a scientist who is Erik’s friend and coworker.
Chanelle Peloso as Petra Smith, a crew member of the Salvare.
Guest
Tyler Hoechlin as Ian Yerxa, an astronaut and the former commander of The Salvare space explorations ship, who loses the position to Niko.
Martin Donovan as Egan Harrison, a politician and Sasha’s father.
Leifennie as Azami Ouchi, a computer engineer.
Episodes
Production
Development
On April 26, 2018, Netflix announced that it had given the production a series order for a ten-episode first season.[3] The series is created by Aaron Martin who is credited as an executive producer alongside Noreen Halpern.[3] On June 19, 2019, it was confirmed that the series would premiere on July 25, 2019.[1]
Casting
On April 26, 2018, it was announced that Katee Sackhoff had been cast as a series regular.[3] On August 21, 2018, it was reported that Selma Blair had joined the cast in a recurring role.[4][5] On August 28, 2018, it was announced that Tyler Hoechlin, Justin Chatwin, Samuel Anderson, and Elizabeth Ludlow had joined the cast.[6] The following day, Blu Hunt joined the cast.[7] In September 2018, the rest of the main cast was revealed.[8]
Filming
Filming for the first season took place on location in Vancouver, British Columbia from August 20, 2018 to November 20, 2018.[9]
Critical reception
Review aggregator website Rotten Tomatoes reports that 6% of 17 critic ratings are positive for the series, with an average rating of 4.54/10. The website’s consensus reads, “A hodgepodge of science fiction homage, Another Life lacks the distinctive spark necessary to set it apart from the array of stories it aspires to be.”[10] Metacritic calculated an average score of 33 out of 100, based on 8 reviews, citing “generally unfavourable reviews”.[11]
Nightflyers
Nightflyers is an American horror science fiction television series on Syfy that premiered in the United States on December 2, 2018 and on Netflix, internationally on February 1, 2019. The series is based on the novella and series of short stories of the same name by George R. R. Martin. The first season consisted of ten episodes, which concluded on December 13, 2018. On February 19, 2019, it was reported that Syfy had canceled the series.
Contents
1Premise
2Cast
2.1Main
2.2Recurring
3Production
3.1Development
3.2Filming
4Episodes
5Release
6Reception
6.1Critical response
6.2Ratings
6.3Accolades
7Home media
8References
9External links
Premise[edit]
In 2093, a team of scientists embarks on a journey into space aboard an advanced ship called the Nightflyer to make first contact with alien life-forms. However, when terrifying and violent events occur, the team begins to question each other and to realize there is something on-board the Nightflyer with them. It’s up to the crew to save the ship and themselves. [1]
Cast[edit]
Main[edit]
Eoin Macken as Karl D’Branin, an astrophysicist and leader of the Nightflyer expedition[2]
David Ajala as Roy Eris, the reclusive captain of the Nightflyer[2]
Jodie Turner-Smith as Melantha Jhirl[2]
Angus Sampson as Rowan, a xenobiologist[2]
Sam Strike as Thale, an L-1 telepath[2]
Maya Eshet as Lommie Thorne, a cyberneticist, who communicates with the Nightflyer’s computers via a neuro-port surgically implanted in her arm[2][3]
Brían F. O’Byrne as Auggie, chief engineer of the Nightflyer[2][4]
Gretchen Mol as Agatha Matheson, a psychiatrist who specializes in working with telepaths[2]
Recurring[edit]
Phillip Rhys as Murphy[2]
Gwynne McElveen as Tobis[2]
Zoë Tapper as Joy D’Branin
Miranda Raison as Tessia
Production[edit]
Development[edit]
In 2016, it was announced that Syfy would be developing a series based on Martin’s novella. Later in 2017, it was announced that the series would rather be based on the film adaptation from 1987.[5] George R. R. Martin will not be involved directly with the series due to his exclusive contract with HBO, but will be credited as an executive producer.[6]
Filming[edit]
The series started its production in early 2018 on location in Limerick, Ireland, and also at the Limerick-based Troy Studios, with Daniel Cerone serving as the showrunner.[7] [8]Cerone also serves as a series executive producer, alongside Gene Klein, David Bartis, and Doug Liman of Hypnotic, Alison Rosenzweig and Michael Gaeta of Gaeta Rosenzweig Films, and Lloyd Ivan Miller and Alice P. Neuhauser of Lloyd Ivan Miller Productions.[2][9][better source needed]
For the visual effects, Spin VFX is the main vendor with Territory Studio supplying user interfaces, and Switch Visual Effects providing additional support. The visual effects have to work seamlessly with the huge practical set built for the ship.[10]
Episodes[edit]
Release[edit]
Promotional poster for the series.
Netflix has joined the series as a co-producer, and holds international airing rights in addition to secondary airing rights in the United States.[21]Nightflyers premiered on Syfy on December 2, 2018.[22] The first season consisted of ten episodes.[23] The first season became available to stream on Netflix worldwide on February 1, 2019.[24] On February 19, 2019, it was reported that Syfy had canceled the series.[25]
Reception[edit]
Critical response[edit]
On review aggregation website Rotten Tomatoes, the series has an approval rating of 33% based on 27 reviews, with an average rating of 5.41/10. The website’s critical consensus reads: “Unsettling without being particularly scary, Nightflyers’s low-budget aesthetics and over-reliance on homage betray its intriguing philosophical pondering and impressive creative pedigree.”[26] Metacritic, which uses a weighted average, assigned a score of 47 out of 100 based on 14 critics, indicating “mixed or average reviews”.[27]
Alex McLevy of The A.V. Club is disappointed that the show doesn’t do more to upend genre conventions the way Game of Thrones successfully did, saying “showrunner Jeff Buhler doesn’t quite know how to make it feel new again”. McLevy praises the show for its “appealing visual style” despite budgetary limitations, and of the acting cast he singles out Maya Eshet “who elevates every scene in which she appears”. He compares the show to the film Event Horizon and calls the show engaging but lacking depth and suggests the show may appeal more to those who already enjoy the sci-fi horror genre.[28]
Ratings[edit]
Accolades[edit]
Home media[edit]
Cold Pursuit
From Wikipedia, the free encyclopedia
cold pursuit
Cold Pursuit is a 2019 American black comedy action film[1][4] directed by Hans Petter Moland (in his Hollywood debut) from a screenplay by Frank Baldwin. The film stars Liam Neeson, Laura Dern, Emmy Rossum, William Forsythe, and Tom Bateman. It is a remake of the 2014 Norwegian vigilante film In Order of Disappearance (Kraftidioten), also directed by Moland, and follows a snowplow driver who sets out for revenge on a local drug lord following the murder of his son.
The film was released in the United States on February 8, 2019, by Summit Entertainment. It has grossed over $32 million worldwide and received generally positive reviews from critics, who praised the action sequences and the dark humor.[5]
Contents
1Plot
2Cast
3Production
4Release
5Reception
5.1Box office
5.2Critical response
6Controversy
7References
8External links
Plot[edit]
Nelson Coxman’s quiet life as a snowplow driver in the glitzy Colorado ski resort of Kehoe, where he was just awarded “Citizen of the Year”, is disrupted when his son dies from a forced heroin overdose. Nels’ wife Grace has a psychotic breakdown over her son’s death and leaves her husband in grief.
A depressed Coxman is about to commit suicide when he learns that his son was murdered by a drug cartel. This causes him to craft a custom sniper rifle, become a vigilante and kill three members of the cartel, sinking their bodies in a nearby river. The cartel’s leader, Trevor “Viking” Calcote, suspects that these deaths are the work of Native American drug lord White Bull, with whom he has earlier avoided conflict. Viking abducts and murders White Bull’s only son, which sparks a gang war between the two factions.
Viking eventually learns that Coxman has killed his men, and tries in vain to call off the gang war, not realizing White Bull intends to exact revenge through a blood debt, “a son for a son”. Meanwhile, Coxman kidnaps Viking’s son from his prep school in an attempt to draw the drug lord into an ambush. Despite abducting the boy, Coxman treats him well and avoids putting his life in jeopardy.
Viking’s gang arrive at Coxman’s ambush, which is unsuccessful, and he is captured alive. White Bull’s gang arrives shortly thereafter with the intention of vengeance. During the ensuing shootout, most of the gangsters are killed and Viking is trapped after Coxman drops a shorn tree on his car, and is shot in the chest by White Bull.
Viking dies later when found by Kehoe police Detectives Kimberly Dash and her partner Gip. As Coxman leaves the property in his snowplow to continue his work, White Bull jumps into the cab and the two men drive away together. The last remaining enforcer for White Bull’s cartel accidentally paraglides into the snowplow and is chopped to bits.
Cast[edit]
Liam Neeson as Nelson “Nels” Coxman
Laura Dern as Grace Coxman, Nels’ wife
Emmy Rossum as Kimberly “Kim” Dash, a local detective
Tom Bateman as Trevor “Viking” Calcote, a psychopathic drug lord based in Denver, Colorado
William Forsythe as Brock “Wingman” Coxman, a former hitman for Viking’s father and Nels Coxman’s brother
Julia Jones as Aya, a member of the Ute people, Viking’s ex-wife, and the mother of his son
Domenick Lombardozzi as Mustang, a closeted homosexual and senior enforcer for Viking
Raoul Trujillo as Thorpe, a member of the Ute people and enforcer for White Bull
Benjamin Hollingsworth as Dexter, an enforcer to Viking and Mustang’s secret lover
John Doman as Gip, Kim’s partner and a corrupt cop working for White Bull
David O’Hara as Sly, an enforcer to Viking
Aleks Paunovic as Detective Osgard
Christopher Logan as Shiv
Nathaniel Arcand as Smoke
Ben Cotton as Windex
Tom Jackson as White Bull, a member of the Ute people and rival drug lord to Viking
Micheál Richardson as Kyle Coxman, Nels’s son.
Mitchell Saddleback as Avalanche
Manna Nichols as Minya, a secretary at White Bull’s headquarters
Production[edit]
The participation of actor Liam Neeson, director Hans Petter Moland and producers Michael Shamberg and StudioCanal in making Cold Pursuit was announced in January 2017.[6] In March 2017, Domenick Lombardozzi, Emmy Rossum, Benjamin Hollingsworth, Laura Dern, William Forsythe, Julia Jones, and John Doman joined the cast of the film.[7][8][9][10][11][12] The next month, Aleks Paunovic joined.[13]
Principal photography began in March 2017, in Alberta, Canada. Filming also took place in Fernie, British Columbia.[14] While Moland had hoped to shoot in the Banff and Jasper national parks, the permit was denied by Parks Canada, who cited concerns about the film’s environmental impact, and over the depiction of the First Nations gangsters led by Tom Jackson’s character. Jackson provided a letter in support of the project.[15]
Release[edit]
In November 2017, Summit Entertainment acquired U.S. distribution rights to the film.[16] It was released on February 8 in the United States,[17] and is scheduled for February 22 in the United Kingdom.
The film’s February 5, 2019 red carpet premiere was cancelled because of comments made by Neeson the previous day, regarding a past incident in his life, which some interpreted as racist.[18]
Reception[edit]
Box office[edit]
As of February 21, 2019, Cold Pursuit has grossed $23.8 million in the United States and Canada, and $8.4 million in other territories, for a worldwide total of $32.2 million, against a production budget of $60 million.[19][3]
In the United States and Canada, Cold Pursuit was released alongside What Men Want, The Lego Movie 2: The Second Part and The Prodigy, and was projected to gross $7–10 million from 2,630 theaters in its opening weekend.[20] It made $3.6 million on its first day, including $540,000 from Thursday night previews. It went on to debut to $11 million, finishing third, behind The Lego Movie 2 and What Men Want.[21][22] In its second weekend the film fell 45% to $6 million, finishing sixth.[23]
Critical response[edit]
On review aggregator Rotten Tomatoes, the film holds an approval rating of 74% based on 118 reviews, with an average rating of 6.5/10. The website’s critical consensus reads, “Cold Pursuit delivers the action audiences expect from a Liam Neeson thriller — along with humor and a sophisticated streak that make this an uncommonly effective remake.”[24] On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score of 58 out of 100, based on 35 critics, indicating “mixed or average reviews”.[25] Audiences polled by CinemaScore gave the film an average grade of “B-” on an A+ to F scale, while those at PostTrak gave it an average 3 out of 5 stars and a 42% “definite recommend”.[26][22]
Chris Nashawaty, writing for Entertainment Weekly, delivered a positive review, grading it a “B+” and saying: “If [Cold Pursuit] sounds like murder-by-numbers Liam Neeson Mad Libs, well, it kind of is. But what sets Cold Pursuit apart from its predecessors is its tone. It has the jokey, self-amused vibe of an Elmore Leonard novel or one of those arch, wannabe Tarantino knock-offs that sprouted up like toadstools in the wake of Reservoir Dogs and Pulp Fiction and were quickly forgotten. It knows exactly what kind of movie it is, but that doesn’t stand in the way of it goosing its bloodbath set pieces with irreverent, off-kilter gallows humor.”[27] Richard Roeper, writing for the Chicago Sun-Times, praised the film, awarding it 3.5 out of 4 stars, and saying, “As characters with nicknames such as Sly and Mustang and Smoke and War Dog and Shiv and Drayno enter and often quickly exit the picture, Cold Pursuit moves forward with the assured and deliberate force of Nels’ massive snowplow. And with Neeson/Nels at the wheel, Cold Pursuit is one fantastically hot mess of a movie.”[28]
Controversy[edit]
Liam Neeson was accused of racism after an interview with The Independent at a press junket for the film, published in February 2019.[29][30] Neeson explained his character’s “primal” anger to the interviewer by recounting an experience he had many years ago. A woman close to him said she had been raped by a stranger, and Neeson asked what color skin the attacker had; after learning the attacker was black, Neeson said that for about a week, he “went up and down areas with a cosh … hoping some ‘black bastard’ would come out of a pub and have a go” so that Neeson “could kill him”. In the interview, Neeson also said he was “ashamed” to recount the experience and that it was “horrible” that he did what he did. “It’s awful … but I did learn a lesson from it, when I eventually thought, ‘What the fuck are you doing?’”[31][32]
In an appearance on Good Morning America, Neeson elaborated on his experience while denying being a racist, saying the incident occurred nearly 40 years ago, that he asked for physical attributes of the rapist other than race, that he would have done the same if the rapist was “a Scot or a Brit or a Lithuanian”, that he had purposely gone into “black areas of the city”, and that he “did seek help” from a priest after coming to his senses. Neeson said that the lesson of his experience was “to open up, to talk about these things”, as there was still underlying “racism and bigotry” in both the United States and Northern Ireland. The controversy Neeson’s comments caused led to the cancellation of the red carpet event for the premiere of Cold Pursuit.[33][34][35]
Jack Reacher: Never Go Back is a 2016 American action thriller film, directed by Edward Zwick and written by Zwick, Richard Wenk and Marshall Herskovitz, and based on the novel Never Go Back by Lee Child. A standalone sequel to the 2012 film Jack Reacher, the film stars Tom Cruise, Cobie Smulders, Patrick Heusinger, Aldis Hodge, Danika Yarosh, Holt McCallany and Robert Knepper. The plot follows Reacher going on the run with an Army Major who has been framed for espionage, as the two reveal a dark conspiracy.
Principal photography began on October 20, 2015, in New Orleans, and the film was released on October 21, 2016, in IMAX and conventional formats.[4] It grossed $162 million worldwide and received mixed reviews from critics.
Contents
1 Plot
2 Cast
3 Production
4 Release
4.1 Box office
4.2 Critical response
4.3 Home media
5 References
6 External links
Plot
After busting a human trafficking ring, former military investigator turned vigilante drifter Jack Reacher returns to his old military headquarters to meet Major Susan Turner, whom he has been working with during his travels and has become his closest friend – only to learn from Colonel Sam Morgan that Turner has been accused of espionage and detained.
Turner’s attorney, Colonel Bob Moorcroft, reveals that there is evidence that Turner is involved in the murders of two soldiers in Afghanistan, but Reacher believes she is being framed. Moorcroft also reveals an old acquaintance of Reacher, Candice Dutton, has filed a paternity suit against him, claiming he is the biological father of her 15-year-old daughter, Samantha Dutton. Reacher tries to reach out to Samantha, but she rebuffs him, believing he is after her biological mother due to her past as a prostitute.
Moorcroft is later killed by an unknown assassin known as the Hunter. Reacher is framed for Moorcroft’s murder and arrested and transported to the prison where Turner is being detained. Two hitmen arrive to kill her, but Reacher neutralizes them, rescues her and they escape to Morgan’s house, having deduced he is involved in the conspiracy, to extract information. After they leave, the Hunter, revealed to be working with Morgan, kills Morgan and frames Reacher which he learns about from a friend, Sergeant Leach, when he asks her to investigate a military contractor.
Reacher and Turner uncover surveillance pictures of Samantha and surmise she is in danger, arriving at her home to find her foster parents dead and Samantha hiding in the kitchen. Reacher and Turner decide to escort Samantha to Turner’s old private school for protection, but discover that she has her mobile phone with her and that the enemy probably knows exactly where they are. They discard the phone and make a quick exit, during which Samantha steals a backpack from one of the students to use the credit cards.
Reacher, Turner and Samantha travel to New Orleans in search of Daniel Prudhomme, the only eyewitness to the murders for which Turner has been framed. They find him in a derelict warehouse filled with drug addicts and learn that Prudhomme is connected to Parasource, a private military organization that is trying to cover up the murders. Reacher contacts Turner’s friend, Captain Anthony Espin, to move Prudhomme into custody, but they are ambushed by assassins and Prudhomme is killed, while Reacher rescues a wounded Espin and finds out that the assassins are Parasource contractors. Parasource’s CEO, General James Harkness, then sends the Hunter to capture Samantha after she uses a credit card from the backpack she stole to order room service.
Reacher and Turner, along with Espin, acting on information provided by Prudhomme, intercept a flight of weapons due to enter the country, where they confront Harkness and his men and accuse them of corruption. Upon opening the crates, however, Espin finds weapons as declared in the flight manifest. Before Turner can be re-arrested, Reacher opens up one of the weapons and discovers that they are filled with opium. They learn that Harkness framed Turner, who had been investigating his activities, for the murders of two soldiers who discovered that Harkness was selling weapons to insurgents and smuggling drugs into the United States. Espin and his men then arrest Harkness, clearing Reacher’s and Turner’s names.
The Hunter and his men locate and chase Samantha through the streets to lure Reacher into a confrontation. Turner kills one of the assassins, whilst Reacher takes out another one on the rooftop. The Hunter captures Samantha and threatens to kill her, but she manages to escape and steal his gun. Reacher then tackles the Hunter onto another rooftop, briefly incapacitating both of them, and they have a vicious fight that culminates with Reacher breaking the Hunter’s arm, leg and neck, before dropping him off the rooftop. Reacher then admits to Samantha he might be her father.
Following Harkness’ arrest, Turner is reinstated in her old position and goes back to her office, where her colleagues and a recovering Captain Espin all welcome her back. Reacher promises to keep in touch before meeting Samantha at a diner to meet Candice, Samantha’s mother, whom Reacher surmises he will recognize, as he remembers every woman he has slept with. Samantha reveals that the waitress that had been serving him is in fact Candice, and that Reacher cannot be her father, as neither had recognized each other. Reacher and Samantha then reluctantly part.
A short time later, while Reacher is walking along a road, he is surprised when a phone Samantha had slipped into his pocket rings. He finds a text message from her reading, “Miss me yet?”. Reacher smiles as he sticks out his thumb to hitch a ride.
Cast
Tom Cruise as Jack Reacher
Cobie Smulders as Major Susan Turner[5]
Aldis Hodge[6] as Captain Anthony Espin, Turner’s friend
Danika Yarosh[7] as Samantha Dutton, the girl Jack Reacher protects
Patrick Heusinger[8] as the Hunter
Holt McCallany[9] as Colonel Sam Morgan
Austin Hebert as Daniel Prudhomme[9]
Robert Catrini as Colonel Bob Moorcroft,[10] Turner’s attorney
Robert Knepper as General James Harkness[11]
Jessica Stroup as Lieutenant Sullivan
Madalyn Horcher as Sergeant Leach
Teri Wyble as Mrs. Prudhomme
Lee Child as TSA Agent
Production
While Jack Reacher was intended to be a tent-pole for a film series, it was initially reported that a sequel would be unlikely due to its lackluster run at the North American box office.[12] However, in February 2013, a sequel became more likely after the film surpassed a gross of $200 million worldwide.[13] On December 9, 2013, it was announced that Paramount Pictures and Skydance Media were moving forward with the development of a second film, reportedly based on the 2013 Jack Reacher novel Never Go Back.[14]
On May 14, 2014, it was reported that Tom Cruise would reprise his role as Jack Reacher.[15]
On May 19, 2015, Deadline reported that Edward Zwick would re-team with Cruise, and direct the film. Zwick wrote the script along with Marshall Herskovitz, and also Richard Wenk. Zwick and Cruise had previously worked together on The Last Samurai.[16] On August 14, 2015, Cobie Smulders was added to the cast to play the female lead.[5] On September 15, Danika Yarosh signed on to star in the film,[7] on September 17, Aldis Hodge was added to the cast,[6] and on September 22, Patrick Heusinger was cast in the villain role.[8] On October 20, Holt McCallany joined the film, as did Austin Hebert.[9] On November 12, 2015, Robert Catrini joined,[10] and on January 20, 2016, Robert Knepper was cast as General Harkness, a retired general, and CEO of a private military firm.[11]
Principal photography on the film began on October 20, 2015, in New Orleans, Louisiana.[17] On November 23, 2015, filming took place in Baton Rouge,[18] and in January 2016, filming also took place in St. Francisville.[19]
Henry Jackman composed the film’s music, making this Zwick’s first film since Blood Diamond (2006) not to be scored by James Newton Howard.
Release
On June 14, 2016, Entertainment Weekly premiered a preview of the first trailer, with Cobie Smulders introducing the footage. The official Jack Reacher Twitter account announced that a full trailer would be released on June 22, 2016.[citation needed] A browser game, titled Jack Reacher: Never Stop Punching, was also released to promote the film.[20]
In September 2015, Paramount set Jack Reacher: Never Go Back a release date of October 21, 2016.[21]
Box office
Jack Reacher: Never Go Back grossed $58.7 million in the United States and Canada, and $103.4 million in other countries, for a worldwide total of $162.1 million, against a production budget of $96 million.[2][22]
In the United States and Canada, the film opened alongside Ouija: Origin of Evil, Keeping Up with the Joneses and Boo! A Madea Halloween, and was projected to gross around $20 million from 3,780 theaters in its opening weekend, with the studio expecting a debut of about $17 million.[23] It earned $1.3 million in midnight showings at 1,850 theaters, slightly above Oblivion’s $1.1 million and under Edge of Tomorrow’s $1.8 million.[24] For the weekend, the film opened to $23 million, finishing in second place, behind Boo! A Madea Halloween.[25][26] In its second weekend, the film dropped by 58.2%, grossing $9.6 million, and finishing third at the box office, behind A Madea Halloween ($16.7 million) and newcomer Inferno ($15 million).[27]
Outside North America, the film was released in 42 countries in conjunction with its United States and Canada debut, representing about 75% of the film’s total marketplace internationally.[28]
In 30 markets, the film posted the biggest opening in the series. Outside of the United States and China, the United Kingdom and Ireland ($3.3 million), France ($2.8 million), Australia ($2 million), Russia ($2 million), Indonesia ($1.9 million), Taiwan ($1.6 million) and the UAE ($1.3 million) posted the top openings.[28]
Critical response
On Rotten Tomatoes, the film has an approval rating of 37%, based on 219 reviews, with an average rating of 5.2/10. The website’s critical consensus reads, “Monotonously formulaic, Jack Reacher: Never Go Back is one action-thriller sequel whose title also serves as a warning.”[29] On Metacritic, the film has a weighted average score 47 out of 100, based on 43 critics, indicating “mixed or average reviews”.[30] Audiences polled by CinemaScore gave the film an average grade of “B+” on an A+ to F scale, while the first film received an “A−”.[31][24]
Home media
Jack Reacher: Never Go Back was released on Digital HD on January 17, 2017,[32] and on Blu-ray, Ultra HD Blu-ray and DVD on January 31, 2017.[33][34]
By May 2018, the film had made $14.5 million in domestic region video sales.[35
The A-Team (film)
From Wikipedia, the free encyclopedia
the A team
The A-Team is a 2010 American action comedy film based on the 1980s television series of the same name created by Frank Lupoand Stephen J. Cannell. Co-written (with Brian Bloom and Skip Woods) and directed by Joe Carnahan, the film stars Liam Neeson, Bradley Cooper, Quinton Jackson, Sharlto Copley, Jessica Biel, Patrick Wilson and Brian Bloom. The film tells the story of “The A-Team”, a Special Forces team imprisoned for a crime they did not commit, who escape and set out to clear their names. The film was produced by Stephen J. Cannell,[4] Ridley Scott and Tony Scott.[5][6] The film was theatrically released on June 11, 2010 by 20th Century Fox.
The film had been in development since the mid-1990s having gone through a number of writers and story ideas and being put on hold a number of times. Upon its release, the film received mixed reviews from critics and was an average performer at the box office making $177 million on a $110 million budget.[7]
Contents
1Plot
2Cast
3Production
3.1Locations and filming
3.2Development
3.3Casting
4Marketing
4.1Comics
4.2Video game
5Release
5.1Home media
6Reception
6.1Critical response
6.2Comments by original cast
6.3Box office
6.4Accolades
6.5Soundtrack
7Cancelled sequel
8References
9External links
Plot[edit]
John “Hannibal” Smith is held captive in Mexico by two Federal Police officers working for renegade General Javier Tuco. Hannibal escapes and sets out to rescue Templeton “Face” Peck, who is held captive at Tuco’s ranch. Hannibal saves Face after enlisting fellow Ranger, B.A. Baracus, driving to the rescue in BA’s modified GMC Vandura.[8] Pursued by Tuco, they stop at a nearby Army Hospitalto recruit the services of eccentric pilot Howling Mad Murdock. They flee in a medical helicopter, chased by Tuco, in a dogfight that leaves BA with a fear of flying. The battle ends when they lure Tuco’s helicopter into American airspace, where it is shot down by an F-22 Raptor for trespassing.
Eight years later in Iraq, Hannibal is contacted by CIA Special Activities Division operative Lynch, who assigns them a black operationto recover U.S. Treasury plates and over $1 billion in cash slated to move out of Baghdad in an armored convoy. Hannibal’s commanding officer, General Morrison, consents to the operation but Face’s former girlfriend, Defense Criminal Investigative ServiceCapt. Charissa Sosa, tries to discourage the team against getting the plates. The mission is successful and when the team returns to base, the money and Morrison’s vehicle are destroyed by Brock Pike and his men from the private security firm Black Forest. Without Morrison (the only proof that they were authorized to act), Hannibal, Face, Murdock, and BA are court-martialled, sentenced to ten years in separate prisons, and dishonorably discharged. Sosa also ended up court-martialled and is demoted to lieutenant.
Six months later, Lynch visits Hannibal in prison and tells him that Pike may be trying to sell the plates with the help of an Arab backer. Hannibal, who has been tracking Pike on his own, makes a deal with Lynch: full reinstatement and clean records for his team in return for the plates. Lynch agrees and Hannibal escapes, breaking out Face, BA, and Murdock in the process. The team hijacks a C-130, which is later shot down by Reaper UCAVs, but not before the team parachutes away in a tank stashed aboard and make it to the ground safely. The team moves to reclaim the plates and kidnap Pike’s backer. It is revealed that the backer is actually General Morrison, who plotted with Lynch and Pike to steal the plates but teamed up with Pike to double-cross Lynch and fake his death. Lynch orders an airstrike to kill the team and Morrison, but the team manages to escape whilst Morrison is killed.
Hannibal arranges to meet Sosa on board a container ship at the Los Angeles Port, saying he will hand over Morrison and the plates. Face then calls Sosa on a drop phone he planted on her at the train station, and conspires a different plan with her. It all unfolds according to plan until Pike, who is now working with Lynch, blows up the container ship and chases Face to near death. BA (having converted to Buddhism while in prison) finally gives up his pacifist ways and kills Pike, saving Face. Hannibal leads Lynch into a container with Murdock, who, wearing a covered bullet-proof helmet, is portraying Morrison. Lynch shoots at Murdock’s head, believing that he kills Morrison, and is later tricked into admitting that he stole the plates, and is subsequently arrested by Sosa.
The CIA agents led by a separate “Lynch” comes and claims custody of the original one. Despite their success and proving themselves innocent, the military still arrests the team for escaping from prison, also a crime; they and Sosa are angered by this, since it is only being done so Sosa’s boss does not have to fill out paperwork. Sosa is reinstated to captain, but she promises to do all she can to set the team free and kisses Face as everybody is led into a prison van. In the van, everyone starts saying that the system has burned them again, but Hannibal tells them that there is always a way out of any situation, and turns towards Face, who smiles and says “I don’t want to steal your line, boss, but… I love it when a plan comes together” and opens his mouth and reveals a handcuff key, given to him by Sosa through the kiss. The final scene includes a narration (spoken by Corey Burton) similar to the show’s opening narration.
In a post-credits scene, Murdock and Face of The A-Team’s original cast are seen.
Cast[edit]
Liam Neeson as John “Hannibal” Smith
Bradley Cooper as Templeton “Face” Peck
Quinton “Rampage” Jackson as B.A. Baracus
Sharlto Copley as Howling Mad Murdock
Jessica Biel as Charissa Sosa [9]
Patrick Wilson as Vance Burress/Agent Lynch[10]
Jon Hamm as Other Lynch (uncredited)
Brian Bloom as Brock Pike. Bloom was also a writer on the film.[11]
Gerald McRaney as General Morrison
Terry Chen as Ravech
C. Ernst Harth as Crematorium Attendant
Corey Burton as Narrator
In a post credits scene, original series actors Dirk Benedict (Face) and Dwight Schultz (Murdock) have cameos with their film equivalents Bradley Cooper and Sharlto Copley. Benedict plays Face’s fellow tanning bed client, credited as “Pensacola Prisoner Milt,” and Schultz plays the German neurologist who examines Murdock.
Production[edit]
Locations and filming[edit]
The entire film was shot at various locations in Canada including Kamloops, Vancouver, Cache Creek and Ashcroft,[12] British Columbia, with much of the studio works being done at Mammoth Studios.[10][13][14][15] Other footage was included as well, such as aerial shots of the Cologne train station (though erroneously referred to as Frankfurt Central Station in the movie) as well as an aerial shot of the Frankfurt skyline.[16] Canadian Forces Base Cold Lake is also featured in the German escape scene where a number of base buildings and landmarks are clearly visible, as is the false canopy painted under the CF-18s. The Royal Canadian Air Force along with some USMC squadrons are the only Hornet users to have the false canopy painted on the bottom. American markings were digitally added later. The Hawaii Mars Martin Mars water bomber, based at Sproat Lake, British Columbia, is also used in one scene of the movie to cross the Atlantic.
Development[edit]
Joe Carnahan at the film’s premiere.
The film had been in development since the mid-1990s, going through a number of writers and story ideas, and being put on hold a number of times. Producer Stephen J. Cannell hoped to update the setting, perhaps using the Gulf War as part of the backstory.[17][18] John Singleton was initially assigned to direct, but in October 2008 he pulled out of the project.[19] When Singleton was still attached to the project as director, Ice Cube was approached for the role of B.A. Baracus.[20]
The production budget for the film was $110 million,[3][21] but the cost came in at $100 million after tax credits.[2]
Casting[edit]
In June 2009, Variety revealed that Liam Neeson was in negotiations with 20th Century Fox to star as Hannibal Smith,[22] and Bradley Cooperannounced to MTV News[23] that he would be playing the role of Templeton Peck after he first denied the rumors saying that he was not involved and insisted that he had not seen any script.[24]
On August 26, 2009, MMAjunkie.com reported that mixed martial arts fighter Quinton Jackson would play the role of B.A. Baracus in the upcoming film,[25] but this was later denied by a representative for Jackson.[26] In September 2009, The Vancouver Sun suggested that Jackson has been attached to the role and was postponing his fight at UFC 107 with Rashad Evans due to filming for The A-Team. Filming started in Vancouver in late 2009, and Jackson’s involvement was then confirmed.[27][28]
On September 15, 2009, Variety confirmed the casting of Neeson, Cooper and Jackson. They additionally reported that Sharlto Copley and Jessica Biel were in final negotiations to join the cast. Copley would be playing the role of H.M. Murdock and Biel would be playing the ex-lover of Face who is a disillusioned and ruthless Army officer in charge of pursuing the team.[29] 20th Century Fox later confirmed that Copley and Biel were cast in the film.[10]
On September 30, 2009, Liam Neeson and the rest of the cast were seen filming scenes in Vancouver, British Columbia, Canada, as shooting got under way.[30] The first official pictures of Neeson, Cooper, Copley and Jackson in character were soon released, including one which features the iconic van in the background.[15]
On October 30, 2009, Dwight Schultz confirmed that he had filmed a cameo scene for the movie.[31] This news was followed on the November 23, 2009, that Dirk Benedict would also make a cameo.[32] Schultz and Benedict played Howling Mad Murdock and Templeton Peck respectively in the original series. Mr. T, the original BA Baracus, did not appear in the film. In an interview with Wendy Williams, he said he did not like doing a cameo appearance in a film based on the original series he once did.
Marketing[edit]
Comics[edit]
In February 2010, it was announced a series of comics for the movie would be released beginning in March. Written by Carnahan and Chuck Dixon, the series, The A-Team: War Stories is a prequel to the film, featuring one-shots focusing each on Hannibal, Face, BA, and Murdock.[33] A second series, The A-Team: Shotgun Wedding, is a tie-in to the film by showing an all-new adventure set after the quartet escaped. Film director Joe Carnahan and Tom Waltz collaborated to pen the series.
Jazwares released a line of action figures featuring the four main characters, plus the GMC Vandura.
Video game[edit]
An application for the iPhone was released as part of the marketing blitz for the film. The A-Team application is a side-scrolling, third person, action shooter game. Produced by RealNetworks the game includes voice-overs from B.A. Baracus.[34]
Release[edit]
The film’s first trailer was released January 8, 2010.[35] The film’s second trailer was released April 1, 2010.[36] The film premiered in Los Angeles on Thursday June 3, 2010, at Grauman’s Chinese Theatre on Hollywood Boulevard. Liam Neeson arrived in The A-Team custom Chevrolet G20 van; Bradley Cooper and Sharlto Copley rode in on a real U.S. Army tank.[37][38] The film opened nationwide on June 11, 2010.[39]
The film premiered in the United Kingdom on July 27, before going on general release the next day. The event was attended by the four team members along with Jessica Biel, and the A-Team van.[40]
Home media[edit]
The film was released on December 14, 2010 on DVD and Blu-ray.[41] It was released on DVD and Blu-ray on October 27 in Australia and on November 29, 2010 in the UK. An extended cut was also released, pushing the running time to 133 minutes.[42] Two of the most noteworthy additions in the extended cut were the two cameo scenes of the original Face and Murdock, which were pushed back after the end credits in the original cut due to pacing.[43]
Reception[edit]
Critical response[edit]
The A-Team received mixed reviews from critics. On Rotten Tomatoes, the film has an approval rating of 48% based on 208 reviews with an average rating of 5.4/10. The site’s critical consensus reads, “For better and for worse, Joe Carnahan’s big-screen version of The A-Team captures the superficial, noisy spirit of the TV series.”[44] On Metacritic, the film has a score of 47 out of 100 based on 37 critics, indicating “mixed or average reviews”.[45] Audiences polled by CinemaScore gave the film an average grade of “B+” on an A+ to F scale.[46]
Owen Gleiberman of Entertainment Weekly says of the film: “It’s trash so compacted it glows”.[47] Richard Corliss of Time magazine calls the film “the best in a mediocre line-up of summer-action flicks”. He goes on to say the film lacks “a coherent plot and complex characterization”, though he does note that these qualities “are irrelevant to the genre”.[48] Peter Travers of Rolling Stone magazine calls the film, “big, loud, ludicrous and edited into visual incomprehension”, but “pity the fool who lets that stand in the way of enjoying The A-Team”.[49] In contrast, Lou Lumenick of the New York Post, who titled his piece “Pity the fool who sees ‘The A-Team’”, is among the most critical, calling the film “overlong, overblown and utterly forgettable.”[50] The Hollywood Reporter criticizes the film’s story, character development and logic, calling it “nearly writer-free”,[51] while the St. Petersburg Times was far more positive, calling the film “literally a blast” from start to finish, and praises it for “containing more thrills than the average shoot-em-up”.[52]
Film critic Roger Ebert of the Chicago Sun-Times said The A-Team is an incomprehensible mess, criticizing the film for being as shallow as the television series, which he describes as “punishment” when drawn out to a two-hour-long film.[53] Stephen Whitty of The Star-Ledger complains the film makers remembered little more from the television series than a Dirty Dozen gimmick and compares the film to the “awful” Smokin’ Aces by the same director.[54]
Comments by original cast[edit]
Dirk Benedict, who played Templeton Peck in the TV series, spoke of regretting his cameo, stating “You’ll miss me if you blink. I kind of regret doing it because it’s a non-part. They wanted to be able to say, ‘Oh yeah, the original cast are in it,’ but we’re not. It is three seconds. It’s kind of insulting.”[55]
Mr. T, the original B. A. Baracus, was offered a cameo, but turned it down, feeling it would not be right for him to appear in the film if he did not play Barracus.[56] In a 2010 interview with Script magazine director Joe Carnahan claimed that Mr. T, after viewing scenes from the film, thought the final product was “the greatest thing in the world”.[57] After the premiere of the film Mr. T allegedly stated that he had become disillusioned and felt the story emphasized sex and violence, and that it was unfaithful to the original series.[58] An attorney for Mr. T later stated that the actor had not yet seen the film and could not comment on it.[59]
Dwight Schultz, who played the TV series’ “Howling Mad” Murdock, issued a statement to his official fansite that the film “pays homage to the series while it eschews its essential working premise: a band of capable military brothers for hire determined to save underdog and usually poor civilians from scum. … The team characters are sufficiently different and, with so many roles reversed from the original, one could say they are not really derivative, save for their names.” He also noted that Sharlto Copley’s Murdock “is faithful to the original, but at the same time is big screen twisted and right at home with the new team.”
In the psychiatric hospital scene, Reginald Barclay, Schultz’s character from Star Trek: The Next Generation, is credited during the opening title of a film, as is G.F. Starbuck, referencing Lieutenant Starbuck, Benedict’s character from the original Battlestar Galactica.[60]
Box office[edit]
The film fell slightly short of expectations for its opening weekend, earning $26 million, as opposed to the initially predicted $30–35 million.[2] The film opened behind The Karate Kid, which took in $56 million.[61][62] The film opened in the UK/Ireland on July 28, 2010, and came at No. 3 in at the box office with a first weekend haul of $5.6 million.[3] As of August 26, 2010, The A-Team had taken over $77.2 million at the U.S. box office, and $100 million internationally, for a worldwide total of over $177.2 million.[3]
Accolades[edit]
Soundtrack[edit]
The soundtrack album of The A-Team was released on June 21, 2010,[64] by Varèse Sarabande.[65] On December 1, 2009, it was announced that Alan Silvestri would compose the film score.[66] Silvestri recorded his score with a 90-piece ensemble of the Hollywood Studio Symphony at the Newman Scoring Stage at 20th Century Fox.[67]
Track listing
All music composed by Alan Silvestri unless stated otherwise.
Songs used in the film are:
“House of Pain” by The Game
“Shut Up” by Trick Daddy
“Trio Para Enamorados (Trio for Lovers)” by Jorge Calandrelli
“You Spin Me Round (Like a Record)” (Sung onscreen by Sharlto Copley)
“A-Team Blastoff Suite” by Tom Morello
“I Got Mine” by The Black Keys
“I’ve Been Lonely for So Long” by Frederick Knight
“The Washington Post” by John Phillip Sousa
“I Don’t Want to Change Your Mind” by Wildlife
“My Girl Has Rosenmand” written by Johannes Brahms and performed by Peter Schreier and Konrad Ragossnig
“The Little Drummer Boy” written by Harry Simeone, Katherine K. Davis and Henry Onorati
“Anarchy in the U.K.” by Sex Pistols
“I Ran 6 Miles” by Gary Sredzienski
“Reelin’ In the Years” written by Steely Dan
Cancelled sequel[edit]
Neeson, Cooper, Copley and Jackson originally expressed interest in doing a sequel.[68][69] Joe Carnahan has expressed interest in directing a sequel and said it will depend on DVD and Blu-ray sales and rentals.[70] On March 10, 2011, Cooper stated that the film had not generated enough revenue for there to be a sequel.[71] This was confirmed by Liam Neeson in a webchat.[72] Neeson later commented in early 2012 that he understood why the film was not successful: “I watched it about two months ago and I found it a little confusing and I was in the thing. I just couldn’t figure out who was who and what’s been done to him and why, a little bit.”[73] Later in 2013 Carnahan said on his Twitter account “For the record guys and as much as I appreciate all the A-TEAM love. There will NOT be a sequel. It didn’t make enough $$$ and that’s that
Snows of Kilimanjaro
The Snows of Kilimanjaro (1952 film)
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EH 7018P Ernest Hemingway on safari, Africa. January, 1934. Photograph in the Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum, Boston.
The Snows of Kilimanjaro is a 1952 American Technicolor film based on the short story of the same name by Ernest Hemingway. The film version of the short story was directed by Henry King, written by Casey Robinson, and starred Gregory Peck as Harry, Susan Hayward as Helen, and Ava Gardner as Cynthia Green (a character invented for the film). The film’s ending does not mirror the story’s ending.[4]
Considered by Hemingway to be one of his finest stories, “The Snows of Kilimanjaro” was first published in Esquire magazine in 1936 and then republished in The Fifth Column and the First Forty-Nine Stories (1938).
The film was nominated for two Oscars at the 25th Academy Awards, for Best Cinematography, Color and Best Art Direction, Color(Lyle R. Wheeler, John DeCuir, Thomas Little, Paul S. Fox).
The film has entered the public domain.[5]
Peck recalls his memories from what he thinks is his deathbed in Africa
The film begins with the opening words of Hemingway’s story: “Kilimanjaro is a snow-covered mountain 19,710 feet high, and is said to be the highest mountain in Africa. Its western summit is called the Masai ‘Ngje Ngi,’ the House of God. Close to the western summit there is the dried and frozen carcass of a leopard. No one has explained what the leopard was seeking at that altitude.”[4]
The story centers on the memories of disillusioned writer, Harry Street, who is on safari in Africa. He has a severely infected wound from a thorn prick, and lies outside his tent awaiting a slow death, though in the film it is pointed out he may have acquired the infection from leaping into a muddy river to rescue one of the safari’s porters from a hippo after he falls in the river. His female companion, Helen, nurses Harry and hunts game for the larder.
The loss of mobility brings self-reflection. In an often delirious state he remembers his past relationship with Cynthia Green, whom he met in Paris as members of the “Lost Generation.” Upon the sale of Harry’s first novel, rather than rent a nicer home, Harry wishes to go on safari to Africa. There he has his happiest moments, including bagging a rhino. Cynthia is pregnant, but worries about sharing this news with Harry, who is passionate about his travels and work as a journalist and author. Harry only learns about the pregnancy after her miscarriage. Suffering depression and sinking into alcoholism, she eventually leaves Harry for a flamenco dancerwhen she believes Harry is off for a job as a war correspondent.
Harry later becomes engaged to the wealthy and socially connected Countess Elizabeth, whom he meets on the Cote d’Azur; however, he still remains loyal to the memory of Cynthia. On the eve of their wedding, a drunken Elizabeth confronts Harry with a letter to Harry sent from Cynthia, who is now in Madrid. Elizabeth destroys the letter in front of Harry who stalks off to go to Spain. Unable to find Cynthia at the Madrid address on the envelope, he enlists to fight in the Spanish Civil War. During a battle he meets Cynthia, who is now an ambulance driver. Cynthia is mortally wounded, and Harry is shot and wounded when he deserts the battle to try to bring the dying Cynthia to a doctor.
Harry returns to Paris. While he is standing on the bridge watching the river, he meets Helen, who reminds him of Cynthia. After the death of his beloved mentor Uncle Bill, Harry receives as a bequest a letter from his uncle that gives him the riddle of the leopard. Harry’s bartender suggests that the leopard ended up there as he was on a false scent and became lost, but Harry takes Helen on a safari to Kenya to learn the answer of the riddle. He is injured and develops an infection. As Harry nears death, the protective Helen fights off a witch doctor. Following the directions in an emergency first aid manual, she opens Harry’s wound to release the infection. At the dawn a medical party arrives by airplane. The vultures and hyena who have been awaiting Harry’s death leave and never return. Harry realizes his love for Helen.
Cast[edit]
Gregory Peck and Ava Gardner meet
Gregory Peck as Harry Street
Susan Hayward as Helen
Ava Gardner as Cynthia Green
Hildegard Knef as Countess Elizabeth
Emmett Smith as Molo
Leo G. Carroll as Uncle Bill
Torin Thatcher as Mr. Johnson
Marcel Dalio as Emile
Leonard Carey as Dr. Simmons
Paul Thompson as Witch Doctor
Ava Norring as Beatrice
Helene Stanley as Connie
Vicente Gómez as Guitarist (as Vicente Gomez)
Richard Allan as Spanish Dancer
Charles Bates as Harry Street (17 years)
Lisa Ferraday as Vendeuse
Production[edit]
Peck and Susan Hayward
Twentieth Century-Fox bought the rights to the story in June 1948, paying $125,000.[4]
Casting[edit]
Humphrey Bogart, Richard Conte and Marlon Brando were all reported to be under consideration for the male lead, as was Dale Robertson.[4]
Filming[edit]
The film was shot on location in Nairobi, Kenya, Cairo, Egypt, and the French Riviera, and studio work was done at Stage 14 in 20th Century Fox Studios. During production, on April 8, 1952, when Peck was carrying Gardner for a scene in the film, Peck wrenched his knee and production had to be postponed for 10 days while he recovered in his Pacific Palisades home, and Hildegard Knef came down with influenza in the studios.[3][6] She was able though to sing two Cole Porter tunes in the film.[7] Jazz musician Benny Carter performs early on in the film.[8]
The bullfight sequences were archive footage, taken from Fox’s 1941 film Blood and Sand.[4]
Reception[edit]
On location in Kenya
Helped by a star-studded cast, the film was one of the most successful films of the early 1950s and earned $12.5 million at the box office, very high for that period.[3] The film was much acclaimed by critics, although some vary in their opinion of it, ranging from “simply plodding” to “much-maligned”.[9][10] The cinematography was highly acclaimed in particular, and even the sophisticated interiors were praised.[11][12]Bosley Crowther of The New York Times described the cinematography as “magnificent and exciting” and said that the “overall production in wonderful color is full of brilliant detail and surprise and the mood of nostalgia and wistful sadness that is built up in the story has its spell.”[11]He praised Peck’s character for his “burning temper and melancholy moods”, although he said that Ava Gardner was “pliant and impulsive” in a role “as soggy and ambiguous as any in the film”.[11] Variety praised the film as “an often engrossing dramatic mixture of high adventure, romance and symbolism,” adding that “the color coating used to display the story’s varied locales is beautiful,” and “Miss Gardner has never been better.”[13] Harrison’s Reports called it “at once absorbing, exciting, and fascinating.”[14] The Monthly Film Bulletin, however, wrote that Hemingway’s dialogue sounded “stilted and a little dated” on the screen, and that “any real seriousness that the film might have retained is nullified by the ending. Letting Harry survive makes of the film a naive kind of spiritual success story with a conventional boy-meets-lots-of-girls plot.”[15] A more recent appraisal in Bowker’s Directory described it as having “plenty of action & romance” and stated that it was “the popular ‘celebrity film’ of its time”.[16]Hemingway, who disliked the typical Hollywood happy ending, accepted the money for the film, but he could not bring himself to view it, according to one report.[11] However, in a 1954 article for Look magazine, Hemingway said a hyena was the best performer in the picture, which the writer called The Snows of Zanuck.[17]
The film was nominated for two Academy Awards; for Best Cinematography and Best Art Direction (Lyle R. Wheeler, John DeCuir, Thomas Little, Paul S. Fox).[18]
Home media
Justice League (film)
justrice league
Justice League is a 2017 American superhero film based on the DC Comics superhero team of the same name, distributed by Warner Bros. Pictures. It is the follow-up to 2016’s Batman v Superman: Dawn of Justice and the fifth installment in the DC Extended Universe (DCEU).[5][6][7] The film is directed by Zack Snyder, written by Chris Terrio and Joss Whedon, and features an ensemble castthat includes Ben Affleck, Henry Cavill, Gal Gadot, Ezra Miller, Jason Momoa, Ray Fisher, Amy Adams, Jeremy Irons, Diane Lane, Connie Nielsen, and J. K. Simmons. In the film, Batman and Wonder Woman recruit The Flash, Aquaman, and Cyborg after Superman’s death to save the world from the catastrophic threat of Steppenwolf and his army of Parademons.
The film was announced in October 2014, with Snyder on board to direct and Terrio attached to write the script. Initially titled Justice League Part One, with a second part to follow in 2019, the second film was indefinitely delayed to accommodate a standalone Batman film with Affleck. Principal photography commenced in April 2016 and ended in October 2016. After Snyder stepped down to deal with the death of his daughter, Joss Whedon was hired to oversee the remainder of post-production, including directing additional scenes written by himself; Snyder retained sole directorial credit, while Whedon received a screenwriting credit. Justice League premiered in Beijing on October 26, 2017, and was released in the United States in 2D, Real D 3D, and IMAX on November 17, 2017.
With an estimated production budget of $300 million, Justice League is one of the most expensive films ever made. The film grossed $657 million worldwide against a break-even point of $750 million, becoming a box office bomb and losing the studio around $60 million, while also making it the lowest overall gross of the DCEU. The film received mixed reviews from critics; although the action sequences and performances (particularly Gadot and Miller) were praised, the plot, writing, pacing, villain, and overuse of CGI were criticized. The film’s tone was met with a polarized reception, with some appreciating the lighter tone compared to the previous DCEU films, and others finding it inconsistent.
Contents
1Plot
2Cast
2.1Main cast
2.2Additional cast
3Production
3.1Background
3.2Filming
3.3Post-production
4Music
5Release
5.1Marketing
5.2Home media
6Reception
6.1Box office
6.2Critical response
6.3Accolades
6.4Community reaction
7Future
8Notes
9References
10External links
Plot
Thousands of years ago, Steppenwolf and his legions of Parademons attempted to take over Earth with the combined energies of three Mother Boxes. They were foiled by a unified army that includes the Olympian Gods, Amazons, Atlanteans, mankind, and a Green Lantern. After repelling Steppenwolf’s army, the Mother Boxes were separated and hidden in locations on the planet. In the present, mankind is in mourning over Superman for two years, whose death triggers the Mother Boxes to reactivate and Steppenwolf’s return to Earth. In an effort to regain favor with his master Darkseid, Steppenwolf aims to gather the boxes to form “The Unity”, which will destroy Earth’s ecology and terraform it in the image of Steppenwolf’s homeworld.
Steppenwolf retrieves the Mother Box from Themyscira, prompting Queen Hippolyta to warn her daughter Diana of Steppenwolf’s return. Diana joins Bruce Wayne in his attempt to unite other metahumans to their cause, with Wayne going after Arthur Curry and Barry Allen, while Diana tries to locate Victor Stone. Wayne fails to persuade Curry, but manages to recruit an enthusiastic Allen onto the team. Although Diana fails to convince Stone to join, he agrees to help them locate the threat if he discovers their location. Stone later joins the team after his father Silas and several other S.T.A.R. Labs employees are kidnapped by Steppenwolf seeking to acquire the Mother Box from mankind.
Steppenwolf attacks an Atlantean outpost to retrieve the next Mother Box, forcing Curry into action. The team receives intel from Commissioner James Gordon leading them to Steppenwolf’s army, based in an abandoned facility under Gotham Harbor. Although the group manages to rescue the kidnapped employees, the facility is flooded during combat, which traps the team until Curry helps delay the flood so they can escape. Stone retrieves the last Mother Box, which he had hidden, for the group to analyze. Stone reveals that his father used the Mother Box to rebuild Stone’s body after an accident almost cost him his life. Wayne decides to use the Mother Box to resurrect Superman, not only to help them fight off Steppenwolf’s invasion, but also to restore hope to mankind. Diana and Curry are hesitant about the idea, but Wayne forms a secret contingency plan in case Superman returns as hostile.
Clark Kent’s body is exhumed and placed in the amniotic fluid of the genesis chamber of the Kryptonian scout ship alongside the Mother Box, which in turn activates and successfully resurrects Superman. However, Superman’s memories have not returned, and he attacks the group after Stone accidentally launches a projectile at him. On the verge of being killed by Superman, Batman enacts his contingency plan: Lois Lane. Superman calms down and leaves with Lane to his family home in Smallville, where he reflects and his memories slowly come back. In the turmoil, the last Mother Box is left unguarded and Steppenwolf retrieves it with ease. Without Superman to aid them, the five heroes travel to a village in Russia where Steppenwolf aims to unite the Mother Boxes once again to remake Earth. The team fights their way through the Parademons to reach Steppenwolf, although they are unable to distract him enough for Stone to separate the Mother Boxes. Superman arrives and assists Allen in evacuating the city, as well as Stone in separating the Mother Boxes. The team defeats Steppenwolf, who, overcome with fear, is attacked by his own Parademons before they all teleport away.
After the battle, Bruce and Diana agree to set up a base of operations for the team, with room for more members. As the team is now established, Diana steps back into the public spotlight as a heroine; Barry acquires a job in Central City’s police department, impressing his father; Victor continues to explore and enhance his abilities with his father in S.T.A.R. Labs; Arthur embraces his Atlantean heritage and continues protecting people on the seas; and Superman resumes his life as reporter Clark Kent and as protector of Earth as well.
In a post-credits scene, Lex Luthor has escaped from Arkham Asylum and then recruits Slade Wilson to form their own league.
Cast
Ben Affleck, Ezra Miller, Gal Gadot, Ray Fisher and Jason Momoa at the 2017 San Diego Comic-Con.
Main cast
Ben Affleck as Bruce Wayne / Batman: A wealthy socialite, and the owner of Wayne Enterprises. He dedicates himself to protecting Gotham City from its criminal underworld as a highly trained, masked vigilante equipped with various tools and weapons. Affleck noted on how the film gave him an opportunity to reinvent Batman and portray a more classic take on the character. He described that in the film, audiences will see Batman as more heroic, and more of a leader. “Batman is by nature, [while] not necessarily anti-social, pretty private, pretty a loner,” Affleck says. “And then in this movie he’s thrust into the role of having to not only work with people, but bring them together and convince them to come in and try to … somehow with Wonder Woman hold all that community effort together. That was a really interesting thing to play for me, and it also does take us to a more traditional role for Batman in the Justice League comics, and his role with the Justice League versus the sort of less typical version we saw in Batman v Superman, where he was blinded by rage and wanted to take on Superman.”[8][9]
Henry Cavill as Kal-El / Clark Kent / Superman: A member of, and inspiration for, the Justice League. He is a Kryptonian survivor, and a journalist for the Daily Planet based in Metropolis. In Justice League, Superman was portrayed as more optimistic and hopeful. The character was intentionally excluded from all Justice League marketing materials to emphasize his death as depicted on Batman v Superman: Dawn of Justice.[10]
Gal Gadot as Diana Prince / Wonder Woman: An antiquities dealer, acquaintance of Wayne, and an immortal Amazonian warrior, who is the crown princess of Themyscira and daughter of Hippolyta and Zeus. She is endowed with metahuman attributes and abilities inherited from her parents.
Ezra Miller as Barry Allen / The Flash: A Central City University student, who can move at superhuman speeds with his ability to tap into the Speed Force.
Jason Momoa as Arthur Curry / Aquaman: The heir to the throne of the undersea nation of Atlantis.[11] His metahuman aquatic abilities and physical attributes originate from his Atlantean physiology. Momoa was cast as Aquaman in October 2014, and made a cameo role in Batman v. Superman: Dawn of Justice.[12][13] Momoa stated that the Justice League film would be released first, before the release of the solo Aquaman film, which may be about the hero’s origin story.[14]
Ray Fisher as Victor Stone / Cyborg: A former college athlete who, after being cybernetically reconstructed after a nearly fatal car accident, is turned into a techno-organic being enhanced by reactive, adaptive biomimetic alien technology. His enhancements include the abilities of flight, variable weaponry and technopathy. Fisher portrays the character through the use of motion capturefor the cybernetic portion of his body.[15] Fisher was cast as Cyborg in April 2014, and made a cameo in Batman v Superman: Dawn of Justice.[16][17]
Amy Adams as Lois Lane: An undaunted and compassionate award-winning journalist for the Daily Planet and the love interest for Kent.[18] Adams confirmed that she would reprise her role as Lois Lane in Justice League and its untitled sequel.[19][20]
Jeremy Irons as Alfred Pennyworth: Wayne’s butler, chief of security, and trusted confidant.[21]
Diane Lane as Martha Kent: Kent’s adoptive mother.[18][22][23]
Connie Nielsen as Hippolyta: Diana’s mother and Queen of the Amazons.[18]
J. K. Simmons as James Gordon: The Commissioner of the Gotham City Police Department, and close ally of Batman.[18]
Ciarán Hinds as Steppenwolf: An alien military officer from Apokolips who leads an army of Parademons and is searching for the three Mother Boxes held on Earth. The character is described as “old, tired” and trying to find a way to escape his role of servitude under Darkseid.[24] Hinds portrayed the villain through use of motion capture and received some advice in the process from Liam Neeson, who had recently done similar work in A Monster Calls.[25] After the release of the film, Hinds was reportedly unhappy with the final cut of the film, which trimmed down the backstory and characterization of Steppenwolf.[26]
Additional cast
The Olympian Old Gods Zeus, Ares and Artemis are portrayed by fitness model Sergi Constance, stuntman Nick McKinless, and MMA fighter Aurore Lauzeral, respectively.[27][28] All three were required to reach a specific degree of physicality, with Snyder instructing McKinless to sport “veins like worms and paper thin skin”. In the finished film, McKinless’ face was replaced with David Thewlis’ face, and Thewlis received the credit as Ares.[27] Robin Wright reprises her role as Antiope during a flashback sequence. Amber Heard portrays the Atlantean Mera.[29][30][18] Two ancient kings of Earth appear during a scene depicting Steppenwolf’s first invasion, including King Atlan of Atlantis and Arthur Pendragon of ancient England; portrayed by Julian Lewis Jones and Francis Magee, respectively.[31][32] Joe Morton reprises his role as Silas Stone, Victor Stone’s father and S.T.A.R. Labs’ head while Billy Crudup appears, uncredited, as Henry Allen, Barry Allen’s father. Joe Manganiello and Jesse Eisenberg appear uncredited in a post-credits scene as Slade Wilson / Deathstrokeand Lex Luthor, respectively.[33][34][35] Michael McElhatton appears as the leader of a group of terrorists who clash with Wonder Woman early in the film,[36] while Holt McCallanymakes an uncredited appearance as a burglar.[37] Marc McClure, who portrayed Jimmy Olsen in the Christopher Reeve Superman film series, has a cameo as a police officer.[38] An unidentified Green Lantern appears at the beginning of the film, created by use of CGI and embodied by an uncredited actor. Willem Dafoe and Kiersey Clemons filmed scenes as Nuidis Vulko and Iris West, although their roles were cut from the final film. Both actors are signed for multiple films and set to appear in the future installments of the franchise.[39][40]Dafoe appears in Aquaman and it was reported in November 2017 that the studio wanted to recast Clemons in a different role. Laurence Fishburne, who portrays Perry White in the DC Extended Universe (DCEU), said he declined to reprise his role in the film due to scheduling conflicts.[41]
Early in production, a scene depicting Green Lanterns Kilowog and Tomar-Re visiting Batman was filmed as another post-credits scene, further teasing the upcoming Green Lantern Corps, but the scene was later scrapped.[42] In March 2016, producer Charles Roven said that Green Lantern would not appear in any film before Justice League Part Two, and stated that they “could put Green Lantern in some introduction in Justice League 2, or barring that, a movie after.”[43] Later, Snyder revealed that Ryan Zheng was cast to portray Ryan Choi in the film, setting up the character’s future as The Atom. These scenes were cut from the theatrical film.[44]
Production
Background
We’re going to make a Justice League movie, whether it’s now or 10 years from now. But we’re not going to do it and Warners is not going to do it until we know it’s right.
—Producer Gregory Noveck, on whether Warner Bros. is going to do a Justice League film, 2008.[45]
In February 2007, it was announced that Warner Bros. had hired husband and wife duo Michele and Kieran Mulroney to write a script for a Justice League film.[46] The news came around the same time that Joss Whedon’s long-developed Wonder Woman film was cancelled,[47] as well as The Flash, written and directed by David S. Goyer.[48] Reportedly titled Justice League: Mortal,[49] the script by Michele and Kiernan Mulroney was submitted to Warner Bros. in June 2007, receiving positive feedback,[50] which prompted the studio to immediately fast track production in the hope of beginning filming before the 2007–08 Writers Guild of America strike.[51] Warner Bros. was less willing to proceed with development of a sequel to Superman Returns, having been disappointed with its box office. Brandon Routh was not approached to reprise the role of Superman in Justice League: Mortal,[52] nor was Christian Bale from Batman Begins.[53] Warner Bros. intended for Justice League: Mortal to be the start of a new film franchise, and to branch out into separate sequels and spin-offs.[54] Shortly after filming The Dark Knight,[55] Bale stated in an interview that “It’d be better if it doesn’t tread on the toes of what our Batman series is doing,” and felt it would make more sense for Warner Bros. to release the film after The Dark Knight Rises.[53] Jason Reitman was the original choice to direct Justice League, but he turned it down, as he considers himself an independent filmmaker and prefers to stay out of big budget superhero films.[56] George Millersigned to direct in September 2007,[51] with Barrie Osbourne producing[57] on a projected $220 million budget.[58]
The following month, roughly 40 actors and actresses auditioned for the ensemble superhero roles, among them Joseph Cross, Michael Angarano, Max Thieriot, Minka Kelly, Adrianne Palicki and Scott Porter. Miller had intended to cast younger actors, as he wanted them to “grow” into their roles over the course of several films.[55] D. J. Cotrona was cast as Superman,[54] along with Armie Hammer as Batman.[59] Jessica Biel reportedly declined to play Wonder Woman role after negotiations.[60] The character was also linked to actresses Teresa Palmer and Shannyn Sossamon, along with Mary Elizabeth Winstead, who confirmed that she had auditioned.[61] Ultimately, Megan Gale was cast as Wonder Woman,[62] while Palmer was cast as Talia al Ghul, whom Miller had in mind to act with a Russian accent.[63] The script for Justice League: Mortal would have featured John Stewartas Green Lantern, a role originally offered to Columbus Short.[64] Hip hop recording artist and rapper Common was cast,[65] with Adam Brody as Barry Allen / Flash,[66] and Jay Baruchel as the lead villain, Maxwell Lord.[67] Longtime Miller collaborator Hugh Keays-Byrne had been cast in an unnamed role, rumored to be Martian Manhunter. Santiago Cabrera was eventually revealed to be Aquaman after the film was cancelled.[68] Marit Allen was hired as the original costume designer before her untimely death in November 2007,[69] and the responsibilities were assumed by Weta Workshop.[70]
However, the writers strike began that same month and placed the film on hold. Warner Bros. had to let the options lapse for the cast,[71] but development was fast tracked once more in February 2008 when the strike ended. Warner Bros. and Miller wanted to start filming immediately,[72] but production was pushed back three months.[54] Originally, the majority of Justice League: Mortal was to be shot at Fox Studios Australia in Sydney,[58] with other locations scouted nearby at local colleges,[57] and Sydney Heads doubling for Happy Harbor.[49] The Australian Film Commission had a say with casting choices, giving way for George Miller to cast Gale, Palmer and Keays-Bryne, all Australian natives. The production crew was composed entirely of Australians, but the Australian government denied Warner Bros. a 40 percent tax rebate as they felt they had not hired enough Australian actors.[58][73] Miller was frustrated, stating that “A once-in-a-lifetime opportunity for the Australian film industry is being frittered away because of very lazy thinking. They’re throwing away hundreds of millions of dollars of investment that the rest of the world is competing for and, much more significantly, highly skilled creative jobs.”[74] Production offices were then moved to Vancouver Film Studios in Canada. Filming was pushed back to July 2008, while Warner Bros was still confident they could produce the film for a summer 2009 release.[75][76]
Zack Snyder, the director of Man of Steel, Batman v Superman: Dawn of Justiceand Justice League.
With production delays continuing, and the success of The Dark Knight in July 2008,[77] Warner Bros. decided to focus on the development of individual films featuring the main heroes, allowing director Christopher Nolan to separately complete his Batman trilogy with The Dark Knight Risesin 2012. Warner Bros. relaunched development for a solo Green Lantern film, released in 2011 as a critical and financial disappointment. Meanwhile, film adaptations for The Flash and Wonder Woman continued to languish in development, while filming for a Superman reboot commenced in 2011 with Man of Steel, produced by Nolan and written by Batman screenwriter David S. Goyer. In October 2012, following its legal victory over Joe Shuster’s estate for the rights to Superman, Warner Bros. announced that it planned to move ahead with the Justice League film.[78] Shortly after filming on Man of Steel was complete, Warner Bros hired Will Beall to write the script for a new Justice League film.[79] Warner Bros. president Jeff Robinov explained that Man of Steel would be “setting the tone for what the movies are going to be like going forward. In that, it’s definitely a first step.”[80] The film included references to the existence of other superheroes in the DC Universe,[81] and set the tone for a shared fictional universe of DC Comics characters on film.[82] Goyer stated that should Green Lantern appear in a future installment, it would be a rebooted version of the character, unconnected to the 2011 film.[83]
With the release of Man of Steel in June 2013, Goyer was hired to write a sequel, as well as a new Justice League, with the Beall draft being scrapped.[84] The sequel was later revealed to be Batman v Superman: Dawn of Justice, a team-up film featuring Henry Cavill as Superman, Ben Affleck as Batman, Gal Gadot as Wonder Woman, Ezra Miller as The Flash, Jason Momoa as Aquaman, and Ray Fisher as Victor Stone / Cyborg, the latter three in minor roles that became more significant in the Justice League film. The universe is separate from Nolan and Goyer’s work on The Dark Knight trilogy, although Nolan was still involved as an executive producer for Batman v Superman.[85] In April 2014, it was announced that Zack Snyder would also direct Goyer’s Justice League script.[86] Warner Bros. was reportedly courting Chris Terrio to rewrite Justice League the following July, after having been impressed with his rewrite of Batman v Superman: Dawn of Justice.[87] On October 15, 2014, Warner Bros. announced the film would be released in two parts, with Part One on November 17, 2017, and Part Two on June 14, 2019. Snyder was set to direct both films.[22] In early July 2015, EW revealed that the script for Justice League Part One had been completed by Terrio.[88] Zack Snyder stated that the film would be inspired by the New Gods comic series by Jack Kirby.[89] Although Justice League was initially announced as a two-part film, with the second part set for release two years after the first, Snyder stated in June 2016 that they would be two distinct, separate films and not one film split into two parts, both being stand-alone stories.[90][91]
Filming
Principal photography commenced on April 11, 2016, with shooting taking place at Warner Bros. Studios, Leavesden, as well as various locations around London and Scotland. Additional filming took place in Chicago, Illinois, Los Angeles, and Djúpavík, in the Westfjords[92] of Iceland.[93][94] Snyder’s longtime cinematographer Larry Fong was replaced by Fabian Wagner due to scheduling conflicts.[94] Ben Affleck served as executive producer.[95] In May 2016, it was revealed that Geoff Johns and Jon Berg would produce the Justice League films, and would also be in charge of the DC Extended Universe, after the largely negative critical reception of Batman v Superman: Dawn of Justice.[96] The same month, Irons stated that the Justice League storyline would be more linear and simple, compared to the theatrical version of Batman v Superman: Dawn of Justice.[97] Johns confirmed on June 3, 2016 that the title of the film is Justice League,[98] and later stated that the film would be “hopeful and optimistic” in comparison to previous DC Extended Universe (DCEU) films.[99]
Justice League had a troubled production. During filming, it was reported that the rewrites by Geoff Johns caused issues with Chris Terrio and Warner Bros. executives. Warner Bros. was unsatisfied with how the film was shaping up under Snyder, because of the negative feedback that Batman v Superman received. It was reported that Warner Bros. held a footage summit for writers that include Joss Whedon, Wonder Woman writer Allan Heinberg, Seth Grahame-Smith, and Andrea Berloff. This caused numerous rewrites as Justice League was filming.[100][101][102] Whedon was eventually hired by Warner Bros. after Snyder stepped down for directorial duties during the post-production. Filming wrapped in October 2016.[103][104][105]
Post-production
Joss Whedon took over the post-production of Justice League after Snyder stepped down.
In May 2017, Snyder stepped down from directorial duties during post-production of the film to properly deal with the death of his daughter, Autumn Snyder. Joss Whedon, whom Snyder had previously brought on to rewrite some additional scenes, took over to handle post-production duties in Snyder’s place.[106] In July 2017, it was announced the film was undergoing two months of reshoots in London and Los Angeles, with Warner Bros. putting about $25 million into them, more than the typical $6–10 million additional filming costs,[107] which brought the budget of the film up to $300 million.[108] The reshoots coincided with Cavill’s schedule for Mission: Impossible – Fallout, for which he had grown a mustache which he was contracted to keep while filming.[109] While Fallout director Christopher McQuarrie initially gave the producers of Justice League permission to have Cavill shave the mustache in exchange for the $3 million it would cost to shut down production on Fallout and then digitally fill the mustache in, executives from Paramount Pictures rejected the idea. Justice League’s VFX team was then forced to used special effects to digitally remove the mustache in post-production.[110]
In an interview, producer Charles Roven said: “Let’s just say 80, 85 percent of the movie is what was originally shot. There’s only so much you can do with other 15, 20 percent of the movie”.[111] Whedon received a screenwriting credit on the film alongside Chris Terrio,[112] while Snyder received sole director’s credit.[113]
Warner Bros. CEO Kevin Tsujihara mandated the film to be under two hours.[108][114][115] The company also did not opt to delay of the film’s release despite the fact that there had been numerous problems in post-production, so that the executives will receive their cash bonuses before the company’s merger with AT&T.[116][117] In February 2018, it was reported that Snyder was fired from directorial duties from Justice League, after his cut was deemed “unwatchable” according to Collider’s Matt Goldberg. “I’d heard similar things from separate sources over the last year as well, I also heard that Snyder’s rough-cut of the movie was ‘unwatchable’ (a word that jumped out at me because it’s rare you hear two separate sources use exactly the same adjective). Of course, even if that’s true, there’s obviously more to the story since rough cuts can be fixed up with reshoots, rewrites, etc.”, Goldberg wrote.[118][119] According to DC Comics publisher, comic book artist Jim Lee, Snyder was not fired. Speaking at the Calgary Comic and Entertainment Expo, Lee stated “that he (Snyder) was not fired at all and that he stepped down from the production due to a family matter”, as far as he knew.[120]
Music
Main article: Justice League (soundtrack)
In March 2016, Hans Zimmer, who co-composed the score for Man of Steel and Batman v Superman: Dawn of Justice, stated that he had officially retired from the “superhero business”.[121] Junkie XL, who wrote and composed the soundtrack of Batman v Superman: Dawn of Justice with Zimmer, was originally scoring the film.[122] In June 2017, Danny Elfman was announced to have controversially replaced Junkie XL.[123] Elfman had previously composed the films Batman and Batman Returns, and the theme music for Batman: The Animated Series. Elfman used the Batman theme music from the 1989 film Batman. The John Williams’ Superman theme was used during “a dark, twisted moment” in the film,[124][125] the time when a resurrected Superman fights the Justice League. The film features a cover of Leonard Cohen’s “Everybody Knows” performed by Sigrid, “Icky Thump” performed by the White Stripes, and a cover of the Beatles’ “Come Together” performed by Gary Clark Jr. and Junkie XL.[126] WaterTower Music released the soundtrack album digitally on November 10, 2017, with a release of the physical format on December 8.[127]
Release
The film held its world premiere in Beijing on October 26, 2017, and was theatrically released in North America and elsewhere around the world in standard, RealD 3D and IMAX on November 17, 2017.[128] Its Japan premiere took place on November 20, 2017 in Tokyo, with only Ezra Miller and Ray Fisher from the main cast attending. In the United States, the film opened to 4,051 theaters in its widest release. Justice League was shown in cinemas for 119 days (17 weeks).
Marketing
Superman was intentionally left out on all early Justice League marketing materials, including trailers, clips and posters, which actor Cavill commented as “ridiculous”. Despite his character being hidden from promotional materials, Cavill still joined the rest of the cast on the film’s press tour.[129][130] Clark Kent was revealed in a final trailer before the release of the film, but edited in a way that writers felt Lois Lane was dreaming about Clark.[131][132] Sponsorship and marketing partners of the film included AT&T,[133] Gillette,[134] Mercedes-Benz,[135] and TCL.[136]
Home media
Justice League was released on digital download on February 13, 2018, and was released on Blu-ray Disc, Blu-ray 3D, 4K Ultra-HD Blu-ray and DVD on March 13, 2018 in various international markets.[137] The Blu-ray features two deleted scenes titled Return of Superman.[138] As of January 18, 2019, it has made $15.2 million in DVD sales and $38.7 million in Blu-ray sales, totaling an estimated of $53.9 million.[139]
Reception
Box office
Justice League grossed $229 million in the United States and Canada, and $428.9 million in other territories, for a worldwide total of $657.9 million, against a production budget of $300 million.[4] It had a worldwide opening of $278.8 million, the 24th biggest of all-time.[140][141] Up against an estimated break-even point of as much as $750 million, Deadline Hollywood reported that the film lost the studio around $60 million.[142][143][144] Due to the film losing the studio money, the movie was deemed a “box office bomb” or “flop”.[145][146][147][148][149][150]
In the United States and Canada, industry tracking initially forecast the film debuting to $110–120 million from 4,051 theaters (including 400 IMAX screens).[151] It made $13 million from Thursday night previews, up from the $11 million made by Wonder Woman the previous June.[152] However, after making $38.8 million on its first day (including Thursday previews), weekend projections were lowered to $95 million. It ended up debuting to $93.8 million, down 45% from Batman v Superman’s opening of $166 million, and being the first film of the DCEU to open under $100 million. Deadline attributed the low figure to lukewarm audience reaction to the film and most of its predecessors, as well as poor critical reception, and film review aggregation website Rotten Tomatoes not posting their aggregated score until the day before release, causing speculation and doubt from filmgoers.[153] In its second weekend, the film dropped 56% to $41.1 million, finishing second at the box office, behind newcomer Coco.[154] It was the second-best second weekend hold of the DCEU, behind Wonder Woman’s 43%, but the lowest overall gross.[155] In its third week it again finished second behind Coco, grossing $16.7 million.[156] It made $9.7 million in its fourth week and $4.3 million in its fifth, finishing a respective second and fifth at the box office.[157][158] In 2018, Forbes compared the drastic uncohesive shift from Snyder’s darker films Man of Steel and Batman v Superman to the lighter Justice League (co-written by Whedon), to the similarly drastic and uncohesive change in tone experienced from the older 1989 and 1992 Tim Burton’s Batman films to the direct light-hearted sequels directed by Schumacher, although noting the former shift in tone was better received than the one in Justice League, affecting box office, due to going against the expectations of Snyder fans in its attempt to reach a higher demographic, while alienating its own established core audience.[159]
Internationally, the film was projected to debut to $215–235 million for a worldwide opening of $325–355 million.[160] It made $8.5 million on its first day from nine countries, including South Korea, France and Brazil.[152] It ended up having a $185 million international debut from 65 countries, including $57.1 million from China, $9.8 million from the United Kingdom, $9.6 million from Mexico and $8.8 million from South Korea. The film broke a record in the Philippines with a debut of $1.12M (PHP 57.3M), making it the biggest industry opening day for a film there in 2017.[161] In Brazil, the film opened to $14.2 million, the biggest opening in the country’s history.[140] Outside North America, the films largest markets were China ($106 million), Brazil ($41 million), Mexico ($24.8 million), and United Kingdom ($24 million).[162]
Critical response
The performances of Gal Gadot (left) and Ezra Miller were widely praised by critics.
Justice League received mixed reviews. It was praised for its action sequences and acting (primarily by Gadot and Miller) but criticized for the screenplay, pacing and CGI, as well as its thin plot, and the underdeveloped villain.[163] On review aggregatorwebsite Rotten Tomatoes, the film has an approval rating of 40%, based on 326 reviews, with an average rating of 5.3/10. The website’s critical consensus reads, “Justice League leaps over a number of DC movies, but its single bound isn’t enough to shed the murky aesthetic, thin characters, and chaotic action that continue to dog the franchise.”[164] Metacritic, which uses a weighted average, assigned the film a score of 45 out of 100, based on 52 critics, indicating “mixed or average reviews”.[165] Audiences polled by CinemaScore gave the film an average grade of “B+” on an A+ to F scale, while PostTrak reported filmgoers gave it an 85% overall positive score (average 4 out of 5 stars) and a 69% “definite recommend”.[153][166]
Richard Roeper of the Chicago Sun-Times gave the film 3.5 out of 4 stars, praising the cast, especially Gadot, and saying “It’s a putting-the-band-together origins movie, executed with great fun and energy.”[167] Owen Gleiberman of Variety gave the film a positive review and wrote, “Justice League … has been conceived, in each and every frame, to correct the sins of Batman v Superman. It’s not just a sequel—it’s an act of franchise penance. The movie … is never messy or bombastic. It’s light and clean and simple (at times almost too simple), with razory repartee and combat duels that make a point of not going on for too long.”[168]
Bilge Ebiri of the Village Voice similarly gave it a positive review: “… action scenes start and stop and then start again, then go in different directions, and it was a few moments into the Big Climactic Face-Off before I realized we’d arrived at the Big Climactic Face-Off. But these off-kilter rhythms actually lend the film a pleasant unpredictability. As does the humor, which often sits uneasily next to the moodiness, but is somehow fast and witty enough to work.” [169]
Writing for Rolling Stone, Peter Travers gave the film 2.5 out of 4 stars, praising the cast but criticizing the action sequences and writing, saying: “The scenes of the League members together, bickering and bonding, spike the film with humor and genuine feeling, creating a rooting interest in the audience. Without it, the film would crumble.”[170] Conversely, Todd McCarthy of The Hollywood Reporter, while praising Gadot and Miller, called the film visually ugly and boring, saying, “Fatigue, repetition and a laborious approach to exposition are the keynotes of this affair, which is also notable for how Ben Affleck, donning the bat suit for the second time, looks like he’d rather be almost anywhere else but here.”[171]
Sara Stewart of the New York Post gave the film 1.5 out of 4 stars: “Justice League is a pointless flail of expensive (yet somehow cheap-looking) CGI that no amount of tacked-on quips, or even Gadot’s luminescent star power, can rescue. Like Cyborg (Ray Fisher), one of its ostensible heroes, Justice League is patched together from disparate elements. Original director Zack Snyder left partway through due to a death in the family, leaving Joss Whedon to finish up. The result? All the plodding, gray, generic action of a Snyder film with stabs of Whedonian humor that almost never feel organic. There’s no sense of purpose here, not even a sense of place.”[172]
Writing for The Washington Post, Alyssa Rosenberg also returned with a negative review: “… if Justice League is a symbol of just how entrenched superhero movies have become in the Hollywood ecosystem, it’s also a potent illustration that success hasn’t necessarily artistically elevated the genre. It’s not just that, beat by beat, Justice League feels nearly identical to so many of the superhero movies that have come before, or that it features some of the ugliest, most pointless special effects I’ve seen at the movies in a long time. It’s that the darn thing feels depressingly haphazard and thoughtless, and that it’s guaranteed to make a ton of money anyway. Superhero fans are a ridiculously powerful market; they deserve better than this.”[173]
James Berardinelli gave it 2 out of 4 stars: “When Marvel mapped out the trajectory for their Cinematic Universe, they were sometimes criticized for overthinking and overplanning. Nearly every major hero – Iron Man, Hulk, Captain America, Thor – had his own movie. Many of the secondary characters (including the villain) boasted significant screen time in one or more of the first five films. Only once all these things had been accomplished were the characters brought together for The Avengers. The formula worked. The Avengers was popcorn bliss, a superhero nirvana. DC, however, came late to the party. Riding the critical and popular success of Christopher Nolan’s Batman trilogy and smarting from the disappointing performance of Bryan Singer’s Superman Returns, they dithered and dallied and didn’t begin planning out the post-Dark Knight campaign until the MCU movie count was past the half-dozen mark and rising. The late start resulted in a rushed and ununified approach. Justice League arrives with three major characters who haven’t previously been introduced. As a result, this film has a lot of heavy background lifting to do – too much, in fact, for it to be able to tell a worthwhile story. 70% of the movie is set-up for future tales. The rest is an overlong smack-down between our heroes and possibly the worst villain ever to appear in a comic book picture.”[174]
Writing for the Film Ireland Magazine, Ellen Murray found the characters interesting, but their setting unworthy: “… there is something undeniably thrilling in seeing these iconic characters work together on the big screen. It’s just a shame that their current incarnation, moulded in Zack Snyder’s vision, lacks a strong framework to allow them to better shine. The characters save the film from being a complete and utter disaster, but they alone can’t save it from being a mild disaster. While undoubtedly Snyder is genuinely passionate about these characters, he seems to suffer from a fundamental misunderstanding of what they represent and, most importantly, what cinema-goers expect from a story involving them. Justice League understands that a character like Superman means something to people; it just can’t show us convincingly why”.[175]
Accolades
Justice League was short-listed as a potential candidate for the 90th Academy Award for Best Visual Effects, along with another DC Extended Universe (DCEU) film, Wonder Woman.[176][177] However, neither film made it to the final list of nominations.
Community reaction
The divisive reaction towards the final highlighted cut of the film, with Zack Snyder leaving directorial duties and the final cut of the film in the hands of Joss Whedon, has led to an argument comparing the situation to the one experienced by the film Superman II. Both Justice League and Superman II feature a director that was replaced, for different reasons, before completion of a film, which lead to a second director coming in and making substantial changes to the tone of each film. Although the reasoning behind each director’s departure differs, Richard Donner was able to complete his Superman II cut in 2005. In the belief that Snyder had shot enough material for a finished film, a campaign for a “Snyder Cut” was started to allow Snyder to receive a similar treatment to Donner. Arguments are made that Snyder’s vision would be more cohesive to the previous films than the actual theatrical cut, which Snyder has refused to see. Ultimately, Warner Bros has denied any intention of making a “Snyder Cut”.[188]
Future
A sequel was scheduled to be released in June 2019[22] but has since been delayed to accommodate the release for a standalone Batman film.[189] By March 2017, producer Charles Roven announced that Zack Snyder would return as director.[190] In October 2017, J. K. Simmons stated that the studio is working on the script of the sequel, alongside The Batman.[191] Shortly after the release of Justice League, Henry Cavill stated that he is under contract with Warner Bros. to play Superman for one more film.[192] In December 2017, it was reported that there were “no immediate plans” for Zack Snyder to direct a Justice League sequel, or any other DC films, with Snyder instead being relegated to an executive producer position. This comes after a reshuffling of film production staff at Warner Bros. due to the film’s mixed critical reception and disappointing financial performance.[
The Ghost and the Darkness
ghost and darkness
The Ghost and the Darkness is a 1996 American historical adventure film directed by Stephen Hopkins and starring Val Kilmer and Michael Douglas. The screenplay was written by William Goldman. The story is a fictionalized account of the Tsavo Man-Eaters, two Tsavo lions that attacked and killed workers at Tsavo, Kenya, during the building of the Uganda-Mombasa Railway in East Africa in 1898.
The film received a mixed critical response upon release and later won the Academy Award for Best Sound Editing for supervising sound editor Bruce Stambler.[4]
Contents
1Plot
2Cast
3Production
3.1Screenplay
3.2Locations
3.3Filming
4Reception
5Home release
6Historical accuracy
7See also
8References
9External links
Plot[edit]
In 1898, Sir Robert Beaumont, the primary financier of a railroad project in Tsavo, Kenya, is furious because the project is running behind schedule. He seeks out the expertise of Lt. Colonel John Henry Patterson, a British military engineer, to get the project back on track. Patterson travels from England to Tsavo, telling his wife, Helena, he will complete the project and be back in London for the birth of their son. He meets British supervisor Angus Starling, Kenyan foreperson Samuel, and Doctor David Hawthorne. Hawthorne tells Patterson of a recent lion attack that has affected the project.
That night, Patterson kills an approaching lion with one shot, earning the respect of the workers and bringing the project back on schedule. However, not long afterwards, Mahina, the construction foreman, is dragged from his tent in the middle of the night. His half-eaten body is found the next morning. Patterson then attempts a second night-time lion hunt, but the following morning, another worker is found dead at the opposite end of the camp from Patterson’s position.
Patterson’s only comfort now is the letters he receives from his wife. Soon, while the workers are gathering wood and building fire pits around the tents, a lion attacks the camp in the middle of the day, killing another worker. While Patterson, Starling and Samuel are tracking it to one end of the camp, another lion leaps upon them from the roof of a building, killing Starling with a slash to the throat and slashes Patterson on the left arm. Despite the latter’s efforts to kill them, both lions escape. Samuel states that there has never been a pair of man-eaters; they have always been solitary hunters.
The workers, led by Abdullah, begin to turn on Patterson. Work on the bridge comes to a halt. Patterson requests soldiers from England to protect the workers, but is denied. During a visit to the camp, Beaumont tells Patterson that he will ruin his reputation if the bridge is not finished on time and that he will contact the famous hunter Charles Remington to help because Patterson has been unable to kill the animals.
Remington arrives with skilled Maasai warriors to help kill the lions. They dub the lions “the Ghost” and “the Darkness” because of their notorious methods of attack. The initial attempt fails when Patterson’s borrowed gun misfires. The warriors decide to leave, but Remington stays behind. He constructs a new hospital for sick and injured workers and tempts the lions to the abandoned building with animal parts and blood. When the lions fall for the trap, Remington and Patterson shoot at them; they flee and attack the new hospital, killing many patients and Hawthorne.
Abdullah and the construction men leave, and only Patterson, Remington, and Samuel remain behind. Patterson and Remington locate the animals’ lair, discovering the bones of dozens of the lions’ victims. That night, Remington kills one of the pair by using Patterson and a baboon as bait. Patterson discovers that the remaining lion has dragged Remington from his tent and killed him; Patterson and Samuel cremate Remington’s corpse on a pyre at the spot where he died. Grief-stricken and desperate to end the carnage, the two men burn the tall grass surrounding the camp, driving the surviving lion toward the camp (and the ambush that they set there). The lion attacks them on the partially constructed bridge and after a lengthy fight, Patterson finally kills it. Abdullah and the construction workers return, and the bridge is completed on time.
Cast[edit]
Val Kilmer as Col. John Henry Patterson
Michael Douglas as Charles Remington
John Kani as Samuel
Brian McCardie as Angus Starling
Bernard Hill as Doctor David Hawthorne
Tom Wilkinson as Sir Robert Beaumont
Emily Mortimer as Helena Patterson
Om Puri as Abdullah
Henry Cele as Mahina
Production[edit]
The film is based upon The Man-Eaters of Tsavo by Lieutenant Colonel John Henry Patterson, the man who actually killed both real lions.
Screenplay[edit]
William Goldman first heard about the story when travelling in Africa in 1984, and thought it would make a good script. In 1989 he pitched the story to Paramount as a cross between Lawrence of Arabia and Jaws, and they commissioned him to write a screenplay which he delivered in 1990.[5]
“My particular feeling is that they were evil,” said Goldman of the lions. “I believe that for nine months, evil popped out of the ground at Tsavo.”[6]
The script fictionalises Patterson’s account, introducing an American big game hunter called Charles Remington. The character was based on Anglo-Indian big game hunter Charles H. Ryall, superintendent of the Railway Police.[7] In original drafts the character was called Redbeard, and Goldman says his purpose in the story was to create an imposing character who could be killed by the lions and make Patterson seem more brave; Goldman says his ideal casting for the role would have been Burt Lancaster.[8]
According to Goldman, Kevin Costner expressed interest in playing Patterson, but Paramount wanted to use Tom Cruise who ultimately declined. Work on the film slowed until Michael Douglas moved his producing unit with partner Steven Reuther, Constellation Films, to Paramount. Douglas read the script and loved it, calling it “an incredible thriller about events that actually took place.”[6] Douglas decided to produce and Stephen Hopkins was hired to direct.
Val Kilmer, who had just made Batman Forever and was a frequent visitor to Africa then expressed enthusiasm for the script, which enabled the project to be financed.
The part of Remington was originally offered to Sean Connery and Anthony Hopkins but both declined; the producers were considering asking Gérard Depardieu when Douglas decided to play the role himself. Stephen Hopkins later said he was unhappy about this.[9]
In early drafts of the script, Remington was originally going to be an enigmatic figure but when Douglas chose to play him, the character’s role was expanded and was given a history. In Goldman’s book Which Lie Did I Tell?, the screenwriter argues that Douglas’ decision ruined the mystery of the character, making him a “wimp” and a “loser”.[10]
Locations[edit]
The film was shot mainly on location at Songimvelo Game Reserve in South Africa, rather than Kenya, due to tax laws. Many Maasai characters in the film were actually portrayed by South African actors, although the Maasai depicted during the hunt were portrayed by real Maasai warriors who were hired for the movie.
Filming[edit]
While the real man-eaters were, like all lions from the Tsavo region, a more aggressive, maneless variety, those used for filming were actually the least aggressive available, for both safety and aesthetic reasons. The film’s lions were two male lions with manes. They were brothers named Caesar and Bongo, who were residents of the Bowmanville Zoo in Bowmanville, Ontario, Canada, both of whom were also featured in George of the Jungle. The film also featured three other lions: two from France and one from the USA.
Director Stephen Hopkins later said of the shoot:
We had snake bites, scorpion bites, tick bite fever, people getting hit by lightning, floods, torrential rains and lightning storms, hippos chasing people through the water, cars getting swept into the water, and several deaths of crew members, including two drownings…. Val came to the set under the worst conditions imaginable. He was completely exhausted from doing The Island of Dr. Moreau; he was dealing with the unfavorable publicity from that set; he was going through a divorce; he barely had time to get his teeth into this role before we started; and he is in nearly every scene in this movie. But I worked him six or seven days a week for four months under really adverse conditions, and he really came through. He had a passion for this film.[6]
Reception[edit]
The film won the Academy Award for Best Sound Editing (Bruce Stambler) at the 69th Academy Awards. However, Val Kilmer was nominated for the Razzie Award for Worst Supporting Actor. Reviews were mixed, with Rotten Tomatoes giving it a 52% rating based on 46 reviews.[11] Roger Ebert said the film was so awful it “lacked the usual charm of being so bad it’s funny” adding it was “an African adventure that makes the Tarzan movies look subtle and realistic”.[12] Ebert would put the film on his list of the worst movies of 1997. Conversely, the late David R. Ellis listed this film at #8 on his “Top 10 Animal Horror Movies” countdown, a list he made to promote the release of Shark Night 3D.[13]
Hopkins said in a 1998 interview that the film “was a mess… I haven’t been able to watch it.”[9]
In India, the film was remade in Telugu as Mrugaraju and released in 2001.
Home release[edit]
The Ghost and the Darkness was released by Paramount Home Video on VHS on April 1, 1997. Later on, the film is available as a one-disc DVD. There are no special features besides a theatrical trailer for the film. The film was released on LaserDisc in 1997 as a one-disc, double-sided release featuring a Dolby Digital audio track.
Historical accuracy[edit]
The Tsavo Man-Eaters on display in the Field Museum of Natural History in Chicago
Although Patterson claimed the lions were responsible for up to 135 deaths, the definitive peer-reviewed paper on man-eating lions and the circumstances surrounding this notorious event states that only about 28–31 killings can be verified (Kerbis Peterhans & Gnoske, 2001). (This figure does not take into account any people who may have been killed but not eaten by the animals.)[14]
Patterson’s 1907 book itself states that “between them (the lions) no less than 28 Indian coolies, in addition to scores of unfortunate African natives of whom no official record was kept” were killed. This lesser number was confirmed in the definitive paper on man-eating behavior and the Tsavo lions by Kerbis Peterhans and Gnoske (2001)[15] and soon thereafter in Dr. Bruce Patterson’s definitive book The Lions of Tsavo: Exploring the Legacy of Africa’s Notorious Man-Eaters published by McGraw-Hill in 2004. Patterson wrote the book at the Field Museum in Chicago, where the lions are on display. Kerbis Peterhans & Gnoske showed that the greater toll attributed to the lions resulted from a pamphlet written by Col. Patterson in 1925, stating “these two ferocious brutes killed and devoured, under the most appalling circumstances, 135 Indian and African artisans and laborers employed in the construction of the Uganda Railway.”[16]
The location where the bridge was built is now called Man-Eater’s Camp. It is in Tsavo East National Park, Kenya, about 125 kilometres (78 mi) east of Mount Kilimanjaro and 260 kilometres (160 mi) southeast of Nairobi, at 2.993558°S 38.461458°E
Eraser
Eraser_(movie_poster)
Eraser is a 1996 American action thriller film directed by Chuck Russell and starring Arnold Schwarzenegger, James Caan, James Coburn, Robert Pastorelli and Vanessa L. Williams. The film follows a U.S Marshal of WITSEC who protects a senior operative testifying about an illegal arms deal and is forced to fight his former allies when one of the players is revealed to be a mole inside WITSEC.
The film was a commercial success, grossing over $242 million against a budget of $100 million. It received mixed reviews from critics, but they praised Schwarzenegger’s performance, the action sequences and the visual effects. It was released in the United States on June 21, 1996 and was nominated for an Academy Award for Best Sound Effects Editing in 1997.
Contents
1Plot
2Cast
3Production
3.1Development and casting
3.2Design
3.3Filming
3.4Post production
4Reception
4.1Box office
4.2Critical response
5See also
6References
7External links
Plot[edit]
John Kruger – a top U.S. Marshal for the Witness Security Protection Program (WITSEC) – specializes in “erasing” high-profile witnesses: faking their deaths to protect them from anyone that might silence them. After erasing mob witness Johnny Casteleone, Kruger is given a new assignment by his boss, Chief Arthur Beller, to protect Lee Cullen, a senior executive at Cyrez Corporation, a defense contractor. Lee warned the FBI that top-level Cyrez executives covered up the creation of a top secret electromagnetic pulse rifle and plan to sell the weapon on the black market.
In an FBI sting operation, Lee accesses the Cyrez mainframe and downloads data on the EM rifle onto two discs: one for the FBI and one for her own protection. Vice President William Donohue, her boss, detects Lee’s intrusion and orders her into his office. After finding Lee’s hidden camera and threatening her with a pistol, Donohue commits suicide in front of her. Lee delivers the disc to the FBI but, disillusioned by their broken promise to guarantee her safety, refuses Kruger’s protection offer. The FBI’s disc is replaced with a fake by a mole working for Undersecretary of Defense Daniel Harper, the conspiracy’s mastermind.
That night, Lee’s house is attacked by a mercenary team led by J. Scar sent by Cyrez’ corrupt CEO, Morehart. Kruger rescues Lee and hides her in New York City, keeping her location secret even from WITSEC. Kruger learns from his mentor, Marshal Robert DeGuerin, that several witnesses have been murdered because a mole in WITSEC is leaking information and they must relocate their witnesses. Along with Agents Calderon and Schiff and newcomer Deputy Monroe, they raid a remote cabin and kill mercenaries holding DeGuerin’s witness hostage, but DeGuerin discreetly kills her when the mercenary leader reveals DeGuerin as the mole. Flying back to DC, Kruger, now suspicious of DeGuerin, warns Lee to relocate. DeGuerin drugs Kruger long enough to trace the warning call to NYC and kill Monroe using Kruger’s gun, framing him as the mole. Revealing he, Calderon, and Schiff are corrupt, DeGuerin explains he is the go-between for the black market buyer, and Kruger escapes from the plane to rescue Lee from DeGuerin’s mercenaries. Kruger saves Cullen from Scar at Central Park Zoo, who pursues them; Kruger releases several alligators that devour Scar. DeGuerin has Kruger and Lee branded as fugitives.
Kruger and Lee enlist Casteleone’s help and penetrate the Cyrez building. Using a mainframe backdoor in Donohue’s terminal, they decrypt Lee’s second disc. It reveals that a huge shipment of EM rifles is at the Baltimore docks and will be delivered to Russian Mafia boss Sergei Ivanovich Petrofsky, who plans to sell the weapons overseas to terrorists. A Cyrez operative pinpoints their whereabouts and remotely destroys the disc; DeGuerin kidnaps Lee and takes her to the docks as the shipment is being loaded onto Petrofsky’s Russian freighter.
Casteleone contacts his mobster cousin Tony Two-Toes and his two associates to help Kruger raid the docks. They kill Petrovsky, his henchmen, and DeGuerin’s mercenaries. In a struggle atop a shipping container, DeGuerin holds Lee hostage, but Kruger frees her and destroys the lock on the container crane, dropping DeGuerin and the container to the ground and exposing the presence of the EM rifles. Kruger rescues the critically wounded DeGuerin, leaving him to be detained by Beller and the authorities and proving his and Lee’s innocence.
Weeks later, Kruger brings Lee to a hearing for DeGuerin, Harper, and Morehart, who are indicted for treason. With little confidence that her testimony could secure their convictions, Kruger and Lee publicly fake their deaths in a car explosion. In the back of a limo, DeGuerin congratulates Harper on their deaths and says that they should go back into black-market business as soon as possible, but looks astonished when Harper says that he assumed DeGuerin had killed them. The men are confused, then shocked as their limo stops on a train track and the driver – actually Casteleone – locks the doors and exits the vehicle. Kruger calls DeGuerin and tells him, “You’ve just been erased” as they see a train heading right for them. They can’t escape before the train slams into the limo, killing all three. Kruger waves goodbye to Casteleone and walks over to Lee in a waiting car, telling her “they caught a train.”
Cast[edit]
Arnold Schwarzenegger as US Marshal John Kruger
James Caan as US Marshal Robert DeGuerin
Vanessa L. Williams as Lee Cullen
James Coburn as WITSEC Chief Arthur Beller
Robert Pastorelli as Johnny Casteleone
James Cromwell as William Donohue, Vice President of International Division at Cyrez and Cullen’s supervisor
Danny Nucci as WITSEC Deputy Monroe
Andy Romano as Undersecretary of Defense Daniel Harper
Joe Viterelli as Tony Two-Toes
Olek Krupa as Sergei Ivanovich Petrovsky
Gerry Becker as Morehart
Nick Chinlund as Agent Calderon
Michael Papajohn as Agent Schiff
K. Todd Freeman as Agent Dutton
Mark Rolston as J. Scar
John Slattery as Agent Corman
Robert Miranda as Frediano
Roma Maffia as Claire Isaacs
Tony Longo as Little Mike
John Snyder as Sal
Rick Batalla as Kevin, the Bartender
Skipp Sudduth as Watch Commander
Sven-Ole Thorsen as one of Petrofsky’s guards
Denis Forest as Cyrez’s system administrator
Patrick Kilpatrick as James Haggerty, Head of Cyrez Security
Production[edit]
Development and casting[edit]
Director Chuck Russell and star Arnold Schwarzenegger were originally working on another project together when Eraser was brought to their attention.[6] Russell was excited about the possibilities the film could bring between actor and the character: “I see Arnold the way a lot of people do — as a mythic, bigger-than-life character — and that’s who Kruger is. The character and the scenario are based firmly in reality, but I liked the mythic proportions of this man with a strong sense of duty, a strong sense of honor, who will literally do anything to protect a noble witness. I was excited about doing a film that had heroic proportions.”[6] Producer Arnold Kopelson was also keen to cast Schwarzenegger in the role of “The Eraser”, having talked with the actor about working on projects before.[6] Vanessa Williams would be cast as the lead female character, Lee Cullen, the key witness Eraser must protect. Williams came to the attention of the Kopelsons when Maria Shriver, the wife of Arnold Schwarzenegger, suggested her for the role.[6] To play the character of DeGuerin (Kruger’s mentor and the main sociopathic antagonist), the filmmakers wanted an actor who could “convey intelligence, skill and magnetism – a more mature version of the Kruger character”, they would cast James Caan in this role.[6] Before Caan was officially cast, Jonathan Pryce was also considered for the role.[7] The screenplay was initially the work of Tony Puryear, who had a background in advertising and rap videos. Writers Walon Green and Michael S. Chernuchin had previously worked together on the television drama Law & Order.[8] Extensive, uncredit rewrites were made by Frank Darabont and William Wisher Jr. (Terminator 2: Judgment Day).[4] Additional rewrites were made by John Milius as a favor to Schwarzenegger.[1][2][3]
Design[edit]
The “rail-gun”[9] featured in the film as a key plot device, Schwarzenegger talks on the subject: “We paid a lot of attention to making the audience feel the danger of this weapon, that anyone can be outside of your house, looking right through the walls. It really leaves you nowhere to hide,” he explains. “But, on top of that, we show the sophistication of the weapon in a lot of fun ways: you not only see through a building, you see a person’s skeleton and even their heart beating inside. There are some great visual effects there.”[6]
Filming[edit]
Eraser began principal photography in New York City, locations would include The Harlem Rail Yard in the South Bronx, Central Park’s Sheep Meadow and Chinatown.[6] Following shooting in New York production moved to Washington D.C.[6] For the action sequence which takes place in the Reptile House of New York City Zoo, interiors were built on the soundstages of the Warner Bros. Studios in Burbank, California.[6] The screenplay went through numerous drafts with some of the most prominent screenwriters in the business, with a great deal of uncredited script-doctoring work being done by Graham Yost and William Wisher.
One of the most demanding action sequences in the film featured the character of Kruger forced to flee from a jet speeding through the skies at 250 miles per hour. Speaking about this scene, director Russell says: “These things are jigsaw puzzle pieces not only within shooting sequence but within each shot. You had elements that were live action, elements that were miniature, sometimes computer-generated, and they’re all married together in the final processing.”[6] Some of the physical stunts were performed by Schwarzenegger himself. For the “aerial” stunt Arnold was required to fall 65 feet in vertical descent and perform a back flip in mid-flight. The shot took seven takes to get right. In the final film, Kruger appears to drop along the length of the fuselage and past the flaming engine of the Jet thanks to inventive camera angles and special effects.
Post production[edit]
The original name of the Cyrez corporations was “Cyrex”. However, Cyrix, a microprocessor corporation and rival of Intel, protested. The name was then changed digitally in any scenes where the name appeared in a fairly costly process for the time, and dialogue redubbed.[10] Some instances of the “Cyrex” logo are still visible in the finished film.
Reception[edit]
Box office[edit]
Eraser had an opening weekend of $24.5 million in the US during the summer season of 1996. The final US gross was $101.2 million and final worldwide gross was $242.3 million.[5]
Critical response[edit]
Based on 48 reviews collected by Rotten Tomatoes, the film has an overall approval rating from critics of 35% and an average score of 5/10.[11]
Audiences polled by CinemaScore gave the film an average grade of “A-” on an A+ to F scale.[12]
A more positive review came from Roger Ebert, who gave the film 3 stars out of a possible 4. He wrote that there were so many plot holes that “it helps to have a short attention span”, but that Eraser is nonetheless “actually good action fun, with spectacular stunts and special effects” and a spirited performance from Williams “running and jumping and fighting and shooting and kicking and screaming and being tied to chairs and smuggling computer discs and looking great.”[13]
From Wikipedia, the free encyclopedia
This article is about the English-language film. For the Swedish-language film based on the same novel, see The Girl with the Dragon Tattoo (2009 film).
The Girl with the Dragon Tattoo is a 2011 psychological crime thriller film based on the 2005 novel of the same name by Stieg Larsson. This film adaptation was directed by David Fincher and written by Steven Zaillian. Starring Daniel Craig as journalist Mikael Blomkvist and Rooney Mara as Lisbeth Salander, it tells the story of Blomkvist’s investigation to find out what happened to a woman from a wealthy family who disappeared 40 years prior. He recruits the help of Salander, a computer hacker.
Sony Pictures Entertainment began development on the film in 2009. It took the company a few months to obtain the rights to the novel, while recruiting Zaillian and David Fincher. The casting process for the lead roles was exhaustive and intense; Craig faced scheduling conflicts, and a number of actresses were sought for the role of Lisbeth Salander. The script took over six months to write, which included three months of analyzing the novel.
Critics gave the film favorable reviews, praising its bleak tone and lauding Craig and Mara’s performances. With a production budget of $90 million the film grossed $232.6 million worldwide. The film was chosen by National Board of Review as one of the top ten films of 2011 and was a candidate for numerous awards, winning, among others, the Academy Award for Best Film Editing,[3] while Mara’s performance earned her an Academy Award nomination for Best Actress.[4][5][6]
Contents
1Plot
2Cast
3Production
3.1Conception and writing
3.2Filming
3.2.1Title sequence
3.3Soundtrack
4Release
4.1Pre-release
4.2Home media
5Reception
5.1Box office
5.2Critical response
5.3Accolades
6Sequel
7References
8External links
Plot[edit]
In Stockholm, disgraced journalist Mikael Blomkvist is recovering from the legal and professional fallout of a libel suit brought by the businessman Hans-Erik Wennerström, straining Blomkvist’s relationship with his business partner and lover, Erika Berger. Lisbeth Salander, a brilliant but antisocial investigator and hacker, compiles an extensive background check on Blomkvist for the wealthy Henrik Vanger, who offers Blomkvist evidence against Wennerström in exchange for an unusual task: to investigate the 40-year-old disappearance and presumed murder of Henrik’s grandniece, Harriet. Blomkvist agrees, and moves onto the Vanger family estate on the island of Hedestad.
Salander’s legal guardian, Holger Palmgren, suffers a stroke, and is replaced by Nils Bjurman, a sadist who controls Salander’s finances and extorts sexual favors from her. Unaware she is secretly recording their meeting, Bjurman brutally rapes her. At their next meeting, Salander incapacitates Bjurman with a stun gun, binds him to his bed, rapes him with a metallic dildo, brands him a “rapist pig” with a tattoo across his stomach, and blackmails him into securing her independence.
Blomkvist explores the island and interviews members of the Vanger family, and uncovers a notebook containing a list of names and numbers. His daughter Pernilla visits and explains the list of Bible references. In need of a skilled researcher, Blomkvist hires Salander. She uncovers a connection between the list and a series of murders of young women from 1947 to 1967, indicating a serial killer still at large. One morning, Blomkvist finds the mutilated corpse of a cat at his doorstep. Another night he is shot at and narrowly escapes; Salander tends to his wounds, and they have sex. Blomkvist begins to suspect Martin, Harriet’s brother and operational head of the Vanger empire. Salander’s research uncovers evidence that Martin and his late father, Gottfried, committed the murders.
Blomkvist breaks into Martin’s house to find more proof, but is caught by Martin and brought to his specially prepared basement. While torturing Blomkvist, Martin reveals his abusive indoctrination by his father, and brags of having killed women for decades but denies killing Harriet. As Martin prepares to kill Blomkvist, Salander arrives, forcing Martin to flee. Salander, on her motorcycle, pursues Martin in his SUV, who runs off the road and is killed when the car explodes. Salander nurses Blomkvist back to health and begins to open up to him. They deduce that Harriet is still alive; they travel to London and confront Harriet’s cousin, Anita, and realize she is Harriet herself. Harriet explains that her father and brother sexually abused her for years, and that Martin saw her kill their father in self-defense. Her cousin, Anita, smuggled her off the island and let her live under her identity in London. Finally free of her brother, she returns to Sweden and tearfully reunites with Henrik.
As promised, Henrik gives Blomkvist information against Wennerström, but it proves worthless; Salander then hacks Wennerström’s accounts, finds Blomkvist the evidence he needs and, traveling to Switzerland in disguise, steals two billion euros of secret funds. She reveals to Palmgren that she has made a friend and is happy. On her way to give Blomkvist a Christmas present, Salander sees him together with Erika. Heartbroken, Salander discards the gift and rides away.
Cast[edit]
Daniel Craig as Mikael Blomkvist:
A co-owner for Swedish lifestyle magazine Millennium, Blomkvist is devoted to exposing the corruptions and malfeasance of government, attracting infamy for his tendency to “go too far”.[7] Craig competed with Brad Pitt, George Clooney, Viggo Mortensen, and Johnny Depp as candidates for the role.[8][9] Initial concerns over schedule conflicts with the production of Cowboys & Aliens (2011) and Skyfall (2012) prompted Craig to postpone the casting process.[9][10] Given the uncertainty surrounding Skyfall following Metro-Goldwyn-Mayer’s bankruptcy, Sony Pictures Entertainment and DreamWorks worked out a schedule and Craig agreed to take the part.[10] The British actor was required to gain weight and adopted a neutral accent to befit Stockholm’s worldly cultural fabric. Having read the book amid its “initial craze”, Craig commented, “It’s one of those books you just don’t put down” […] There’s just this immediate feeling that bad things are going to happen and I think that’s part of why they’ve been so readable for people.”[7]
Rooney Mara as Lisbeth Salander:
Salander is a computer hacker who has survived severe emotional and sexual abuse. The character was a “vulnerable victim-turned-vigilante with the “take-no-prisoners” attitude of Lara Croft and the “cool, unsentimental intellect” of Spock. Fincher felt that Salander’s eccentric persona was enthralling, and stated, “there’s a kind of wish fulfillment to her in the way that she takes care of things, the way she will only put up with so much, but there are other sides to her as well.”[7] Casting was complicated by the raft of prominent candidates such as Natalie Portman, Ellen Page, Kristen Stewart, Emily Browning, Jennifer Lawrence, Keira Knightley, Anne Hathaway, Olivia Thirlby, Scarlett Johansson, Yolandi Visser, and Emma Watson.[11][12] Despite the hype, some eventually withdrew from consideration due to the time commitment and low pay.[13] Mara had worked with Fincher in his 2010 film The Social Network.[7][9] Fincher, while fond of the actress’ youthful appearance,[14] found it difficult at first to mold her to match Salander’s antisocial demeanor, which was a vast contrast from her earlier role as the submissive Erica.[9] Mara went through multiple changes in her appearance to become Salander. Her hair was dyed black and cut into various jagged points, giving the appearance that she cut it herself.[15][16] In addition to her transgressive appearance, which was described as a “mash-up of brazen Seventies punk and spooky Eighties goth with a dash of S&M temptress” by Lynn Hirschberg of W,[15] Mara participated in a formal screening and was filmed by Fincher on a subway in Los Angeles in an effort to persuade the executives of Sony Pictures that she was a credible choice.[9]
Christopher Plummer as Henrik Vanger:
Vanger is a wealthy businessman who launches an extensive investigation into his family’s affairs. Despite calling the Vanger family “dysfunctional”, Plummer said of the character: “I love the character of the old man, and I sympathize with him. He’s really the nicest old guy in the whole book. Everybody is a bit suspect, and still are at the end. Old Vanger has a nice straight line, and he gets his wish.”[17] Plummer wanted to imbue the character with irony, an element he found to be absent from the novel’s Henrik.[18] “I think that the old man would have it,” he opined, “because he’s a very sophisticated old guy […] used to a great deal of power. So in dealing with people, he would be very good […] he would be quite jokey, and know how to seduce them.”[18]
Stellan Skarsgård as Martin Vanger:
Martin is the current CEO of Vanger Industries. Skarsgård was allured by the character’s dual nature, and was fascinated that he got to portray him in “two totally different ways”.[19] In regards to Martin’s “very complex” and “complicated” personality, the Swedish actor said, “He can be extremely charming, but he also can seem to be a completely different person at different points in the film.”[7] While consulting with Fincher, the director wanted Skarsgård to play Martin without reference to the book.[19]
Steven Berkoff as Dirch Frode, Head Legal Counsel for Vanger Industries
Robin Wright as Erika Berger: Blomkvist’s business partner and editor-in-chief of Millennium magazine. She’s also Blomkvist’s occasional lover.
Yorick van Wageningen as Nils Bjurman:
As Salander’s legal guardian, he uses his position to sexually abuse and eventually rape her. Salander turns the tables on him, torturing him and branding him across the torso with the words I AM A RAPIST. Fincher wanted the character to be worse than a typical antagonist, although he did not want to emulate the stereotypical “mustache-twirling pervert”. The director considered Van Wageningen to be the embodiment of a versatile actor—one who was a “full-fledged human being” and a “brilliant” actor. “He was able to bring his performance from a logical place in Bjurman’s mind and find the seething morass of darkness inside,” Fincher stated. Bjurman’s multifaceted psyche was the main reason Van Wageningen wanted to play the role. The Dutch actor said, “This character goes through a lot and I wasn’t quite sure I wanted to go through all that. I started out half way between the elation of getting to work with David Fincher and the dread of this character, but I was able to use both of those things. We both thought the most interesting route would be for Bjurman to seem half affable. The challenge was not in finding the freak violence in the guy but finding the humanity of him.”[7]
Joely Richardson as Harriet Vanger:
Henrik’s long-lost grandniece who went into hiding posing as her cousin Anita. In performing her “tricky” character, Richardson recalled that Fincher wanted her to embrace a “darker, edgier” persona, without sugarcoating, and not “resolved or healed”. “Even if you were starting to move towards the direction of resolved or healed, he still wanted it edgy and dark. There are no straightforward emotions in the world of this film.”[7]
Goran Višnjić as Dragan Armansky, head of Milton Security, Salander’s employer
Donald Sumpter as Detective Morell
Ulf Friberg as Hans-Erik Wennerström, CEO of the Wennerström Group
Geraldine James as Cecilia Vanger
Embeth Davidtz as Annika Giannini, Mikael’s sister and a lawyer
Josefin Asplund as Pernilla Blomkvist, Mikael’s daughter
Per Myrberg as Harald Vanger
Tony Way as Plague, Salander’s hacker friend
Fredrik Dolk as Bertil Camnermarker, Counsel for the Wennerström Group
Alan Dale as Detective Isaksson
Julian Sands as Young Henrik Vanger
David Dencik as Young Morell
Gustaf Hammarsten as Young Harald
Leo Bill as Trinity, another of Salander’s hacker friends
Élodie Yung as Miriam Wu, Salander’s occasional lover
Joel Kinnaman as Christer Malm
Production[edit]
Conception and writing[edit]
The success of Stieg Larsson’s novel created Hollywood interest in adapting the book, as became apparent in 2009, when Lynton and Pascal pursued the idea of developing an “American” version unrelated to the Swedish film adaptation released that year. By December, two major developments occurred for the project: Steven Zaillian, who had recently completed the script for Moneyball (2011), became the screenwriter, while producer Scott Rudin finalized a partnership allocating full copyrights to Sony.[9] Zaillian, who was unfamiliar with the novel, got a copy from Rudin. The screenwriter recalled, “They sent it to me and said, ‘We want to do this. We will think of it as one thing for now. It’s possible that it can be two and three, but let’s concentrate on this one.’”[20] After reading the book, the screenwriter did no research on the subject.[21] Fincher, who was requested with partner Cean Chaffin by Sony executives to read the novel,[9][22] was astounded by the series’ size and success. As they began to read, the duo noticed that it had a tendency to take “readers on a lot of side trips”—”from detailed explanations of surveillance techniques to angry attacks on corrupt Swedish industrialists,” professed The Hollywood Reporter’s Gregg Kilday. Fincher recalled of the encounter: “The ballistic, ripping-yarn thriller aspect of it is kind of a red herring in a weird way. It is the thing that throws Salander and Blomkvist together, but it is their relationship you keep coming back to. I was just wondering what 350 pages Zaillian would get rid of.” Because Zaillian was already cultivating the screenplay, the director avoided interfering. After a conversation, Fincher was comfortable “they were headed in the same direction”.[9]
“I imagined someone who could move through the streets of Stockholm almost invisibly even though she looks the way she looks … it’s almost like a forcefield”
—Steven Zaillian[23]
The writing process consumed approximately six months, including three months creating notes and analyzing the novel.[20] Zaillian noted that as time progressed, the writing accelerated. “As soon as you start making decisions,” he explained, “you start cutting off all of the other possibilities of things that could happen. So with every decision that you make you are removing a whole bunch of other possibilities of where that story can go or what that character can do.”[20] Given the book’s sizable length, Zaillian deleted elements to match Fincher’s desired running time.[20] Even so, Zaillan took significant departures from the book.[23] To Zaillian, there was always a “low-grade” anxiety, “but I was never doing anything specifically to please or displease,” he continued. “I was simply trying to tell the story the best way I could, and push that out of my mind. I didn’t change anything just for the sake of changing it. There’s a lot right about the book, but that part, I thought we could do it a different way, and it could be a nice surprise for the people that have read it.”[23]
Zaillian discussed many of the themes in Larsson’s Millennium series with Fincher, taking the pair deeper into the novel’s darker subjects, such as the psychological dissimilarities between rapists and murderers.[23] Fincher was familiar with the concept, from projects such as Seven (1995) and Zodiac (2007). Zaillian commented, “A rapist, or at least our rapist, is about exercising his power over somebody. A serial killer is about destruction; they get off on destroying something. It’s not about having power over something, it’s about eliminating it. What thrills them is slightly different.”[23] The duo wanted to expose the novels’ pivotal themes, particularly misogyny. “We were committed to the tack that this is a movie about violence against women about specific kinds of degradation, and you can’t shy away from that. But at the same time you have to walk a razor thin line so that the audience can viscerally feel the need for revenge but also see the power of the ideas being expressed.”[7] Instead of the typical three-act structure, they reluctantly chose a five-act structure, which Fincher pointed out is “very similar to a lot of TV cop dramas.”[24]
Filming[edit]
Stockholm, Sweden provided for much of the setting of The Girl with the Dragon Tattoo.
Fincher and Zaillian’s central objective was to maintain the novel’s setting. To portray Larsson’s vision of Sweden, and the interaction of light on its landscape, Fincher cooperated with an artistic team that included cinematographer Jeff Cronenweth and production designer Donald Graham Burt. The film was wholly shot using Red Digital Cinema Camera Company’s RED MX digital camera, chosen to help evoke Larsson’s tone. The idea, according to Cronenweth, was to employ unorthodox light sources and maintain a realistic perspective. “So there may be shadows, there may be flaws, but it’s reality. You allow silhouettes and darkness, but at the same time we also wanted shots to counter that, so it would not all be one continuous dramatic image.”[7] Sweden’s climate was a crucial element in enhancing the mood. Cronenweth commented, “It’s always an element in the background and it was very important that you feel it as an audience member. The winter becomes like a silent character in the film giving everything a low, cool-colored light that is super soft and non-direct.”[7] To get acquainted with Swedish culture, Burt set out on a month-long expedition across the country. He said of the process, “It takes time to start really taking in the nuances of a culture, to start seeing the themes that recur in the architecture, the landscape, the layouts of the cities and the habits of the people. I felt I had to really integrate myself into this world to develop a true sense of place for the film. It was not just about understanding the physicality of the locations, but the metaphysics of them, and how the way people live comes out through design.”[7]
Principal photography began in Stockholm, Sweden in September 2010.[25] Production mostly took place at multiple locations in the city’s central business district, including at the Stockholm Court House.[26] One challenge was realizing the Vanger estate. They picked an eighteenth-century French architecture mansion Hofsta located approximately 60 miles (97 km) southwest of Stockholm. Filmmakers wanted to use a typical “manor from Småland” that was solemn, formal, and “very Old Money”. “The Swedish are very good at the modern and the minimal but they also have these wonderful country homes that can be juxtaposed against the modern city—yet both speak to money.”[7] Principal photography relocated in October to Uppsala. On Queen Street, the facade of the area was renovated to mimic the Hotel Alder, after an old photograph of a building obtained by Fincher.[27] From December onward, production moved to Zurich, Switzerland, where locations were established at Dolder Grand Hotel and the Zurich Airport.[28] Because of the “beautiful” environment of the city, Fincher found it difficult to film in the area.[29] Principal photography concluded in Oslo, Norway, where production took place at Oslo Airport, Gardermoen. Recorded for over fifteen hours, twelve extras were sought for background roles.[30] Filming also took place in the United Kingdom and the United States.[citation needed]
In one sequence the character Martin Vanger plays the song “Orinoco Flow” by Enya before beginning his torture of Mikael Blomkvist. David Fincher, the director, said that he believed that Martin “doesn’t like to kill, he doesn’t like to hear the screams, without hearing his favorite music” so therefore the character should play a song during the scene.[31]Daniel Craig, the actor who played Blomkvist, selected “Orinoco Flow” on his iPod as a candidate song. Fincher said “And we all almost pissed ourselves, we were laughing so hard. No, actually, it’s worse than that. He said, ‘Orinoco Flow!’ Everybody looked at each other, like, what is he talking about? And he said, ‘You know, “Sail away, sail away…”’ And I thought, this guy is going to make Blomkvist as metro as we need.”[31]
Title sequence[edit]
In the “Hot Hands” vignette, the rough, gnarled hands caressing Salander’s face represents all that is bad in men.
Tim Miller, creative director for the title sequence, wanted to develop an abstract narrative that reflected the pivotal moments in the novel, as well as the character development of Lisbeth Salander. It was arduous for Miller to conceptualize the sequence abstractly, given that Salander’s occupation was a distinctive part of her personality. His initial ideas were modeled after a keyboard. “We were going to treat the keyboard like this giant city with massive fingers pressing down on the keys,” Miller explained, “Then we transitioned to the liquid going through the giant obelisks of the keys.”[32] Among Miller’s many vignettes was “The Hacker Inside”, which revealed the character’s inner disposition and melted them away. The futuristic qualities in the original designs provided for a much more cyberpunk appearance than the final product. In creating the “cyber” look for Salander, Miller said, “Every time I would show David a design he would say, ‘More Tandy!’ It’s the shitty little computers from Radio Shack, the Tandy computers. They probably had vacuum tubes in them, really old technology. And David would go ‘More Tandy’, until we ended up with something that looked like we glued a bunch of computer parts found at a junkyard together.”[32]
Fincher wanted the vignette to be a “personal nightmare” for Salander, replaying her darkest moments. “Early on, we knew it was supposed to feel like a nightmare,” Miller professed, who commented that early on in the process, Fincher wanted to use an artwork as a template for the sequence. After browsing through various paintings to no avail, Fincher chose a painting that depicted the artist, covered in black paint, standing in the middle of a gallery. Many of Miller’s sketches contained a liquid-like component, and were rewritten to produce the “gooey” element that was so desired. “David said let’s just put liquid in all of them and it will be this primordial dream ooze that’s a part of every vignette,” Miller recalled. “It ties everything together other than the black on black.”[32]
The title sequence includes abundant references to the novel, and exposes several political themes. Salander’s tattoos, such as her phoenix and dragon tattoos, were incorporated. The multiple flower representations signified the biological life cycle, as well as Henrik, who received a pressed flower each year on his birthday. “One had flowers coming out of this black ooze,” said Fincher, “it blossoms, and then it dies. And then a different flower, as that one is dying is rising from the middle of it. It was supposed to represent this cycle of the killer sending flowers.”[32] Ultimately, the vignette becomes very conceptual because Miller and his team took “a whole thought, and cut it up into multiple different shots that are mixed in with other shots”. In one instance, Blomkvist is strangled by strips of newspaper, a metaphor for the establishment squelching his exposes.[32]
In the “Hot Hands” vignette, a pair of rough, distorted hands that embrace Salander’s face and melt it represent all that’s bad in men. The hands that embrace Blomkvist’s face and shatter it, represent wealth and power.[32] Themes of domestic violence become apparent as a woman’s face shatters after a merciless beating; this also ties in the brutal beating of Salander’s mother by her father, an event revealed in the sequel, The Girl Who Played with Fire (2006).[32]
A cover of Led Zeppelin’s “Immigrant Song” (1970) plays throughout the title sequence. The rendition was produced by soundtrack composers Atticus Ross and Nine Inch Nailsmember Trent Reznor, and features vocals from Yeah Yeah Yeahs lead singer Karen O.[33] Fincher suggested the song, but Reznor agreed only at his request.[34] Led Zeppelin licensed the song only for use in the film’s trailer and title sequence. Fincher stated that he sees title sequences as an opportunity to set the stage for the film, or to get an audience to let go of its preconceptions.[35]
Software packages that were primarily used are 3ds Max (for modeling, lighting, rendering), Softimage (for rigging and animation), Digital Fusion (for compositing), Real Flow (for fluid dynamics), Sony Vegas (for editorial), Zbrush and Mudbox (for organic modeling), and VRAY (for rendering).[36]
Soundtrack[edit]
Main article: The Girl with the Dragon Tattoo (soundtrack)
“[The instrumental sounds are] processed and stretched and manipulated into a setting where it may sound harmonically familiar, but if you tune into it, it’s not behaving in a way that you’re accustomed to that type of sound behaving. I find experimenting around in that is an interesting place to work.”
—Trent Reznor[37]
Fincher recruited Reznor and Ross to produce the score; aside from their successful collaboration on The Social Network, the duo had worked together on albums from Nine Inch Nails’ later discography.[37][38] They dedicated much of the year to work on the film, as they felt it would appeal to a broad audience.[39] Akin to his efforts in The Social Network, Reznor experiments with acoustics and blends them with elements of electronic music, resulting in a forbidding atmosphere. “We wanted to create the sound of coldness—emotionally and also physically,” he asserted, “We wanted to take lots of acoustic instruments […] and transplant them into a very inorganic setting, and dress the set around them with electronics.”[37]
Even before viewing the script, Reznor and Ross opted to use a redolent approach to creating the film’s score. After discussing with Fincher the varying soundscapes and emotions, the duo spent six weeks composing. “We composed music we felt might belong,” stated the Nine Inch Nails lead vocalist, “and then we’d run it by Fincher, to see where his head’s at and he responded positively. He was filming at this time last year and assembling rough edits of scenes to see what it feels like, and he was inserting our music at that point, rather than using temp music, which is how it usually takes place, apparently.” Finding a structure for the soundtrack was arguably the most strenuous task. “We weren’t working on a finished thing, so everything keeps moving around, scenes are changing in length, and even the order of things are shuffled around, and that can get pretty frustrating when you get precious about your work. It was a lesson we learned pretty quickly of, ‘Everything is in flux, and approach it as such. Hopefully it’ll work out in the end.’”[39]
Release[edit]
Pre-release[edit]
Mara, Craig, and Fincher at the French premiere of The Girl with the Dragon Tattoo in Paris.
A screening for The Girl with the Dragon Tattoo took place on November 28, 2011, as part of a critics-only event hosted by the New York Film Critics Circle. Commentators at the event predicted that while the film would become a contender for several accolades, it would likely not become a forerunner in the pursuit for Academy Award nominations.[40] A promotional campaign commenced thereafter, including a Lisbeth Salander-inspired collection, designed by Trish Summerville for H&M.[41][42] The worldwide premiere was at the Odeon Leicester Square in London on December 12, 2011,[43] followed by the American opening at the Ziegfeld Theatre in New York City on December 14 and Stockholm the next day.[44][45] Sony’s target demographics were men and women over the age of 25 and 17–34.[46] The film went into general release in North America on December 21, at 2,700 theaters,[47] expanding to 2,974 theaters on its second day.[47] The United Kingdom release was on December 26,[48] Russia on January 1, 2012,[49] and Japan on February 13.[50] India and Vietnam releases were abandoned due to censorship concerns.[51][52] A press statement from the Central Board of Film Certification stated: “Sony Pictures will not be releasing The Girl with the Dragon Tattoo in India. The censor board has judged the film unsuitable for public viewing in its unaltered form and, while we are committed to maintaining and protecting the vision of the director, we will, as always, respect the guidelines set by the board.”[52] In contrast, the National Film Board of Vietnam insisted that the film’s withdrawal had no relation to rigid censorship guidelines, as it had not been reviewed by the committee.[51]
Home media[edit]
Sony Pictures Home Entertainment released the film in a DVD and Blu-ray disc combo pack in the United States on March 20, 2012.[53] Bonus features include a commentary from Fincher, featurettes on Blomkvist, Salander, the sets and locations, etc.[54] The disc artwork for the DVD version of the film resembles a Sony brand DVD-R, a reference to the hacker Lisbeth Salander. This caused a bit of confusion in the marketplace with consumers thinking they had obtained a bootleg copy.[55][56] The release sold 644,000 copies in its first week, in third place behind The Muppets and Hop.[57] The following week, the film sold an additional 144,000 copies generating $2.59 million in gross revenue.[58] As of January 2014, 1,478,230 units had been sold, grossing $22,195,069.[59]
Reception[edit]
Box office[edit]
Fincher’s film grossed $232.6 million during its theatrical run.[2] The film’s American release grossed $1.6 million from its Tuesday night screenings,[47] a figure that increased to $3.5 million by the end of its first day of general release.[60] It maintained momentum into its opening weekend, accumulating $13 million for a total of $21 million in domestic revenue.[61]The film’s debut figures fell below media expectations.[62][63][64] Aided by positive word of mouth,[65] its commercial performance remained steady into the second week, posting $19 million from 2,914 theaters.[66] The third week saw box office drop 24% to $11.3 million, totaling $76.8 million. The number of theaters slightly increased to 2,950.[67] By the fifth week, the number of theaters shrank to 1,907, and grosses to $3.7 million, though it remained within the national top ten.[68] The film completed its North American theatrical run on March 22, 2012, earning over $102.5 million.[2]
The international debut was in six Scandinavian markets on December 19–25, 2011, securing $1.6 million from 480 venues.[69] In Sweden the film opened in 194 theaters to strong results, accounting for more than half of international revenue at the time ($950,000).[69] The first full week in the United Kingdom collected $6.7 million from 920 theaters.[48] By the weekend of January 6–8, 2012, the film grossed $12.2 million for a total of $29 million; this included its expansion into Hong Kong, where it topped the box office, earning $470,000 from thirty-six establishments. The film similarly led the field in South Africa. It accumulated $6.6 million from an estimated 600 theaters over a seven-day period in Russia, placing fifth.[49] The expansion continued into the following week, opening in nine markets. The week of January 13–15 saw the film yield $16.1 million from 3,910 locations in over forty-three territories, thus propelling the international gross to $49.3 million.[70] It debuted at second place in Austria and Germany, where in the latter, it pulled $2.9 million from 525 locations.[70] Similar results were achieved in Australia, where it reached 252 theaters.[70] The film’s momentum continued throughout the month, and by January 22, it had hit ten additional markets, including France and Mexico, from which it drew $3.25 million from 540 venues and $1.25 million from 540 theaters, respectively.[71] In its second week in France it descended to number three, with a total gross of $5.8 million.[72]
The next major international release came in Japan on February 13, where it opened in first place with $3.68 million (¥288 million)[50] in 431 theaters.[73] By the weekend of February 17–19, the film had scooped up $119.5 million from international markets.[74] The total international gross for The Girl with the Dragon Tattoo was $130.1 million.[2] MGM, one of the studios involved in the production, posted a “modest loss” and declared that they had expected the film to gross at least 10% more.[75]
Critical response[edit]
Mara’s portrayal of Lisbeth Salander attracted critical acclaim from commentators.
The Girl with the Dragon Tattoo received positive reviews from critics, with particular note to the cast, tone, score and cinematography. Review aggregation website Rotten Tomatoes gives the film a rating of 86%, based on 236 reviews, with an average rating of 7.6/10. The site’s consensus states, “Brutal yet captivating, The Girl with the Dragon Tattoo is the result of David Fincher working at his lurid best with total role commitment from star Rooney Mara.”[76] At Metacritic, which assigns a normalized score, the film received an average score of 71 out of 100, based on 41 critics, indicating “generally favorable reviews”.[77]
David Denby of The New Yorker asserted that the austere, but captivating installment presented a “glancing, chilled view” of a world where succinct moments of loyalty coexisted with constant trials of betrayal.[78] To USA Today columnist Claudia Puig, Fincher captures the “menace and grim despair in the frosty Scandinavian landscape” by carefully approaching its most gruesome features.[79] Puig noted a surfeit of “stylistic flourishes” and “intriguing” changes in the narrative, compared to the original film.[79] In his three-and-a-half star review, Chris Knight of the National Post argued that it epitomized a so-called “paradoxical position” that was both “immensely enjoyable and completely unnecessary”.[80] Rene Rodriguez of The Miami Herald said that the “fabulously sinister entertainment” surpassed the original film “in every way”.[81] The film took two and a half stars from Rolling Stone commentator Peter Travers, who concluded: “Fincher’s Girl is gloriously rendered but too impersonal to leave a mark.”[82] A. O. Scott, writing for The New York Times, admired the moments of “brilliantly orchestrated” anxiety and confusion, but felt that The Girl with the Dragon Tattoo was vulnerable to the “lumbering proceduralism” that he saw in its literary counterpart, as evident with the “long stretches of drab, hackneyed exposition that flatten the atmosphere”.[83] The Wall Street Journal’s Joe Morgenstern praised Cronenweth’s cinematography, which he thought provided for glossy alterations in the film’s darkness; “Stockholm glitters in nighttime exteriors, and its subway shines in a spectacular spasm of action involving a backpack.”[84] Rex Reed of The New York Observer professed that despite its occasional incomprehensibility, the movie was “technically superb” and “superbly acted”.[85] In contrast, Kyle Smith of New York Post censured the film, calling it “rubbish” and further commenting that it “demonstrates merely that masses will thrill to an unaffecting, badly written, psychologically shallow and deeply unlikely pulp story so long as you allow them to feel sanctified by the occasional meaningless reference to feminism or Nazis.”[86]
The performances were a frequent topic in the critiques. Mara’s performance, in particular, was admired by commentators. A revelation in the eyes of Entertainment Weekly’s Owen Gleiberman, he proclaimed that her character was more important than “her ability to solve a crime”.[87] Her “hypnotic” portrayal was noted by Justin Chang of Variety,[88] as well as Salon critic Andrew O’Hehir, who wrote, “Rooney Mara is a revelation as Lisbeth Salander, the damaged, aggressive computer geek and feminist revenge angel, playing the character as far more feral and vulnerable than Noomi Rapace’s borderline-stereotype sexpot Goth girl.”[89] Scott Tobias of The A.V. Club enjoyed the chemistry between Mara and Craig,[90] as did David Germain of the Associated Press; “Mara and Craig make an indomitable screen pair, he nominally leading their intense search into decades-old serial killings, she surging ahead, plowing through obstacles with flashes of phenomenal intellect and eruptions of physical fury.”[91] Although Puig found Mara inferior to Rapace in playing Salander, with regard to Craig’s performance, he said that the actor shone.[79] This was supported by Morgenstern, who avouched that Craig “nonetheless finds welcome humor in Mikael’s impassive affect”.[84] In his 2016 assessment of Craig’s career for Taste of Cinema, Eoghan Lyng ranked this portrayal as one of his best.[92] Roger Ebert of the Chicago Sun-Times said the film was given a more assured quality than the original because of Fincher’s direction and the lead performances, although he believed this did not always work to the film’s advantage, preferring the original version’s “less confident surface” where “emotions were closer to the surface.”[93]
Accolades[edit]
In addition to numerous awards, The Girl with the Dragon Tattoo was included on several year-end lists by film commentators and publications. It was named the best film of 2011 by MTV and James Berardinelli of ReelViews.[94][95] The former wrote, “The director follows up the excellent Social Network with another tour de force, injecting the murder mystery that introduces us to outcast hacker Lisbeth Salander […] and embattled journalist […] with style, intensity and relentless suspense. Mara is a revelation, and the film’s daunting 160-minute runtime breezes by thanks to one heart-racing scene after the next. Dark and tough to watch at times, but a triumph all around.”[94] The film came second in indieWire’s list of “Drew Taylor’s Favorite Films Of 2011”,[96] while reaching the top ten of seven other publications,[97] including the St. Louis Post-Dispatch,[98] San Francisco Chronicle,[99] and the New Orleans Times-Picayune.[100] The Girl with the Dragon Tattoo was declared one of the best films of the year by the American Film Institute,[101] as well as the National Board of Review of Motion Pictures.[102]
Sequel[edit]
Main article: The Girl in the Spider’s Web (film)
In December 2011, Fincher stated that the creative team involved planned to film the sequels The Girl Who Played with Fire and The Girl Who Kicked the Hornets’ Nest, “back to back.”[124] There was an announced release date of 2013 for a film version of The Girl Who Played with Fire, although by August 2012 it was delayed due to changes being being done to the script, being written by Steven Zaillian.[125][126] By July 2013, Andrew Kevin Walker was hired to re-write the script.[127] The following year, Fincher stated that a script for The Girl that Played with Fire had been written and that it was “extremely different from the book,” and that despite the long delay, he was confident that the film would be made given that the studio had “already has spent millions of dollars on the rights and the script”.[128] Mara was less optimistic about the production of the sequels, though she stated that she was still contractually signed on to reprise the lead role.[129][130][131][132]
By November 2015, it was announced that Sony was considering rebooting the franchise, before settling on continuing the film series with an adaptation of The Girl in the Spider’s Web. The story is based on a 2015 novel by David Lagercrantz that was a continuation of the original Millennium trilogy after series creator Stieg Larsson died in 2004.[133] Looking for a new lead in the series, Alicia Vikander was considered by the studio.[134] The following year, Fede Álvarez was announced by Sony as director, as well as co-screenwriter with Steven Knight and Jay Basu.[135][136] The Girl in the Spider’s Web was notably the first adaptation of an installment in the book series to be produced into an English-language film upon its initial release.[137] By March 2017, Álvarez announced that the film would have an entirely new cast, as he wanted the entire film to be his interpretation of the story.[138][139]
In September of the same year, Claire Foy was cast as Lisbeth Salander, replacing Mara. The film released in the U.S. on November 9, 2018.[140]
References
Look for Girl who Played with Fire, Girl who Kicked the Hornets Nest, Girl in the Spiders Web,
Chunhyang (2000 film)
Chunhyang_film_poster
Chunhyang (Hangul: 춘향뎐; RR: Chunhyangjeon) is a Korean Pansori film directed by Im Kwon-taek, with a screenplay by Kang Hye-yeon and Kim Myung-gon. Distributed by CJ Entertainment, the film was released on January 29, 2000 in South Korea. Lee Hyo-jeong and Cho Seung-woo played Chunhyang and Mongryong, respectively.
To date, there have been more than sixteen works based on this narrative, including three North Korean films. Im Kwon-taek’s Chunhyang presents a new interpretation of this oral tradition but it is created for a more global audience.”[2] It is the first Chunhyang movie that lyrics of Pansori became part of the screenplay. Therefore, the contents of the Pansori reappear as scenes in the movie. The film uses the framing device of a present-day narrator who, accompanied by a drummer, sings the story of Chunhyang in front of a responsive audience. The film flashes back and forth between the singer’s presentation and scenes of Mongryong.
It was entered into the 2000 Cannes Film Festival.[3] The film is the first Korean film which was presented at the 2000 Telluride Film Festival.[4] At the 2000 Asia Pacific Film Festival, it won a Special Jury Award.[5] It also won an award for Best Narrative at the Hawaii International Film Festival in 2000.[6]
Contents
1Plot
2Cast
3Critical reception
4Awards and nominations
5References
6External links
Plot[edit]
The film is told through pansori, a traditional Korean form of storytelling that seeks to narrate through song. It is based on Chunhyangga, a traditional Korean folktale and is set in 18th century Korea.
Lee Mongryong, a governor’s son, falls in love and marries a beautiful girl Chunhyang Sung, the daughter of a courtesan. Their marriage is kept a secret from the governor who would immediately disown Lee if he found that his son married beneath him. The governor gets posted to Seoul and Mongryong is forced to leave his young wife behind, promising to come back for her when he passes the official exam.
After Mongryong leaves Namwon where Mongryong and Chunhyang first meets, new governor, Byun Hakdo, comes and wants Chunhyang for himself. When she refuses, stating that she already has a husband and will forever remain faithful to her beloved, the governor punishes her by flogging. Meanwhile, back in Seoul, Lee passes the test with the highest score and becomes an officer. Three years have passed and Lee Mongryong returns to the town on the King’s mission. There, he finds out that his wife is to be beaten to death on the governor’s birthday as a punishment for disobeying his lust. The governor, very corrupted and greedy, is arrested by Mongryong. The two lovers are finally united.[7]
Cast[edit]
Lee Hyo-jeong – Chunhyang
Cho Seung-woo – Mongryong
Kim Sung-nyeo – Wolmae
Lee Jung-hun – Governor Byun
Kim Hak-yong – Bangja
Choi Jin-young – Governor Lee
Hong Kyung-yeun – kisaeng leader
Cho Sang-hyun – pansori singer
Kim Myung-hwan – pansori drummer
Lee Hae-ryong – Lord of Soonchun
Gok Jun-hwam – Lord of Okgwa
Yoon Keun-mo – Lord of Goksung
Lee Hye-eun – Hyangdan
Critical reception[edit]
According to Elvis Mitchell of The New York Times, “Instead the story is freshened through the use of a Korean singing storyteller, a pansori singer, to provide a narration, belting out the song from a stage in front of an audience. The pansori, or song, is performed under a proscenium arch to highlight the ritual elements of folk tales. Even though much of what the pansori tells us unfolds before the cameras at the same moment, the forcefulness of the performance lends another layer of feeling to the picture.”[8]
Awards and nominations[edit]
The Assassin (2015 film)
the assassins
For the British film directed by J. K. Amalou, see Assassin (2015 film).
The Assassin (Chinese: 刺客聶隱娘; pinyin: Cìkè Niè Yǐnniáng; or: The Assassin Niè Yǐnniáng) is a 2015 wuxia film directed by Taiwanese director Hou Hsiao-hsien. A Taiwan/Mainland China/Hong Kong co-production,[3][7] it was an official selection in the main competition section at the 2015 Cannes Film Festival.[8][9] At Cannes, Hou won the award for Best Director.[10][11] It was released in Mainland and Hong Kong, China on 27 August, and a day later in Taiwan on 28 August 2015.[12] It was selected as the Taiwanese entry for the Best Foreign Language Film at the 88th Academy Awards but it was not nominated.[13][14]
Contents
1Plot
2Cast
3Production
4Release
4.1Home media
5Reception
5.1Box office
5.2Critical response
5.3Accolades
6See also
7References
8External links
Plot[edit]
The Assassin is loosely based on the late ninth-century martial arts story “Nie Yinniang” by Pei Xing, a core text in Chinese swordsmanship and wuxia fiction.[15][16]
The film is set in ninth-century China during last years of the Tang Dynasty.[17][18] The film centers on Nie Yinniang (played by Shu Qi), an assassin who is directed to slay corrupt government officials by her master, Jiaxin, a nun who raised her from the age of ten. When Yinniang displays mercy by failing to kill during her duties, Jiaxin punishes her with a ruthless assignment designed to test Yinniang’s resolve: she is sent to the distant province/circuit of Weibo in northern China to kill its military governor, her cousin Tian Ji’an. Eventually, Yinniang concludes that killing Tian while his sons are young would plunge Weibo into chaos and instead protects him on the journey where she was supposed to kill him. The film concludes with Yinniang leaving behind the strictures of Jiaxin and the high politics of Weibo, instead joining a young mirror-polisher on a journey as his guardian.
Cast[edit]
Shu Qi (Lin Li-Hui) as Nie Yinniang (聶隱娘),[19] the eponymous assassin
Chang Chen as Tian Ji’an (田季安), cousin to Nie Yinniang, formerly betrothed to her, and military governor (Jiedushi), ruling Weibo Circuit.
Zhou Yun as Lady Tian, Tian Ji’an’s wife (田元氏/精精兒).
Satoshi Tsumabuki as the mirror polisher (磨鏡少年)
Ethan Juan as Xia Jing (夏靖), Tian Ji’an’s bodyguard
Hsieh Hsin-Ying as Huji (瑚姬), Tian Ji’an’s concubine and a dancer
Ni Dahong as Nie Feng (聶鋒), Nie Yinniang’s father and Tian Ji’an’s provost
Yong Mei as Nie Tian (聶田氏)
Fang-Yi Sheu as Princess Jiacheng and her twin sister, the princess Jiaxin turned Taoist nun (嘉誠公主/道姑/嘉信公主)
Lei Zhenyu as Tian Xing (田興)
Jacques Picoux as Kong Kong (空空兒)
Production[edit]
“I haven’t shot a movie in six or seven years. It’s really a whole new world for me because the market is now so big, because of China. So the scale is much bigger, and that makes every detail different, so now even I have to adjust my scale.”
—Hou Hsiao-hsien[17]
The film received several subsidies from the Taiwanese government: in 2005 of NT$15 million (US$501,000), in 2008 of NT$80 million (US$2.67 million) and in 2010 of NT$20 million (US$668,000).[20][21] However, over the production, Hou encountered various budget problems; thus more than half of the film’s final budget came from China, a first for Hou.[4] As of September 2012, its budget was CN¥90 million (US$14.9 million).[4]
The film was filmed in several places in China, mainly in Hubei province, Inner Mongolia and north-eastern China.[22] Hou recalled that he was “blown away” when he saw “those silver birch forests and lakes: it was like being transported into a Chinese classical painting.”[22]
Release[edit]
The first press conference of The Assassin since its Cannes premiere was held in Shanghai on 16 June 2015, where Hou and the film’s cast discussed their Cannes experience and their upcoming promotional activities for the film.[23]
The film premiered in Beijing on 23 August 2015, ahead of its nationwide release on 27 August 2015.[24] For its American release, the film’s distribution rights were acquired by independent distribution company Well Go USA Entertainment on 11 May 2015, and the film was released on 16 October 2015.[25][26]
Home media[edit]
The Assassin was released on Blu-ray and DVD in Hong Kong on 20 December 2015. The North American release was 26 January 2016 and included four behind-the-scenes featurettes regarding the film.[27]
Reception[edit]
Box office[edit]
The film earned CN¥61.385 million at the Chinese box office.[5] Worldwide box office is around U.S. $12 million.[6]
Critical response[edit]
Shu Qi promoting the film at the 2015 Cannes Film Festival
The Assassin opened to critical acclaim. On review aggregator website Rotten Tomatoes, the film holds an 80% “Certified Fresh” rating, based on 102 reviews, with an average rating of 7.5/10. The site’s consensus states: “The Assassin’s thrilling visuals mark a fresh highlight for director Hsiao-hsien Hou, even if its glacial pace may keep some viewers at arm’s length.”[28] Metacritic reports an 80 out of 100 rating, based on 28 critics, indicating “generally favorable reviews”.[29] Sight & Sound magazine ranked The Assassin as the best film of 2015 based on a poll of 168 critics from around the world.[30] The Online Film Critics Society awarded the film as the best foreign language film of 2015.[31] It also ranked 50th in a 2016 BBC poll of the 21st century’s greatest films.[32]
New York Times co-chief film critic Manohla Dargis called the film “staggeringly lovely” at Cannes, describing it as having “held the Wednesday-night audience in rapturous silence until the closing credits, when thunderous applause and booming bravos swept through the auditorium like a wave.”[33] Variety’s chief film critic Justin Chang highly praises the film, saying “The sheer depth of its formal artistry places The Assassin in a rather more rarefied realm…. Hou implicitly grasps the expressive power of stillness and reserve, the ways in which silence can build tension and heighten interest. Above all, he never loses sight of the fact that the bodies he moves so fluidly and intuitively through space are human, and remain so even in death. … Hou Hsiao-hsien proves himself to be not just the creator of this assassin but an unmistakably kindred spirit.”[34] On Film Business Asia, Derek Elley gave it a 9 out of 10, saying that “Hou Hsiao-hsien’s first wuxiamasterfully blends the genre’s essence and his own style”.[7] Deborah Young of The Hollywood Reporter said: “Hou Hsiao-hsien brings a pure, idiosyncratic vision to the martial arts genre”.[35] Ignatiy Vishnevetsky of The A.V. Club describes the “enigmatic and often mesmerizing” Assassin as “one of the most flat-out beautiful movies of the last decade, and also one of the most puzzling.” He states, “Mood is key here…[the film is] all muted and subsumed by a poetic atmosphere that’s radical even by Hou’s standards…It’s a movie most will be intoxicated by, but few will be able to confidently say that they understand—which may be the point, part and parcel with its conception of a world of gestures and values so absolute as to be nearly unknowable.”[36]
John Esther of UR Chicago gave the film a more mixed review, saying “the real strength (and strain) of The Assassin is the mise-en-scène by Hou and director of photographer Mark Lee Ping Bing (In the Mood for Love; Renoir)” but criticized the film’s glossy depiction of the environment, “The costumes, the people, the woods, the art, and the interiors are relentlessly pretty. Other than human nature, The Assassin suggests there was nothing ugly to witness during this period in time.”[37]
Sarah Cronin of the British magazine Electric Sheep writes “The intricacies of the story are bewildering, with the ‘who’ and the ‘why’ only obliquely revealed as the film lingers on. But rather than lending The Assassin an air of intrigue, these mysteries seem pointlessly and frustratingly obtuse, with the most potent symbolism left to be teased out of a broken piece of jade, while not enough is done to bring the characters to life, to make them whole. Hou Hsiao-hsien deliberately avoids giving its audience any of the pleasures of wuxia, but its take on the genre offers little, and feels like a pale shadow of fellow auteur Wong Kar Wai’s Ashes of Time. It looks gorgeous, but there’s a shallowness to its beauty. The Assassin, unfortunately, is more still life than cinema.”[38]
Accolades[edit]
Operation Chromite (film)
Operation_Chromite_(film)_poster
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Operation Chromite (Hangul: 인천상륙작전; Hanja: 仁川上陸作戰; RR: Incheon Sangryuk Jakjeon) is a 2016 South Korean wardrama film directed by John H. Lee and based on the real-life events of the Battle of Inchon,[4][5] although it presents a fictionalized version of the historical CIA/US military intelligence operation “Trudy Jackson”, conducted before the actual landing operation. It was released on 27 July 2016 in South Korea.[6]
Contents
1Plot
2Cast
3Reception
4Sequel
5Awards and nominations
6References
7External links
Plot[edit]
In 1950, just a few months after North Korean forces have overrun most of South Korea, an American-led UN coalition is deployed to Korea to aid the struggling South Koreans. General Douglas MacArthur devises a secret plan to attack behind enemy lines at the port city of Incheon. The risky strategy is opposed by leaders of the other military branches, forcing MacArthur to devise a clandestine operation to gather essential information from within occupied Incheon by coordinating a weeklong South Korean intelligence operation known as “X-Ray”.
The linchpin of this top-secret incursion, Captain Jang Hak-Soo of the South Korean navy Intelligence Unit (a former North Korean army officer who defected to South Korea after seeing his father executed in front of him by his fellow communist officers), and seven members of the X-Ray unit disguise themselves as a North Korean inspection unit and infiltrate the North Korean army command center in Incheon, coordinated by Soviet-trained Commander Lim Gye-Jin, a protégé of the North Korean leader, Kim Il-Sung. Their prime objective is to determine the placement of North Korean defenses (such as mines and artillery) and the tactical characteristics of the Incheon harbor, notorious for swift currents and major tidal surges and secure a lighthouse crucial to the landing’s success.
Immediately suspicious of Jang’s “inspection mission”, Lim attempts to impede his comrade’s investigation and orders his staff to monitor the new arrivals closely. The U.S. command relays MacArthur’s orders to obtain navigation charts showing naval mine placements in the harbor and prepare a strategy to assist the coalition forces with landing an amphibious assault in a narrow two-hour window between tides. When contacts within the South Korean military intelligence unit known as KLO (Korean Liaison Office, predecessor to current day South Korean Headquarters of Intelligence Detachment, or HID) warn Jang that time is running out to successfully complete the mission, he pushes his group to extremes. Meanwhile in Tokyo, MacArthur prepares Operation Chromite, an invasion force of 75,000 UN troops and over 200 warships to imminently depart for the Korean Peninsula. [7]
Cast[edit]
Lee Jung-jae as Jang Hak-soo
Lee Beom-soo as Lim Gye-jin
Liam Neeson as General Douglas MacArthur[8][9]
Jin Se-yeon as Han Chae-seon
Jung Joon-ho as Seo Jin-chul
Kim Byeong-ok as Choi Suk-joong
Park Chul-min as Nam Ki-sung
Jon Gries as Hoyt Vandenberg
Gil Geum-sung as Chun Dal-joong
Shin Soo-hang as Kang Bong-po
Kim Hee-jin as Ryu Jang-choon
Jung Min-ji as Ok Gil-ryun
Naya as Yeo Ga-soo
Lee Choong-goo as Hwa-gyoon
Sung Hyuk as Song Sang-deuk
Go Yoon as commando
Jang Joon-hak as Yang Pan-dong
Sean Richard Dulake as Lt. Col. Edward L. Rowny
Justin Rupple as Alexander Haig
Jin Yong-ok as Jo In-gook
Park Jung-won as Ri Kyung-shik
Yang Bum as Ham Kwang-suk
Lee Hae-joon as Ji Jin-pyo
Josie Bissett as Jean MacArthur
Yoon Suk-jin as Do Hong-gyoo
Kim Joong-hee as Joo Hyun-pil
Yun Da-yeong as Gye Eun-sook
Kim Se-jung as Uhm Gi-soon
Park Sung-woong as Park Nam-chul (cameo)
Kim Sun-a as Kim Hwa-young (cameo)
Kim Young-ae as Na Jung-nim (cameo)
Choo Sung-hoon as Baek San (cameo)
Lee Won-jong as Kim Il-sung (cameo)
Jung Kyung-soon as Jung Sun-sil (cameo)
Reception[edit]
The film was number-one on its opening at the South Korean box office, grossing US$18.47 million.[6] with around seven million tickets sold as of 5 December 2016. It grossed US$50 million worldwide.[2]
It received 33% approval with an average rating of 49 percent from 18 reviews on movie review aggregator Rotten Tomatoes.[10]
Sequel[edit]
A second installment of the film, The Battle of Jangsari 9.15 set to be released in 2019.[11] The film has already entered pre-production stage, with Megan Fox and Kim Myung-minhas confirmed joining the cast. The film will be following the a similar plot-line as its predecessor.[12]
Awards and nominations[edit]
The Rite (2011 film)
The_rite_2011_film_poster
The Rite is a 2011 supernatural horror film directed by Mikael Håfström and written by Michael Petroni.[3] It is loosely based on Matt Baglio’s book The Rite: The Making of a Modern Exorcist,[4] which itself is based on real events as witnessed and recounted by American then-exorcist-in-training Father Gary Thomas and his experiences from being sent to Rome to be trained and work daily with veteran clergy of the practice.[5]
The film stars Anthony Hopkins, Colin O’Donoghue, Alice Braga, Ciarán Hinds, and Rutger Hauer.[6] Shot in Rome, Budapest,[7] and Blue Island, it was released on January 28, 2011 and grossed $32 million domestically.
Contents
1Plot
2Cast
3Production
3.1Background
4Release
4.1Reception
5See also
6References
7External links
Plot[edit]
Michael Kovak (Colin O’Donoghue) is the son of a successful funeral home owner and businessman, Istvan (Rutger Hauer). Disillusioned with his past job as a mortician, Michael decides to enter a seminary school and renounce his vows upon completion, thereby getting a free college degree. Four years have passed, and Michael is being ordained to the rank of deacon at the seminary. After his ordination, he writes a letter of resignation to his superior, Father Matthew, citing a lack of faith. Father Matthew (Toby Jones), apparently wanting to talk to Michael, attempts to catch up to him on the street. He trips as he steps over a curb, causing a cyclist to swerve into the path of an oncoming van. The young cyclist, Sandra (Marija Karan), is critically injured. Seeing Michael’s clerical garb, she asks him for absolution before her last breath. Initially hesitant, Michael is unable to refuse, comforting her and performing a blessing ritual to absolve her of her sins. Seeing how calmly Michael handled the situation, Father Matthew tells Michael that he is called to be a priest despite his resignation. He also tells Michael that with the rise in demonic possessions every year, the Church needs more exorcists and says that he has the potential to become one. Father Matthew decides to send him to the Vatican in Rome, so he can attend an exorcism class taught by his friend Father Xavier (Ciarán Hinds). Michael finally accepts after Father Matthew tells him that the Church might convert his scholarship into a student loan that would cost $100,000 if his immediate resignation stood. If Michael attends the exorcism class and still wants to resign afterwards, then they will discuss matters (hinting that he may be free to leave).
During classes, he meets a young woman, Angelina (Alice Braga), who is also taking the course. He soon learns that she is a reporter who has been asked to cover the course for an article in a newspaper. Dominican Father Xavier, realizing Michael is a skeptic and very tentative in his faith, asks Michael to see a friend of his, a renowned Welsh Jesuit exorcist named Father Lucas (Anthony Hopkins). Michael agrees and meets Father Lucas at his home, where he also meets one of the priest’s patients: a pregnant sixteen-year-old girl named Rosaria. It is later revealed that she had been raped by her father, which led to her possession. However, Michael remains skeptical, even after witnessing several preternatural events, such as the girl coughing up three long nails, acting unnaturally, and speaking English fluently. She pointedly reminds Michael of the last patient he anointed and of his loathing for his own father. He later speaks again with Angelina, who asks him to relay any information he gets from Father Lucas to her, as she has tried for an interview with him many times but has been refused. Michael declines. Meanwhile, Rosaria’s condition worsens, to the extent that she tries to drown herself, prompting Father Lucas and Michael to have her hospitalized for further care. In the hospital, Father Lucas performs another exorcism on her while Michael observes. Still in doubt Michael leaves while Father Lucas stays overnight outside the girl’s room. Late that night, she miscarries; the baby dies from cardiac arrest, and the mother from blood loss from major hemorrhaging. Disheartened, Father Lucas feels he has failed her. When Michael sees this he decides to confer with Angelina.
After the young woman’s death, Father Lucas begins behaving strangely, exhibiting signs of demonic possession, like slapping a child, looking confused, and restless. Michael and Angelina later find him sitting outside his house in the rain. Father Lucas takes them into his house and, knowing himself to be possessed, requests that Michael find Father Xavier to perform the exorcism. Angelina and Michael try desperately to contact and find Father Xavier; they learn, however, that he is out of contact for three days. Learning this, Michael decides to perform the exorcism himself, with Angelina present. After constant rebuking by the demon and a long, drawn-out fight, Michael regains his lost faith and is able to force the demon to reveal its name, Baal. He completes the exorcism, saying that he believes the demon and he believes God as well. The powerful demon leaves Father Lucas. Successful, Michael leaves Rome, returning to the United States and to his life.
The final scene of the film shows Michael, now Father Michael Kovak, entering a confessional and beginning to hear a girl’s confession.
Cast[edit]
Anthony Hopkins as Father Lucas Trevant[8]
Colin O’Donoghue as Michael Kovak[9]
Alice Braga as Angelina Vargas[10]
Ciarán Hinds[11] as Father Xavier
Rutger Hauer as Istvan Kovak
Marta Gastini as Rosaria
Maria Grazia Cucinotta as Aunt Andria
Toby Jones[12] as Father Matthew
Chris Marquette as Eddie
Marija Karan as Sandra
Torrey DeVitto as Nina
Production[edit]
Mikael Håfström began working on the exorcism thriller in February 2010.[13] Håfström began casting in March for the lead roles of Father Lucas and Michael Kovak, deciding on Anthony Hopkins and Colin O’Donoghue.[14] The film was produced by Beau Flynn and Tripp Vinson (The Exorcism of Emily Rose) under their Contrafilm Studios company.[13][15]
Background[edit]
The film is based on the book The Making of a Modern Exorcist by Rome-based Matt Baglio, which was published in 2009. To research the book, Baglio participated in a seminar[16]on exorcism by the Vatican-sponsored Pontifical Athenaeum Regina Apostolorum[17][18] where he met Father Gary Thomas, a parish priest from Sacred Heart Church in Saratoga, California, who was tasked by the local bishop in San Jose, California to become an exorcist for the diocese.[19] Initially skeptical and reluctant, Father Gary becomes an “apprentice” to a Rome-based exorcist and his skepticism is soon replaced by the cold reality of evil and the ways it sometimes takes the form of demonic possession.[20][21] The book traces Father Gary’s life prior to and subsequent to their acquaintance in 2005 which involved Baglio observing over twenty exorcisms performed by Father Gary. Baglio indicates that the experience in writing the book “was just a very spiritual process and in a lot of ways, it helped me reconnect to the Church and understand the value of faith. This isn’t something that is silly and prayer, it’s very important.”[22]
While Baglio was still researching his book, producers Tripp Vinson and Beau Flynn (who had already produced The Exorcism of Emily Rose) learned about Baglio’s book proposal and decided to purchase the movie rights. The producers contacted Michael Petroni (who was one of the writers for The Chronicles of Narnia: The Voyage of the Dawn Treader) to write the screenplay. Petroni, a practicing Catholic, coordinated the development of his screenplay with Baglio, who was now writing the book at about the same time.[23]
Director Håfström was invited to direct the film “intrigued by the fact that he would be working from facts, not just someone’s imagination.” While the film is focused on demonic possession and exorcism, Håfström also believes that “this story is about a young man finding himself and finding his way.” In preparation for the film, Håfström attended some exorcisms in Rome although never being present in the actual room, he could hear what was taking place.[23][24] Father Gary Thomas served as a consultant on the set of “The Rite”[25][26] and indicated that the exorcisms in the film were “very accurate” with some “expected licenses” taken.[27]
Further information: Exorcism in Christianity
Release[edit]
Warner Bros. released the film on January 28, 2011.[1]
Reception[edit]
The film was generally well received within the Catholic community although questioning its classification as “horror”.[28][29][30][31][32] The United States Conference of Catholic Bishops noted: “Though shaky on a few details, director Mikael Håfström’s conversion tale resoundingly affirms faith and the value of priestly ministry. Yet the effort to showcase the main character’s spiritual journey as an old-fashioned chillfest weakens its ultimate impact.”[33]
It received negative reviews from mainstream critics, where it has a 21% rating on Rotten Tomatoes based on 158 reviews stating that while “Anthony Hopkins is as excellent as ever, but he is no match for The Rite’s dawdling pace and lack of chills, as well as Colin O’Donoghue’s tentative performance in the leading role.”
Roger Ebert of the Chicago Sun-Times gave the film 3 out of 4 stars and said, “I admire The Rite because while it delivers what I suppose should be called horror, it is atmospheric, its cinematography is eerie and evocative, and the actors enrich it.”[34]
First Men in the Moon (1964 film)
FirstMenontheMoon
See also: Le voyage dans la lune, The First Men in the Moon (1919 film), and The First Men in the Moon (2010 film)
First Men in the Moon is a 1964 British Technicolor science fiction film produced by Charles H. Schneer, directed by Nathan Juran, starring Edward Judd, Martha Hyer and Lionel Jeffries. It is an adaptation by science fiction scriptwriter Nigel Kneale of H. G. Wells’ 1901 novel The First Men in the Moon. Ray Harryhausen provided the stop-motion animation effects, which include the Selenites, giant caterpillar-like “Moon Cows”, and the big-brained Prime Lunar.[3]
Contents
1Plot
2Cast
3Production
3.1Spacesuits used
4Critical reception
5Comic book adaptation
6References
7External links
Plot[edit]
In 1964, the United Nations (UN) has launched a rocket flight to the Moon. A multi-national group of astronauts in the UN spacecraft land on the Moon, believing themselves to be the first lunar explorers. However, they discover a Union Jack flag on the surface and a note mentioning Katherine Callender, which claims the Moon for Queen Victoria. Attempting to trace Callender, UN authorities find she has died but that her husband Arnold Bedford is still living, and resides in an old people’s home. The nursing home staff do not let him watch television reports of the expedition because, according to the matron, it “excites him”, and dismiss his claims to have been on the Moon as an insane delusion. The UN representatives question him about the Moon and he tells them his story. The rest of the film, as a flashback, shows what Bedford and Professor Cavor did in the 1890s.
In 1899, Arnold Bedford and his fiancée Katherine Callender – known as Kate – meet an inventor, Joseph Cavor, who has invented Cavorite, a substance that will let anything it is applied to or made of deflect the force of gravity and which he plans to use to travel to the Moon. Cavor has already built a spherical spaceship for this purpose, taking Arnold and (accidentally) Kate with him. While exploring the Moon, Bedford and Cavor fall down a vertical shaft and discover to their amazement an insectoid population, the Selenites, living beneath the surface. (Cavor coins this name for the creatures after the Greek goddess of the moon, Selene). Bedford attacks a group of Selenites in fear — killing several, despite Cavor’s horrified protests. After escaping from the Selenites back to the surface, they discover that their ship, still containing Kate (who stayed behind because Cavor had brought only two spacesuits), has been dragged into their underground city.
The two, following the drag trail, find and enter the city. The city holds a breathable atmosphere, so they remove and leave their spacesuit helmets. Upon finding the living quarters, they are attacked by a giant caterpillar-like “moon bull” which pursues them until the Selenites find out and are able to kill it with their tesla coil-like electrical stun ray gun. Cavor and Bedford see the city’s power station, powered by sunlight. In the end, they reach their ship underground. The Selenites quickly learn English and interrogate Cavor, who believes they wish to exchange scientific knowledge; this also leads up to Cavor having a discussion with the “Grand Lunar”, the ruling entity of the Selenites. Bedford, however, upon entering the chamber just as the Grand Lunar voices his concerns over human aggressiveness, makes the assumption that Cavor, and presumably all humanity, is on trial, attempts to kill the Grand Lunar with an elephant gun — failing due to Cavor’s attempts to stop him. Running for their lives, Bedford manages to find the sphere and escape, but Cavor stays voluntarily on the Moon.
Bedford, along with Kate, flies the ship up a vertical shaft, shattering the window cover at the top, and back to Earth. The aged Bedford concludes his story by mentioning that the ship came down in the sea off Zanzibar, and sank, but he and Kate managed to swim ashore. Cavor’s ultimate fate remained unknown.
Back in the present day, Bedford, the UN party and newspaper reporters watch on television the latest events on the Moon, where the UN astronauts have broken into the Selenite city and find it deserted and decaying. Moments later, the ruined city starts to crumble and collapse, forcing the landing crew to retreat hastily, and seconds later the city — and all of its history — is completely destroyed. Bedford realizes that the Selenites must have been killed off by Cavor’s common cold viruses to which they had no immunity.
Cast[edit]
The 1890s expedition claim the Moon for Queen Victoria
The 1960s astronauts find Cavor’s party’s flag
Edward Judd as Bedford
Martha Hyer as Kate
Lionel Jeffries as Cavor
Miles Malleson as Dymchurch registrar
Norman Bird as Stuart
Gladys Henson as nursing home matron
Hugh McDermott as Richard Challis, UN Space Agency
Betty McDowall as Margaret Hoy, UN Space Agency
Huw Thomas* as announcer
Erik Chitty* as Gibbs
Peter Finch* as bailiff’s man
Marne Maitland* as Dr. Tok, UN Space Agency
* Not credited on-screen.
Production[edit]
Spacesuits used[edit]
See also: Spacesuits in fiction
Two types of space suits are featured. During the main events of the story, which take place in the 1890s, the film’s Victorian-era astronauts are outfitted in standard diving dresses (each fitted with a 1960s-type aqualung cylinder worn as a backpack), as spacesuits. Their suits are neither pressurised nor heated or cooled, and they do not wear protective gloves despite the vacuum of space and extreme cold and heat of the lunar surface. There are other technical issues confronting the Victorian explorerers: even with heating and cooling provided, using rubber-lined diving suits on the Moon is impractical. Even before the space age began, the 1948 science fiction short story, “Gentlemen, Be Seated!” by Robert A. Heinlein, deftly describes the brittleness of rubber once it is exposed to the vacuum of space.
Cavor and Bedford have no radio and must make their helmets touch each other to talk in the vacuum (although the filmmakers violate this rule several times). It is not clear whether the Selenites have radio. The history of radio was only just starting when the 1890s events were set. Wireless communication from Cavor in the Moon appears in H. G. Wells’s novel.
The spacesuit worn by the UN Astronauts is actually the Windak high-altitude pressure suit,[4] developed for the Royal Air Force (here each fitted with a 1960s-type aqualung cylinder worn backpack). These pressure suits would also be used in two Doctor Who stories: William Hartnell’s final story “The Tenth Planet” and the Patrick Troughton-era “The Wheel in Space”. They also appear in the original Star Wars trilogy as the costumes for Bossk and Bo Shek.
Critical reception[edit]
Among contemporary reviews, Variety wrote, “Ray Harryhausen and his special effects men have another high old time in this piece of science-fiction hokum filmed in Dynamation,” adding that “Wells’ novel and has been neatly updated,” and concluding that “The three principals play second fiddle to the special effects and art work, which are impressive in color, construction and animation”;[5] however, The New York Times wrote, “Only the most indulgent youngsters should derive much stimulation – let alone fun – from the tedious, heavyhanded science-fiction vehicle that arrived yesterday from England”;[6] but more recently, TV Guide called it “An enjoyable science fiction film.”[7] and Blu-ray.com highly recommended “a fun and exciting viewing experience.”[8]
Curse of the Golden Flower
Curseofgoldenflower
From Wikipedia, the free encyclopedia
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For the Jay Chou extended play album, see Curse of the Golden Flower (EP).
Movie Review: Indie Sci-Fi Thriller ‘Alien Code’ Talky but Engaging
MOVIE REVIEWS, ★★½
In the opening scene of the new indie thriller Alien Code, Kyle Gallner’s Alex walks into his suburban home to find an unsettling sight: a dead body on his living room floor.
But Alex is even more disturbed when he flips over the body to find… (queue Twilight Zone music)… yes, himself dead on the floor in front of him. He’s holding a note that says ‘watch me’ and an envelope with a flash drive containing a recorded message.
That startling sequence, which unfolds over Alien Code’s opening credits, immediately hooks us in and creates a lot of good will: piecing together exactly what is going on here accounts for most of the interest in the early scenes of Alien Code.
In the video on the USB, a gaunt-looking Alex who claims to be from the future is sending the past version of himself a message. He narrates the film we are about to watch, which begins with a knock at the door and a surprising job offer.
It’s from the mysterious Rebecca (Mary McCormack), who claims to be working with a NSA-supported organization called ARIST and arrives at Alex’s door with a pair of MiB heavies. She needs the help of Alex – an expert cryptographer down on his luck – to work on a project she can’t give any details about until he signs a non-disclosure agreement.
Alex is incredulous but intrigued – especially with the $50,000 immediately transferred into his account just for signing the NDA. Soon he’s sedated and driven to a remote facility, where he wakes up the lone decoder on a top-secret project.
The project: a satellite retrieved from orbit and purportedly sent… from the future! It contains a message than cannot be decoded, which is where Alex comes in. And for the next five weeks, he works on it in isolation.
We’re merely twenty minutes through Alien Code, and things only get nuttier from there at a fever dream-like pitch: mysterious blueprints, brain tumors, and visions of strange, featureless Slenderman-like creatures, including a giant that visits Alex by his bedroom window.
This is fun for awhile, but Alien Code can’t quite sustain itself during a second half that sags under the weight of exposition and a script that tries to explain itself out of a rich sci-fi scenario. Alex eventually meets up with prior decoders Beth (Azura Skye) and later Miles Driscoll (Richard Schiff), who both suffer from the same hallucinations. But are they really hallucinations? Or visitors from another dimension?
The answers to these questions lay not in on-screen action, but in mounds of dialogue and lengthy exposition that explains this world and events not unlike the much-derided climactic scenes of The Matrix Reloaded.
For a low budget indie production, however, Alien Code deserves a lot of credit. Interest wanes as more and more gets explained, but for a good while this is an intriguing ride that keeps you glued to the screen to figure out the intricate puzzle that lies at the heart of the movie. Only in climactic scenes do budget constraints become apparent; sets and costumes could have used an upgrade in an otherworldly finale.
Written and directed by Michael G. Cooney (though the on-screen director is credited as Sam Havenhurst), Alien Code isn’t quite Primer but it is fun and diverting and even has a nice sense of humor about itself. Gallner, alone on the screen for much of the movie, is especially impressive as the progressively freaked-out protagonist.
Michael G. Cooney, Kyle Gallner, Mary McCormack, Azura Skye, Richard Schiff, Aaron Behr, Graham Hamilton, Noah .
Point B (II) (2013)
point b jpg
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Point B
Genesis
Genesis_2018_Canadian_poster
Directors:
Freddie Hutton-Mills, Bart Ruspoli
Writers:
Freddie Hutton-Mills, Bart Ruspoli
Stars:
Olivia Grant, Chiké Okonkwo, John Hannah | See full cast & crew
Directors:
Freddie Hutton-Mills, Bart Ruspoli
Writers:
Freddie Hutton-Mills, Bart Ruspoli
Stars:
Olivia Grant, Chiké Okonkwo, John Hannah | See full cast & crew
In a post-apocalyptic society, living underground as protection from pollution, the main concern is getting enough food and finding other survivors. A pollution-resistant android with A.I. is developed to help obtain this.
—Scott Filtenborg
‘Genesis’ is the third feature from British writing and directing duo Bart Ruspoli & Freddie Hutton-Mills. The first in a sci-fi trilogy, ‘Genesis’ explores the nature of free will and what it means to be human, against a post apocalyptic backdrop where the remnants of mankind attempt to create A.I. to save them from extinction. The film stars John Hannah (The Mummy trilogy, Marvel’s Agents of S.H.I.E.L.D), Olivia Grant (Stardust, Indian Summers), Warren Brown (Strike Back, Luther) and Chike Okonkwo (The Birth of a Nation, Being Mary Jane).
Shada (Doctor Who)
Shada_(Doctor_Who_serial)
This article is about the Doctor Who serial. For the United States Navy ship, see USS Shada (SP-580). For the Arabic emphasis sign, see Shadda. For the village in Azerbaijan, see Şada.
Shada is an unaired serial of the British science fiction television series Doctor Who. It was intended as the final serial of the 1979–80 season (season 17) but was never completed, owing to strike action at the BBC during filming.
The BBC released a completed version of Shada in 2017, with missing dialogue newly recorded by the original cast, using the same audio equipment employed in the initial shoot, and animated by the team that undertook the animated version of the 1966 serial The Power of the Daleks.[1][2]
Previous attempts to present the story include a narrated reconstruction for BBC Video; a re-imagined audio play by Big Finish Productions, also offered with basic Flash imagery on BBCi and the BBC Doctor Who website; and a novelisation by Gareth Roberts, based on the latest shooting scripts, with the author’s own additions.[3]
Contents
1Synopsis
2Production
2.1Cast notes
3Reconstruction
3.11992 VHS reconstruction
3.22017 animated restoration
4Other adaptations
4.1Big Finish audio play and web animation (2003)
4.1.1Production
4.1.2Outside references
4.2Ian Levine animated version (2011)
4.3Novelisation and audio book (2012)
4.3.1Audio book
5Reviews
6References
7Bibliography
8External links
8.1Fan novelisation
8.2Webcast
Synopsis[edit]
The Doctor answers a distress signal from Professor Chronotis, a Time Lord posing as a professor at St. Cedd’s College, Cambridgewho loaned a Gallifreyan tome to his student Chris Parsons. The Doctor retrieves the book while Chronotis dies after his mind was extracted by the sphere of a mad scientist named Skagra, living long enough to warn Romana, Parsons, and K9 of them and Shada. The Doctor locates Skagra’s cloaked spacecraft, only for his companions to be captured while Skagra has his sphere extract the Doctor’s mind to decode the book before taking Romana in the TARDIS to his carrier ship and Krarg creations. But the Doctor survived his ordeal with his mind intact and has ship’s computer release Chris and K9 and take them to a space station Skagra previously occupied. The group find Skagra’s discarded colleagues and learn he is after a Time Lord named Salyavin.
Back on Earth, Clare Keightley accidentally revives Chronotis whose chambers are revealed as a TARDIS, the Professor explaining the book is a key to the prison planet Shada where Salyavin is held. Chronotis and Clare repair the TARDIS to reach Skagra’s carrier, saving the Doctor and Chris after Skagra decoded the book and reveals his intent to absorb Salyavin’s mind and use its telepathy to unite all life into a single Universal Mind. The group reach Shada as Skagra releases the prisoners, Chronotis revealed as Salyavin with Skagra extracting his mind and turning the prisoners and Chris into his thralls. Reminded that the Universal Mind contains a copy of his brain, the Doctor builds a telepathy helmet to wrestle control from Skagra while the Krarg are destroyed. Skagra ends up a prisoner in his own ship while the Doctor returns the restored prisoners to Shada and parts ways with Chronotis, musing over Chronotis’ exploits being exaggerated while expecting a similar treatment within two centuries.
Production[edit]
Originally, writer Douglas Adams presented a wholly different idea for the season’s six-part finale, involving the Doctor’s retirement from adventuring. Facing resistance from producer Graham Williams, Adams chose to avoid work on a replacement, under the expectation that time pressures would eventually force the producer’s hand and allow his idea to be used. Ultimately, however, Williams forced Adams to conceive a new story as a last-minute replacement, which became Shada.
Under its original remit, Graham Williams intended the story as a discussion about the death penalty, specifically how a civilisation like the Time Lords would deal with the issue, and treat its prisoners.[citation needed]
As composed by Adams, the story was scheduled to span six 25-minute episodes. Location filming in Cambridge and the first of three studio sessions at BBC Television Centre were completed as scheduled;[3] however, when the scheduled second studio block was due to start, it fell foul of a long-running technicians’ dispute at the BBC.[4] The strike was over by the onset of rehearsals for the third recording session, but ultimately the studio time was redirected to other higher-priority Christmas programming, leaving the serial incomplete.[5]
Following the departure of Graham Williams from the producer role, attempts were made by new producer John Nathan-Turner to remount the story; for various reasons, however, this never transpired. Consequently, in June 1980, the production was formally dropped. It is estimated that only 50% of the story was filmed.[3]
After the production halt, Adams expressed a low opinion of the script and was content to let it remain obscure, turning down offers to adapt the story in various forms. He once claimed that when he had signed the contract allowing the script’s 1992 release (accompanying the serial’s VHS reconstruction), it had been amongst a pile of papers sent over by his agent, and that he was unaware of what he was agreeing to.[6]
In 1983, clips from Shada were used in The Five Doctors, the 20th-anniversary special. Tom Baker, the fourth actor to play the Doctor, had declined to appear in the special, and the plot was reworked to explain the events in the clips.[4]
Cast notes[edit]
Denis Carey was subsequently cast as the eponymous Keeper in Tom Baker’s penultimate story, The Keeper of Traken (1981), and also appeared as the Borad’s avatar in Timelash(1985).
Reconstruction[edit]
1992 VHS reconstruction[edit]
A decade after the serial’s abandonment, John Nathan-Turner set out to complete the story in a fashion, by commissioning new effects shots and a score, and having Tom Baker record linking material to cover the missing scenes. The resulting shortened episodes (of between 14 and 22 minutes each) received a 111-minute VHS release in 1992. In its UK edition, the VHS was accompanied by a facsimile of a version of Douglas Adams’s script.[3] The release was discontinued in the UK in 1996.
This VHS reconstruction, the 2003 BBCi/Big Finish adaptation and the 1994 documentary More Than Thirty Years in the TARDIS,[7], were re-released together on DVD on 7 January 2013, as The Legacy Collection (UK) or simply Shada (North America).
2017 animated restoration[edit]
On 24 November 2017, an effort to complete the serial officially, using newly recorded dialogue from the original cast (using the serial’s original recording engineer and audio equipment), and new animated footage to complete the missing segments, was released as a digital download; DVD and Blu-ray releases followed on 4 December 2017 in Region 2.[9] The new sequences were animated by the same team that undertook the 2016 animated edition of the 1966 serial The Power of the Daleks,[10] including director Charles Norton, with lead character art by Martin Geraghty, character shading by Adrian Salmon, props by Mike Collins, and background art by Daryl Joyce.[11]
A 2-disc region 1 DVD release was originally set to be made available on 9 January 2018; this was later postponed in the U.S. and Canada to 4 September 2018.[12][13] The serial was released on 10 January 2018 in Region 4.[14]
This version received its U.S. broadcast debut 19 July 2018, on BBC America, with guide data giving the episode title as “The Lost Episode” rather than “Shada”.[15]
Other adaptations[edit]
Big Finish audio play and web animation (2003)[edit]
In 2003, the BBC commissioned Big Finish Productions to remake Shada as an audio play which was then webcast[3][16] in six episodic segments, accompanied by limited Flash animation, on the BBC website using illustrations provided by comic strip artist Lee Sullivan.[17] The play starred Paul McGann as the Eighth Doctor and Lalla Ward as Romana. The audio play was also broadcast on digital radio station BBC7, on 10 December 2005 (as a 21⁄2-hour omnibus), and was repeated in six parts as the opening story to the Eighth Doctor’s summer season, which began on 16 July 2006.
The webcast version (originally broadcast via BBCi’s “Red Button”) remains available from the BBC Doctor Who “classic series” website, and an expanded audio-only version is available for purchase on CD from Big Finish. This expanded version was the one broadcast on BBC7.
Production[edit]
Tom Baker was originally approached to reprise the role of the Doctor, but declined. The Eighth Doctor was then substituted and the story reworked accordingly.
Portions of the Big Finish version were reworked by Gary Russell to make the story fit into Doctor Who continuity. This included a new introduction, and a new explanation for the Fourth Doctor and Romana being “taken out of time” during the events of The Five Doctors; the Eighth Doctor has come to collect Romana and K9 because he has begun to have a feeling that there was something they should have done at that time.[citation needed]
When Skagra is investigating the Doctor, clips from three other Big Finish productions can be heard, exclusively on the CD version – The Fires of Vulcan, The Marian Conspiracy and Phantasmagoria. The original serial was to have used clips from The Pirate Planet(1978), The Power of Kroll (1978–79), The Creature from the Pit (1979), The Androids of Tara (1978), Destiny of the Daleks (1979), and City of Death (1979).[citation needed]
Outside references[edit]
In Episode 2 of the webcast version, when Chris is in his lab showing Clare the book, a vending machine-like object in the background is labelled “Nutrimat”, a reference to a similar device in Adams’ The Hitchhiker’s Guide to the Galaxy. Two other references are a sequence where Skagra steals a Ford Prefect and when images of Hitchhiker’s Guide characters appear as inmates on Shada itself.
Ian Levine animated version (2011)[edit]
In 2010, Ian Levine funded an unofficial project to complete the original Shada story using animation and the original voice actors, minus Tom Baker and David Brierley, to complete the parts of the story that were never filmed. John Leeson would replace Brierley as the voice of K9, and Paul Jones (better known as a studio carpenter)[18] would replace Tom Baker as the Doctor.[3] The completed story was finished in late 2011 and announced by Levine, via his Twitter account, on 8 September 2011.[3][19] J. R. Southall, writer for the science fiction magazine Starburst, reviewed Levine’s completed version and scored it 10 out of 10 in an article published on 15 September 2011.[20] The completed Levine version appeared on torrent sites over two years later, on 12 October 2013.
Novelisation and audio book (2012)[edit]
Elements of the story were reused by Douglas Adams for his novel Dirk Gently’s Holistic Detective Agency, in particular the character of Professor Chronotis who possesses a time machine. Adams did not allow Shada, or any of his other Doctor Who stories, to be novelised by Target Books. It is, therefore, one of only five serials from the 1963–1989 series not to be novelised by Target – along with Adams’ other stories The Pirate Planet and City of Death, plus Eric Saward’s two Dalek stories (Resurrection of the Daleks and Revelation of the Daleks).
A six-part adaptation of the story by Jonathan V Way appeared in issues 13–18 of Cosmic Masque, the Doctor Who Appreciation Society’s fiction magazine. Adams granted permission for the adaptation on condition that it was never published in collected form.[21]
BBC Books published a novelisation of this serial on 15 March 2012, written by Gareth Roberts. Roberts drew on the latest versions of the scripts available, as well as adding new material of his own to “fix” various plotholes and unanswered questions.[22] Nicholas Pegg, in his review of the book for Doctor Who Magazine heartily praised it, calling it a “successful duet”.[23]
Audio book[edit]
Lalla Ward delivered an 11hr 30min unabridged reading of the Gareth Roberts novelisation for AudioGo; joining her, voicing K9, was John Leeson. The audio recording was released on 15 March 2012, and is available for download or on 10 CDs (CD ISBN 978-1-4458-6763-2, Download ISBN 9781445867656).[24] Vanessa Bishop reviewed it favourably for Doctor Who Magazine, singling out Simon E Power’s sound design for special praise.[25]
Reviews[edit]
Paul Cornell, Martin Day, and Keith Topping gave the serial (at the time in the form of the 1992 VHS reconstruction) a mixed review in The Discontinuity Guide (1995), saying;
Patrick Mulkern reviewed the 2017 partially reconstructed version for Radio Times. Mulkern thought that despite “pockets of magic to enjoy” it was a “sprawling but far-from-epic serial.” The humour was repetitive and fell flat and the action pedestrian. Mulkern recommended Gareth Roberts’ novelisation as a superior alternative.[27]
Glass (2019 film)
Glass_(2019_poster)
Glass is a 2019 American superhero thriller film[6] written, produced, and directed by M. Night Shyamalan. The film is a sequel to Shyamalan’s previous films Unbreakable (2000) and Split (2016), cumulatively forming the Eastrail 177 Trilogy.[7] Bruce Willis, Samuel L. Jackson, Spencer Treat Clark, and Charlayne Woodard reprise their Unbreakable roles, while James McAvoy and Anya Taylor-Joyreturn as their Split characters,[8] with Sarah Paulson, Adam David Thompson, and Luke Kirby joining the cast. In the film, David Dunngets locked in a mental hospital alongside his once-rival Mr. Glass, as well as the multi-personality “The Horde,” and must escape from a psychiatrist who is out to prove the trio do not actually possess super-human abilities.
While there was interest in creating a sequel to Unbreakable following its release, Touchstone Pictures opted not to finance one at that time despite the film’s solid box office performance. Shyamalan set out to write Split using a character he had written for Unbreakablebut pulled from the script due to balance issues. Shyamalan realized the opportunity he had to create a trilogy of works, and adapted the ending of Split to establish the film as within the Unbreakable narrative. This included securing the rights to use Willis’s Unbreakable character from Walt Disney Studios, with the promise of including them within the production and distribution of this third film alongside Universal Pictures, should it be made. Split was a financial and critical success, and by April 2017, Shyamalan announced that he had started the production process for Glass.
The film was released on January 18, 2019, by Universal Pictures in the United States and by Buena Vista International in international territories. The film received mixed reviews from critics, with some finding it underwhelming and lamenting the climax, although the performances and the entertainment value of the first half were praised.[9][10]
Contents
1Plot
2Cast
3Production
3.1Development
3.2Casting
3.3Filming
3.4Music
4Marketing
5Release
6Reception
6.1Box office
6.2Critical response
7References
8External links
Plot[edit]
Three weeks after the events of Split, David Dunn, working with his now-adult son Joseph, is using his superhuman abilities to protect people from criminals under a new alias known as “The Overseer”. David learns from Joseph that Kevin Wendell Crumb, who suffers from dissociative identity disorder which provides his moniker “The Horde”, has a group of cheerleaders held hostage in a warehouse. David goes to free them but encounters one of Kevin’s personalities known as “The Beast,” and the ensuing fight spills out into the streets, leading to the eventual capture of both David and Kevin by the authorities. The two are sent to a mental institution where Elijah Price, David’s sworn enemy known as “Mr. Glass”, is being held.
Dr. Ellie Staple, the head doctor of the mental institution, works with patients who claim to have special powers. In order to have them suppress those thoughts, Staple tries to persuade them that there is no such thing as superhuman powers and that they actually have mental illness. Meanwhile, Elijah is secretly working with Kevin to unleash “The Beast” and expose the world to the existence of superheroes. With the help of “The Beast,” Elijah escapes but he is soon pursued by David, who again battles Kevin on the institution’s grounds.
Staple arrives with armed men and explains that she has spent the majority of her career preventing superheroes from exposing themselves to the world and it turns out both Ellie and the armed men are part of a secret anti-superhuman society. The men capture David and kill him by drowning him in a pothole, while Kevin kills Elijah after he learns that Elijah orchestrated the train crash that killed his father, the same train wreck that Elijah caused to find David. After his father died, his abusive mother began torturing him, thus leading to the creation of Kevin’s multiple personalities. Eventually, Kevin is also killed by Staple’s men after Casey Cooke, a former hostage of his, puts Kevin himself back to the light, destroying the Horde and making him vulnerable to gunfire.
Unbeknownst to Staple, the cameras around the mental institution had previously been hacked by Elijah, and the footage is released to the world, exposing the existence of those with superhuman abilities. Staple is shocked and furious that the public is now aware of superheroes and villains, which she fought to hide, and her plans and those of the secret society are destroyed.
Meanwhile, while overseeing Philadelphia, Mrs. Price tells Joseph and Casey that it is “the beginning of a universe” as people and possibly other “superhumans” now know of their co-existence.
Cast[edit]
James McAvoy as Kevin Wendell Crumb / The Horde: A former Philadelphia Zoo employee with 23 different personalities whose body chemistry changes with each personality, resulting in a 24th personality known as “The Beast.” Kevin’s personalities include Jade (a foul-mouthed teenage girl), Orwell (an introverted man), Barry (the original dominant personality), Patricia (an orderly, sophisticated woman), Hedwig (a nine-year-old boy), Mary Reynolds (a spoiled English girl), Dennis (a perverted man with OCD), Norma, B.T. (a hyperactive surfer), Mr. Pritchard (a posh-talking man), Jelin, and Samuel (a Spanish-speaking individual).[11]
Bruce Willis as David Dunn / The Overseer: A security guard with superhuman strength, stamina, and invulnerability as well as an extrasensory ability to see the crimes people have committed by touching them. In the film, Dunn goes by a new alias named “The Overseer.”[12]
Samuel L. Jackson as Elijah Price / Mr. Glass: A highly intelligent mass murderer and comic book theorist with Type I osteogenesis imperfecta who was institutionalized after Dunn discovered the extent of his crimes.
Sarah Paulson as Dr. Ellie Staple: A psychiatrist specializing in delusions of grandeur who treats patients convinced they are superhuman beings.
Anya Taylor-Joy as Casey Cooke: A teenage girl with a history of self-harm who was kidnapped by one of Kevin’s personalities as a potential sacrifice to “The Beast” but managed to survive.
Spencer Treat Clark as Joseph Dunn: David’s son who has believed in his father’s abilities since he was a child and sees him as a real-life superhero.
Charlayne Woodard as Mrs. Price: Elijah’s mother who took great care of her son and always told him he was special no matter what others said.
Adam David Thompson as Daryl, an employee at the psych ward.[13]
Luke Kirby as Pierce, one of Mr. Glass’ caretakers at the facility.[14]
M. Night Shyamalan reprises his cameo role of Jai, the security guard from Dr. Fletcher’s apartment building in Split who hints to David Dunn that he was the same man he confronted about selling drugs at the university stadium in Unbreakable.
Production[edit]
Development[edit]
After Unbreakable’s release in 2000, rumors of possible sequels began circulating in different interviews and in film fansites. In 2000, Bruce Willis was quoted as hoping for an Unbreakable trilogy.[15] In December 2000, director/writer M. Night Shyamalan denied rumors he wrote Unbreakable as the first installment of a trilogy, saying he was not even thinking about it.[15] In August 2001, Shyamalan stated that, because of successful DVD sales, he had approached Touchstone Pictures about an Unbreakable sequel, an idea Shyamalan said the studio originally turned down because of the film’s disappointing box office performance.[16] In a September 2008 article, Shyamalan and Samuel L. Jackson said there was some discussion of a sequel when the film was being made, but that it mostly died with the disappointing box office. Jackson said he was still interested in a sequel but Shyamalan was non-committal.[17] In February 2010, Willis said that Shyamalan was “still thinking about doing the fight movie between me and Sam that we were going to do”, and stated that as long as Jackson was able to participate he would be “up for it.”[18]
Shyamalan continued to work on other films following Unbreakable, and in 2016 he released Split. Split’s principal antagonist is Kevin Wendell Crumb, played by James McAvoy, a person suffering from dissociative identity disorder which affects his body chemistry, adapting the mannerisms of each of the separate personas. One of these personalities is “The Beast,” which causes Crumb’s body to transform into a feral superhuman state, with the desire to consume those that have not had a traumatic situation in their lives – those it does not consider “broken.” Crumb had been written in the script for Unbreakable, but Shyamalan felt there were balancing issues with his inclusion, and removed him from the story; Splitwas effectively rewritten from some of the scenes he had planned for Crumb expanded out into a standalone picture.[19]
The final scene for Split includes the appearance of David Dunn, played by Willis. Shyamalan included Dunn here to connect Split to Unbreakable, with Dunn on learning about the escape of “The Beast,” realizing that there are other superhumans in the world, as predicted by Mr. Glass (Jackson).[20] By including this scene, he realized there may be a possibility of completing a trilogy of films. Shyamalan stated “I hope [a third Unbreakable film happens]. The answer is yes. I’m just such a wimp sometimes. I don’t know what’s going to happen when I go off in my room, a week after this film opens, to write the script. But I’m going to start writing. [I have] a really robust outline, which is pretty intricate. But now the standards for my outlines are higher. I need to know I’ve won already. I’m almost there but I’m not quite there.”[21] Unbreakable had been produced under Touchstone, a subsidiary of Walt Disney Studios, while Split was produced through Universal Pictures. Shyamalan had to get permission from Disney to reuse Dunn. Shyamalan met with Sean Bailey, President of the Walt Disney Studios, about the use of the character; they came to a gentlemen’s agreement where Bailey agreed to allow the use of the character in the film without a fee and Shyamalan promised that Disney would be involved in a sequel, if developed.[22]
Split was met with critical and financial success, and in February 2017, Shyamalan affirmed his next film would be the third work in the Eastrail 177 Trilogy.[23][24][25][26] Shyamalan finished the script by April 2017, announcing that it would be called Glass and with a target release date of January 18, 2019.[27][28][29][30] Universal will distribute the film in the United States and Disney will distribute the film internationally through its Buena Vista International label.[1][31]
Casting[edit]
The cast will include returning actors from both films: Bruce Willis, Samuel L. Jackson, Spencer Treat Clark, and Charlayne Woodard from Unbreakable and James McAvoy and Anya Taylor-Joy from Split will all reprise their respective roles in Glass.[28][32] Sarah Paulson has also joined the cast as a new character.[33][34] In November 2017, Adam David Thompson joined the cast in an undisclosed role.[13]
Filming[edit]
Principal photography on the film began on October 2, 2017 in Philadelphia, following a week of rehearsals.[35] Shyamalan planned for a 39-day shoot in this period.[36] On October 31, 2017 it was reported that Shyamalan was filming at the Allentown State Hospital for the film and would be filming there for a few weeks.[37] On December 12, Shyamalan revealed that 4 scenes are being planned to be shot in January 2018, stating he’d have to travel for those.[38] On February 16, 2018, a scene was filmed at Bryn Mawr College in the athletic center. On July 12, 2018, the first official photographs from production were released, including shots of Samuel L. Jackson, Sarah Paulson, and James McAvoy.[39] Deleted scenes from Unbreakable were also used as flashback sequences in the film.
Music[edit]
West Dylan Thordson returned to score the film after his collaboration with the director on Split. He used themes from the score of Unbreakable by James Newton Howard, alongside those of Split, into this score. The score will be distributed digitally by Back Lot Music on January 18, 2019.
Marketing[edit]
On April 25, 2018, the film was featured at CinemaCon, with Shyamalan in attendance. He presented footage from the film, along with the first official image, featuring Willis, Jackson and McAvoy in character. He also expressed his intention with the film saying, “The worlds of Unbreakable and Split finally collide in Glass. What if these real life superheroes and super-villains are somehow locked up together? What could go wrong?” He considered it to be the “first truly grounded comic book movie”.[40]
On July 12, 2018, the first official photographs from production were released, including shots of Samuel L. Jackson, Sarah Paulson, and James McAvoy.[39] On July 20, 2018, the film was promoted at San Diego Comic-Con, with Shyamalan, Willis, Jackson, Taylor-Joy and Paulson attending a panel, where the film’s first trailer premiered.[41]
Release[edit]
Glass was theatrically released on January 18, 2019 in the United States by Universal Pictures and in international territories by Walt Disney Studios Motion Pictures through the Buena Vista International label. The first screening for Glass occured on January 12, 2019, at 25 Alamo Drafthouse Cinema locations.[3]
Reception[edit]
Box office[edit]
In the United States and Canada, Glass is projected to make $50–75 million from 3,841 theaters over its four-day MLK Day opening weekend.[42] It made $16 million on its first day, including $3.7 million from Thursday night previews, marking the best amount of Shyamalan’s career.[43]
Internationally the film is expected to gross $45–50 million in its first weekend, for a total of global opening of $105–120 million.[44]
Critical response[edit]
On review aggregator Rotten Tomatoes, the film holds an approval rating of 35% based on 235 reviews, with an average rating of 5/10. The website’s critical consensus reads, “Glass displays a few glimmers of M. Night Shyamalan at his twisty world-building best, but ultimately disappoints as the conclusion to the writer-director’s long-gestating trilogy.”[45]On Metacritic, which assigns normalized ratings to reviews, the film has a weighted average score of 42 out of 100, based on 47 critics, indicating “mixed or average reviews”.[46]Audiences polled by CinemaScore gave the film an average grade of “B” on an A+ to F scale, down from Split’s “B+” but up from Unbreakable’s “C”, while those at PostTrak gave it an average 3.5 out of 5 stars and a “definite recommend” of 49%.[43]
David Ehrlich of IndieWire gave the film a “C–” and called it the biggest disappointment of Shyamalan’s career, writing: “The trouble with Glass isn’t that its creator sees his own reflection at every turn, or that he goes so far out of his way to contort the film into a clear parable for the many stages of his turbulent career; the trouble with Glass is that its mildly intriguing meta-textual narrative is so much richer and more compelling than the asinine story that Shyamalan tells on its surface.”[47] Writing for Rolling Stone, David Fear gave the film 3/5 stars, writing: “Glass is not the flaming flop some folks have already suggested it is, nor is it the movie you want in terms of tying ambitious, highfalutin notions together about how we process our pulp mythos. In a world in which all movies are now either genocide or ice cream, it’s a grand gesture characterized by a sense of ambivalence about what you’ve just seen—which may in and of itself be a sign of failure.”[48] Laura Di Girolamo of Exclaim! scored the film 6/10, writing, “by virtue of being a followup to two films that have very little to do with each other, Glass struggles the most when it tries to be an effective finale to a trilogy we never realized was one”[49]
Owen Gleiberman of Variety said: “It’s good to see Shyamalan back (to a degree) in form, to the extent that he’s recovered his basic mojo as a yarn spinner. But Glass occupies us without haunting us; it’s more busy than it is stirring or exciting. Maybe that’s because revisiting this material feels a touch opportunistic, and maybe it’s because the deluge of comic-book movies that now threatens to engulf us on a daily basis has leeched what’s left of the mystery out of comics.”[50]
Richard Roeper of the Chicago Sun-Times called the film “an underwhelming, half-baked, slightly sour and even off-putting finale.” [51] while Joshua Rivera of GQ said that “The timeline is barely comprehensible, with twists so openly telegraphed they’d have saved the Titanic.” [52]
Aquaman (film)
Aquaman_poster
Aquaman is a 2018 American superhero film based on the DC Comics character of the same name, and distributed by Warner Bros. Pictures. It is the sixth installment in the DC Extended Universe (DCEU). Directed by James Wan, with a screenplay by David Leslie Johnson-McGoldrick and Will Beall, from a story by Geoff Johns, Wan and Beall, it stars Jason Momoa as the title character, with Amber Heard, Willem Dafoe, Patrick Wilson, Dolph Lundgren, Yahya Abdul-Mateen II, and Nicole Kidman in supporting roles. It is the third live-action theatrical film featuring Aquaman, following Batman v Superman: Dawn of Justice (2016) and Justice League (2017), and the first full-length feature film centered around the character. In Aquaman, Arthur Curry, the heir to the underwater kingdom of Atlantis, must step forward to lead his people against his half-brother, Orm, who seeks to unite the seven underwater kingdoms against the surface world.
Development of an Aquaman film began in 2004, with several plans falling through over the years. In August 2014, Beall and Kurt Johnstad were hired to write two competing scripts and the film was officially announced in October 2014. Wan signed on as director in April 2015 and in July 2016 it was announced the film would move forward with Beall’s screenplay, although Wan, Johnstad, Johns and Johnson-McGoldrick all performed various rewrites. The main cast was confirmed throughout 2016 and early 2017. Principal photography began in Australia on May 2, 2017. Most of the film was shot at Village Roadshow Studios in Gold Coast, Queensland, with production also held in Canada, Italy and Morocco. Filming wrapped on October 21, 2017.
Aquaman had its world premiere in London on November 26, 2018, and was released in the United States by Warner Bros. Pictures in Real D 3D, Dolby Cinema, IMAX and IMAX 3D on December 21, 2018. The film has grossed over $1 billion worldwide; it is the highest-grossing installment of the DCEU and the fifth highest-grossing film of 2018, as well as the 29th highest-grossing film of all-time. It received praise for its tone, direction, and cinematography, but criticism for the plot, dialogue, and runtime.[8]
Contents
1Plot
2Cast
3Production
3.1Development
3.2Casting
3.3Filming
3.4Post-production
3.5Visual Effects
4Music
5Marketing
6Release
7Reception
7.1Box office
7.1.1Domestically
7.1.2Other territories
7.2Critical response
7.3Accolades
8Future
9Note
10References
11External links
Plot
In 1985 Maine, lighthouse keeper Thomas Curry rescues Atlanna, the princess of the underwater nation of Atlantis, during a storm. They eventually fall in love and have a son named Arthur, who is born with the power to communicate with marine lifeforms. Atlanna is forced to abandon her family and return to Atlantis, entrusting to her advisor, Nuidis Vulko, the mission of training Arthur. Under Vulko’s guidance, Arthur becomes a skilled warrior but rejects Atlantis upon learning that Atlanna was executed for having a half-breed son.
In the present, one year after Steppenwolf’s invasion,[N 1] Arthur confronts a group of pirates attempting to hijack a Russian Navalnuclear submarine. Their leader, Jesse Kane, dies during the confrontation while his son, David, vows revenge. David later targets Atlantis at the behest of Orm, Arthur’s younger half-brother and Atlantis’ incumbent monarch who uses the attack as a pretext to declare war on the surface world. King Nereus of Xebel swears allegiance to Orm’s cause, but his daughter Mera, who has been betrothed to Orm, refuses to aid them and journeys to the surface to ask Arthur for help, earning his trust by saving Thomas from a tidal wave sent by Orm. Arthur reluctantly accompanies Mera to a rendezvous with Vulko, who urges Arthur to find the Trident of Atlan, a magic artifact that once belonged to Atlantis’ first ruler in order to reclaim his rightful place as king. They are ambushed by Orm’s men and Mera and Vulko escape without having been seen, while Arthur is captured.
Orm visits Arthur in captivity and blames him and the surface for Atlanna’s death. He offers Arthur an opportunity to leave forever, but Arthur instead challenges him to a duel in a ring of underwater lava. Orm gains the upper hand and nearly kills Arthur before Mera rescues him. Together, Arthur and Mera journey to the Sahara desert where the trident was forged and unlock a holographic message that leads them to Sicily, Italy, where they retrieve the trident’s coordinates. Meanwhile, Orm provides David with a prototype Atlantean battle suit to kill Arthur, imprisons Vulko upon learning of his betrayal, and coerces the remaining kingdoms of Atlantis to pledge their allegiance to him and his campaign against the surface.
After modifying Orm’s technology, a fully armored David rechristens himself as Black Manta and ambushes Arthur and Mera in Sicily, injuring Arthur before being thrown off a cliff to his apparent death. Mera nurses Arthur’s wounds as they journey to the trident’s whereabouts, and encourages him to embrace his destiny as a hero. Arriving at their destination, Arthur and Mera are attacked by a legion of amphibious monsters known as The Trench, but manage to fend them off and reach a wormhole that transports them to an uncharted sea located at the center of the Earth. There, they are unexpectedly reunited with Atlanna, who was sacrificed to the Trench for her crimes but managed to escape and reach the uncharted sea, where she has been stranded ever since.
Arthur faces Karathen, the mythical leviathan that guards the trident, and voices his determination to protect both Atlantis and the surface, proving his worth and reclaiming the trident, which grants him control over the seven seas. Orm and his allies lead an army against the crustacean forces of the Kingdom of the Brine with the intent of completing Orm’s surface battle preparations. As Orm declares himself Ocean Master, Arthur, and Mera, with the assistance of Karathen and the Trench, intervene and lead an army of marine creatures in a battle against him. Orm’s followers renounce their obedience to him and embrace Arthur as the true king upon learning he wields the trident. Arthur defeats Orm in combat but chooses to spare his life and Orm accepts his fate after discovering Arthur has found and rescued Atlanna. Atlanna returns to the surface to reunite with Thomas while Arthur ascends to the throne with Mera by his side.
In a mid-credits scene, David is rescued by Dr. Stephen Shin, a scientist obsessed with finding Atlantis, and agrees to lead Shin there in exchange for his help in his revenge on Arthur.
Cast
Jason Momoa as Arthur Curry / Aquaman:
A half-Atlantean/half-human who is reluctant to be king of the undersea nation of Atlantis. He has the ability to manipulate the tides of the ocean, communicate with other aquatic life, and swim at supersonic speeds, and possesses superhuman strength. A younger Arthur Curry is portrayed by various actors including an uncredited infant, Tainu and Tamor Kirkwood at age 3, Kaan Guldur at age 9, Otis Dhanji at age 13, and Kekoa Kekumano at age 16.[9]
Amber Heard as Mera:
Arthur Curry’s love interest, a warrior and daughter of King Nereus. She was raised by Queen Atlanna and groomed to become queen. Mera possesses hydrokinetic and telepathic powers that allow her to control her aquatic environment and communicate with other Atlanteans.[10]
Willem Dafoe as Nuidis Vulko:
Atlantis’ counselor, who was a mentor of Arthur Curry when he was young. He trained him to fight as well.[11][12]
Patrick Wilson as Orm Marius / Ocean Master:
Arthur Curry’s Atlantean half-brother and ruler of Atlantis, who seeks to unite the seven underwater kingdoms to declare war on the surface world out of the belief that humanity polluted the seas.[13][14]
Dolph Lundgren as Nereus:
The king of the Atlantean tribe of Xebel and Mera’s father, who allies with Orm.[15][16]
Yahya Abdul-Mateen II as David Kane / Black Manta:
A ruthless pirate and a high-seas mercenary with a flair for creating deadly technological innovations.[17][18]
Nicole Kidman as Atlanna:
The Queen of Atlantis, mother of Arthur Curry and Orm.[19]
Additionally, Temuera Morrison portrays Thomas Curry, a lighthouse keeper who is Arthur Curry’s father;[20] Ludi Lin portrays Murk, the Captain of the Men-of-War, the frontline army of Atlantis;[21] Randall Park portrays Dr. Stephen Shin, a marine biologist obsessed with finding the lost city of Atlantis;[22] Graham McTavish portrays Atlan, the first king of Atlantis and the ancestor of Atlanna, Orm, and Arthur;[23] and Michael Beach portrays Jesse Kane, a member of a group of pirates and David Kane’s father.[24]
Djimon Hounsou, Natalia Safran, and Sophia Forrest play the Fisherman King Nicou, the Fisherman Queen, and the Fisherman Princess respectively, whom Orm creates an alliance with as part of his plan to unite the seven kingdoms of the sea where the former provided the voice of King Nicou.[25] Julie Andrews provides the voice of Karathen, a mythical leviathan that allies with Aquaman.[26] While Andrew Crawford provides the motion-capture of King Nicou, he also provides the motion-capture of the Brine King, who is voiced by John Rhys-Davies.[27] Leigh Whannell, Wan’s long time collaborator, appears in the film as a plane pilot.[28]
Production
Development
In 2004, FilmJerk.com reported that Sunrise Entertainment’s Alan and Peter Riche planned to bring Aquaman to the big screen for Warner Bros., with Robert Ben Garant writing the screenplay.[29] However, the film fell through. In July 2009, it was reported that Aquaman was in development at Leonardo DiCaprio’s Appian Way, and Warner chairman and CEO Barry Meyer said that the Aquaman film was in development.[30] After Man of Steel’s release in 2013, a source from Warner Bros. told The Wrap that they were discussing future films, with the mention of more Man of Steel movies as well as a Superman/Batman film, a Wonder Woman film, and an Aquaman film.[31][32][33] Geoff Johns told Variety that Aquaman is a priority character for the company.[34] It was announced on August 12, 2014, that Warner Bros. had hired screenwriters Will Beall and Kurt Johnstad to pen two separate scripts for an Aquaman film. The film was being developed on dual tracks, meaning that one script was being by Beall and one by Johnstad, but only the better version would move forward.[35]
On April 10, 2015, The Hollywood Reporter reported that James Wan was the frontrunner to direct the film.[36] In June 2015, Wan was confirmed to direct, and overlook the screenplay by Johnstad.[37] On November 12, 2015, David Leslie Johnson-McGoldrick was hired to write the script, however it was unclear whether he would be writing a separate script or working with Wan.[38] It was then revealed that previous script plans had been scrapped and that both Wan and Johns planned to move forward with a new script written by Beall.[39] Later, Johnson-McGoldrick was brought back to the project to work on a rewrite of Beall’s script.[40][41]
On March 2016, it was announced that the events of Aquaman will be set after Justice League.[42][43] Wan confirmed later on Twitter that cinematographer Don Burgess, who had previously worked with Wan on The Conjuring 2, would serve as cinematographer for Aquaman.[44] Pre-production began in Australia in late November 2016.[45][46]
Casting
Jason Momoa at 2017 San Diego Comic-Con International
In October 2014, Warner Bros. announced Aquaman as a part of the DC Extended Universe, with Jason Momoa starring.[47] On October 20, 2014, in an interview with ComicBook.com, Momoa revealed that he was preparing for a Justice League film, and that he did not know if a solo Aquaman film would come before or after Justice League. He thought it might be an origin story of where Aquaman came from.[48] In December 2014, it was revealed that Momoa had signed a four-picture deal with the studio and DC, and he wanted Zack Snyder to direct the solo Aquaman film.[49]
On January 13, 2016, The Hollywood Reporter announced that Amber Heard had entered negotiations to play the female lead role of Mera, Aquaman’s love interest;[10] her casting was confirmed two months later.[50] In April 2016, Willem Dafoe was cast in an undisclosed role,[11] later revealed to be Nuidis Vulko.[12] On December 12, 2016 it was confirmed that Patrick Wilson would play the villainous Ocean Master, the half-brother of Aquaman.[13] On January 31, 2017, Yahya Abdul-Mateen II was added to the cast as Black Manta, Aquaman’s archenemy in the comics.[17] That same day, press reports noted that Nicole Kidman had entered talks to play Queen Atlanna.[51] Two months later, Kidman confirmed her participation in the film.[52]
By February 2017, New Zealand actor Temuera Morrison had entered talks to play Thomas Curry, Aquaman’s human father.[20] On April 12, Dolph Lundgren was cast to play Nereus, king of Xebel.[53] Ludi Lin was cast in the film on May 15, 2017.[54] Almost two weeks later, Michael Beach, who voiced Devil Ray, a character loosely based on Black Manta in Justice League Unlimited, was cast as Black Manta’s father.[24] In October 2017, Graham McTavish revealed that he has a role in the film.[23] In April 2018, Randall Park was cast as Dr. Stephen Shin,[22] and in July, Djimon Hounsou, Natalia Safran and Sophia Forrest were cast as the Fisherman King, Fisherman Queen and the Fisherman Princess, respectively.[25] In November 2018, it was revealed that Julie Andrews has a voice role in the film.[26]
Filming
Principal photography began in Australia on May 2, 2017, under the working title Ahab.[55] A majority of the film was shot at Village Roadshow Studios in Gold Coast, Queensland, with production also held in Newfoundland, Canada, as well as in Sicily and Morocco.[56] Between May and August 2017, production also took place on location around a number of places on the Australian Gold Coast, including Main Beach, Coomera, Southport and Amity Point in North Stradbroke Island, Queensland,[57] as well as Hastings Point in New South Wales.[58] On filming underwater sequences, Wan stated that “the underwater world is super complicated” and “it’s not an easy shoot.”[59]
Filming began on the Arthur Curry Lighthouse set at Hastings Point on August 11, 2017, and ended later that month.[60] In September, during an interview with Kiss Radio, actor Ludi Lin described Wan’s vision for the film as “Star Wars underwater.”[61] That same month, filming took place in Newfoundland and Labrador.[62] Willem Dafoe finished up his part by late September.[63] On October 13, James Wan announced that Patrick Wilson wrapped on the film.[64] Filming on location took place in the deserts of Morocco by mid-October, which included the cities of Merzouga and Erfoud.[65] Principal photography wrapped on October 21, 2017.[66]
Post-production
James Wan’s five-time collaborator Kirk Morri served as the editor for Aquaman. Two-time Academy Award winner Charles Gibson (Babe and Pirates of the Caribbean: Dead Man’s Chest), and Kelvin McIlwain (The Fast and the Furious franchise), served as overall visual effects supervisors.[67]
Visual Effects
Altogether there are 2,300 visual effects shots in the movie completed by Industrial Light & Magic (ILM), Rodeo FX, Scanline VFX, DNEG, Moving Picture Company (MPC), Method Studios, and Digital Domain[68][69] On November 3, 2018, Wan announced that post-production on the film was complete.[70]
Industrial Light & Magic (ILM)
ILM was the lead VFX vendor and worked on creating Atlantis and all its CG animals, the Karathen and the final battle of the film. Jeff White served as the VFX supervisor for ILM on Aquaman.For the underwater sequences the actors were shot dry for wet on special tuning fork rigs designed by the FX team and later the bodies of the actors were replaced with digital boubles in post production.For creating Atlantis the team relied on the designs provided by the art department. ILM’s environment team created over 200 buildings, including the signature jellyfish buildings and laid over 7000 buildings in districts covering almost 600 sq miles for the action to travel through.The underwater ships were modeled off organic creatures and designed to move that way. For the entrance to Atlantis sequence the team built over 150,000 ships to fill the traffic lanes leading into Atlantis . All the animals including the Karathen were built by ILM and animated using keyframe animation
Approximately 700 shots in the film required high detail hair simulaions. ILM had to significantly improve their hair simulation software due to the unique aspects of hair flowing underwater. Normally hair simulations use guide strands to define or influence the movement of groups of hair strands. This did not provide a satisfying look for underwater simulation, so ultimately ILM simulated strands individually, which resulted in heavy computations. Additionally, Wan wanted to be able to direct the hair when the physically accurate simulation resulted in undesirable results.ILM delivered 670 shots for the film[71][72]
DNEG
Additionally,DNEG worked on digitally de-ageing Willem Dafoe for the scene where his character Nudris Vulko trains the young Arthur Curry.[72]
Digital Domain
Jay Barton served as the VFX supervisor for Digital Domain. They worked on creating the Dead King’s Island environment.For the sequence the actors were shot in a pool of water against blue screen backgrounds with Digital Domain adding CG extentions,waterfalls, mountains and dinosaurs in post production.Most of the waterfalls that appear in the scene were created using Houdini while some were created using practical elements of things such as pouring salt and glass beads.They also built an extensive library of shot FX elements. The dinosaurs were animated using keyframe animation. Digital Domain delivered 19-20 shots for the movie.[73]
Method Studios
David Nelson and Craig Wentworth served as VFX supervisors for Method Studios.Method handled the Sicily fight sequence between Arthur, Mera and Black Manta;Arthur’s encounter with the Karathen in the Well of the Souls and his acquisition of Atlan’s Trident. For the Sicily fight sequence the team built the main square of the Italian village and terracotta tiled roof set pieces that were backed with blue screen. A completely CG village was also created based on scans and documentation of the real village.[71] For the Well of the Souls sequence Momoa was filmed dry-for-wet and captured on set in rigs that simulated underwater movements but they ultimately felt restrictive so artists replaced the majority of his performance with a digital body double and added the CG environment, Karathen and Arthur’s free-flowing locks. A specially designed 700 fps shot was used in the scene where the camera travels through Arthur’s eyes.[74]
Rodeo FX
Rodeo FX worked on two key sequences for the film, with Sebastien Moreau leading as VFX Supervisor for the film. For the aquarium that young Arthur Curry visits near the beginning of the film, Rodeo FX made used a large volume of simulations as well as algorithms for the fish behavior. They created hard and soft corals by developing a colonization growth system, along with procedural stem and tentacle generation tools. They also created the environments for the Atlantis ruins below the desert.Artists used a lego-type approach to layer the environment with a large amount of sand, dust and rocks, all of which would realistically give way to the characters’ interactions. From there, they sculpted ruined buildings, bridges, towers, statues and temples, which textured and shaded to add depth to the ruined city.[75][76]
Scanline VFX
Scanline VFX delivered 450 shots for the movie.Bryan Hirota served as VFX supervisor for scanline.The main sequences produced by them are: The lighthouse and it’s surround environment, the “Aquaman” title card that follows the Boston aquarium, Aquaman pushing the submarine to the surface and rescuing the sailors inside, Orm’s tidal wave that sweeps away Arthur and Tom including the rescue and aftermath, Black Manta being paid by Orm for the submarine’s delivery and Arthur and Mera’s visit to the Kingdom of the Trench. For the creation of the film’s title card the team relied on Rodeo’s work on the aquarium sequence and simulated up to 60,000 fish. The tidal wave sequence was realized with a large-scale simulated wave, which was integrated with a combination of day for night footage, blue screen shots for the actors in truck interiors, a truck on a rotisserie rig, an interior cabin in a water tank, and VFX simulations for debris.For creating the lighthouse a full-size house with the base of the lighthouse tower constructed by the FX team.Additional house and dock sets were built on sound stages. A digital build-out was done to complete the lighthouse tower and extend the dock fully out to sea. For the sequence where the camera pushes into a toy snowglobe with a tiny lighthouse inside a CG transition was created from the lighthouse’s living room set to a fully CG winter coastline.For creating the trench creatures motion capture was done on set by stunt performers.[77]
Music
Main article: Aquaman (soundtrack)
On March 7, 2018, Rupert Gregson-Williams was announced as the composer for Aquaman. Gregson-Williams previously wrote the score for Wonder Woman, the fourth film in the DC Extended Universe.[78] The soundtrack was released by WaterTower Music on December 14, 2018.[79][80] The album features an original song by American musician Skylar Greyentitled “Everything I Need”, written by Grey and Elliott Taylor.[81] The second trailer featured a piece called “Sidewinder” from composer Phil Lober of Ghostwriter Music.[82]
Marketing
In March 2017, prior to filming, a first look at Aquaman was shown during the CinemaCon convention in Las Vegas, Nevada, with Momoa introducing a video of director James Wan displaying a concept art sizzle reel for the film.[83] Later, on July 22, the film’s first footage made its debut at San Diego Comic-Con (SDCC) 2017 with a teaser presented by Momoa during the Warner Bros. panel at Hall H; director Wan presented the footage, stating that “in a lot of ways, this is an origin story,” referring to the film.[84] In April 2018, another teaser, with new rough footage, was shown by Wan and Momoa at CinemaCon, joined by Amber Heard, Patrick Wilson and Yahya Abdul-Mateen II on stage.[85] In an interview with Entertainment Weekly during the event, Wan teased the conflict between Arthur Curry and his half-brother and main antagonist in the film, Orm / Ocean Master, stating that “it’s almost a very classic Shakespearean story about brother from another world vs. brother from another world. And it really is a classic story of sibling rivalry.”[86]
Cast and director of Aquaman at the 2018 San Diego Comic-Con. From left to right: Jason Momoa, Amber Heard, Nicole Kidman, Patrick Wilson, Yahya Abdul-Mateen II and James Wan
On June 11, 2018, the film’s first trailer was previewed at the European exhibitors’ conference CineEurope in Barcelona, Spain.[87] A first look at Black Manta, Ocean Master, Queen Atlanna and Nuidis Vulko was revealed by Entertainment Weekly on June 14, 2018.[88][89] On July 16, 2018, an official teaser poster was released.[90] On July 21, 2018, the first trailer was released at the SDCC 2018, being considered the best received trailer during the international convention;[91] it was later attached to theatrical showings of Teen Titans Go! To the Movies, Mission: Impossible – Fallout, The Meg, The Predator, and Venom.[92] The cast also appeared as guests on the late-night talk show Conan with Conan O’Brien during SDCC, on Sunday, July 22.[93] By late August of the same year, the studio held early test screenings, with mixed to positive reactions shared in social media, describing the film as good but not great.[94][95] On October 5, 2018, a 5-minute Extended Video was released by Warner Bros.[96] It received positive reactions from audiences, with praise directed towards the special effects, action, cinematography, and faithfulness to the comic book.[97][98][99] The first official TV spot for the film was released by the studio on October 16, 2018,[100] followed by a second on November 1, 2018.[101]The same month, character posters were released for Aquaman, Mera, Black Manta, Ocean Master, King Nereus, Queen Atlanna and Nuidis Vulko.[102]
On November 7, 2018, the studio announced the schedule for the worldwide promotion tour, taking place during the months of November and December, with fan events, screenings and premieres in major cities around the globe, including Beijing, London, New York City, Manila, Los Angeles, Miami, Gold Coast, Sydney, and Hawaii.[103] Additionally, it was announced that the film would be screened on December 7, 2018, during Brazil Comic Con (CCXP) in São Paulo.[104] The following week, an official behind the scenes featurette was released, which included footage not seen before in the mainstream trailers.[105] Two days later, the film’s two main posters were released, with Aquaman and Mera showing off their comic-accurate suits.[106] On November 19, 2018, the final trailer for the film was released, alongside the announcement of the beginning of ticket sales.[107] The same day, 30 minutes of footage was shown in China during the first stop of the film’s promotion tour, generating rave reactions among attendees.[108]
The financial success of the film has been attributed to the studio’s marketing plan, attracting a wide range of demographics (particularly women) through advertising, social media and promotional partners worldwide.[109]
Release
Aquaman had its world premiere at the Empire, Leicester Square in London on November 26, 2018.[110] It was released in the United States by Warner Bros. Pictures in RealD 3D, Dolby Cinema, IMAX and IMAX 3D on December 21, 2018.[111] It had previously been set for July 27, 2018, and was then moved to October 5, 2018, before settling on its December release date.[47][112][113] On November 19, 2018, Atom Tickets announced that Amazon Prime members in the United States would have early access to tickets for a December 15 screening of the film at select Regal, National Amusements, ArcLight Cinemas, and AMC theaters.[114]
Internationally, the film was released in China on December 7, 2018,[115] in the United Kingdom on December 12, 2018,[116][117] in Argentina, Brazil and Russia on December 13, 2018,[118][119] and in India on December 14, 2018.[120]
Reception
Box office
As of January 18, 2019, Aquaman has grossed $296.5 million in the United States and Canada, and $743.9 million in other territories, for a total worldwide gross of $1.040 billion.[7]
Domestically
The day after announcing the early Amazon screenings, Aquaman’s first 24-hour pre-sale totals became the highest in the history of Atom Tickets, beating out Avengers: Infinity War, as well as outpacing Jumanji: Welcome to the Jungle, another film Amazon Prime offered early to subscribers, the previous December.[121][122] The film made $2.9 million from the Amazon preview screenings at 1,225 theaters, higher than the $1.86 million made by Jumanji: Welcome to the Jungle.[123] In the United States and Canada, Aquaman was released alongside Bumblebee, Second Act, and Welcome to Marwen, and was projected to gross $65–70 million in its opening weekend, and $120 million over its first five days (with some tracking figures going as high as $150 million).[6] The film made $28 million on its first day, including $9 million from Thursday night previews (a total of $13.7 million including the Amazon screenings and a Wednesday preview). It went on to debut to $67.9 million ($73.2 million including all early showings), topping the box office but marking the lowest opening of the DCEU.[124] It then made $11 million on Monday and $22.1 million on Christmas Day, one of six films to ever gross over $20 million on the holiday; its five-day total opening was $105.7 million.[125] The film made $52.1 million in its second weekend, a drop of 23%, as well as $10.1 million on New Year’s Eve and $16.8 million on New Year’s Day.[126][8] The film then remained in first for a third consecutive weekend, grossing $31 million.[127] The film made $17.4 million in its fourth weekend of release but was upset by The Upside, which exceeded expectations to debut to $20.4 million and dethrone Aquaman atop the box office.[128]
Other territories
In China, where the film was released two weeks prior to its US debut, the film made $24.6 million (¥169.5 million) on its first day, representing 86% of the market share and setting a Warner Bros. opening day record in the country. It went on to debut to $93.6 million (¥644.8 million), marking the best-ever opening for the DCEU, Warner Bros. and a December release in the country. It also overtook the entire lifetime gross of Wonder Woman there in just three days.[129] The film grossed $12.99 million on Monday, thus crossing $100 million ($107.7 million).[130] By Thursday, its fifth day of release, the film had made $135.3 million, surpassing the lifetime totals of every solo Marvel Cinematic Universe film.[131] As of January 14, 2019, the film has grossed $293.70 million in China.[132]
Critical response
On review aggregator Rotten Tomatoes, the film holds an approval rating of 64% based on 316 reviews, with an average rating of 6/10. The website’s critical consensus reads, “Aquaman swims with its entertainingly ludicrous tide, offering up CGI superhero spectacle that delivers energetic action with an emphasis on good old-fashioned fun.”[133] Metacriticsurveyed 49 critics’ reviews and assessed 22 as positive, 21 as mixed and 6 as negative; the website assigned an aggregate score of 55 out of 100, indicating “mixed or average reviews”.[134] Audiences polled by CinemaScore gave the film an average grade of “A−” on an A+ to F scale, while those at PostTrak gave it an 82% overall positive score and a 69% “definite recommend”.[125]
Peter Debruge of Variety criticized the dialogue but praised Wan’s direction, the production design, and the final act, writing, “The biggest surprise here is how, after the running time of a standard-length film has elapsed, Aquaman suddenly kicks the movie up a level for the finale. At just the moment this critic’s eyes tend to glaze over in superhero movies—typically, as the villain goes nuclear and a portal to another dimension opens, threatening to destroy the planet—Wan unleashes a massive deep-sea battle on par with The Lord of the Rings.”[135] Germain Lussier of io9 wrote “Aquaman is all about spectacle. It’s filled with ambition. It’s always about trying to put the coolest, most imaginative sequence on screen at every single turn of the story, no matter what the cost.”[136] Writing for TheWrap, William Bibbiani called the film “a weird and wonderful superhero adventure that strives—and almost succeeds—to be the most epic superhero movie ever made.”[137]
Writing for Rolling Stone, Peter Travers gave the film 2.5/5 stars, praising Wan’s ambition and Momoa’s performance but criticizing the plot and dialogue, writing: “Aquaman is a mess of clashing tones and shameless silliness, but a relief after all the franchise’s recent superhero gloom.”[138] Chris Nashawaty of Entertainment Weekly graded the film a C−, writing, “It can’t decide if it wants to be silly or serious—a superhero movie or a parody of one…Unfortunately, the bloated, waterlogged film is loaded with crummy CGI, cheesy costumes, and groaner dialogue delivered by actors who are too good to traffic in such nonsense”.[139] For the Chicago Tribune, Michael Phillips gave the film 1.5 stars out of 4, criticizing the film’s script and Wan’s direction, saying, “Watching this movie is like spending two hours and 27 minutes staring at a gigantic aquarium full of digital sea creatures and actors on wires, pretending to swim.”[140]
Accolades
Future
In December 2018, The Hollywood Reporter announced via Warner Brothers Pictures chairman Toby Emmerich that the studio is developing a sequel.[147] Discussions of a followup film began during post-production, when director James Wan stated to TotalFilm that the first film leaves room for further stories.[148] Jason Momoa told SyfyWire that he has the beginning for a sequel written, and that after he pitched it to the studio through Emmerich and Safran, they were receptive and enthusiastic about his ideas.[148]
Note
Memories of the Alhambra
Memories of the Alhambra[5] (Korean: 알함브라 궁전의 추억; RR: Alhambeura gungjeonui chueok)
Memories_of_the_Alhambra
This article is about the South Korean TV series. For the guitar composition whose name is rendered in English as Memories of the Alhambra, see Recuerdos de la Alhambra.
Memories of the Alhambra[5] (Hangul: 알함브라 궁전의 추억; RR: Alhambeura Goongjeonui Chooeok) is an ongoing 2018 South Korean television series starring Hyun Bin, Park Shin-hye and Park Hoon.[6] The series premiered on cable network tvN on December 1, 2018.[7][8][1][9][10] The series is also aired via Netflix.[11]
The drama is one of the highest rated Korean dramas in cable television history.
Contents
1Synopsis
2Cast
2.1Main
2.2Supporting
2.2.1J One Holdings
2.2.2People around Hee-joo
2.2.3People around Hyung-seok
2.2.4Others
2.3Special appearance
3Production
4Reception
5Original soundtrack
5.1Part 1
5.2Part 2
5.3Part 3
5.4Part 4
5.5Part 5
5.6Part 6
6Ratings
7International broadcast
8References
9External links
Synopsis[edit]
After receiving an email regarding a groundbreaking AR game about medieval battles in Alhambra, Yoo Jin-woo (Hyun Bin), CEO of an investment company that specializes in optical devices, travels to Granada, Spain to meet the creator of the game, Jung Se-joo (Park Chan-yeol). However, Se-joo is missing and there, he meets his sister Jung Hee-joo (Park Shin-hye), owner of the hostel he stays in and a former guitarist. Both get entangled in a mysterious incident, and the border between the real world and the AR world built by Se-joo begins to blur.[2]
Cast[edit]
Main[edit]
Hyun Bin as Yoo Jin-woo[12][13]
Chief executive officer of investment company J One Holdings; Doctor of Engineering who is talented at developing games. He is fearless, adventurous and cynical.
Park Shin-hye as Jung Hee-joo / Emma[14]
Lee Chae-yoon as young Jee Hee-joo
Jung Hee-joo: Owner of Bonita hostel. A former classic guitarist who came to Spain for further studies, but took on several jobs there to sustain livelihood following the death of her parents. She has artistic sensibility but zero financial sense.
Emma: An NPC character in the AR game created by Se-joo.[15]
Park Hoon as Cha Hyung-seok[16]
CEO of IT company Neword; Doctor of Engineering. Jin-woo’s college friend and co-founder of J One Holdings; who later betrayed him and became his biggest rival. He is proud and competitive.
Supporting[edit]
J One Holdings[edit]
Lee Seung-joon as Park Son-ho[17]
Business Strategy Director of J One Holdings. Jin-woo’s college senior.
Min Jin-woong as Seo Jung-hoon[18]
Jin-woo’s secretary.
Jo Hyun-chul as Choi Yang-joo[19]
Head of R&D Center Research Team of J One Holdings.
People around Hee-joo[edit]
Kim Yong-rim as Oh Young-shim[20]
Hee-joo’s grandmother.
Park Chan-yeol as Jung Se-joo[21][22]
Kim Jun-eui as young Jung Se-joo
Hee-joo’s younger brother. A genius reclusive programmer who develops an intricate augmented reality game.
Lee Re as Jung Min-joo[23]
Hee-joo’s younger sister. She dreams of becoming a girl group member.
Lee Hak-joo as Kim Sang-bum[24]
A classic guitarist and international student at Spain. He is close to Hee-joo and cares for her, but often oversteps his boundaries.
People around Hyung-seok[edit]
Lee Si-won as Lee Soo-jin[25]
Jin-woo’s first ex-wife; Hyung-seok’s current wife. A pediatrician.
Kim Eui-sung as Cha Byung-jun[26]
Hyung-seok’s father. Professor of Business Administration at Korea University. A selfish and ambitious man.
Ryu Abel as Lee Soo-kyung[20]
Soo-jin’s sister. A florist.
Others[edit]
Han Bo-reum as Ko Yoo-ra[27]
Jin-woo’s second ex-wife. A celebrity who is vain and impulsive.
Lee Jae-wook as Marco Han[28]
A programmer and hacker who is affiliated to Se-joo.
Park Jin-woo as Noh Yong-jun[20]
Yoo-ra’s manager and ex-boyfriend.
Kim Do-yeon[29]
A medical student that stays at Hee-joo’s hostel.
Han Da-sol[30]
Jung Min-sung as Hee-joo’s father
Choi Yoo-song as Hee-joo’s mother
Kim Hyun-mook as Game company employee[31]
Special appearance[edit]
Park Hae-soo as A[32]
A detective who collects intelligence for Jin-woo.
Park Seul-gi as Entertainment News Reporter
Park Jong-jin as News Reporter
Anh Sung-sup as News Reporter
Production[edit]
The series is helmed by director Ahn Gil-ho, who directed Stranger and writer Song Jae-jung whose previous works include W and Queen In-hyun’s Man.[33]
Touted as Korea’s first augmented reality-gaming drama, Memories of the Alhambra was revealed to be inspired by tech mogul Elon Musk and the Pokemon Go game.[34][35]
The first script reading took place in May 2018.[36][37][38]
Overseas filming took place in several cities in Spain, such as Granada, Barcelona (Terrassa) and Girona from late May to June.[39][40][41][42] In early August, the cast started filming in Budapest, Hungary and Slovenia.[43][44] The script for the last episode was completed on December 19, 2018 and filming wrapped up on December 29, 2018.[45][46]
A preview screening event was held at CGV theaters on November 28, 2018 prior to the airing of the first episode.[47][48]
Reception[edit]
Memories of the Alhambra was a commercial success, consistently topping the cable television viewership ratings in its timeslot. Its 14th episode recorded a 10.025% nationwide audience share according to Nielsen paid platform, making it as one of the highest rated in Korean cable television history.[49]
The drama has attracted attention for its unique theme of augmented reality; and earned praise for as its high-end computer graphics, cinematography and fast-paced storytelling.Critic Jeong Seok-hee praised the drama for its mysterious and captivating plot that held viewers’ attention until the very end, and that it “has the potential to become one of the very best TV dramas we have seen in years”.[10][50][51] However later on, it received criticism for its confusing development and slow development of plot,[52] and its excessive product placement.[53]
According to the Korean Foundation for International Cultural Exchange, the series is receiving favorable reviews and popularity in China for its actors’ performance, cinematography and fresh story.[54][55]
Original soundtrack[edit]
Part 1[edit]
Part 2[edit]
Part 3[edit]
Part 4[edit]
Part 5[edit]
Part 6[edit]
Ratings[edit]
In this table, the blue numbers represent the lowest ratings and the red numbers represent the highest ratings.
N/A denotes that the rating is not known.
This drama airs on a cable channel/pay TV which normally has a relatively smaller audience compared to free-to-air TV/public broadcasters (KBS, SBS, MBC and EBS).
International broadcast[edit]
Memories of the Alhambra will be broadcast on Netflix in Asia and English-speaking territories an hour after its broadcast in Korea. In Japan, the drama will broadcast on December 2, while in Europe, South America and the rest of the world, it will be launch starting December 11.[70]
Buster Scruggs
The_Ballad_of_Buster_Scruggs_(2018_poster)
Directed by: Joel and Ethan Coen Nominations: (3) Best Adapted Screenplay, Best Costume Design, Best Original Song
Would this have worked as a Netflix series? Did packaging it as an anthology movie give Scruggs the jolt of mystique necessary to let viewers overlook the long, boring stretches, or the ending that doesn’t go anywhere (uh, literally), or the very loose theme of “death … in the Old West”? Scruggs has its moments, and it certainly has its fans, but I ain’t one of ’em.
Stream The Ballad of Buster Scruggs on Netflix.
30. Avengers: Infinity War
Directed by: Joe and Anthony Russo Nominations: (1) Best Visual Effects
The films of the Marvel Cinematic Universe have always been more self-contained than they’ve been given credit for, telling complete stories that one could plausibly enjoy without having consumed the entire epic series. Not so with Infinity War, which plays less like a story and more like that thing where you’re a kid and you smash all your action figures together. Not that that doesn’t make for the kinds of wonderful character crossovers fans have been waiting years for (I was particularly partial to the trio of Black Widow, Scarlet Witch, and Okoye wrecking shit on the battlefield), but it’s definitely the first MCU movie that felt purely like a cog.
Avengers_Infinity_War_poster
Avengers_Infinity_War_poster
3. Can You Ever Forgive Me?
Can_You_Ever_Forgive_Me_
Directed by: Marielle Heller Nominations: (3) Best Actress, Best Supporting Actor, Best Adapted Screenplay
To call Lee Israel, as played to utter perfection by Melissa McCarthy, abrasive would be an insult to Brillo Pads. The semi-unsuccessful celebrity biographer stalks the New York City of the early ’90s, hopping from daytime bar to bookstore to nighttime bar to her crappy apartment, leaving a trail of invective in her wake. And then one day, she stumbles upon the idea to start forging original correspondence from the notable figures she’s been writing about. Can You Ever Forgive Me? is a scammer’s movie, yes, but it’s also a movie about dealing with failure in New York; about the value of queer friendships (enter the sublime Richard E. Grant); and about feeling like less of a fraud, even when you’re being fraudulent, because at least you’re using your talents. One of the true, pure pleasures of awards season.
50 top movies of the 21st Century so Far
50. Mystic River (2003)
The performances of Sean Penn and Tim Robbins loom large over Clint Eastwood’s powerful “Mystic River.” They dig into the shattered souls of men who take different paths from childhood to adulthood. But regardless of who got in that car, their lives can’t help but intersect.
(Photo: Columbia Pictures)
49. Spider-Man 2 (2004)
With “Black Panther” scoring big with critics and audiences, it reminds us of the movie that previously held the title of best film based on a Marvel character. The blueprint for the modern, mainstream superhero movie film lies with “Spider-Man 2,” from the strong female lead to the flawed superhero we see ourselves in. There may never be a better Spider-Man than Toby Maguire in terms of portraying a young man struggling with accepting the burden of greatness.
(Photo: Universal Pictures)
48. Bridesmaids (2011)
The past 10 years have featured an abundance of raunchy bro comedies. But Kristen Wiig topped them all in terms of showmanship with “Bridesmaids” by crafting an amazing script and assembling one of the best female-driven casts of all time.
Photo Credit: Universal Pictures
47. Get Out (2017)
Jordan Peele’s original ending for “Get Out” had the main character getting arrested for the murder of the white family that intended to steal his brain. The change gives humor to a film with several twist and turns that prove haunting. Could it really happen? Probably not. Probably.
(Photo: Newmarket Films)
46. Donnie Darko (2001)
“Donnie Darko” is a weird movie that’s hard to classify. But that’s why it continues to resonate. It’s a science fiction film filled with teenage troubles and battles with moralities. “Donnie Darko” accomplishes with an immense amount of tension driven by the first great performance of Jake Gyllenhaal’s career.
(Photo: DreamWorks)
45. Anchorman: The Legend of Ron Burgundy (2004)
Will Ferrell created one of the most iconic film characters of the past two decades in Ron Burgundy. It’s an over the top, laugh out loud performance aided by several supporting turns, the best of which is Steve Carell’s Brick, who “loves lamp.”
(Photo: Universal PIctures)
44. The Bourne Ultimatum (2007)
During the mid-2000s, every studio wanted a “Bourne” style film. Most tried, but few succeeded in even coming close to measuring up to Matt Damon led franchise, whose peak comes with “The Bourne Ultimatum,” an absolute thrill ride that never stops.
(Photo: Warner Bros.)
43. Her (2013)
“Her” is a movie that may always be ahead of its time. Spike Jonze’s story redefines the concept of love, as a lovable man (Joaquin Phoenix) falls in love with his operating system. It sounds nuts. But Jonze, along with Phoenix and Scarlett Johansson’s voice, pieces together a perfect love story of the future.
(Photo: Fox Searchlight)
42. Slumdog Millionaire (2008)
Danny Boyle is been great at taking films focused on certain cultures and giving them a mainstream, international appeal. The best example of that is “Slumdog Millionaire,” an exciting and heartfelt film with a satisfying ending Oscar voters couldn’t help but embrace.
Andrew Cooper
41. Apocalypto (2006)
Even after the controversial release of “Passion of the Christ” and his own personal problems, there was no denying Mel Gibson’s “Apocalypto” as the epic piece of filmmaking that it was. With very few words uttered, he tells a story of survival and family that keeps you on the edge of your seat.
Warner Bros.
40. The Artist (2011)
There’s an understating beauty and brilliance that comes with Best Picture winner “The Artist.” Thus is the case for a silent movie that serves as a lover letter for old-school Hollywood. But don’t let the cheesiness fool you. This is pure art with performances worthy of the awards they received.
(Photo: Universal Pictures)
39. The 40 Year-Old Virgin (2005)
“40 Year-Old Virgin” takes what would become director Judd Apatow’s go-to premise – a down on his luck loser looking to land a hot girl – and rides it to perfection. Steve Carell is the most endearing of Apatow’s leading men, surrounded by the hilarious trio of Paul Rudd, Romany Malco and Seth Rogen.
(Photo: Fox Searchlight)
38. 28 Days Later (2002)
The most riveting horror film of the past 15 years, “28 Days Later” defies the rules of the zombie apocalypse. The “infected” are fast and menacing. But it gives Danny Boyle’s picture bite (pun intended), while examining the social and political dismay that’s bound to come when the world falls apart.
(Photo: Universal Pictures)
37. Traffic (2000)
“Traffic” was a bit too dark and real for Academy voters in 2001, earning four awards, but somehow not Best Picture. Looking back, “Traffic” plays like the best ensemble piece of its era with precise editing that ties together harsh stories about the drug trade and mesmerizing performances from Benecio Del Toro, Don Cheadle and Catherine Zeta- Jones.
Universal Pictures
36. Munich (2005)
It was easy to gloss over Steven Spielberg’s “Munich” when it was released for two reasons. 1) In some ways, it felt more like an action film than an examination of the 1972 Olympics tragedy. 2) That sex scene at the film’s end is cringe-worthy. In retrospect this is a movie that moves you through intensity and thrilling scenes, only to realize that vengeance or even justice can’t cloud the fact that violence brings about more violence.
(Photo: Open Road)
35. Spotlight (2015)
The 2016 Best Picture winner accomplishes a small movie miracle. Thanks to restraint and brilliant performances, “Spotlight” takes a subject few want to rehash – the sexual abuse of children in the Catholic Church – and makes a stunning, moving and watchable film out of it.
(Photo: Summit Entertainment)
34. The Hurt Locker (2008)
There’s more to making a war film than brutal action. “The Hurt Locker” has some of that, but focuses more on the psychology of an adrenaline junkie (the fantastic Jeremy Renner) who finds his only sense of purpose in what most would consider a death wish.
(Photo: Miramax)
33. Kill Bill: Vol. 1 and 2 (2003-2004)
It’s hard to choose between Quentin Tarantino’s two-part martial arts epic. It’s also hard to separate them. “Kill Bill” is a revenge piece dressed up in style, creating a mesmerizing art piece with a high replay factor. It’s also the last time Tarantino’s vision seemed as precise as his 1990s classics.
32. Whiplash (2014)
There’s a fine line between genius and psychopath, something magnified in the student/teacher relationship showcased in “Whiplash.” The performances of Miles Teller and J.K. Simmons are top-notch in a movie with one of the best end scenes you will ever see.
(Photo: Marvel)
31. Black Panther (2018)
You had a feeling “Black Panther” would be good. But not THIS good. The film rates as one of the best superhero movies of all time and one that served as a game-changer for Marvel. The amazing cast, story and larger worldview is one of the best winning combinations in cinema of the past few years.
(Photo: New Line Productions)
30. A History of Violence (2005)
Based on a graphic novel of the same name, David Cronenberg’s thrilling “A History of Violence” plays out like a coiled spring that explodes. It’s smart and powerful with performances that delight, from the mysterious Viggo Mortensen to the stunning wit of William Hurt.
(Photo: Pixar)
29. Toy Story 3 (2010)
Pixar’s greatest film brings not only a story to its proper evolution, but also showcases how far the studio has come. “Toy Story” is Pixar’s richest film in terms of storytelling and packs the biggest emotional punch, as the lovable toys realize, like their owner, that childhood and innocence can’t last forever.
(Photo: FilmDistrict)
28. Drive (2011)
Ryan Gosling’s character never gets an actual name in “Drive.” That’s on purpose, as he’s supposed to function like an unemotional vehicle. But that changes when he meets Carey Mulligan’s Irene and their chemistry radiates off the screen. “Drive” is a modish film that has a tremendous cool factor. You’ll want to watch it again and again.
(Photo: The Weinstein Co.)
27. The Master (2012)
You can’t watch “The Master” just once. That wouldn’t do Paul Thomas Anderson’s epic justice. Nor would it allow you to fully grasp this dark and cunning story of Scientology (though that word is never uttered). The performances of an overpowering Philip Seymour Hoffman and a completely vulnerable Joaquin Phoenix serve as a master class in acting.
(Photo: Universal Pictures)
26. Mulholland Drive (2001)
A film as unique as they come, David Lynch’s neo-noir masterpiece keeps you on the edge of your seat while it slowly ties together various storylines into one thrilling end game. “Mulholland Drive” is strange, sexual, stylish and engaging in the best ways possible.
(Photo: Sony Pictures Classics)
25. Crouching Tiger, Hidden Dragon (2000)
It shouldn’t surprise anyone that, 16 years later, we’re finally getting a sequel to Ang Lee’s gorgeous martial arts film. It’s a visual masterwork that easily stands the test of time, elevating its genre into something that equals cinematic art.
(Photo: Newmarket)
24. Memento (2000)
It wasn’t enough for Christopher Nolan to play with the way in which a film reveals its story. He had to give us the shocking ending as well. By the time “Memento,” one of the best psychological thrillers ever made, gets to its conclusion, you realize the unthinkable – you’ve been rooting for the wrong man all along.
(Photo: Picturehouse)
23. Pan’s Labyrinth (2006)
There’s a reason people get excited when they see Guillermo del Toro’s name attached to a project. He has a few stellar films to his credit, but “Pan’s Labyrinth” is the one that will leave you in awe. It’s a monster movie with immense beauty; a creepy version of “Alice in Wonderland;” a poetic masterpiece.
(Photo: Warner Bros.)
22. Mad Max: Fury Road (2015)
In a world of CGI and special effects, George Miller decided it was time to go old school. He spent months upon months building vehicles and choreographing stunts that would make “Mad Max: Fury Road” seem unlike any other film of today. Mission accomplished.
(Photo: Fox Searchlight)
21. The Wrestler (2008)
“The Wrestler” is the simplest move of stylish director Darren Aronofsky’s career. It’s also his most sincere. Mickey Rourke gives the performance of a lifetime, both physically and emotionally, as a professional wrestler who can only find happiness abusing his body in the ring. Your heart breaks for him.
(Photo: DreamWorks)
20. Almost Famous (2000)
Director Cameron Crowe puts his love of music on full display in “Almost Famous,” one of the easiest movies to fall for. Everyone brings his or her A-game, in an ensemble movie where the chemistry is through the roof. It’s a touching love letter to the joy of music that will hit you right in the heart.
(Photo: Pixar)
19. Wall-E (2008)
Pixar’s most visually impressive film operates, for the most part, without the need for words. The most impressive thing “Wall-E” accomplishes is making you fall in love with a trash compactor with a heart of gold. Perhaps no film showcases the magic of Pixar more.
(Photo: Focus Features)
18. Lost in Translation (2003)
Even with all his fantastic comedies, “Lost in Translation” is Bill Murray’s greatest performance. Sure, there’s humor. But Sofia Coppola’s film paints a portrait of loneliness in a crowded world. And Murray scores with it, bringing a worthy Scarlett Johansson up to his level of poignant acting.
(Photo: Focus Features)
17. Far from Heaven (2002)
Todd Haynes’ “Far from Heaven” is a period piece that carries a timeless vibe. The cinematography is fantastic and the performances are dead on. It’s a film that examines the societal restraints of race, gender, sex and classism in ways that they still resonate today.
(Photo: Fox Searchlight)
16. Sideways (2004)
Crafting a brilliantly written dramedy around the concept of wine, Alexander Payne scored a tasty result with “Sideways.” The film is as hilarious as it is touching, anchored by Paul Giamatti’s character, who brings an unprecedented level of humanity to his role.
(Photo: Miramax)
15. There Will Be Blood (2007)
The first part of Paul Thomas Anderson’s “There Will Be Blood” functions, in a way, as a silent film. But the magnitude of what you’re watching never escapes you. The cinematography is out of this world, while Daniel Day Lewis gives an acting performance that’s beyond staggering. Altogether, “There Will Be Blood” functions like Anderson’s own modern day “Citizen Kane.”
(Photo: Artisan Entertainment)
14. Requiem for a Dream (2000)
The power of Darren Aronofsky’s “Requiem for a Dream” makes itself known in so many different ways. There’s the acting (led by an Oscar-nominated Ellen Burstyn). There are the visuals, as Aronofsky puts his full mind-bending arsenal on display. There’s the haunting score and the overall ambition of a director to make a drug film that will scare the living daylights out of you.
Mary Cybulski
13. The Wolf of Wall Street (2013)
Upon its release, Martin Scorsese’s “The Wolf of Wall Street” felt like a bloated body of work that could have been trimmed. Upon repeat viewings, you don’t want to miss a second. It’s a film about the American economy and greed that’s as entertaining as it is eye-popping. And it’s all anchored by Leonardo DiCaprio in what might be the greatest performance of his career.
(Photo: Fox Searchlight)
12. 12 Years a Slave (2013)
“12 Years a Slave” is an agonizing movie, whose pain can be felt even after its antagonist escapes captivity. The performances of Michael Fassbender and Lupita Nyong’o are of the highest caliber. But the true power of the film lies in Chiwetel Ejiofor’s unrelenting eyes. It’s a movie of hope and heartache coexisting in a cruel world.
(Photo: Focus Features)
11. Brokeback Mountain (2005)
The backbone of “Brokeback Mountain” isn’t the stunning cinematography or its groundbreaking status as a romantic drama featuring two of Hollywood’s biggest male stars. It’s the performance of its cast, led by Heath Ledger, who holds his face like a tightly clenched fist, until its heartbreaking ending that stays with you.
(Photo: Columbia Pictures)
10. The Social Network (2010)
It’s probably the ultimate movie for Millennials – a sensationalized story about the creation of Facebook. David Fincher’s “The Social Network,” written by Aaron Sorkin, isn’t just about new technology. It’s about how struggles with loneliness and longing for friendship can drive people to the fine line that exists between genius and self-destruction.
(Photo: Warner Bros.)
9. Inception (2010)
Christopher Nolan’s “Inception” is one of the most intricate films you’ll see, centered on the idea that you can alter someone’s reality while inside their dreams. It comes with a mesmerizing score, solid performances and amazing visuals in a film that seems to never stop moving.
(Photo: Miramax)
8. City of God (2002)
If you’ve never “City of God,” brace yourself for a crime drama of epic proportions. The film takes on the journey of a group of young people trying to survive and, for some, thrive in the drug land of Rio de Janeiro. It’s a well-polished film that at times, feels almost too real to believe.
(Photo: Warner Bros.)
7. The Departed (2006)
Martin Scorsese finally earned his Academy Award for Best Picture with “The Departed,” an acting showcase where many of the actors deliver career best performances. “The Departed” is a remake of the Hong Kong film “Infernal Affairs” (which could have easily be on this list), but gives the story a charismatic vibe that redefines the concept of good and bad.
(Photo: Focus Features)
6. Eternal Sunshine of the Spotless Mind (2004)
Love is something that can’t be controlled. That’s the message writer Charlie Kaufman delivers with “Eternal Sunshine of the Spotless Mind,” a mesmerizing love story for the ages. Director Michel Gondry’s surrounds Kaufman’s story with visuals to marvel at, while Jim Carrey (never better) and Kate Winslet make you feel every ounce of their angst. Love isn’t meant to be perfect and battling it is futile. I can’t think of anything about this film I don’t like about it.
(Photo: Universial Pictures)
5. Children of Men (2006)
Generally, films that touch on the end of the world tend to be sensationalized. But Alfonso Cuaron’s amazing “Children of Men” accomplished something far more daring. He crafted a movie and a scenario (where babies have become extinct) that could terrifyingly happen. It’s about the struggle for humanity to live on, a battle you find yourself swept up in.
(Photo: Miramax)
4. No Country for Old Men (2007)
Based on a great novel by Cormac McCarthy, “No Country for Old Men” is the Coen Brothers’ take on man’s desire to overcome his destiny. Set in 1980 Texas, the movie’s structural simplicities make way for thrilling performances, the best of which comes from Javier Bardem who basically plays the devil.
(Photo: New Line Cinema)
3. The Lord of the Rings Trilogy (2001-2003)
Take your pick as to which is the best “The Lord of the Rings” film. Separate, each film would make its way onto this list. But together, they make for one of the greatest film epics in history. The story was already timeless before Peter Jackson got his hands on it. But the ambition visual production added an oomph that would create an escape for millions of moviegoers.
(Photo: Warner Bros.)
2. The Dark Knight (2008)
The centerpiece of Christopher Nolan’s “Dark Knight Trilogy” is more than just a superhero movie. In its most basic sense, “The Dark Knight” is about good versus evil. But it’s also about one man reaching his limits and being forced to trust in the people he’s chosen to protect. Mixed within that is arguably the best acting performance in two decades with Heath Ledger’s incomparable Joker.
1. Moonlight (2016)
Sometimes movies can catch you off guard and be so subtly powerful they leave you sitting there for minutes after trying to comprehend the emotions you’re feeling. “Moonlight” is one of those movies. The performances are flawless. But what stands out most about the coming of age tale that examines sexual identity and cultural understanding is that it’s a stunning piece of African American filmmaking where racism isn’t the centerpiece. It’s a all-time great and critically acclaimed movie that just so happens to be about black characters.
Jake’s Cosmos Aller’s Movies Watched During 2018.
Like my book list, I have been keeping a list of movies and TV shows watched during the year. Here is my list of movies watched during 2018.
I saw 76 movies/TV shows during the year. Many of them I saw while flying to and from Asia four times this year – I almost always watch five movies enroute as I can’t sleep very well on planes.
re TV shows, I enjoyed “Better Call Saul”, “Enterprise”, “Discovery”, “Once Upon a Time”, “Mr. Sunshine”,
“the Expanse” and “Travelers”.
the worst movie of the year for me was “Rage”, the best was “Bohemian Rhapsody” and “Manchurian Candidate,” the original movie.
The best series was “Once Upon a Time” and “Mr. Sunshine”.
Would love to see what my friends have watched. For the first time I tried to grade the movie/show. I have been binge watching a lot of shows as well as movies of course. Most were English movies, but I did see some Korean movies as well.
For 2019 I hope to see a lot more movies as a megabox theater opened about one mile from my house. It has a great shabu shabu restaurant, will soon have a sauna and a bowling ally. I can see spending a lot of time there! saw Bohemian Rhapsody there on Christmas day.
hope to hear from you regarding your own favorite movies of the year.
Jake Cosmos Aller
here’s the list of Movies Watched During 2018
1. Once Upon a Time ABC mini-series a
2. Taken Earth c
3. Alice Through the Looking Glass b
4. The Vault c too scary a movie
5. GORA Turkish SF comedy c
6. Pirates of the Caribbean Dead Men Tell No Tales b
7. Cowboys Vs Dinosaurs b
8. Enterprise complete season b
9. Frequency series b
10. Coverdale Paradox d
On plane
11. Valerian and the City of a Thousand Planets (on plane) b
12. Kong Island of Skulls (on plane) c
13. GeoStorm (on plane) c
Korea
14. Lost and Found
15. Beatriz at Dinner
16. The Expanse Netflix Original b
17. Discovery Netflix b
18. Drone Wars c
19. Prometheus Trap c
20. Backway c
21. The Mermaid b
22. The Great Wall c
23. Gold c
24. King Arthur c
25. The Legend of Zoro c
26. Jumper c
On Plane
27. The Kingsman Golden Circle b
28. King Arthur 2016 b
29. The Black Panther a
30. The Death Cure b
In Korea
31. Guardian of the Tomb 2018 Netflix c
32. Timeless Series three seasons Netflix b
On Plane
33. Atomic Blond c
34. Central Intelligence Agency b
35. All the Money in the World b
36. Molly’s Game b
DC
37. Erased b
38. Bad Lieutenant c
39. Bangkok Dangerous c
40. Bodies of Lies b
41. Princess Diary b
42. Phenomenon a
43. Do Over c
On Plane
44. Going Out in Style b
45. Nice Guys b
In Oregon
46. Extinction b
47. Beyond Skyline c
48. Secret City one episode is enough
49. Ripped c
50. A Series of Unfortunate Events b
51. Hamlet OSF A
52. Revolutionary Road b
53. The experimenter b
54. Rage c
55. Wild Oats c
56. Jurassic Park Fallen Kingdom Eastern Market Cinema b
57. Stasis b
On Plane
58. Han Solo b
59. Rampage c
60. Wrinkle in Time b
61. Manchurian Candidate A
Back in Korea
62. Better Call Saul A
63. Tau b
64. Earth’s Final Hour c
65. Get Out A
66. Prometheus Trap b
67. The Postman b
68. Doc Holliday’s Revenge b
69. The Horseman b
70. Young Gun b
71. Ballade of Buster Scruggs b
72. Mr. Sunshine Korean TV mini-series A
73. Travelers all three seasons b
75. Bohemian Rhapsody Theater A
76. The Happening 2008 movie b