Jun 23, 2017 - A canadian goose resting in the tall grass and weeds right off Grand Oaks Drive in Baxter keeps watch for danger. Photo taken a couple of weeks ago by Cis Pecarich. Additional Articles Recommended by Brainerd Dispatch. High School Football: All-Star Game alumni social Saturday Minnesota Vikings. Oct 13, 2016 - We're living in a moment when the challenges facing black folks are becoming more visible. With the introduction of cell-phone footage and other video, the entire nation can now see for themselves what black folks have been talking about for years and years. We can all see and feel the pain of injustice. Four magicians each answer a mysterious summons to an obscure address with secrets inside. A year later, they are the Four Horsemen, big time stage illusionists who climax their sold out Las Vegas show with a bank apparently robbed for real. This puts agents Dylan Rhodes of the FBI and Alma Dray of Interpol on the case to find out how they did it. However, this mystery proves difficult to solve even with the insights of the professional illusion exposer, Thaddeus Bradley. What follows is a bizarre investigation where nothing is what it seems with illusions, dark secrets and hidden agendas galore as all involved are reminded of a great truth in this puzzle: the closer you look, the less you see. This movie really leads you to believe that its going to be exciting, intriguing and thrilling. Instead, you may come out of it feeling like you yourself have had a magic trick played on you. The characters are cocky and annoying. Its hard to develop any sort of connection with them. All the magic tricks and illusions are very unrealistic. The 'romantic' element of the story is incredibly forced; almost thrown in at the last moment because the producers were like 'oh ya! We forgot to add the romance'. There's nothing subtle about the tone of the movie. You're constantly reminded that there is a mysterious element that you are not seeing. And when it is finally revealed at the end, there is hardly any surprise at all. Worst of all, there are too many things that happen in the movie inexplicably. You find yourself waiting for information that never comes. Questions are posed that leave you wondering why something happened, but then they're just abandoned and never reexamined. This movie made me angry. I felt like it was condescending to me the entire time. Fast talking 'quick witted' characters using dialogue spoken so fast with convoluted vocabulary, camera shots that were shaky and always moving. It was trying to confuse me with smoke and mirrors to make me think that it was exciting, intriguing and thrilling, but realistically it was not.
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In the days of Knights and Dragons, Twins are born. The girl Meghan (Bliss-Bell) and the boy Edric (Harries) and both are born with dragon skin on their bodies and both have Dragon-like powers, but not the same ones. Edric sends Meghan away so the villagers cannot kill her for being a witch as she has a talent for manipulating fire. After the king dies Drago (voice of Patrick Stewart) must find the one with whom his heart is bonded with. He finds Edric. Meghan returns with a horde of Vikings and wants to be Queen as she has the right of the first born. Drago, a friendly Dragon, must find a way for these two to end their rivalry. I enjoyed much of this but I felt many scenes were cut too short and we weren't really given a chance to embrace the times. I thought the main Viking bad guy Thorgrim (Andre Eriksen) would have more of an impact but Queen Meghan (and the script) kept him in place for the most part. The main plot has Meghan stealing Drago's Heartfire and that left Drago ineffective and this affected the whole story. The key to all was how to get the Heartfire away from Meghan. Hmmmm The CGI was very good but not for the fights when the Vikings rebel and try to overthrow Meghan. Here we saw the camera speed things up to make it look like really fierce fighting, but looking closer we saw that was not the case. These fight scenes were kind of lame. Newcomers Tom Rhys Harries and Jessamine-Bliss Bell were outstanding in their roles and we will see more of them in future movies. The acting all around is very good. At times, some humor was injected into the dialogues, but not enough to suit me. Jun 13, 2017 - Dragonheart: Battle for the Heartfire is a 2017 fantasy film about a dragon who must unite a kingdom with the help a long lost twins who share a unique bond. Dragonheart: Battle for the Heartfire (2017) cast and crew credits, including actors, actresses, directors, writers and more. Patrick Stewart as Drago should have been given more lines of humor, and this would have endeared us much more to the whole story. Didn't happen. All in all a fairly good tale, but short on realism in that everything was safe and nothing was harsh or brutal as it should have been. This gave this movie an ' Oh, Hum' atmosphere. (5/10) Violence: Yes. Language: No. Contents • • • • • • • • • • • • • • • • • • • • • Plot [ ] An English knight, Bowen (), mentors a prince, Einon (), in the ideals of, in the hope that he will become a better king than his tyrannical father Freyne (). When the king is killed while suppressing a peasant rebellion, Einon is mortally, though accidentally, wounded by the peasant girl Kara (). Einon's mother, Queen Aislinn (), has him taken before a whom she implores to save the boy's life. The dragon replaces Einon's wounded heart with half of its own on the promise that Einon will rule with justice and virtue. However, Einon soon becomes more tyrannical than his father, enslaving the former rebels and forcing them to rebuild a castle. Bowen believes that the dragon's heart has twisted Einon, and swears vengeance on all dragons. Twelve years later, an adult Einon () has his castle rebuilt. Kara () asks the king to pardon her father after years of slavery, but Einon instead kills him in order to 'free' him. As for Bowen, he has become a very skilled dragonslayer. Brother Gilbert (), a and aspiring, observes Bowen slaying a dragon and follows him to record his exploits. Bowen stalks another dragon (voiced by ) to its cave, but the confrontation ends in a. The dragon states that he is the last of his kind, and thus if Bowen kills him, he will be out of a job. The two form a partnership to defraud local villagers with staged dragonslayings. Bowen calls the dragon Draco, after. Unknown to Bowen, Draco is the dragon who shared his heart with Einon, and through this connection, any pain inflicted upon one is also felt by the other. Meanwhile, Kara, seeking revenge on Einon for murdering her father, is imprisoned after a failed assassination attempt. Einon recognizes her as the one responsible for his near-death and attempts to seduce her and make her his queen. Disgusted by what her son has become, Aislinn helps Kara escape. Kara returns to her village and tries to rally the villagers there against Einon, but they instead offer her as a sacrifice to Draco, who takes her to his lair. Einon arrives to recapture her and fights Bowen, declaring that he never believed in Bowen's ideals, and only told Bowen what he wanted to hear so he would teach him how to fight. He eventually gains the upper hand and nearly kills Bowen, but Draco intervenes, reveals his half-heart to Einon, and the king flees. Kara asks Bowen to help overthrow Einon, but the disillusioned knight refuses. After meeting Gilbert by chance at another village, Bowen and Draco's next staged dragonslaying goes poorly, and their is exposed (after Kara, disgusted by their actions, unsuccessfully attempts to expose the con herself). While Draco is playing dead, the villagers see him as potential meat and attempt to carve him up, but hearing their intentions makes him flee, subsequently alerting the villagers to the con. Angered, they surround Bowen, Kara, and Gilbert, now deciding to make them their meat instead. Draco, however, rescues the three and takes them to, where they take shelter among the tombs of the. Draco reveals the connection between himself and Einon, stating that he hoped giving the prince a piece of his heart would change Einon's nature and reunite the races of Man and Dragon. Through this action Draco hoped to earn a place in the stars, where dragons who prove their worth go after they die. He fears that his failure will cost him his, and agrees to help Kara and Gilbert against Einon. After experiencing a vision of (voiced by ) that reminds him of his knightly code, Bowen agrees to help, as well. With Bowen and Draco on their side, the villagers are organized into a formidable fighting force. Aislinn presents Einon with a group of dragonslayers, secretly knowing that killing Draco will cause Einon to die as well. The villagers are on the verge of victory against Einon's cavalry when Gilbert strikes Einon in the heart with an arrow. Draco falls from the sky and is captured. Einon realizes that he is effectively immortal as long as Draco remains alive, and determines to keep the dragon imprisoned. Aislinn attempts to kill Draco during the night, but Einon stops and kills her instead. The rebels invade Einon's castle to rescue Draco as Bowen battles Einon. Draco begs Bowen to kill him as it is the only way to end Einon's reign, but Bowen can't bring himself to kill his friend. Einon charges at Bowen with a dagger, but Bowen reluctantly throws an axe into Draco's exposed half-heart. Einon and Draco both die, and Draco's body dissipates as his soul becomes a new star in the constellation. Bowen and Kara go on to lead the kingdom into an era of justice and brotherhood. Production [ ] Development [ ], who wrote the story for Dragonheart, first proposed the idea for the film to producer Raffaella de Laurentiis. Johnson describes it as ' with a dragon in it.or ', and that he wanted 'the idea of a dragon and a knight conning villages for money' because he thought that the concept was 'not only funny, but kind of sweet'. Johnson went on to the idea to screenplay writer, and he agreed to work on the film. De Laurentiis originally intended for, Rob Cohen's then-partner, to work on Dragonheart. According to Cohen, Badham 'didn't respond' to the material, so Johnson was then asked to direct the film. To be able to stay within the budget that was willing to shell out with Johnson directing, the developers approached to create the dragon through traditional means. The dragon model was done within eight weeks time, and the crew then went to in to begin shooting the film, starting with the campfire scene. The crew faced difficulties in keeping within the budget. After working with de Laurentiis on in 1993, Rob Cohen agreed to take over as director for the film. He approached Universal Studios with his new ideas, including the addition of (CGI) to animate the dragons similar to how the dinosaurs were created for. Casting [ ] The principal cast members of Dragonheart were: • as Bowen, a knight who becomes a dragon-slayer and then allies with Draco. Director Rob Cohen was impressed with Quaid, telling producer Raffaella De Laurentiis '[Quaid] is a knight of the old code.' Cohen called Quaid 'obviously intelligent and fun to work with', and said that he 'really [thought] he [was] Bowen.' Quaid underwent rigorous training for the role, mostly practicing sword fighting. Quaid and Cohen both wanted Bowen's sword technique to have an 'Eastern flavor', so Quaid trained with Japanese sword master Kiyoshi Yamasaki. • as the voice of Draco, the last remaining dragon. Cohen felt it was 'very important that [the dragon's] personality be derived from the actor who was going to play the voice', and said that Connery was the only actor he had in mind for the role. He described Connery's voice as 'unique' and 'instantly recognizable', but said that it was 'what [Connery] stood for in life as an actor and as a man that most related to what I wanted for Draco.' Voice recording for Draco was done in three sessions. To help animate Draco's facial expressions, Cohen and the ILM animators took close-up shots of Connery from his previous films, categorized the clips according to what emotion was being expressed, and put them in separate tapes for easy reference. • as Einon, the tyrannical king who shares part of Draco's heart. Cohen cast Thewlis based on his performance in, stating 'what makes a villain scary is the brain, not the brawn.' The young Einon in the film's opening scenes was played. • as Gilbert of Glockenspur, a monk and aspiring poet who joins Bowen and Draco in the revolt against Einon. Cohen wanted Postlethwaite for the role based on his performance in, feeling that 'anyone who was assured in a dramatic role could take Brother Gilbert and make it real and charmingly funny.' • as Lord Felton, Einon's second in command. He hires Bowen to slay a dragon running rampant around his village, but refuses to pay after learning more of Bowen. • as Queen Aislinn, Einon's mother. Cohen found Christie through David Thewlis' casting agent. • as Kara, a peasant girl who seeks revenge on Einon for killing her father. Meyer was the second actress Cohen interviewed for the role. Cohen stated that he needed an actress who was 'strong and someone who could, in the end, handle herself with these double viking axes and look believable.' Plays Kara as a child. • as King Freyne, Einon's father and Aislinn's husband, a tyrannical ruler. • as Brok, Einon's knight who served alongside Einon's father when he was king. • as Redbeard. • as the uncredited voice of, who speaks to Bowen during his visit to. Dragon design and animation [ ], a visual effects producer specializing in creature design and character animation, and (ILM) were hired to work on animating Draco for Dragonheart. Tippett states that the responsibilities that his studio had for Dragonheart differed from what they did for Jurassic Park in that they were mostly responsible for the actual look and design of the dragon as well as the storyboards,, and the timing of action sequences. Tippett worked closely with sculptor Pete Konig in designing Draco. Konig crafted several that they showed to Cohen, and they worked on improving the ones that Cohen said '[felt] right'. Cohen's ideas for Draco's design stemmed from the traditional, which Cohen describes as having 'a lion-like elegance, a fierceness', and that it is 'ultimately a proud.visually powerful creature'. He also drew ideas from nature, such as the 's jaw structure and the musculature of horses. Tippett also took into consideration how the scenes with Draco in it would be framed, the size difference between Draco and the human actors, and what he would actually be doing throughout the film. Draco's hide and wings were originally going to have an iridescent quality and his eyes were to be more detailed such as being able to dilate, but those design elements were dropped due to software issues and running out of time. Tippett and his crew created a five-foot model of Draco for lighting reference, and an articulated model that could be used for as a reference for Draco's poses. Because Draco would have more screen time than the CGI dinosaurs in Jurassic Park (23 minutes for Draco, as opposed to six and a half for the dinosaurs), visual effects producer Julie Weaver and her team did a screen test for Dragonheart six to eight months before actual storyboarding, using a 'stretched out' version of the from Jurassic Park. The film is notably the first to use ILM's Caricature software, as it was developed to help lip-sync Draco's animation to Sean Connery's voiceover work. Filming [ ] Actual filming began in July 1994 in. During sequences with Draco and Bowen in them, visual effects supervisor Scott Squires and his teams used what they called a 'monster stick'—a pole with a bar and two red circles at the top—as an indicator for where Draco's eyes would be for Quaid's reference. They also set up speakers through which Cohen would read Draco's lines for Quaid, which Quaid said 'helped [him] out a lot.' While filming the scenes involving Draco in flight, the crew used a as reference, and then edited the footage to 'put Draco over the top of that and remove any traces of the aircraft.' Although Draco is fully rendered in CGI, full-sized models of some of Draco's body parts were used for some of the scenes. One of them was Draco's foot, which was used to pin Bowen to the ground, and the other was Draco's jaw during the scene where Bowen gets trapped inside it. While the foot was a non-moving prop, the jaw had moving parts and was operated by a puppeteer. According to Cohen, they spent an additional thirteen months working on the film after making the final cut of the film. He was in to shoot on-location during this period, and had to review animation sequences with ILM and give them his comments and instructions through a satellite hookup. Music and sound [ ] The score was composed. The main theme song, 'The World of the Heart' and 'To the Stars', were used in such as,, and, clip montages at the, numerous other film trailers, and the closing credits of the U.S. Broadcasts of the, making it a well known. Released the film's soundtrack album on May 28, 1996, which contains 15 music tracks. Release [ ] Box office [ ]. May 31, 1996. Retrieved 2011-05-09. • ^ Rob Cohen, Patrick Read Johnson, Rafaella de Laurentiis, Charles Edward Pogue, Scott Squires, Phil Tippett, Julie Weaver (2009). The Making of Dragonheart (DVD).. Mary Eisenhart. Monster Legacy. Retrieved 2015-09-13. • • Pogue, Charles Edward (1996).. New York: The Berkley Publishing Group.. Dragonheart Italian Website. Archived from on 2015-01-23. • • (1996-05-31),, Chicago Sun-Times, retrieved 2011-05-09 • (1996-05-31),,, retrieved 2011-05-09 [ ] • Tucker, Ken (1996-05-31),,, retrieved 2011-05-09 • Wesley Lovell (1996).. Retrieved 2015-05-02. • ^ 'Review Crew: Dragonheart'.. January 1997. • ^ Soete, Tim (January 9, 1997)... Retrieved 29 January 2018. • ^ Varner, Jim (February 4, 1997)... Retrieved 2011-05-09. • ^ 'Dragonheart: Fire & Steel'.. • ^ Nutter, Lee (May 1997). 'Review: Dragonheart'.. • 'Dragonheart: Fire & Steel: Grab Your Sword for a Wild Ride'.. November 1996. • ^ 'Saturn ProReview: Dragonheart: Fire & Steel'.. • 'Review Crew: Dragonheart'.. Retrieved 2014-12-20. Beth Accomando. Retrieved 2015-08-11. • Heitmueller, Karl (2006-12-12).. MTV Movie News. MTV Networks. Archived from on 2009-07-19. Retrieved 2009-11-09. Retrieved 2015-03-13. • Evry, Max (2013-08-16)... Retrieved 2017-01-15. Retrieved 2017-02-16. External links [ ] Wikiquote has quotations related to: • • on • at • at • at • on. Film in TV Vojna za Planet opic (War for the Planet of the Apes) Izjemno hvaljen tretji del obujene franšize prikazuje neizprosen spopad med opicami in ljudmi, od. V tretjem poglavju od kritikov pohvaljene franšize Planet opic so Cezar in njegove opice potisnjene v usoden boj z vojsko ljudi, ki jo vodi neusmiljeni Polkovnik. Ob koncu filma Zora Planeta opic smo Cezarja pustili v trenutku, ko se je pripravljal na neizogiben in silovit spopad s človeštvom; prihodnost njegovih opic je obvisela v zraku, a režiserja Matta Reevesa, ki mu je bila zaupana težka odločitev, kam bo vodila naslednja zgodba v priljubljeni franšizi, niso obhajale takšne zle slutnje kot Cezarja. Konec koncev se je Reeves pred podobnim izzivom znašel že, ko je s scenaristom Markom Bombackom zasnoval zgodbo prejšnjega filma. V Zori se je moral Cezar soočiti z izzivi zunaj in znotraj lastnih vrst, saj je njegova opičja skupnost, ki se je razcvetela v gozdovih Muir na drugi strani mosta Golden Gate v San Franciscu, naletela na obupane in obupavajoče posameznike človeške vrste, ki so bili preživeli smrtonosni virus in so skušali obnoviti svojo zdesetkano družbo. Vneli so se prepiri; Cezar je podcenil sovraštvo, ki ga je do človeštva gojil eden njegovih najzaupnejših namestnikov Koba zaradi poskusov, ki so jih bili izvajali na njem, in na koncu je bil Cezar prisiljen zagrešiti enega najhujših grehov opičje družbe – 'opica ne sme ubiti opice' – kar je neizogibno zanetilo tragično vojno med ljudmi in opicami. Gledalci so to čustveno popotovanje dobro sprejeli in Zora je bila izjemen uspeh. Po pičlih nekaj mesecih, da si nabereta novih moči, sta Reeves in Bomback začela snovati novo poglavje legende o Cezarju. Za oblikovanje novega filma sta prosila za dovolj časa – in ga tudi dobila – in se posvetila scenariju, ki bi za mnogo katerega scenarista pomenil uresničenje sanj: 'Dobila sva filmsko dvorano v studiih Foxa, kjer sva del dneva debatirala, drugi del pa si ogledovala filme. Gledala sva Most na reki Kwai, pa Apokalipsa zdaj, gledala sva The Outlaw Josey Wales, Nesproščeno, vse filme iz franšize Planet opic, pa Imperij vrača udarec,' razlaga Reeves. 'Neverjetno zabavno je bilo, a tudi poživljajoče. Rasizkovala sva, kakšen naj bi bil vojni film. Kajti povsem jasno nama je bilo vsaj eno: da bo to film, v katerem se opice znajdejo v vojni, na pragu katere smo jih pustili v Zori. Vojna za Planet opic se začne dve leti po dogodkih v predhodnem filmu; Cezarjeve opice so v hudem položaju: umaknile so se v gozdove, kjer se nenehno spopadajo z človeško vojsko, ki ji poveljuje neizprosni polkovnik McCullough (Woody Harrelson). Opice utrpijo strašanske izgube in Cezarja prizadene sleherna srt. Reeves je želel še bolj intenzivno zgodbo in pri tem izpostaviti Cezarjevo potovanje, hkrati pa z preseči okvire in širino vseh dosedanjih filmov iz franšize. 'Film je precej mogočnejši kot kateri koli iz te generacije franšize – hkrati pa ohranja njeno bistvo, torej čustveno pripoved o Cezarju in njegovih opicah,' pravi režiser. 'Kako na tako velikopotezni podlagi vseeno poudariš intimno bistvo? Leanov Most na reki Kwai je bil na primer prikladen navdih za to, saj gre predvsem za spopad volje dveh posameznikov, in na nek način je zgodba o Cezarju in polkovniku natanko to Gre za osebno tveganje in na nitki visijo življenja opic. In v takšnem slogu sva sanjarila in preigravala zamisli, pa se je scenarij sestavil kar sam od sebe. Razveseljujoč proces je bil.' Tudi Andy Serkis, ki je Cezarja na platnu obudil že leta 2011 v Vzponu Planeta opic, prvem iz novega zagona franšize, se je veselil napredovanja lika: 'Zdaj – ker sem igral Cezarja od novorojenčka pa do tega trenutka – smo pravzaprav v podobnem položaju kot Linklaterjev film o odraščanju Fantovska leta (Boyhood); zame so to Opičja leta (Apehood)! Cezar, ki se je povzpel do položaja nespornega vodje opic, se tu znajde v novi vlogi – v vlogi vojaškega poveljnika. 'Še dalje se razvija,' nadaljuje Serkis, 'in težave, s katerimi se mora soočiti, so velikanske. Opičja skupnost, ustanovljena na začetku, ki je je zacvetela v Zori, je zdaj zdesetkana. Cezar izgublja vojake in se znajde v nepričakovanem položaju, saj izgublja tudi lastne vrednote. Ta film se ukvarja predvsem z njegovimi notranjimi boji, da ohrani svoj moralni kompas, saj gre za zanj osebne in boleče dogodke, ki ga poženejo na pot pogube.' Serkis ne more prehvaliti režiserja, s katerim je sodeloval že pri Zori in s katerim je našel skupen jezik glede tega, kako Cezarjevo zgodbo podati kar se da najbolj čustveno. 'Prekrasen je, sijajen,' je navdušen igralec. 'Res sem srečen, da spet delam z njim. Všeč sta mi njegova družba in njegova energija – pristen je. Povsem razume metaforo teh filmov in do njih goji pravo strast. Liki so mu prirasli k srcu. Do obisti jih pozna. Pri tem pa velik poudarek daje igralcem samim, kar pri podobnih filmih ni nekaj samo po sebi umevnega. Običajno slišiš, No ja, veliko je akcije, vso to tehnologijo imamo In potem smo vsi sužnji takšnega razmišljanja; Reeves to obrne na glavo in daje poudarek igri in igralski upodobitvam.' Pri tem seveda pomaga vse bolj napredna tehnologija za zajemanje telesnih in obraznih izrazov, in igralci se dejansko lahko še bolj osredotočijo na upodobitev svojih vlog. A hkrati s čarobnostjo tehnologije se širijo tudi zahteve in pričakovanja glede nje. Pri Zori so se izzivi raztezali od deževnih gozdov Vancouvra do pripeke New Orleansa, v tej zadnji dogodivščini pa so bili še večji – med drugim snemanje sredi strupene zime v Vancouvru. 'Tokrat se podamo v sneg in se spopadamo s precej skrajnimi razmerami, že kar se tiče preizkušanja opreme,' pravi svetovalec za posebne učinke Dan Lemmon, ki je delal že pri Vzponu, Zori in nekaterih drugih zahtevnih projektih, kot sta Jacksonova trilogija Lord Of The Rings in Cameronov Avatar. 'To je bil bržkone največji izziv. Imamo namreč več likov, nove igralce, zgodba nas popelje v nove pokrajine.' In glede na to, da je v ospredju dramatičen zaplet, film ponuja tudi spektakularne prizore spopadov, skozi katere se ljudje in opice pogrezajo v čedalje hujši konflikt. 'Imamo obilo prizorov bitk in eksplozij,' nadaljuje Lemmon. 'Opice so v ospredju, a ker gre za po-apokaliptični svet, je temu primerno tudi okolje. Pravzaprav je prizorišče skorajda dodaten lik v filmu in ima svoj čustven naboj.' Poglabljanje v filmske epe Davida Leana in klasične vesterne je Reevesu dalo vizijo, kako zastaviti podobo filma: 'S samo obliko zgodbe, prizorišči, tehnologijo in 65mm kamerami smo zajeli precej obširnejšo zgodbo,' ve povedati producent Dylan Clark. 'Videli smo poskusne posnetke s 65m kamero brez osvetljave, in neverjetno veliko zajame. Matt se je naravnost zaljubil v podobo, tako da mi je bilo povsem jasno, da bomo morali dognati, kako to uporabiti.' Clarkove besede dokazujejo skupno stremljenje celotnega produkcijskega moštva franšize, da je vsak film boljši. 'Nenehno si prizadevamo biti kar se da ambiciozni,' pravi. 'Zadnji film smo posneli v 3D, tega snemamo s širokimi objektivi. Več imamo zunanjih prizorišč, večja so, imamo sneg. Z zajemanjem telesnih in obraznih gibov so že posneli kak delček v snegu, tako obširno pa še nikoli. Naš namen je, da gledalcem ponudimo kar se da najbogatejšo vizualno izkušnjo, a z liki in tematiko, ki ubira na čustvene strune.' In precej novih likov je. Cezar s svojimi opicami skozi film nepričakovano naleti na inteligentno opico, ki ni bila del Cezarjeve prvotne skupine v San Franciscu. To dobrodošlo presenečenje v mitologiji franšize upodablja Steve Zahn, ki svoj lik opisuje kot nekoga, ki se je vestno pripravljal na kataklizmo; preživel je ob predmetih, ki jih je bil nabiral nalašč za preživetje. Zahn je tokrat prvič delal z zajemanjem premikov in se prvikrat spopadel z vlogo opice, je pa hvaležen za celoten že vzpostavljen sistem. 'Sploh nisem vedel, kaj naj pričakujem!' 'Če sem pošten, sem bil silno živčen. Skrbelo me je, saj je kar zastrašujoče priti k projektu, ki je kot franšiza že dobro naoljen stroj, ljudje vedo, kaj počno, ti pa moraš 'uleteti' Da ne omenjam dejstva, da moraš igrati opico.' To, da je lahko opazoval Serkisa in Terryja Notaryja, Serkisovega soigralca in strokovnjaka za upodabljanje opic, 'je bilo izjemno. Že takoj so mi dodelili Terryja, ki je sijajen učitelj. V hipu te začuti, natanko vidi, česa si sposoben s telesom in kako deluješ, potem pa iz tebe izvabi najboljšo upodobitev. Z Andyjem sta carja, kar se tiče tovrstne igre, in sijajna igralca.' Hkrati priznava, da je bilo nošenje oblačil in čelad lažje, kot si je bil predstavljal. 'Lahko nakladaš, kar ti pade na pamet, ampak dokler se tega dela ne lotiš sam, se ti niti sanja ne, kaj vse to zahteva. Mislim, da me je najbolj presenetilo, da sem si predstavljal, kako se bom moral truditi, da se otresem občutka prevlade tehnoloških pripomočkov, in kako bom moral skušal odmisliti stvari, ki jih nisem vajen. Pa je naravnost neverjetno, kako malo sem se vsega skupaj sploh zavedal. Svoje delo sem opravljal kot vedno, kot pri drugih filmih, z drugimi igralci, drugimi liki. Tehniki so krasni. Ko te enkrat priključijo na tisto mašinerijo, čisto pozabiš nanjo. Skoraj tako je, kot bi imel na sebi kostum.' Poleg Woodyja Harrelsona, Serkisa, Notaryja in Zahna igrajo še Karin Konoval, Michael Adamthwaite, Judy Greer, Max Lloyd-Jon in Gavriel Chavarria. Poleg Dylana Clarka so producirali Peter Chemin, Rick Jaffa in Amanda Silver, izza kamer pa velja omeniti še direktorja fotografije Michaela Seresina, scenografa Jamesa Chinlunda in kostumografinjo Melisso Bruning. Glasbo je zložil Michael Giacchino. Vir:, Napovednik.com. About the Author If there was a Saturday matinee, Dusty was there with Hoppy, Roy and Gene. He went to a roundup at seven-years-old, sat on a real horse, and watched the cowboys brand calves on the Peterson Ranch in Othello, Washington. When his family moved to Arizona from the Midwest when he was thirteen, he knew he’d gone to heaven. A horse of his own, ranches to work on, rodeos to ride in—Dusty’s mother worried all his growing up years he’d turn out to be some old cowboy bum. He read every western book on the library shelves. He sat on the stoop of Zane Grey’s cabin on Mrs. Winter’s ranch, looked out over the “muggie-own” rim, and promised the writer’s ghost his book would join Grey’s someday on the rack. After graduating from Arizona State University in 1960, he came to Northwest Arkansas, ranched, auctioneered, announced rodeo, worked thirty-two years for Tyson Food in management, anchored TV news, and struggled to get a book of his own sold. Over one hundred books have been published under his own name and pseudonyms. That does not count his five dozen plus short stories and hundreds of articles and columns. In 1992, his first novel, Noble’s Way, was published. In 2003, his novel, The Natural, won the Oklahoma Writer’s Federation Fiction Book of the Year Award. In 2004, The Abilene Trail won the same award. Dusty and his wife, Pat, reside next to Beaver Lake east of Springdale, Arkansas—whenever they aren’t off at speaking engagements or writing conferences, announcing rodeos or chuckwagon racing, or researching for western novels, that is. He and his wife have two wonderful daughters, Ann and Rhonda, two great sons-in-law, and four super grandkids. If he can steal time to do it, Dusty likes to fish for trout on the White River in Arkansas. Read The Mustanger and the Lady by Dusty Richards with Rakuten Kobo. Vince was a mustanger with a solitary camp high in the Hondo Mountains, where he worked his. The Mustanger and The Lady (Brandiron, book 2) by Dusty Richards - book cover, description, publication history. The is excited to announce the 2017 season of SummerStage, New York City’s largest free outdoor performing arts festival, bringing more than 100 performances to Central Park and 15 neighborhood parks throughout the five boroughs. This year’s festival, presented by Capital One Bank, will showcase over 150 unique artists performing shows from a plethora of genres and disciplines, including indie-rock, hip-hop, Latin, jazz, R&B, salsa, bhangra, poetry, opera, contemporary dance, and theater. SummerStage will kick off its first free show of the season with performances from the legendary Mavis Staples and contemporary blues artist Toshi Reagon & BIGLovely Good Music? In Central Park on June 3rd. Staples will lead a powerful vocal showcase of rock, blues, gospel and R&B. Digable Planets will reunite to open our citywide SummerStage run with a rare performance in Coffey Park in Brooklyn on June 21st. New York rap icon KRS-One and DJ Chuck Chillout will also perform in Coffey Park on June 25th and dynamic emcee Jadakiss will take the mic at Crotona Park on August 6th. Wu-Tang Clan founding member GZA? “The Genius” will drop knowledge in Corporal Thompson Park in Staten Island on July 23rd. Brasil Summerfest returns featuring iconic samba singer Elza Soares and rising star Liniker e os Carmelows on August 5th in Central Park. Jazz veteran Joshua Redman Quartet will pay tribute to Charlie Parker as part of the annual Charlie Parker Jazz Festival on August 27th in Manhattan’s Tompkins Square Park. • The City Parks Foundation, is dedicated to invigorating and transforming parks into dynamic, vibrant centers of urban life through sports, arts, community building, and education programs for all New Yorkers. • At City Parks Foundation, we believe thriving parks mean thriving communities. • City Parks Foundation’s SummerStage, New York City’s largest free outdoor performing arts festival, presents over 100 performances and benefit concerts each year in 16 parks throughout the five boroughs. • Since its inception 32 years ago, more than six million people from NYC and around the world have enjoyed SummerStage. • This year’s festival, presented by Capital One Bank, will showcase over 150 performances ranging from American pop, Latin and world music to dance, spoke word, rock, hip-hop, jazz, and theater. • SummerStage’s Central Park opening night is on June 3 rd with legendary soul icon Mavis Staples. SummerStage’s opening night for our city-wide shows at neighborhood parks all over New York City, begin on June 21st in Coffey Park in Brooklyn with hip-hop trio Digable Planets. • SummerStage 2017 features performances from Elvis Costello, Khalid, Bob Moses, Slick Rick the Ruler, Elza Sores, Seun Kuti, KRS-One, BalletX, La India, Valerie June, Frankie Negron, R0bert Glasper Experiment and many more • We sell reasonably-priced tickets to 20 SummerStage benefit concerts in Central Park, produced in conjunction with The Bowery Presents, as a way to keep all of our other SummerStage productions free of charge for all New Yorkers. • SummerStage will also celebrate the beloved saxophonist Charlie “Bird”Parker with our annual Charlie Parker Jazz Festival celebrating its 25th anniversary this year. Our annual celebration of jazz in New York, brings together storied, veteran players and the next generations of jazz artists for four days of performances from August 24-27. The festival, which each year coincides with Charlie Parker’s birthday, takes place uptown in Harlem’s historic Marcus Garvey Park and downtown in Tompkins Square Park, across the street from the apartment Parker called home. • For a full list of the City Parks Foundation’s SummerStage Festival, please visit. Categories • (92) • (1) • (2) • (1) • (17) • (4) • (6) • (5) • (6) • (2) • (2) • (3) • (6) • (5) • (1) • (2) • (1) • (8) • (3) • (8) • (3) • (7) • (2) • (12) • (4) • (2) • (2) • (1) • (5) • (1) • (37) • (13) • (2) • (8) • (1) • (1) • (1) • (5) • (5) • (18) • (1) • (16) • (23) • (7) • (18) • (7) • (2) • (2) • (4) • (3) • (1) • (5) • (2) • (15) • (37) • (4) • (1) • (5) • (2) • (1) • (4) • (1) • (2) • (2) • (1) • (4) • (18) • (2) • (4) • (15) • (9) • (23) • (1) • (9) • (16) • (2) • (4) • (50) • (6) • (6) • (50) • (1) • (45) • (9) • (9) • (1) • (5) • (14) • (5). Central Park, at the very heart (if not the very heart) of New York City, is one of the most inspiring combinations of architecture, landscape design and urban planning to be found anywhere on the face of the earth. It ranks as a symbol of New York City only behind the Statue of Liberty and the Empire State Building. Unlike these two, however, Central Park is dynamic, vibrant; a perpetually changing counterpoint to the brilliant, but static, architectural achievements that surround it. Central Park breathes. It provides a respite from the struggles that have produced the amazing city that surrounds it. It is a place to reflect, to sigh deeply and feel good about it, to let the tension ebb and allow the strictures and pressures of metropolitan enterprise loosen and unwind. The park also satisfies that need that resides in so many city dwellers, in an environment that requires dusting plants as often as watering them, that causes us to lavish our attentions upon wallet-sized window boxes and fret over ficus plants that have seen more near death drama than a revival of “Camille”. A need to be near something living, something growing; a need to be near something green that isn’t attached to our cheese. Central Park is all of these things, and much more. Copyright © 2018 - All Rights Reserved Powered by &. Great Lawn, Central Park, Manhattan Westside entrances: West 81st or 86th Streets at Central Park West Eastside entrances: East 79th or 85th Streets at Fifth Avenue The concert will be preceded by Share the Stage, performances by local musicians in their home boroughs to salute the diversity of New York City’s resident musicians. This year all Share the Stage performers are participants in. At 6:00 PM will perform; at 6:30 PM will perform. Be sure to come early! YAI will be operating an accessibility section for all Concerts in the Parks. This does not include the Free Indoor Concert in Staten Island. Please call 212-273-6100 ext. 5239 for details. LEONARD BERNSTEIN (1918-1990) Symphonic Dances from West Side Story (1961) The thrilling dance episodes of the iconoclastic Broadway musical West Side Story underscore the highly charged atmosphere that is Leonard Bernstein, Stephen Sondheim, and Arthur Laurents’ modern take on Romeo and Juliet. The rival street gangs of the 1950s, the Sharks and the Jets, have replaced the Montagues and the Capulets, and Tony and Maria are the modern doomed lovers. The gritty urban setting among New York tenements forms the backdrop against which the warring gangs play out the inevitable tragedy. Jerome Robbins (he won the 1957-58 Tony Award for choreography) was the masterful choreographer who propelled the action forward with brilliant dances, set to Bernstein’s positively electrifying score. The Symphonic Dances, selected by Bernstein as a concert work, and orchestrated under his direction, take the familiar melodies and create a vibrant tapestry that is a microcosm of the story. Summaries of each of the nine sections appear in the score, including the “Prologue”—The growing rivalry between the two teenage street gangs; “Somewhere”—In a visionary dance sequence, the two gangs are united in friendship; “Mambo”—Reality again; competitive dance between the gangs; “Cha-Cha”—The star-crossed lovers (Tony and Maria) see each other for the first time and dance together. “Cool-Fugue”—An elaborate dance sequence in which the Jets practice controlling their hostility; “Rumble”—Climactic gang battle during which the two gang leaders are killed; and “Finale”— Love music developing into a procession, which recalls, in tragic reality, the vision of “Somewhere.” Lukas Foss led the New York Philharmonic in the premiere of the Symphonic Dances on February 13, 1961. GEORGE GERSHWIN (1898–1937) An American in Paris (1928) Commissioned by the New York Philharmonic this delightful ballet started life while Gershwin was enjoying the heady atmosphere of 1920s Paris; he completed it in New York. He had come a long way from his Russian immigrant roots. His parents changed young George’s life when they bought him an upright piano and lessons to go with it. At age 16 he sought his fortune in Tin Pan Alley, and burst onto the scene in 1920 with the song “Swanee,” recorded by Al Jolson. He taught himself orchestration and collaborated with his older brother Ira on many famous American songs. Results 1 - 30 - Search events and find out what's going on in Central Park all year round with our events calendar. You can also post your own event and sign up for our newsletter to get weekly event updates. 7.5/10 15 votes 2017. Find out about what is going on in Central Park with the Official Central Park Calendar of Events. 212.310.6600 ©2017, Central Park Conservancy. The course is the four-mile Central Park 'inner loop.' Mile 1: Start on East Drive near East 68th Street and run north, ascending Cat Hill. Mile 2: Continue north and pass Engineers' Gate (East 90th Street). Turn left onto the 102nd Street Transverse. Mile 3: Turn left on West Drive and run south through a series of three rolling. Information and details about the New York Road Runners 2017 Central Park Spring Classic 10K road race. The composer also went on to create several beloved American concert hall classics: Rhapsody in Blue, Concerto in F, and the present An American in Paris. Gershwin wrote at length about his delightful “rhapsodic ballet,” which was choreographed and danced memorably by Gene Kelly in the 1951 movie of the same name. He said, “My purpose here is to portray the impression of an American visitor in Paris as he strolls about the city and listens to various street noises and absorbs the French atmosphere.” When the piece kicks into a bluesy style, the composer continues, “our American friend. Has succumbed to a spasm of homesickness.” But ultimately, the American visitor “once again is an alert spectator of Parisian life.” Listen for the characteristic French car horns as you imagine yourself ambling along Parisian boulevards. Conductor Alan Gilbert, former Music Director of the New York Philharmonic, launches a new appointment as chief conductor designate of Hamburg’s NDR Elbphilharmonie Orchestra this fall, shortly after the opening of its already iconic new home. The Grammy Award–winning conductor previously served as principal guest conductor of the orchestra (then known as NDR Symphony Orchestra Hamburg) for more than a decade, and will assume the role of chief conductor in September 2019. This position follows his truly transformative eight-year tenure as Music Director of the New York Philharmonic, during which, through such key initiatives as the NY PHIL BIENNIAL, he succeeded in making the Orchestra a leader on the cultural landscape. Alan Gilbert is also conductor laureate of the Royal Stockholm Philharmonic and the founder and president of Musicians for Unity. With the endorsement and guidance of the United Nations, this new organization will bring together musicians from around the world to perform in support of peace, development, and human rights. Alan Gilbert makes regular guest appearances with orchestras including the Berlin Philharmonic, Amsterdam’s Royal Concertgebouw Orchestra, The Cleveland Orchestra, Boston Symphony Orchestra, The Philadelphia Orchestra, Dresden Staatskapelle, and Orchestre Philharmonique de Radio France. He has led operatic productions for Milan’s Teatro alla Scala, The Metropolitan Opera, Los Angeles Opera, Zurich Opera, Royal Swedish Opera, and Santa Fe Opera, where he was the inaugural music director. His discography includes The Nielsen Project, a box set recorded with the New York Philharmonic, and John Adams’s Doctor Atomic, captured on DVD at The Metropolitan Opera, for which he won a Grammy Award. He received Emmy Award nominations for Outstanding Music Direction in PBS’s Live From Lincoln Center broadcasts of two star-studded New York Philharmonic productions: of Sweeney Todd and Sinatra: Voice for a Century. Alan Gilbert has received Honorary Doctor of Music degrees from the Curtis Institute of Music and Westminster Choir College, as well as Columbia University’s Ditson Conductor’s Award. He is a member of The American Academy of Arts & Sciences, and was named an Officier de l’Ordre des Arts et des Lettres by the French government. At The Juilliard School, he is the first holder of the William Schuman Chair in Musical Studies and serves as Director of Conducting and Orchestral Studies. After giving the annual Royal Philharmonic Society Lecture on Orchestras in the 21st Century: A New Paradigm during the New York Philharmonic’s EUROPE / SPRING 2015 tour, he received a 2015 Foreign Policy Association Medal for his commitment to cultural diplomacy. The New York Philharmonic Concerts in the Parks are presented by Didi and Oscar Schafer. MetLife Foundation, Citi, and Emirates Airline are Major Corporate Sponsors of Concerts in the Parks. Concerts in the Parks are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature. Preferred Card of the New York Philharmonic. Emirates is the Official Airline of the New York Philharmonic. A Colorado woman filed a lawsuit against Starbucks, claiming a cup of tea was served improperly, which led to injuries for her and death for her dog. (Elise Amendola/AP) A Colorado woman has filed a lawsuit against Starbucks, claiming an employee improperly served a cup of hot tea at a drive-through window — causing the liquid to spill, severely burning her and ultimately killing her dog, who was also in the car at the time. Deanna Salas-Solano is seeking more than $75,000 in damages from the global coffee chain, according to a complaint filed Monday in the U.S. District Court for the District of Colorado. The incident allegedly occurred in September 2015, when Salas-Solano visited the drive-through of a Denver Starbucks and ordered a “Venti”-size hot tea. She did not specify that she wanted her drink “extra hot,” the complaint states. When a Starbucks employee handed the cup of tea to Salas-Solano at the pickup window, its lid was not secured, it lacked a hot-cup sleeve, and it was not “double-cupped,” according to the lawsuit. The complaint also alleges that the temperature of the tea was “unreasonably hot.” “Once Plaintiff received the cup of tea into her hands, the hot temperature of the cup began to burn her hands,” the complaint states. “Hot tea began to spill out of the cup through the unsecured lid and onto Plaintiff’s body. The tea caused Plaintiff’s clothing to melt. The tea caused severe burns to Plaintiff. Plaintiff immediately experienced intense pain including on her stomach, legs, and lap.”. Photos of Alexander’s burn injuries were included with the complaint against Starbucks. (Courtesy of Sean Leventhal) Salas-Solano began screaming and writhing in pain — at which point her dog, Alexander, jumped into her lap and caused tea to spill onto him, according to the complaint. The dog was taken to an emergency veterinarian, the filing states, and he died a little later from injuries caused by the hot tea. Salas-Solano was taken to a hospital, where she was treated for severe burns and, the following day, underwent skin-graft surgery for “2% total body surface area second-degree burn injury to the abdomen and bilateral thighs,” according to the lawsuit. She has since reportedly suffered permanent scarring, loss of feeling and emotional distress, among other things, the suit states. [] The filing additionally alleges that the store had received complaints related to improperly served hot beverages in the past. “At all relevant times, Defendant knew or should have known, using reasonable care, that providing hot tea without a hot-cup sleeve, without securing the lid onto the cup, and/or utilizing unreasonably hot temperatures for the water used the make the tea, would create an unreasonable risk of injury to patrons ordering tea at the drive-thru at the Premises,” the complaint states. A burn injury reportedly suffered by Deanna Salas-Solano, included in the complaint against Starbucks. (Courtesy of Sean Leventhal) A Starbucks spokesman said the company denies the allegations and has video evidence to prove that the coffee chain’s employee was not at fault. Trey Batchelor. Greg Grunberg, Salvator Xuereb, Adrienne Wilkinson. Michael Shannon, Nick Offerman, Octavia Spencer, and more stars reveal to Kevin Smith at the IMDb Studio at Sundance which stars they would cast to play themselves in a biopic. Dec 16, 2017 A Monroe man is accused of animal cruelty after reportedly burning his friend's dog with hot water and then putting the animal in the freezer Wednesday. May 15, 2017 - A Virginia Beach man has been charged with animal cruelty and arson after a fire that occurred late Friday night. “I think it goes without saying we’re certainly sympathetic to Ms. Salas-Solano and the injuries she sustained, and my heart goes out to her for the loss of her dog,” Starbucks spokesman Reggie Borges told The Washington Post. “Having said that, we have video evidence that clearly contradicts the claims by her and actually believe they’re without merit. More Burning Dog (2017) videos. ALLIANCE, Ohio -- There are some new developments in the case of a Stark County man accused of killing a family pet by throwing the animal into a burning fire pit. Man accused of burning dog in fire maintains his pet is alive. Posted 7:37 pm, January 24, 2017, by Jack Shea, Updated at 07:38PM, January 24, 2017. We don’t have any reason to believe that our partner [employee] was at fault in this.” Sean Leventhal, an attorney for Salas-Solano, provided The Post with a copy of the complaint but declined to comment further on the lawsuit Wednesday. [] This is not the first lawsuit filed against Starbucks related to injuries from a hot beverage. In May, a jury and permanently scarred after a lid fell off a Venti-size Starbucks cup and spilled 190-degree coffee into her lap. During that trial, a Starbucks representative testified that the company receives 80 complaints per month related to lid leaks and lids popping off,. Starbucks has also been the target of several other recent lawsuits: A ” to create its popular limited-edition “Unicorn Frappuccino” this summer. Two weeks ago, Simon Property Group, the largest mall operator in the United States, sued the coffee chain in a bid to stop the premature closing of its Teavana stores,. The latest complaint against Starbucks is reminiscent of a by Stella Liebeck, who suffered severe burns at age 79 after spilling hot coffee on herself in the drive-through of an Albuquerque branch of the fast-food chain. A jury, which a judge later reduced; Liebeck and McDonald’s ultimately. That well-known case that explores tort reform in the United States. From master storyteller Guillermo del Toro comes THE SHAPE OF WATER, an otherworldly fable set against the backdrop of Cold War era America circa 1962. In the hidden high-security government laboratory where she works, lonely Elisa (Sally Hawkins) is trapped in a life of isolation. Elisa's life is changed forever when she and co-worker Zelda (Octavia Spencer) discover a secret classified experiment. Rounding out the cast are Michael Shannon, Richard Jenkins, Michael Stuhlbarg, and Doug Jones. Whether it be Creature from the Black Lagoon, Beauty and the Beast, Edward Scissorhands, or even Her from a few years ago, movies about forbidden love are a common theme in romantic films. And if done right, they could be extremely effective. The Shape of Water stands as a fresh take on that tale, and yes it works really well as a romance between a government controlled creature and a mute custodian. 7.9/10 46,114 votes 2017 R. This site does not contains any kind of policy violation content on its server. All contents are provided by non-affiliated or affiliated third parties. Also we are not supporting any kind of download. We just provide authorised website links on our website. Adventure At a top secret research facility in the 1950s, a lonely janitor forms a unique relationship with an amphibious creature that is being held in captivity. 20 hours ago - Guillermo del Toro's 13 Oscar Award “The Touch of Water” is “apparently” from a 1969 piece by the late Paul Zindel Pulitzer Prize winner, “says Zindel's son, the caretaker of his estate. David Zindel, the American playwright's son in the British newspaper The Guardian, said that he was using a piece of Paul. Driven by emotional performances, The Shape of Water feels simple in premise considering we have seen similar stories (mentioned above) almost every year. But it all comes down to execution. Director Guillermo del Toro frames this story as a good guy-bad guy situation, but certainly rounds out each character with emotions and just enough depth to care about every scenario. In that way, the original screenplay by GDT and Vanessa Taylor could be among the best written this year. Every scene has importance and the 2 hour runtime is perfectly paced. There are also several actors who turn in Oscar caliber performances including lead Sally Hawkins, Michael Shannon, Octavia Spencer, Richard Jenkins, and Michael Stuhlbarg. I would have to go through the other films and put together a list of Oscar predictions, but all actors mentioned above have a chance at a nominations. GDT has a knack for making gorgeous looking films and The Shape of Water is no different. Everything from the creature played by Doug Jones to the production design and cinematography, this is easily one of the best looking films of the year. To that note, I don't really have a complaint with the film. Performances, writing, directing, visuals, and romance are all way above par. These uniquely executed films are always something I will cherish, and I'm glad GDT was able to bring this to screens, especially before the Fox-Disney merger. It really makes you wonder if we will even get these types of movies once that deal goes down. One can only hope. Well-educated Vishwa has a successful career in advertising and a beautiful wife, Samadi. But he suffers from severe obsessive-compulsive disorder, which he painfully conceals from the world on a daily basis. Specifically, he fears that his own urine is contaminating everything around him. Unable to endure his eccentric and strange behavior, Samadi leaves him and moves in with her parents who strongly encourage her separation from Vishwa and angrily blame his parents, whom they believe conspired to hide his illness until his marriage. Lonely Vishwa loses his job and descends into a life of prescription drug abuse. His illness and addiction escalate, leaving him with little choice - Vishwa reluctantly admits himself to a public mental hospital, knowing there will be heavy social consequences in a culture that greatly stigmatizes mental illness. At the hospital, Vishwa's eye-opening, and often hilarious, encounters with the other patients gives him a new appreciation for life, helping. .because this movie has it all. As someone who has dealt with OCD throughout his lifetime, I found DIRTY, YELLOW, DARKNESS to be a starkly honest (sometimes to the point of being a brutal) look into the mind of someone suffering with obsessive compulsive behaviors. More accurately, this film looks through the eyes of the afflicted, rather than focusing on him as if he were a subject to be studied. What struck me most about DIRTY, YELLOW, DARKNESS was its ability to blend little moments of humor (with both spoken and visual comedic beats) in with the drama and seriousness of what can be an admittedly debilitating disease. Just when things were getting possibly a little too heavy, these beautiful little moments of lightheartedness would pop up which not only acted as a way to move the story along, but also help ground our lead character in a very human and sympathetic way. I think there's a fine line between making fun of someone's disease and pointing out the admittedly funny moments that are sometimes born from it, and the Ariyawansa brothers handled that balance with perfection. Plumb interview the director and producer of the movie 'Dirty Yellow Darkness'. Based on a true story of severe OCD, see how a man learns how. Dirty, Yellow, Darkness movie trailer(International version 2016). Of course, those kinds of balances become key to a film like this, which finds itself blending the seriousness of a drama, the emotion of a love story, and the lighthearted humor of a romantic comedy. The honest truth is this film is all of these things, and more, and therefore falls into its own genre category. Personally, I always find myself loving movies that aren't easily defined or categorized, mostly because these types of films are rarely made today. Hopefully this film will serve as a creative beacon to future filmmakers and show them the true potential of what a film can be. Visually, the film is stunning. With bright, vibrant colors and a beautiful range of visual contrasts (from the sterile environment of our lead's apartment in Colombo, to the more dirty and dingy atmosphere of the hospital he checks himself into, for example), Kalpana's art school background is more than apparent in the frames of DIRTY, YELLOW, DARKNESS. There are literally hundreds of films released every year that are worthy of being seen by the masses, but because of today's studio system most of the world watches the same ten or twelve movies each year. This year, do yourself a favor and seek out DIRTY, YELLOW, DARKNESS, because in addition to it being different from most of the films out there today, it's also better than most of them, too. Trivia There are multiple references to the co-op action game 'Payday 2', such as a scene where the Payday Clown's masks are seen as graffiti on a wall. The final contract's number, 11111, was also a slight nod to an inside joke of the Payday 2 community. In the game, John Wick appears as a playable character. Watch John Wick Chapter 2 Full Movie (2017) Online Now! Latest Action of Beloved John Wick Chapter 2 is Free Ready To Be Streamed Right Now! Critics Consensus: John Wick: Chapter 2 does what a sequel should -- which in this case means doubling down on the non-stop. The best of John Wick 2. When he was first released, he only had one line for when he collected a bag of loot, that line being 'ONE!' This line would go on to become a joke among fans of the game as well as turn into a mod that replaced all of John Wick's lines with 'ONE!' Quotes: Good afternoon, Mr. It's been a long time.: I'd like a tasting.: I know of your past fondness for the German varietals, but I can wholeheartedly endorse the new breed of Austrians. Glock.34 and.26. Recontoured grips. Flared magwell for easier reloads. And I know you'll appreciate the custom porting. What's next?: I need something robust. Precise.: 'Robust. AR-15, 11.5-inch. Compensated with an ion-bonded bolt carrier. Trijicon accupoint with 1-6 magnification.: Could you recommend. Sin 1: Tossing out established canon. The coolest bit of lore about the first movie is completely lost in the sequel. That alone is a sin you cannot redeem yourself for. In the original, it was established canon that John Wick was not a man to mess with. Even the main villain, respected and feared his abilities. In John Wick 2, however, all of that is gone. Nobody fears John Wick. Nobody is afraid to take him on. His past deeds and reputation mean absolutely squat. The new villain, never thinks twice about double crossing Wick. Every hit-man on the planet, and according to this movie they are every where, has no qualms about trying to take Wick out. Sin 2: No main character growth In the first movie, we travel along with Wick as he avenges his dog and in the end moves forward with his grief. The video of his wife tells him to get up and move on. In John Wick 2, there is zero character growth. He is no different at the end of the movie as he is when it starts. Sure his circumstances have been altered, but as a character he has overcome nothing. That makes for a boring story. Sin 3: Weak plot The original movie had a simple, but strong plot. The plot of the sequel is weak, even by action movie standards. Wick has been called into service to kill a criminal, if he refuses he dies. But wait if he accepts, he also dies. The whole movie could have started and ended with the original premise of refusing the contract. It would have made more sense to refuse the contract and fight off the baddies coming to enforce the blood oath. Sin 4: Video Game Bad Guys Wow. There is evidently a plethora of John Wick cannon fodder. They just keep coming, and there really is no logical reason why they do. The body count is so high that it becomes comical. The original had a big body count, but it was divided among 5 big action scenes and, for an action movie, seemed plausible. This one doubles the body count but there are so many, the coolness of each kill is lost in an over abundance of victims. Sin 5: Invincible Superhero Hit by two cars, stabbed and shot numerous times and he just keeps on going. Must be seeing the doctor and getting pain pills, right? Nope no doctors in this one. That kind of logical realism may interfere with the killing of cardboard bad guys. At one point a fellow assassin, holds a pistol point blank in Wick's abdomen and fires a couple shots through him. No biggie Wick has another 42 bad guys to kill. Sin 6: James Bond Gadgets I love the Continental, don't get me wrong, but the secret underground hit-man hosting hotel just goes too far in this one. Bulletproof suit coats that can be held up like Batman's cape to shield yourself from bullets? Silencers so quiet that two adversaries can have a shootout in a subway between bystanders and nobody knows even though bullet holes are being blasted into the walls around them? Sin 7: Shallow Villains Yes there are the 140 plus cardboard video game baddies, but in the first John Wick, the main villain had a moral dilemma: turn over his son to save his own butt. The bad guys in Wick 2 have no interesting character motivation or dilemmas. The closest you get is Common's desire for revenge after Wick kills his client. And that was the most interesting bad guy on the screen. It is hard to believe the two movies were written by the same folks. Sin 8: Soundtrack John Wick 1 had an unbelievable soundtrack that actually set the mood as he moved through the action scenes and the emotional scenes. This soundtrack just plain sucks. There is nothing memorable in it, and it does little to impart any emotion on a given scene. Sin 9: Pacing Even the big action scenes in this movie are too long. In their desire to up the body count they went with longer action sequences. It really messes with the pace of the film. The first movie did a great job of dividing the action and keeping the viewer engaged. The longer these scenes go, the less believable they became which pulls the audience out of the moment. Sin 10: Rehashing things that worked in the first movie There are some great scenes in the first Wick, and the director knew that so they tried to repeat them. This is a classic sequel mistake and unfortunately Wick 2 falls victim to this trope. You liked the interaction with Jimmy? We will get another one in there. Like the reload and kill? We will put a twist on that one also. It was great to see the pencil kills, that is how it should be done. Don't show us the same thing but different. Show us new, that may have been mentioned previously. Making the next sequel look better then this one. The end of this movie sets up a very interesting plot for a third movie and almost everyone that walked out was excited to see it. That is wonderful, except when that movie actually sounds more interesting then the one you just watched. You should have just made that movie instead. All in all Wick 2 falls short of the first one. Once again we are treated to an amazing movie whose sequel just doesn't capture the magic of the first one. I'm looking at you Red 2, Donnie Darko 2, Matrix 2, etc. After the surprise hit with a very fresh take on action films a sequel was probably inevitable. The film actually does a decent job of faking a story, but in the end (the beginning too) it mostly wants to show you some more of Reeves stoically and effectively shooting dozens of people at point blank. That's still very well done, now in different and more unusual locations, like the Roman catacombs. But in the end you can't help but feel you've seen this before, both earlier in the film and of course in chapter one. That's still entertaining enough but for part three they'll really have to think of something new. ½ I always said after seeing the first movie that it should have been kept as a stand alone, a one off action flick. Yes the movie was a surprise hit out of nowhere but does that mean you automatically whip out a string of sequels which could potentially ruin the films name? When something does well (unexpectedly), should Hollywood proceed to milk it dry? Slowly drain away the imagination and originality until only a cliched predictable shell is left ('Taken' much?). There's nothing wrong with having a good stand alone movie with no sequels. With that we have the second chapter in John Wick's rather stressful life. It now appears that Wick has an outstanding debt, of sorts, with an Italian crime lord called Santino D'Antonio. In this world of the hitman there is such a thing called a marker. A medallion containing a sample of blood from both parties, basically a blood oath or pact on an agreement, or hit. Previously Wick had gone to D'Antonion for help, now D'Antonio wants the favour returned. Wick being the stubborn fool he is goes against the oath and promptly gets his house blown up and he is forced to take the job. Once the job has been completed, and D'Antonio naturally double crosses him, Wick sets his sights firmly on revenge. The movie starts off a few days after the events of the last movie. In that we see Wick tracking down his precious Mustang muscle car to the brother of Viggo Tarasov, one Abram Tarasov (Peter Stormare). Abram obviously knows of Wick and his skills and comes across as somewhat worried and regretful. Abram knows Wick wants his car, he is clearly concerned about what may happen with Wick, yet he doesn't tell his men to stand down? This just seemed rather odd to me, Abram obviously doesn't want to die, he doesn't want the trouble, so why not just give Wick his car? Let him come in and take it, no worries. Of course that doesn't happen and we get what appears to be a rather pointless action sequence. Seeing as this subplot goes absolutely nowhere (including the inclusion of John Leguizamo's character again), it was indeed all pointless. Once we get into the core plot things become much more familiar, and by that I mean repetitive and unoriginal. The job he must undertake as part of the marker agreement with D'Antonio involves Wick going to Rome to assassinate D'Antonio's sister (another crime lord type person). Naturally this all takes place at night and within some sort of outdoor clubbing event. Cue lots of flashing neon lights, a live band, people dancing around frantically, scantily clad ladies and a thumping soundtrack. This seems to be the bread and butter of locations for hitmen to frequent in movies. Its also here that we get the first real action sequence from Wick that we have now come to expect. And by that I mean Wick running around whilst somehow not getting mortally wounded and taking out an absolutely absurd amount of henchmen. I swear its like watching a live action sequence from [i]Operation Wolf[/i] or [i]Time Crisis[/i] (videogames). Literally every faceless henchman is utterly useless and never seem to aim for Wick's head. There is a never ending stream of these dumb henchmen who never seem to hold back or move in tactically (considering they outnumber Wick 10 to 1). And all the blood is really obvious CGI which just looks lame. Along with that (or before that) there was the inevitable [i]James Bond[/i]-esque guns, gadget and general weapons sequence where Wick tools up. I don't really need to explain it as its pretty self explanatory. What I don't get is why Wick needs to do this. The amount of men he kills, who in turn drop their weapons, Wick basically has unlimited guns and ammo. He need only pick them up off the ground after he's killed the henchman. As the movie progressed it just became even more ridiculous in my view. Wick keeps on taking knocks, blows, cuts and eventually bullets, yet he still manages to continually take out all his opponents. Over time Wick must start to fend off numerous other assassins also (because of the contract D'Antonio puts on his head) which gets daft as they pop up everywhere. Hell we even get a giant sumo wrestler trying to take out Wick at one point. This really spoilt the movie for me because there were far too many hitmen and women coming out of the woodwork. The final sequence of movie really highlights this nonsense, is half the population of New York undercover assassins now or something?! And all the while regular folk never really notice what's going on, no one ever freaks out, we never see any cops.like what the hell??? I also fail to see how Wick can get anything done because literally everyone in the business knows him, [b]everyone![/b] How on earth can this guy be so stealthy and lethal when he's so flippin' recognisable?! Anyway the plot pretty much reverts back to the exact same idea we saw in the first movie, which I guess was to be expected. I have also noticed a pattern with Wick. Every time he gets into a scuffle he seems to do the same thing. He'll shoot a guy but not kill him outright. Throw or wrestle him to the ground with a fancy move, then take out a couple guys approaching. And then he'll finish off the guy he's got pinned to the ground. The question is why? Surely this is wasting energy and not particularly efficient.but I guess it looks good on camera huh. I didn't hate this movie, there are some really inventive elements which I liked. The whole Continental hotel idea was something I liked from the first movie and the expansion of that idea was well done here. I do like this idea of aristocratic blokes running these ultra posh hitmen hotels like some kind of gents country club. I like the whole Continental hotel operation and how it runs with its many secret separate branches that cover all fields. Sure we've seen it all before with [i]Bond[/i] and more recently with 'Kingsman: The Secret Service' but for some reason it never fails to intrigue. But that's as far as it goes for me, the rest is basically the same guff we saw in the first film but not as slick looking. The fights didn't look as good, the CGI blood was dreadful, and of course this second movie lost all the originals wow factor. Marie Harf called on Republicans to speak out against President Trump for the 'sexual innuendo' blasting Sen. Kirsten Gillibrand (D-N.Y.) Trump targeted the junior New York senator Tuesday morning, calling Gillibrand a 'lightweight' and claiming she asked him for campaign donations and 'would do anything for them.' Innuendo -The Bad Twin- by Saara Lamberg has won the Audience Award 2017. Cinema Australia is an online space dedicated to the support and promotion of Australian made films through independent news, reviews, features and interviews. Lightweight Senator Kirsten Gillibrand, a total flunky for Chuck Schumer and someone who would come to my office “begging” for campaign contributions not so long ago (and would do anything for them), is now in the ring fighting against Trump. Very disloyal to Bill & Crooked-USED! Trump (@realDonaldTrump) The broadside came after Gillibrand called on Trump to resign over the numerous and 'credible' allegations of sexual misconduct against him. Harf said the tweet represents a new low for Trump and called on Republicans to condemn his message. 'The president of the United States made basically a tweet that has sexual innuendo in it. I think we can all agree there is only one way to read his tweet toward Senator Gillibrand,' said Harf, formerly a State Department communications official in the Obama administration. She called Trump a 'jerk' and a bully for the tweet, arguing this type of behavior would not be accepted from a CEO or anyone else. 'He's the president,' she ended. Gillibrand responded on Twitter and later called it a 'sexist smear' that was intended to silence her and other women. You cannot silence me or the millions of women who have gotten off the sidelines to speak out about the unfitness and shame you have brought to the Oval Office. — Kirsten Gillibrand (@SenGillibrand) Watch the full discussion above. UPDATE, 2:45pm ET: White House Press Secretary Sarah Sanders responded to the critics, saying anyone who thought Trump was making a sexual reference in his tweet has their 'mind in the gutter.' |
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