2020.08.08 10:43 OldmanRevivedI saw four movies (Spinster, The Secret Garden, I Used to Go Here, Howard)
First up was Spinster There are times during "Spinster" when it feels as if we're watching a filmed version of the rough first draft of a screenplay. Then there are times when it feels as if the director, Andrea Dorfman, simply started filming with the basic outline of a screenplay that had yet to be written. Surely there must be some mitigating factors at play here, but any theorizing about such things would be useless speculation. What we see is what we get, and what we get is a movie that, on a fundamental level, fails to communicate anything of any particular value. At the start of the movie, for example, Gaby (Chelsea Peretti) is 39 years old, unmarried, and childless, watching as her boyfriend of three months dumps her. This should seem terrible (The dumping occurs on her birthday), but Gaby basically wore the guy down, living with him despite his protests. Now, he's so tired of her hanging around for no reason that the guy just leaves and gives her his apartment. Peretti's performance here is so removed from any kind of emotion that we might wonder if this was some kind of scheme on Gaby's part. She definitely doesn't seem to care about much of anything. Gaby runs a catering business, where she insults a potential customer for having an admittedly naïve view on love. She starts dating again, but it's presented as a montage of her being rude to a series of unseen guys. We never quite know what the character wants. Because of Peretti's consistently dismissive tone, we're never really sure if Gaby is ever sincere when she actually says what she wants. The basic premise is that Gaby is indecisive about whether she wants love, marriage, kids or some other life goal that she has yet to realize. Her vision is blurred by the judgement of others, trying to navigate social circles and time with her father, Jack (Bill Carr), and brother, Alex (Davis Rossetti), without being pressured to deliver a life she isn’t sure she wants. Gaby figures things out for herself, trying out the wild west atmosphere of dating apps, and she attempts to meet people through softball, not realizing how important to game is to certain men. She hopes to hit on a chiropractor after an adjustment, coming up short there as well (she asks if he is single to the woman at the front desk, who points out that he's married, and she's his wife). She experiences the coldness of a one-night stand, and takes on the responsibility of owning a shelter dog named Trudy. It's clear that Gaby is a troubled soul in some kind of terrible pain, but the film does little to depict her as anything but a pushy, judgmental, and overly critical human being. "Spinster" actually feels sort of embarrassed at times, maybe because the characters are placed in silly sitcom situations and then forced to say lines that are supposed to be revealing and real. When the jokes do work, it's more a matter of acute social observation than good writing. Peretti's resilience is part of what makes her so refreshing, yet her detachment does begin to feel like a limitation once the film settles for a more generic sweetness, causing its humor to quickly run out. When raw emotions are required to rise to the surface, particularly during a scene set at a cemetery, they appear forced. It's hard to believe that a story that seems so simple in retrospect could be mutilated beyond recognition, but such is the case here. We don't even learn a key component of the plot until more than three-quarters into the movie. While the script hints at some reasons why Gaby is so awful, few of those elements pan out until much later in the film. Instead, she's just dead boring to be around. At the end, we feel that it's far too little after going through an aimless story with listless momentum, flat jokes, conventional and bland supporting characters, and challenges that never really becomes much of an obstacle. "Spinster" is mostly undone by its central character, whose uncertainty feels more like a gimmick than anything authentic. And the movie doesn't really want to be all that heartbreakingly true. It's one of those movies where you can almost keep a mental list of the Important Topics as they're ticked off in the dialogue. The people in this movie don't seem to be having conversations; they seem to be marching through current issues. Because Gaby takes no real risks, because she lives surrounded by the safeguards of formula fiction, the movie is fated from its first shot to be obedient to convention. Next up was The Secret Garden "The Secret Garden" was originally published in 1911, with author Frances Hodgson Burnett gifting readers a tender tale of a household awakening. Little did she know just how influential the story would become, inspiring many adaptations over the years, including a stage musical, an opera, and plenty of film and television takes on the source material. Arguably the most successful of these endeavors was a 1993 feature from director Agnieszka Holland and producer Francis Ford Coppola, who gracefully found a way to bring out the heart of Burnett’s writing while conjuring special big screen magic. This new verison of "The Secret Garden" doesn’t share the same sense of discovery, with director Marc Munden offering a colder version of the tale. But all the same, it is a work of beauty, poetry and deep mystery, and watching it is like entering for a time into a closed world where one's destiny may be discovered. Aside from simply telling this story, Munden also strengthens some of its underpinnings. The director's touch is most noticeable in scenes setting forth the trauma and the unhappiness from which Mary Lennox, the 10-year-old heroine, must gradually recover. In a striking and mysterious opening sequence, Mary (Dixie Egerickx) is seen as a child orphaned in India in 1947, and sent home to England to live on the vast estate of an uncle. Misselthwaite Manor is a gloomy and forbidding pile in Yorkshire - a construction of stone, wood, metal, secrets and ancient wounds. Mary arrives from her long sea journey to be met with a sniff and a stern look from Mrs. Medlock (Julie Walters), who manages the place in the absence of the uncle, Lord Archibald Craven (Colin Firth). Mary quickly gathers that this uncle is almost always absent, traveling in far places in an attempt to forget the heartbreaking death of his young bride some years earlier. Mary is at first spoiled and unpleasant, though by no means the sallow and homely creature Burnett described. Mary's life of privilege and her parents' neglect leave her wholly unprepared for her destiny. And, to her surprise, the servants in her uncle's manor house expect her to dress herself, and to entertain herself as well. There is little for Mary to do in the mansion but explore, and soon she finds secret passageways and even the bedroom of her late aunt - and in the bedroom, a key to a secret garden. She spends her days exploring the grounds, spotting curious animals and encountering Dickon (Amir Wilson), whose sister is a maid at Misselthwaite. Together they play in the garden, and he whispers the manor's great secret: The aunt died in childbirth, but her son still lives in the manor, confined to his bed, unable to walk. Mary goes exploring, and finds the little boy, named Colin (Edan Hayhurst). He has lived a life of great sadness, confined to his room, able to see only the sky from the windows visible from his bed. She pushes him to go out and join her as they sample the world around them. When Mary's presence begins to have a medicinal effect on Colin, Mrs. Medlock is more disturbed by the disruption than pleased by its results. Signs of Mary's unhappiness, like a quick, wrenching nightmare that shows a child being abandoned in a garden by her mother, are easily outweighed by the grandeur of her new surroundings. Even as it displays a fine appreciation of the decorative arts, the film manages to remain carefully ambiguous. It can be seen reveling in a subtly rarefied atmosphere, but it can also be seen as celebrating nature as a force for freedom. This much is certain: once Mary falls in love with the outdoors and discovers the garden of the title, the place develops the kind of tangled, profusely exploding greenery that cannot be achieved without the help of a good-sized staff. The flowers and creatures don't precisely speak for themselves, but they seem more alive than some of the adults in the story. Lord Craven has the stylish look of a gentleman buccaneer; he does have a hunchback, as the character in the novel did, but it's nothing that would keep him out of a Ralph Lauren ad. Maeve Dermody, appearing fleetingly as both Mary's mother and her aunt, serves an equally ornamental function. The little creatures of "The Secret Garden" are like a chorus that feels like the kids in the audience do. All of this could be told in a simple and insipid story, I am sure, with cute kids sneaking around the corridors. But Munden is alert to the buried meanings of this story, and he has encouraged his actors to act their age - to be smart, resourceful and articulate. They are so good at their jobs that we stop being aware they are children, and enter into full identification with their quest. He is also attentive to transitions and colors, offering sun-drenched interiors and cold authoritarian characters. There's a graceful, complex but seamless, seemingly inexorable movement that weaves in and out of fantasy and reality so that each becomes an extension of the other. After that was I Used to Go Here "I Used to Go Here" is an almost unreasonable pleasure about a jaded woman who returns to her alma mater in Illinois and finds that her heart would like to stay there. The movie is an unsprung screwball comedy, slowed down to real-life speed. It is a truism among actors that comedy is harder to play when it's serious. But straight comedy is a cinch, I think, compared to screwball, which is an art so exacting and difficult that when it works it's a miracle. Kate (Gillian Jacobs) got what she wanted. After at least a decade of working at it, she is now a published author. Her first novel, "Seasons Passed," has been released. But this dream fulfillment only lasts for only a couple of minutes. Her big book tour has been cancelled. The book sales aren't as good as the publishing house had hoped. The fact that publisher is calling off a publicity tour, meant to increase sales, probably means that the numbers are even worse than Kate is being told. It doesn't stop there; she hates the cover, and truth be told, she’s not so hot on all the words inside. Meanwhile, her best friend Laura (Zoe Chao) is happily married and about to have her first child, and at an uncomfortable baby shower, surrounded by other happy and pregnant women about her age, they have Kate hold up a copy of her book in a group photo. It's unwittingly adding insult to injury. Everyone else has their lives together in the way they wanted, but Kate, seemingly getting her life together in the way she wanted, is now living with a result that increasingly looks like a failure. Indeed, Kate was engaged to a man (He and the small Chicago apartment are the main details of her short biography on the book's cover flap), and now, he ignores her calls and text messages. Hope is not lost. Kate receives a call from a former college professor, David (Jemaine Clement), who would like her to return to her alma mater for a special book reading. Even before the two reunite, we sense some tension beyond the dynamics between Kate and David. His refuge is to retreat into his man cave and have thoughtful conversations about Cather or Faulkner, much to the discern of his wife, (Kristina Valada-Viars). Kate arrives at her old college and is struck by a flood of nostalgia, becoming caught up in an assortment of dramas, parties, gossipy rumors, and other youthful enterprises. Kate is dispatched to an infantilizing local bed and breakfast whose snarling proprietor (Cindy Gold) seems to have chosen the wrong line of business. She is pleased to discover that her old college house is located just across the street. It's called the Writer's Retreat, just as she herself named it all those years ago, and it's filled with a cadre of interesting coeds, who rent the house where she and Laura lived when life was made up of endless possibilities of dreams waiting to come true. Living in Kate's old room now is Hugo (Josh Wiggins), an aspiring writer who's in an uncertain relationship with April (Hannah Marks), the star student in David's class. It becomes clearer and clearer that Kate didn't write a book she wanted to write, only one she thought might sell. And that nobody has read her novel, even the people who insist they have. At one point, she declares defensively that she was trying to write a restrained book, where the lovers should have sex, but surprisingly don't. And, what a shock, it gets bad press from the New York Times for being too portentous. I guess romance books in question fail to engage the audience's intelligence anymore, when what they want to know is whether it engaged their libido. The movie's better made than we might at first realize. It takes skill to create this sort of comic pitch, and the movie's filled with characters that are sketched a little more absorbingly than they had to be, and acted with perception. The trouble comes in the third half, where Kate and the college kids execute a stakeout at David's house to catch him fooling around with a female student. There is nothing particularly wrong with this subplot, except that it is completely unnecessary, and imposes a generic story structure on a film that might better have just grown from scene to scene like an experience. I like Gillian Jacobs. I just plain like her. She's able to convey bubble-brained zaniness about as well as anyone in the movies right now, and then she can switch gears and give you a dramatic performance that's just as good. Combining her with Jemaine Clement creates a critical mass of awkward charm, which "I Used to Go Here" pulls off so well. Could one weekend on a real campus possibly contain all of these events? Easily, given the tendency of writers to make themselves deliberately colorful. We have gone through college with these people. We have known them. We have been them. And the last one was Howard Most who know their Disney musicals will know the name of composer Alan Menken. But people may be less familiar with the name of playwright and lyricist Howard Ashman. The two collaborated on the Disney classics "The Little Mermaid," "Beauty and the Beast" and "Aladdin," as well as "Little Shop of Horrors." Ashman's lyrics, and his finesse with every aspect of musical theater, played an enormous part in the Disney animation comeback that began in the late 1980s. At the time, the studio's animation output had sputtered into near-irrelevance. Few within the company showed much faith in feature animation, despite its long and often glorious history there under Walt Disney. "Howard" makes a stirring, if not unexpected, case for his own legacy. In the documentary's opening scene, we witness an orchestral recording of one of Disney's finest. Howard directs with confidence and gentility. Nine months later, the audience is informed, he would be gone. Ashman was only 40 when he died of complications from AIDS in 1991. His life partner, architect Bill Lauch, picked up the Oscar that Ashman won for "Beauty and the Beast." Jeffrey Katzenberg, then propelling Disney's renaissance, recalls seeing Ashman near the end, having lost his sight and weighing barely 80 pounds. Narrations from Ashman’s mother and sister introduce us to his childhood with detail. Young Howard did not care for sports and preferred living in a world of glamorous make-believe. His sister Sarah describes that he was a highly imaginative child; she gushes over her memories of the worlds he'd create for them and the stories he'd tell. He wrote poems, plays, lyrics and whole musicals from a young age. He started performing as a child, pursuing theater in university, but ultimately found he preferred writing and directing to acting. He was later schooled at Boston University, moved upward to Goddard College in Vermont, and even became a graduate student at Indiana University. As a young New York City transplant, Howard was eager to make his mark. He and his first serious boyfriend, Stuart White, started their own off-off-Broadway theater, the WPA. Howard struck gold with his first major success, "Little Shop of Horrors." In one archival interview he describes the show’s appeal as "the dark side of 'Grease.'" As a teenager, he fell hard for the old Roger Corman movie. Everyone told him it was a terrible idea for a musical. He made millions off it. The show became a calling card for his future success as a lyricist, librettist and director. Yet the film also marks a new step for Disney as it addresses Howard's homosexuality, a topic the studio has notoriously avoided since, well, always. It looks at one of Ashman's ex-boyfriends, who proved problematic in his alcoholic and self-destructive ways, and celebrates the wonderful partner he found in Bill Launch, whom Howard dated until his death. We take a glimpse at other low moments in Howard's life, such as when he takes his shot with "Smile," along with legendary composer Marvin Hamlisch, and it burns up in bad reviews. Howard dodged disillusion by moving to Hollywood and learning that the future of the Broadway musical was in Disney animation. Some of the most fascinating scenes in "Howard" involve the infamous Disney work ethic. It is filled with scenes of Ashman the perfectionist at work on "The Little Mermaid." The suits are appalled at first when he demands that the villainous Ursula be drawn as a G-rated version of drag queen Divine, and that Sebastian the crab should be Jamaican. All the better to catch the lilt of "Under the Sea." And he could be hard on singers who couldn’t match the exact intonation he wanted. Even such pros as Angela Lansbury and Jerry Orbach had to pay heed to get "Be Our Guest" on the right track. We see his encyclopedic knowledge of his own tradition. Howard wanted success, of course, on his creative terms. In the film, he speaks eloquently on the topic of the "I want" song. That's a number sung early in a movie, usually by the heroine, expressing what's in her heart and her vision of happiness and fulfillment. Howard poured that concept into his life’s work. Some musical theater giants leave this world before they’ve barely begun. Howard cemented his own legacy on the musical stage and on the Disney animated musical sound stage, just in time. Because of his untimely illness, he ended up hiding out from the world that he, like his little mermaid, always longed to be a part of.
2020.02.18 01:36 TheCastJackerMy Story for the MCU Fantastic Four
https://preview.redd.it/4jc4qkolskh41.jpg?width=866&format=pjpg&auto=webp&s=3b66fd81221d1c4571a15a83ecf922c94f63491e My Poster for MCU Fantastic 4 Here is How the Fantastic Four Shuld be introduced in the MCU THe First Debut apearence of the Fantastic Four in the MCU T’Challa/ Black Panther under the advise of Shuri (Who as watching the Fantastic Four), recruits the Fantastic Four to fight Namor in Wakanda. Black Panher then rewards them with Wakandan Technology, Vibranium and a flying car which Reed Richards would call the Fantasticar. Who should be the main Villain of the First MCU Fantastic Four Movie? I Personally would like to see Bentley Wittman/ the Wizard and Frightful Four as the main villain of the first Fantastic Four Movie, Part of the reason is that I personally want to reboot the Inhumans in the Marvel Cinematic Universe and to cast Kara Tointon as Medusa who made her first comic book appearence as a member of the Frightful Four. Rise of The Fantastic Four Mini Series on Disney Plus Set before their first MCU Appearance in Black Panther 2, The First episode focus’s on the origins of the MCU Fantastic Four and in each episode you get to learn about Each member of the Fantastic Four Episode 1 In London, Aspergers Scientist,Reed Richards (Matt Smith) and Ben Grimm (Robert Kazinsky), is giving a speech to their boss Bentley Wittman (Jemaine Clement) of Wizard Enterprises. about mysterious rays coming from the Blue Area of the Moon, proving the theory, populariised by celebrity scientist and Reed Richards former lecturer at University Nicholas Sweeney (Matt Berry) that there is life in the Blue Area of the Moon. Sitting next to Bentley Wittman is girlfriend and famous Model, Susan Storm (Lily James) When Reed Richards was working on his own in his office watching various documentaries by Nicholas Sweeney, Susan Storm goes to meet Reed and takes interest in what he is watching. She tells Reed Richards that she is a fan of his Cult Web series on Youtube, that he works on with Ben Grimm. Reed Richards and Ben Grimm started this web series ever since the Battle of New York in 2012. In Fantastic 2 web series, Reed Richards and Ben Grimm discuss about Science and History of Alien Contacts. When Reed Richards gets funding from Bentley Wittman for his voyage, Sue Storm decides to join him along with her Older Brother, Johnny Storm (Joe Thomas), Reeds Best friend Ben Grimm along with other employees from Wizard enterprises. Due to Reed Richard's Arrogance, he goes to close to the cosmic rays which kills most of the crew to, leaving only Reed Richards, Sue Storm, Ben Grimm and Johnny Storm Surviving, they Later crash back to earth where they discovered that the Cosmic Rays gave them super human powers and abilities. Reed gained the ability to stretch his body and limbs, Johnny was able to fly and become engulfed in flames he could control, and Sue was able to bend light around her body and become invisible. Ben gained incredible strength and durability, but his body was tragically transformed. He now had a muscular orange, rock-like hide All four decided to use their powers to better humanity, and founded the Fantastic Four. Episode 2 After the Fantastic four move back to East London, Wizard Industries is Bankrupt and Bentley Wittman has vanished. They rent a flat in the Baxter Building in Whitechapel from a Landlady called Lavinia Forbes (Tracy Ann Oberman) This Episode focus’s on Ben Grimm dealing with his monstorous transformation. He struggles with things like getting into cars due to his size. When he decides to move back to His Girlfriend in Stamford Hill splits up due to his appearence with him. He meets with his Mother Petunia Grimm (Maureen Lipmann) wo also lives in Stamford Hill, the his Rabbi, Rabbi Saul (David Schneider). Before Ben Grimms transformation, he impersonated Thor for Barmitzvah parties, but he was replaced with a Norweigan man Called Thor Erikson (Marius Jensens, Kara Tointons fiancé), who has an uncanny resemblance to the real Thor. Thor tries to befriend Ben Grimm. But Grimm leaves and goes back to the flat in Bethnal Green where he meets a blind girl called Alicia Masters (Hannah Spearitt) who fall in love with the Thing due to his gentle personality. Her father is Philip Masters (Geoffrey McGivern) who has recently gained the power to take control of bodies when he sculpts people out of Clay. He gained the power when he encouunterd a meteorite which came from the Blue Area of the Moon. The meteorite contained some clay with mysterious Crystals (Later revealed to be Terrigen). He takes the secret identity of the Puppet Master and secretly uses his powers to take control of Criminals to do his bidding. Seeing the Fantastic Four as a threat, he takes control of the the Thing, forces Alica Masters to impersonate Sue Storm using one of Sue Storms Blonde Wigs that he stole using a resident in the flat, eventually, Alicia Masters turns against him, get help from the Fantastic Four and they apprehend Philip Masters Episode 3 The next episode focus’s on Johnny Storm, He was the only member of the Fantastic Four who survived Thanos’s Snap (He often wears a shirt saying "I Survived The Blip). This episode features flaskbacks of what Johnny Storm Did During the 5 year blip, in which he moved to London to stayed with his former friend at School, Jack Hammer now a Black Market Deaker, who would become Deadpools sidekick, Weasel (Simon Bird). During that time, he befriended a fellow British based Nigerian Black Market Dealer and Taxi Driver Kwaku Adjobah (Trevor Laird). In the present day, he meets Kwaku Adjobah, who would become the Fantastic Fours taxi driver, and his other friend Wyatt Wingfoot (Hammed Animashaun). They also have to face Peter Petruski/ Trapster (Marek Larwood). Even though they successfully stop his schemes and arrest Trapster, Trapster is saved from the police van by a mysterious man in an Iron Man Suit, who is revealed to be Bentley Wittman. Shuri makes a quick cameo in this episode. Episode 4 This episode is centered on Susan Storm/ Invisible Woman, Unlike the previous 2 episodes, this episode does not have any villains. When Susan Storm goes in her room in the flat, She removes her Blonde Wig revealing her Natural Brunette hair. We also see flash backs of her Childhood. From a very Young age she was diagnosed with Aspergers Syndrome, not unlike Reed Richards. Unlike Reed Richards, she hides her Aspergers Syndrome. From a young age, he had an interest Science History and Ancient Civilisations. At the Age of 20, She would later adopt a career of Modeling, Acting and Singing, Donning a Blonde Wig, which she would wear at all times. She would later date the British Business Tycoon and CEO of Wizard enterprises, Bentley Wittman who would expliot her. In the present day, she would meet befriend a British Bangladeshi Muslim neighbour Hasina Chowdhury (Nadiya Hussain). Episode 5 This episode focus’s on Reed Richards/ Mr Fantastic, like the Susan Storm Episode, there are no villains. In this episode we get to know about Reed Richards and Ben Grimms past. The episode features a lot of flashbacks of Reed Richards and Ben Grimms Childhood with Reeds Father Nathaniel (Matthew Holness) and their time in University where they were lectured by Nicholas Sweeney (Matt Berry) in 2003, who is now a famous documentary presenter. From a Young age, Reed Richards was diagnosed with Aspergers. Despite being intelligent has difficulty with social skills. Reed Richards also idolises Nicholas Sweeney. Back in 2003 In his lectures, Reed Richards would occasionally interrupt him by telling facts. At one occasion, even though Reed Richards is Nicholas’s favourite student, warns him about arrogance and even though he is smart, he is not the smartest man in the Universe. During the conversation Nicholas Sweeney would inject himself with a mysterious substance which he claims is insulin. Reed Richards and Ben Grimm would later be employed by Wizard Enterprises, Later on in 2012 after the Battle of New York Reed Richards and Ben Grimm would make a Youtube Series called the Fantastic 2 in which Reed and Ben discuss about Science and History of Alien Contacts. Episode 6 The final episode would feature the Fantastic Four’s unsuccessful fight with Mole Man/ Harvey Elder (Robert Llewelyn) Fantastic Four Movie Takes Place after the Events of Black Panther 2. The movie starts of with a flash back in 2003 when Reed Richards and Ben Grimm were lectured by Nicholas Sweeney about life outside Earth, Then we go to a shortened version of Episode 1 of Rise of the Fantastic Four (See Above) after that we see the Marvel Studios Fanfare. In the present Day a Bentley Wittman, who has now taken the identity of the Wizard, using an Iron Man Suit that was given to him as a gift by Tony Stark and a mind Control Helmet, with the help of the Mysterious Medusa (Kara Tointon) who has prehensile thick Red Hair, Bram Velsing/ Dreadknight (Alfie Allen) who was a scientist who for treason had his face burned and locked with an Iron Mask exiled from the Eastern European Country of Latveria,, and Peter Petruski/ Trapster, together as the Frightful Four attack a military facility which contain huge amounts of Vibranium and Chitauri Technology. Graham Lineham and Taika Waititi cameos as security guards. Meanwhile using the new Wakandan Technology, the Fantastic Four infiltrate Mole Mans Layer and finally apprehend him. They are congratulated by The Mayor of London Edwin Gladstone (David Mitchell). They are later interviewed on tv about their heroics and a tv deal about producing their own TV documentary series. As they leave the Studios and are about to enter Kwaku Adjobahs Minibus, they bump into Ben Grimms Cousin, former Popstar and reality star Allison Blaire/ Dazzler (Rachel Stevens). In the early Noughties Dazzler dated Tony Stark, before he became Iron Man. Affter they get into the Taxi Sue Storm uses her powers to tease Reed Richards to go invisible to cuddle him, Kwaku also teases him and makes a rude Joke. Meanwhile at an isolated Warehouse near the Dartford Crossing. Wizard along with Dreadknight Medusa, Trapster, and the Tinkerer plot to take down the Fantastic Four. We discover that after Bentley Wittman went bankrupt due to the disastrous Voyage, he Met with Dreadknight after he was exiled from Latveria and teamed up along with Medusa, who he discovered in a escape pod crash and Trapster who Wizard freed after Human Torch apprehended him. (Taika Waititi and Graham Lileham Cameo as Security Guards in this scene) Meanwhile Back in the flat in East London Reed Richards is watching Finding Wakanda which is presented by his old lecturer Nicholas Sweeney. Sue Storm then sneak into Reed Richards Room and appears wearing a costume similar to that of the 90s comics Sue storm, to tempt Reed Richards. Sue Storm noticed how Reed Richards is arrogant and and tries to explain to him that it was his arrogance that lead the voyage to a disaster and the importance of Family and team work. We then bump into The Thing meeting his blind girlfriend Alicia Masters (Hannah Spearitt). Later on they were invited to a party in the Shard in London, During the party there is a sequence where Sue Storm forces Reed Richards to Dance The party is then crashed by the Wizard and the Frightful Four. Reed Richards due to his arrogance breaks the Fantasticar supposedly killing Sue Storm in the process due to her cockpit falling down. Because of this Ben Grimm and Johnny Storm leave Reed Richards due to his arrogance. Dazzler then approaches Ben Grimm as he looks at the Cable Street Mural, in which we learn that their Grandfather took part in the battle of Cable Street against Oswald Mosleys Fascists. Dazzler then takes Ben Grimm to a Nearby café own by a Turban wearing Jamaican Woman called Ororo Munroe (Freema Agyeman), Ben Grimm is then invited to Dazzlers house in Hampstead where she reveals to him that she has powers as well and that she is a Mutant. After this Alicia Masters is kidnapped by the Wizard and Dreadknight then lead the thing into a trap. Meanwhile Reed Richards throws away a signed book by Nicholas Sweeney in the street, as he leaves, a mysterious man then pick it up, As Reed Richards is sitting in a bench in the street looking at a poster of Susan Storm, He i sent a video from an anonymous person in hi phone with Reeds Father Nathaniel Richards, he is then approached by the Mysterious man who drops the book at his lap. As he looks behind him we discover that the man is in fact Nicholas Sweeney, It is revealed that It was Sweeney sent the video he take Reed Richards to a nearby pub where he talks about Reed Richards arrogance. He also reveals that like The Fantastic Four is a Mutant (Like Dazzler) and his real name is Henry MCCoy how during the 1990’s he was once part of a team and helped saved the world. He also reveals that the sirum that he injects himself with hides his true form. Henry McCoy then leaves and Reed Richards goes back to his flat. As Reed Richards opens Henry McCoys books, he sses a photograph of Medusa with an arrow pointing to hr neck which what appears to be a chip. Meanwhile Johnny Storm goes back to the flat where he is attacked By Medusa and Trapster. Johnny Storm then calls Reed Richards to help him, Reed Richards then come fight Medusa. Meanwhile In a Taxi (Paul Putner plays the Taxi Driver) Henry McCoy accidently drops his serum as he is about to inject himself. He then leaves the taxi and jumps into a canal. Meanwhile back in The Baxter as Medusa trap Johnny Storm in a bubble filed with water made by Trapster and glue Reed Richards to a Wall, as they are about to apprehend Human Torch A Hulk like Blue Beast attacks Medusa and Trapster, The Beast rescues Johnny Storm from his bubble and Unglues Reed Richards from the Wall. We learn that the Blue Beast is Henry McCoys true form Reed Richards and Henry McCoy removes the unconscious Medusas microchip from her Neck. As Johnny Storm foolishly tries to kiss her, Medusa wakes up and attacks Johnny with hr prehensile hair. As Reed Richards and Henry McCoy try to fight Medusa, She lets go of Johnny Storm and orders them to stop. She reveals that she is a Queen of an enhanced race called the Inhumans who are based in the Blue Area of the Moon. She then tells the history of the Inhumans and reveal that the cosmic ray that gave the Fantastic 4 their powers is in fact Terrigan and they have Inhuman genes. Allison Blaire along with Kwaku Adjobah and Wyatt Wingfoot pop up to help them. Reed Richards then pick up Trapster’s radio Transmitter and the Wizard calls and tells him that he has Ben Grimm and Susan Storm, who has survived. She was kidnapped by the Wizard before her cockpit of the fanatsticar blew up. Wizard tells them to meet him in his hideout with his Vibraniun. Kwaku Adjobah and Wyatt Wingfoot takes Mr Fantastic, Beast, Human Torch and Medusa to Wizards Hideout near Dartford Crossing, while Allison Blaire takes Trapster to the Police. When they arrive, They face the Wizard and Dreadknight along with with the brainwashed Ben Grimm and Sue Storm/Malice. They are overpowered and as Wizard, Malice and The Brainwashed Ben Grimm were about to kill Reed Richards, Allison Blaire as Dazzler then appears using the Warehouse Sonus,with the help of Kwaku Adjobah, she then sings “More More More” and uses her powers to defeat the Wizard and free Sue Storm and Ben Grimm, Dreadknight reveals that he has secretly created a weapon to use to take over Britain and eventually take revenge on the Ruler of Latveria which e blames his creation on the Fantastic Four, Reed Richards, Sue Storm, Ben Grimm, Johnny Storm, Henry McCoy and Medusa stop him, destroying the weapon which critically injures Dreadknight. As Dreadknight is about to die, he warns Reed Richards that “The Ruler of Latveria” is planning revenge on him and when he is ready, there will be Doom”. Ben Grimm rescues Alicia Masters from her cage, Reed Richards reunites with Sue Storm who cuddles him. When Dazzler gives Sue Storm her Wig, Sue order reed to put the wig on her. As Medusa approaches Bentley Wittman, he asks her for another date, Medusa than smashes Wittman to the floor with her hair in a similar manor to when Hulk Smashed Loki in Avengers. She then says “I am Queen and a married woman”. Henry McCoy, then calls a mysterious person to erase the memory of Trapster and Wizard about his identity The next day Reed Richards, Sue Storm, Ben Grimm, Johnny Storm, Allison Blaire, Henry McCoy (Back in his Human form in his Nicholas Sweeney Persona), Medusa, Wyatt Wingfoot, and Kwaku Adjobah all have dinner in A Bangladeshi Restaurant in Brick Lane that is owned by Hasina Chowdhury's Husband. Later on Medusa then leaves the Restaurant where she met Thor Erikson in the Back Street with a Giant teleporting Dog called Lockjaw. It is also revealed that Thor Erikson is infact Gorgon. They then both disappear with Lockjaw. A Few days Later The Fantastic Fours first show airs Guest staring Henry McCoy, Still posing as Nicholas Sweeney and it is a success, Henry McCoy then gets a Taxi to go to a plane to New York, where he will cross paths Spiderman. Later on at the roof on the Baxter Building, as Reed Richard look at the view, Susan Storm approaches him and speak to him how much she loves him and like Reed Richards also has Aspergers Syndrome. Reed later recieves a Holographic Message from T’Challa that for his deeds of defeating the Wizard, he sent a new Fantasticar, Reed Richards, Sue Storm, Ben Grimm And Johnny Storm all decide to go on a vacation together. We then go to the End Credits sequence with the Lead single of Family by S Club 7 in the Background https://www.youtube.com/watch?v=K5Fg4fkMJ6A The First Mid Credits Scence features Medusa reuniting with the rest of the inhuman royal Family in their hideout which include her husband Black Bolt (Jon Hamm) her sister Crystal (Hannah Tointon),Karnak (Kayvan Novak) and Triton (Shazad Latif) In final end credit Scene Dazzler returns to her home in Hampstead where she meets Charles Xavier (Simon Callow) (A similar manor to how Tony Star meets Nick Fury at the end Credit Scene of Iron Mans first outing) who was told by Henry McCoy about her heroics and reveals that he is reopening the Xavier school of Mutants and reforming the X-Men.
2020.02.13 17:06 Dr_CharismaMy idea for rebooting the Fantastic Four and Doctor Doom
So, for this plan to work, the Fantastic Four movie should aim for the February 2022 release date. If that happens, we're fine. The Cast Mr. Fantastic - John Krasinski Invisible Woman - Emilia Clarke Human Torch - Colin Ford The Thing - Pablo Schreiber Mole Man - Jonah Hill Doctor Doom - Oscar Isaac Namor - Henry Golding MODOK - Rainn Wilson Psycho-Man - Damian Lewis Wizard - Jemaine Clement Mad Thinker - Joel McHale Molecule Man - Glenn Howerton My idea for the first Fantastic Four solo movie is as follows:
Begins with a montage (similar to that of "The Incredible Hulk") where we see glimpses of the F4's origin, where they travel to the Negative Zone, gain powers, come back and become a team.
The film takes place entirely in the 1960s, placing them canonically after Captain America but before any modern heroes.
Hank Pym and Janet Van Dyne have a small role in the film, but not much screen time.
The Negative Zone is essentially a pocket dimension within the Quantum Realm.
Harvey EldeMole Man is the main villain. He is a colleague of Reed Richards who actually helped design the Negative Zone portal, but Reed took full credit for it and Harvey got nothing. Harvey begins using the Negative Zone tech he created to experiment on subterranean creatures, turning them into giant monsters and using them to attack the city in an attempt to humiliate Reed and his team.
In the climatic battle, Reed convinces Harvey that he's sorry, but Harvey says it's too late to stop the creatures. The Four defeat the creatures by luring them into the Negative Zone, but an accident occurs and the group winds up trapped as well. The movie ends on a cliffhanger.
Throughout the movie, Reed is carrying a ring and is planning on proposing to Sue before they wind up trapped.
In a post-credits scene, Hank and Janet decide to honor the team's memory by becoming heroes of their own.
Then, I'd introduce Doctor Doom via a Black Panther 2.
So, Victor Von Doom was a brilliant scientist living in the 1960s. He actually worked with Reed Richards before they had a falling out. In the same accident that created the Fantastic Four, Doom attempted to sabotage the project and wound up scarred by an explosion. He decided to take his perceived revenge on Reed by creating a suit of armor and committing terrorist acts, but eventually was defeated and imprisoned in the Negative Zone.
However, Doom was whisked through a time vortex and landed in Sokovia, his home country, in the year 2016. He rebuilt the country from the ashes, using his tech expertise and some of the HYDRA tech left behind. He built himself a new suit of armor, and made his country very isolated from the rest of the world. However, in the post-snap, pre-Endgame time period, Doom began conquering other countries who were weakened by the snap, believing himself superior to all other people. However, he was afraid to attack Wakanda, as they were even more advanced than his version of Sokovia.
In 2023, Doom attacks the underwater nation of Atlantis, convincing prince Namor that Wakanda was responsible. He and his new army launch an invasion of Wakanda, with the objective being the Vibranium mound.
I'd also include Storm in this film, but that's a story for another time.
Namor realizes his mistake and turns on Doom in the climax.
Anyway, the movie ends with Doom defeated and retreating, but he has developed a respect for T'Challa and is beginning to think more outside the box for his plans of world domination.
After that, I'd re-introduce the Fantastic Four in Ant-Man 3.
MODOK is the main villain, and he's leader of a new AIM. He wants to explore the Quantum Realm in hopes of increasing his intellect - and others' intellect - even more. However, he accidentally accesses the Negative Zone frees the Fantastic Four (who haven't aged a day, and felt like they spent just a few days in the Negative Zone).
Mad Thinker and Wizard are supporting villains working with MODOK.
MODOK then decides to explore the Negative Zone more, and meets two humanoid aliens from it: Psycho-Man and Molecule Man. They're the henchmen of Annihilus (who only has a cameo) and pretend to help MODOK in order to unleash the Negative Zone on the world.
Ant-Man and Wasp find the four and team up with them. Hank and Janet are happy to have their old friends back.
This is a movie that would fully embrace the silliness of the team and their adventures.
At the end (though Annihilus is still in the negative zone) the team officially welcome themselves to a new world, and purchase the newly-constructed Baxter Building as their headquarters. (It's in the same location from Iron Fist.)
2020.01.18 23:56 Therealgwstherealgws #11: What We Do in the Shadows (2014)
Date Started: 1/1/2020 Date Watched: 18/1/2020 What We Do in the Shadows - Vampire housemates (Jemaine Clement, Taika Waititi, Jonathan Brugh) try to cope with the complexities of modern life and show a newly turned hipster (Cori Gonzalez-Macuer) some of the perks of being undead. Letterboxd 4.1/5 This is a very good debut from Waititi and Clement. It has some hilarious jokes in there and you can really see how Waitit's career ended up where it is today. The mockumentary style gave this film a good creative touch however I did find myself never fully intrigued or invested. Good jokes and comedic timing does make this a very enjoyable watch and I would definitely recommend it to anyone who wants to have a bit of fun for 1.5 hours. B-
2019.11.18 06:15 BarnyardCruzPost-Episode Discussion Thread - S4E02: The Old Man and the Seat
S4E02: The Old Man and the Seat
For more "how & where do I watch" answers, refer to this post REMINDER - DON'T BREAK REDDIT, PLEASE SPOILER TAG YOUR POSTS Don't be that asshole who spoils the new episode for people onall! Don't include spoilers in your post titles and if your submission has content related to the new episode, please hit the spoiler button (which can be accessed from the comments page on any post) It’s time for the second episode of Season 4, The Old Man and the Seat! Comment below with your thoughts, theories, and favorite bits throughout the episode, or join the conversation about this and all sorts of other shit on our Discord Episode Overview
Guest Star: Taika Waititi, Sam Neill, Kathleen Turner, Jeffrey Wright
Episode Synopsis It's Rick's Game of Thrones... also, don't develop Glootie's app! Other Lil' Bits
6 degrees of Rick and Morty: Taika Waititi (Glootie) is a long-time collaborator with show alumni, Jemaine Clement (Fart). They teamed up for Taika's acclaimed Eagle vs Shark, Flight of the Conchords, and the Vampire mockumentary, What We Do in the Shadows
The episode title references the Ernest Hemingway classic... not the first time to reference him (See S1E6: Rick Potion #9)
The QR Code on Rick’s hat sends you to the online store where it’s on sale - c/o skomehillet
Gotta keep that Taika connection going! Sam Neill was in the episode! (Hunt for the Wilderpeople, Thor Ragnarok)
2019.01.07 10:57 Thanosk17Thanosk17: #26 What We Do In The Shadows
Date started 09/08/2018 What we do in the shadows I'll keep this one short because I had a super long one yesterday. Really good, but if you are not a fan of the mockumetary style of movie then you will hate this. I thought it was really well done and it really did a good job of delivering on its brand of comedy. A lot of really funny people were behind this so I'm not surprised. I give this a 8/10. I could have seen this as a running TV show easily, maybe a future project for a Mr. Taika waititi or Mr. Jemaine Clement.
2018.12.10 19:06 readyravenA fantastic list (with reviews) of 82 audio dramas from a seasoned listener if you're looking for something new or just getting started.
See the full listhere. The list starts with shows they really loved, then shows they really liked, then shows they liked. Use any of these links to open it in your podcast app. Click the down arrow on the podcast's page next to "Latest Episode". I didn't make this list, so all credit goes to ezygo22, and I'm sure the creators would appreciate more reviews!
Reviews The Internet has grown into a chaotic conglomeration of full-immersion virtual spaces collectively known as the Ambit. As a tracker, Gilles's job is to navigate his way through this madness. In doing so, however, he becomes immersed in a web of intrigue. There is order behind the seeming chaos - a Second Ambit behind the first. And the revelations don't end there. Behind the chaos, beneath the order there is a Third Ambit. And even a Fourth. Included in the feed are two bonus episodes created by the same group.
Review A NEW new time podcast in the style of OLD old-time radio, the Thrilling Adventure Hour Treasury marks the triumphant return of Sparks Nevada, Beyond Belief, and all your favorite Thrilling personas to podcast airwaves. Plus brand new Thrilling tales, new guest stars, new writers, and a bold new sound. The Thrilling Adventure Hour Treasury is recorded at Forever Dog studios in Los Angeles and produced/engineered by the Forever Dog Podcast Network. Created by Ben Acker & Ben Blacker. Featuring the WorkJuice Players and your favorite stars from the worlds of television, film, comedy, animation, sketch, and the stage.The original Thrilling Adventure Hour was performed live monthly at M Bar and Largo at the Coronet in Hollywood from March 2005 to April 2015. You'll find several of those original episodes here and you can find the Complete Thrilling Adventure back catalog (plus segment libraries, bonus content, and more) on Patreon at:https://www.patreon.com/thrillingadventurehour
Reviews Decoder Ring Theatre presents new stories and characters inspired by the classic broadcasts of the Golden Age of Radio. The crimebusting exploits of The Red Panda - Canada's Greatest Superhero! The mystery of that hardest-boiled of detectives, Black Jack Justice... all this and more in full-length, full-cast recordings.
Reviews Life's not easy for Doug Eiffel, the communications officer for the U.S.S. Hephaestus Research Station, currently on Day 448 of its orbit around red dwarf star Wolf 359. He's stuck on a scientific survey mission of indeterminate length, 7.8 light years from Earth. His only company on board the station are stern mission chief Minkowski, insane science officer Hilbert, and Hephaestus Station's sentient, often malfunctioning operating system Hera. He doesn't have much to do for his job other than monitoring static and intercepting the occasional decades-old radio broadcast from Earth, so he spends most of his time creating extensive audio logs about the ordinary, day-to-day happenings within the station. But the Hephaestus is an odd place, and life in extremely isolated, zero gravity conditions has a way of doing funny things to people's minds. Even the simplest of tasks can turn into a gargantuan struggle, and the most ordinary-seeming things have a way of turning into anything but that. Wolf 359 is a radio drama in the tradition of Golden Age of Radio shows. Take one part space-faring adventure, add one part character drama, and mix in one part absurdist sitcom, and you get Wolf 359. New episodes are released every two weeks.
When love is your business, you have no business falling in love. Join the gang at Regal Bride as they battle birds and brides in this zany holiday romantic comedy! Starring Paula Deming and Keiko Agena as Emma and Jackie, the best friends in the wedding business. With Kyle Payne as Stu, Ian McQuown as Trip, and Jessica Payne as Katie. Featuring Kacie Rogers and Jesse Abbott Chin in approximately six thousand roles, and introducing Martin Thompson as Junior!
Reviews When an experiment in a time much like our own goes horribly awry, Dr. Sally Grissom finds herself stranded in the past and entrenched in the activities of a clandestine branch of the US government. Grissom and her team quickly learn that there's no safety net when toying with the fundamental logic of the universe.
Review The world’s largest museum of obsolete technology is threatened with closure unless Hector - its cantankerous, turnkey-operated clockwork curator - can match the popularity of the cutting-edge Uptodateum across the road. Only George - the mild mannered in-house caretaker with the mysterious past - steps up to help him. Does nobody care about history? Will anyone ever get to ride the NHScalator? How will postboxes, leeches and face-to-face conversation be remembered if the Obsoleteum closes its doors forever? Meanwhile, the Uptodateum has its own problems to deal with, as harried curator Biz and her guileless half-hologram, half-robot assistant Phil struggle to keep their enormous glass-and-touchscreen tower constantly up to date. If only they could work out what to do with their ever- increasing mountain of outdated exhibits...?
Review Hear what The New York Times calls "the future of musicals"... 36 Questions, a three-part podcast musical starring Jonathan Groff and Jessie Shelton. 36 Questions is produced by Two-Up, the producers of Limetown and The Wilderness. Thank you for listening.
Review Join Mallory the fruit bat as she struggles to contain her incorrigible best friend Spencer from wreaking havoc throughout the nocturnal exhibit. LIGHTS OUT is a sitcom for your ears! This monthly scripted podcast is written and produced by Helen Burak, starring Megan Goldman and Helen Burak, with music by Nicolai Heidlas. Cover art by Bart Klick and Zach Stoppel.
Review A Very Fatal Murder sends Onion Public Radio (OPR) correspondent David Pascall from New York City to the sleepy town of Bluff Springs, Nebraska to investigate the mysterious death of a 17-year-old girl, Hayley Price. Hayley was a popular, smart animal lover, with a bright future ahead of her. Everyone in town knew her name, and now everyone in town is a suspect. Join David as he works to understand why the initial investigation of Hayley’s death failed, and how a very inquisitive and Pulitzer-hungry podcast host might shed new light on the case.
Review The Pocket Radio Theater is a Rochester, NY based radio theater troupe. Writing, voice acting, and editing stories about a variety of characters and places, the PRT keeps the art of storytelling alive via podcasting. New episodes on the 15th of every month!
The Infinite Bad is a comedy-horror roleplaying podcast from Definitely Human. In the aftermath of World War I, four strangers find themselves caught in a web of evil beyond their reckoning. To survive, they must band together despite their differences and unravel the grisly mysteries that entangle them. Written and games mastered by veteran roleplayer Giorgio Mariani, The Infinite Bad is a weekly descent into horror and silliness. The nightmare begins with The Secret of Drakelow Hall.
Reviews The Black Tapes is a weekly podcast from the creators of Pacific Northwest Stories, and is hosted by Alex Reagan. The Black Tapes Podcast is a serialized docudrama about one journalist's search for truth, her subject's mysterious past, and the literal and figurative ghosts that haunt them both. Do you believe?
Reviews Dayton Writers Movement presents Unwritten, a new audio drama podcast series. Unwritten is dramatic and funny, happy and sad, entertaining and powerful. Unwritten is presented with a full cast and narrator.
Review A macabre urban legend of love, betrayal, weed, gentrification, cannibalism, and survival of the fittest. After sixteen years in prison, the indomitable Dolores Roach returns to a New York City neighborhood that has changed drastically in her absence. Her boyfriend missing, her family long gone, Dolores is recognized only by an old stoner friend, Luis, who gives Dolores room and board and lets her give massages for cash in the basement apartment under his dilapidated empanada shop. When the promise of her newfound stability is quickly threatened, “Magic Hands Dolores” is driven to extremes to survive. A new scripted fiction podcast, The Horror of Dolores Roach stars Daphne Rubin-Vega and Bobby Cannavale. Written by Aaron Mark.
Review Space Casey is an award-winning science-fiction audiodrama from Christiana Ellis. Season 1 tells the story of a fast-talking con-artist, 200 years in the future, who steals the wrong spaceship and finds herself thousands of light years from home. It'll take all her smarts and more than a little luck to weasel her way out of this one. Now, Season 2 continues her thrilling tale of adventure, fraud, and time travel!
Answering Machine is an audio podcast that follows the voice mails on Lila Rose's answering machine. Listen to her wacky friends and family touch base as Lila tries to navigate the real world post college. If you're new to the podcast please start with episode one!
Review Second Shift follows an ambitious, character-centric story arc about three college students from Boston who find themselves "shifted" against their will to another world. They must find their place in that world while trying to return to theirs. If you've just found Second Shift, please be sure to start with episode one: "Everything to Everyone, Part 1"!
Review For Army Reserve Soldier Michael Cross, the world as he knew it ended in an instant. One minute, he's in college, and in the next, rioters are roaming the highway around him, breaking into cars, and literally tearing people apart. This is the day the dead walk. This is the world of We're Alive. We’re Alive is an ongoing series, packing performances and sound effects that rival movies and prove that modern audio drama is undead and well. Join our survivors as they band together, struggle to fortify a safe haven known as the Tower, and discovers that zombies are far from the worst thing in a post-apocalyptic Los Angeles where the rules of human decency no longer apply. We premiere 3 New episodes a month, with a week off between chapters. Little food. Little water. Little hope. Who is lucky enough to say "We're Alive?"
15 year old Madyson tells the story of the Behemoth. A large, lumbering beast that has emerged from the waters off of Cape Cod. As the Behemoth begins to walk across the country Madyson sees a chance to change her life.
Review Events in a small Irish village after the arrival of English refugees, post-Brexit. A 12-part scripted comedy podcast. Starring Kelly Campbell, Jessica Carroll, Clint Dyer, David Ganly, Gary Lilburn, Deirdra Morris, Elizabeth Moynihan, Akemnji Ndifornyen, Saskia Reeves, Justin Salinger, Barry Ward, Jade Yourell. Written, directed and produced by Síofra Campbell. Recorded, mixed, designed by Dominic Rippel at Shelter Studio, London. www.thebritisharecoming.ie
Review What if someone stole the internet? This comedy caper takes 100% real concepts, like the seven keys to the internet, cyber police, relay calls, photocopier black boxes, 419 scams, and more, and turn it into an anthology of nerdy crime stories tied together by a global plan to end the internet. it's a series of heists ranging from hijacking top secret military satellites, to stealing a dude's pants. Features 73 actors from all over the world, including Paul F. Tompkins, Felicia Day, Jemaine Clement, Samm Levine, Amy Stoch and more!
Dave is just a regular guy who does regular things until all of a sudden he dies and is damned to hell for all of eternity. With Dave’s caseworker from hell (literally), he takes a trip down Memory Lane to relive the five biggest and worst moments from his life that directly influenced the big decision. The 5 People You Meet In Hell is a 6-episode series.
Review Mystery, adventure, comedy, thrills: this is Radio Room, three audio dramas from top NYC performers! Episodes broadcast on the 1st and 15th of every month, and production freebies detailing our process available once a week! Stay tuned for even more radio awesomeness!
Do you want to hear a story? It's the story of an 11-year-old girl who uses a magic crystal to summon the legendary Mayan gods. But her plan backfires, and instead she awakens an ancient evil! With the help of her sister and a 20-foot talking snake, she’ll go on a thrilling journey to save her village and discover her true destiny. For more great Gen-Z shows, visithttp://BestRobotEver.com
Review An honorable prince. A jaded assassin. Can they work together to catch a pirate? The querulous island kingdoms of Wefrivain are unified only by religion - a wyvern cult ruled by an eccentric and cruel High Priestess. The wyverns are under attack by a gang of pirates known only as the Guild of the Cowry Catchers. Now Gerard, the honorable and naïve new Captain of the Temple Police, is about to learn more than he ever wanted to know about the pirates...and the Priestess.
Review In the early 1960s, a doctor at a mental ward sheds his ethical restraints in an effort to pioneer a new form of "mental cleansing" at the behest of a private research group. The Control Group is a chilling, 10-part historical fiction from HowStuffWorks for mature audiences. Listener discretion is advised due to realistic depictions of violence and graphic sexuality. Binge the entire season now with headphones for a fully immersive experience.
Reviews The Magical History of Knox County follows Mordecai Dogwood as he takes over for the missing host of a popular public radio show in rural Ohio - only to discover a magical ecosystem hiding in plain sight. With the help of a station tech, a park ranger, a pair of biologists, and a giant toad, Mordecai finds himself taking on responsibilities that were definitely not in his job description.
Review The Lit Killer is back! Join teen detective Tig Torres as she returns to her small hometown of Hollow Falls, where her aunt was framed as a serial killer ten years earlier. With help from her new friends, Tig investigates the twisted mystery. But as she gets closer to the truth, the killings, each based on murder scenes from classic literature, begin all over again...with her as the final target. An Einhorn’s Epic Productions and iHeartRadio production. The post exceeded the character limit, so I couldn't include the 'shows that I liked' section. Go to the full listhereto see 'shows that I liked'.
See also: List of Rick and Morty episodesNo.overallNo.inseasonTitleDirected byWritten byOriginal air dateU.S. viewers(millions)121“A Rickle in Time“Wes ArcherMatt RollerJuly 26, 20152.12Continuing from “Ricksy Business”, Rick, Morty and Summer spend six months repairing the house and screwing around with time frozen. After unfreezing it, the trio ends up in a decaying dimension. They split into separate timelines whenever they are uncertain about something. Rick becomes paranoid, thinking that his duplicates want to kill him, but eventually he calms down. A creature in charge of safeguarding time appears and gives them collars that integrate all the timelines, then attempts to arrest them because Rick stole the time-freezing crystal. Rick, Morty, and Summer show uncertainty on purpose and break the collars, splitting into sixty-four timelines, and they simultaneously beat up the same creature. Rick then repairs the collars, and they successfully integrate all the timelines. In one timeline, Rick attempts to sacrifice himself and let Morty live by giving him his collar, but ultimately he survives too. Meanwhile, Beth and Jerry hit a deer, and bring it to an animal hospital. A hunter claims the deer for his own because he shot it before the accident. Beth is able to save the deer’s life and release it. Post-credit scene: The creature and his friend beat up Albert Einstein, mistaking him for Rick. They tell him that he should not be messing with time, but this leads Einstein to spite them by devising the famous mass–energy equivalence equation, E=mc2. 132“Mortynight Run”Dominic PolcinoDavid PhillipsAugust 2, 20152.19Rick takes Morty on a trip to teach him how to pilot the flying car. When Rick realizes that Jerry has followed them without being noticed in the back seat, he leaves him in a daycare specifically designed for Jerries from alternate realities. Jerry socializes with other Jerries, some of them left there indefinitely because their Rick and Morty never returned. Rick sells an antimatter gun to Krombopulous Michael, an alien assassin who intends to use it to eliminate Fart, a gaseous being that is held captive by alien authorities. Rick plans to spend the day at the “Blips & Chitz” video arcade, but Morty decides to stop the assassin. After Rick and Morty release Fart, they are chased by the authorities. Fart uses telepathic powers to kill the authorities, which also leads to civilian casualties. Later, Morty learns that Fart wants to eliminate all carbon-based life forms. Morty then kills Fart using Krombopulous Michael’s antimatter gun. Rick and Morty return to pick up their Jerry, but it is left unclear whether they got the right one. Post-credit scene: A promotional ad for “Blips & Chitz” with Rick making an appearance. 143“Auto Erotic Assimilation”Bryan NewtonRyan RidleyAugust 9, 20151.94Rick attempts to loot a damaged spaceship with Morty and Summer. They find Unity, a hive mind and Rick’s ex-lover. It plans to eventually assimilate the whole universe. Beta 7 is a male hive mind who has a crush on Unity, which it rejects. In a planet completely assimilated by Unity, it and Rick have parties, have sex, and drink and use drugs together. In light of all the revelry, it loses control and the planet is left messy and untended. Summer finds the assimilation unethical, until she and Morty witness some inhabitants regain their identities and start a race war. Eventually, Unity decides to leave Rick for its own good. Meanwhile, Beth and Jerry find a secret underground room with a slug-like monster. The couple has an argument where Jerry makes accusations against Rick and Beth tries to defend her father. The monster breaks free of its chains and accuses Beth and Jerry of having the worst relationship it has ever seen. Rick attempts to commit suicide but fails because he passes out. Post-credit scene: A drunken Rick attempts to contact Unity only to be blocked by Beta 7. 154“Total Rickall”Juan Meza-LeónMike McMahanAugust 16, 20151.96Alien parasites plant fake memories in the minds of Rick, Morty, Beth, Jerry and Summer and pretend they are friends and family members. Every time the family reminisces about the past, the aliens reproduce. The family can’t distinguish real people from aliens, so eventually they can’t even trust each other. To prevent further spread, Rick locks down the house. At first, the only alien present is the fake “Uncle Steve”; they are soon joined by other aliens including Cousin Nicky, Sleepy Gary (who poses as Beth’s husband and Jerry’s lover), the family butler Mr. Beauregard, Frankenstein’s Monster, a talking pencil named Pencilvester, Tinkles the Fairy Lamb, etc. Mr. Poopybutthole is an unusual yellow creature who did not appear in any previous episode but appears to be a longtime friend. Eventually, Morty discovers that the parasites can only create positive memories, allowing the Smith family to confirm one another’s existence and kill all the aliens. Beth mistakes Mr. Poopybutthole for a parasite and shoots him. Post-credit scene: Mr. Poopybutthole goes through physical therapy. Beth is devastated. 165“Get Schwifty”Wes ArcherTom KauffmanAugust 23, 20152.12A massive alien head (a “Cromulon”) appears over Earth, demanding to hear an original song, so Rick and Morty improvise “Get Schwifty”. The whole planet is abducted and forced to participate in a musical talent show, where the losers’ planets are obliterated via plasma ray. Morty steals Rick’s portal gun and leaves him alone with Ice-T to make a hit original song and save earth. Morty stumbles across Birdperson (living with Tammy since S1E11 episode Ricksy Business), who persuades him to go back to Rick. Ice-T is revealed to be an ice alien who does not initially care about Earth, but he later changes his mind and saves the planet. Rick, Morty, and the US president win the competition by improvising “Head Bent Over”. Meanwhile, Jerry, Beth, and Summer enter a religious cult based on an incorrect interpretation of the message from Cromulons. The movement quickly disbands after realizing it was all a musical talent show. Post-credit scene: Back at Alphabetrium, Ice-T’s home planet, his father rewards Ice-T by lifting his exile and restoring his true form, “Water-T”. The Numbericons attack and Water-T rushes out to battle. This is an action movie promo. 176“The Ricks Must Be Crazy“Dominic PolcinoDan GutermanAugust 30, 20151.91Rick’s flying car won’t start, so he investigates the problem. The car’s battery contains a miniature universe, from which Rick has been stealing electricity. Inside it, Zeep Xanflorp, that universe’s top scientist, created a second miniature universe for the same purpose. Rick, Morty and Zeep are left stranded in a third miniature universe, as the pilot commits suicide and destroys his ship. Rick and Zeep constantly fight, and Morty abandons them and becomes a native chief. Morty forces the two scientists to work together to escape. Upon Exiting the universe, Rick realizes Zeep wants to trap and Kill him and morty. While escaping, Rick reveals that Morty can turn into a car if needed. Ultimately, Rick and Morty leave the battery, trapping Zeep. Meanwhile, Summer awaits in the flying car, where it uses violence to “keep Summer Safe” from strangers, while she protests. However, it’s effectively pardoned once it prepares a peace treaty, ending the human-spider war that has existed in this alternate reality. As a result, ice cream becomes served with bugs to appeal to spiders. Post-credit scene: Morty suddenly turns into a car in his class. 187“Big Trouble in Little Sanchez”Bryan NewtonAlex RubensSeptember 13, 20151.97Rick becomes “Tiny Rick” by transferring his mind to a teenager clone of himself in order to kill a vampire in Morty and Summer’s school. Tiny Rick is outgoing and popular, but subconsciously cries for help in song lyrics and drawings. Much to the disdain of her classmates, Summer deliberately gets him expelled by denouncing him as the killer of Coach Feratu, the vampire. Morty and Summer eventually persuade Rick to return to his body. Meanwhile, Jerry and Beth experience couple therapy on an alien planet. Two manifestations of the partners’ perceptions of one another are created: Jerry’s Beth is embodied as a towering, hostile Xenomorph-like insectoid, and Beth’s Jerry is a servile worm. The insectoid Beth goes on a rampage with the help of the worm Jerry, killing several couples and employees. Eventually, Jerry acts in a brave way, causing Beth to envision a strong Jerry, which in turn causes Jerry to envision a goddess-like Beth, who destroys the insectoid monster. Post-credit scene: The lead vampire rails against the use of names like “Coach Feratu” that give away their vampire status. 198“Interdimensional Cable 2: Tempting Fate”Juan Meza-LeónDan Guterman, Ryan Ridley & Justin RoilandSeptember 20, 20151.79Jerry is treated in an alien hospital after unknowingly ingesting some bacteria stored by Rick, while his family is in the waiting room, watching an assortment of TV channels from alternate realities. Jerry is asked by doctors to donate his penis, to be converted into a replacement heart to save the life of civil rights activist Shrimply Pibbles. Jerry complies, but publicly tries to talk his way out of it nonetheless. This causes Jerry to be hated by the public, but also raises awareness as well as money to buy a synthetic heart for Pibbles. Eventually, Jerry changes his mind and holds the doctors hostage, demanding that they go through with the transplant procedure, but Security stops him. Post-credit scene: Jerry tries to eat Rick’s “Eyeholes”, an alien cereal that appeared in the interdimensional TV, only for the Eyehole Man to burst through the window and begin relentlessly beating him. 209“Look Who’s Purging Now”Dominic PolcinoDan Harmon, Ryan Ridley & Justin RoilandSeptember 27, 20151.89Rick and Morty visit another planet and witness “The Festival”, an annual event where the local populace commits crimes for one night without consequence. Rick compares it to The Purge movies. Morty forces Rick to rescue Arthricia, a young alien girl. She betrays them and steals Rick’s gun and spaceship, leaving Rick and Morty to fend for themselves. Rick calls Summer and has her send advanced power armor suits for Rick and Morty’s protection. Morty goes on a killing rampage until Rick knocks him out. Rick allows Arthricia to use Morty’s suit and helps her to kill the corrupt nobility who implemented the Festival in the first place. The planet’s inhabitants decide to create a new society from the ground up, however, rioting breaks out over disagreements about it. One of them suggests keeping the Festival. Morty feels guilty over all the aliens he’s killed, but Rick wrongly blames a candy bar that Morty has eaten, thus appeasing him. Post-credit scene: Beth discovers that Jerry wasted $700 calling Taddi Mason, who charges money just to talk on the phone. 2110“The Wedding Squanchers“Wes ArcherTom KauffmanOctober 4, 20151.84Rick and his family attend the wedding of Birdperson and Tammy, whose guest list includes seventeen of the Federation’s most wanted — including Rick and Birdperson. At the wedding reception, Tammy reveals herself to be a Federation agent and kills Birdperson. Numerous agents invade the building, starting a battle against the guests. Rick gets his family out of the wedding safely, but they are unable to return home as the Federation would be looking for them there, so Rick takes them to a very small Earth-like planet. Rick overhears Jerry proposing to turn Rick in and return to Earth, and Rick allows himself to be arrested. His family returns to Earth, which has joined the Federation and is crowded by alien tourists. Jerry is assigned a job by the Federation. Post-credit scene: After watching the main events (and credits) of “The Wedding Squanchers” on Interdimensional TV, Mr. Poopybutthole asks the audience what they think will happen in season 3, and harasses a pizza deliveryman with the same question. He also states that season 3 will come in a year and a half or longer. whatch Video – https://www.dailymotion.com/video/x6aihmb
2018.07.22 13:43 sarcastichorseThe Times 30 Best Comedians Working Today
The Article is here, but there's a paywall. I'm sure people will find some notable omissions, so it's probably worth reading the preface from the writer first. So then: who’s funniest? In compiling this list of the 30 best English-speaking comedians at work today, I gave myself some parameters. This would be an overview of who is at the top of their game now, on stage or screen or even podcast. It is not a guide to the most influential living comedians. It is not a handing out of long-service medals. So: no Pythons, no Mighty Booshes, no French and Saunders, nor even – though he came close – any Gervaises. It’s a snapshot of now. Am I objective, or am I just listing what has made me laugh most in the past year or so? As The Times’s comedy critic, I get to see loads of live comedy by comedians old and new, have the luxury of thinking about it and talking about it and writing about it. I am, I hope, an expert. I also know that in comedy more than any other art form, expertise means zilch if something doesn’t get you in the gut. Ever tried convincing someone that they have made a mistake in not finding something funny? It’s not a good conversation. So, yes, this is my list of the men and women who have cheered me, thrilled me, moved me, inspired me and, yes, of course, surprised me into laughter. The list is still more male than female, still largely white, but things are changing fast. It is a good time for comedy. And a show like Hannah Gadsby’s, though not the funniest in the world right now, may prove to be the most important in the world right now. It argues for a new language for the form, goes beyond comedy to do so, while expanding and excelling at the language we already have. Or, more succinctly: I loved it! It’s great! See it! 1 Stewart Lee, 50 I marvelled at the skill, I thrilled to the boldness, most importantly I laughed till it hurt when I saw Lee’s latest show, Content Provider, at the start of its tour 18 months ago. Do his teasing stand-up routines about everything from Trump and Brexit (correct, he’s a fan of neither) to Game of Thrones and mobile phones (ditto) hold up today on the performance recorded for television in May? Amazingly, they do: pretty much every moment has some sort of delicious surprise. And if a show addressing “the individual in a digitised free-market society” sounds highfalutin, Lee unspools these two hours with a sense of fun underlying every gear he goes through: abrasive, ironic, confessional, interactive, absurd, clownish, arrogant, but above all playful. See him: on BBC Two on July 28 at 10.45pm 2 Hannah Gadsby, 40 It’s possible you will see flat-out funnier shows than Gadsby’s breakthrough hour, Nanette. It’s unlikely you will see another one as mesmerising, intelligent, inspiring and well-timed; this Australian comic smilingly explores and explodes misogyny, the history of western art, homophobia and stand-up comedy itself. She proves herself one of comedy’s great modern masters even as she highlights its tricks, even as she questions whether it’s done her more harm than good. No wonder Nanette won live comedy’s two biggest prizes last year, the Barry award in Melbourne and the Edinburgh Comedy award (the latter jointly with John Robins). Since it went on Netflix in June, it’s gone viral; last week it was declared “a word-of-mouth phenomenon” in The New York Times. Even if you flinch from labels such as “identity politics”, this is that rarest of shows; one that makes you see the world anew. With, for its first half at least, plenty of laughs along the way. See her: Nanette is available on Netflix 3 Harry Hill, 53 How has Harry Hill managed to reinvent himself, six years after ending TV Burp, four years after his misfiring X-Factor musical, I Can’t Sing!? By finding a format that enables him to double down on what makes him great and by reincorporating so much of the vigorous absurdity we love from Burp and his stand-up work into Harry Hill’s Alien Fun Capsule, a primetime ITV panel show in which he rode roughshod over the format and the gobsmacked but game celebrity panellists. On a good week — most weeks — he turned tack into pure joy. See him: Harry Hill’s Kidz Show: How to Be Funny, New Theatre, Oxford (0844 8713020), Oct 21, then touring to Nov 24 4 Dave Chappelle, 44 “And that’s why I make the big bucks!” says Chappelle, right after a routine in which he first announces what his wildly offensive punchline will be, then surprises and charms us all when he delivers it. Vaping away on stage in his latest Netflix stand-up special, he talks about parenthood and white privilege, responds to accusations of transphobia, and mixes thoughtfulness with the sort of braggadocio that might make him collide with a hornet’s nest or two, but somehow means he never gets stung for long. See him: Equanimity and The Bird Revelation are available on Netflix 5 Tim Key, 41 On screen, Key is a reliably loveable supporting turn: as Sidekick Simon to Alan Partridge; in Peep Show, Detectorists, Gap Year. On stage or radio, he’s a genre of his own. He won an Edinburgh Comedy award in 2009, but the debonairly dishevelled way that he combines performance poetry with arty films, outrageous narratives, deadpan absurdism, audience molestation and theatrical conceits has only got better since then. I laughed so much at his latest show, Megadate, that I shed a tear when it ended. See him: Megadate on tour, including Pleasance Courtyard, Edinburgh (0131 226 0000), Aug 16-26, and Old Vic, London SE1, Sept 28, or its filmed spin-off, Wonderdate, on BBC iPlayer 6 Steve Coogan, 52 We’re trying not to get our hopes up for the new Alan Partridge series coming to BBC One this year. And yet not only were Coogan and Rob Brydon on fine form in The Trip to Spain — lovely scenery, fine dining and smart subplots all clearing space for some really good impressions — but the books that he and co-writers Neil and Rob Gibbons have written recently as Partridge were laugh-out-loud delights. So sod it: Coogan is one of the world’s great character comics and Alan Partridge is the greatest comic character of the past 30 years. No offence, David Brent. Hear him: performing the audiobooks of I, Partridge and Alan Partridge: Nomad 7 Flight of the Conchords, 44 and 42 After two series of their American sitcom, Jemaine Clement and Bret McKenzie decided they had lost the fun in their deadpan double act and musical parodies, and headed home to New Zealand. Yet, as their recent reunion shows proved, this unlikely pair can make a private joke swell to fill a 20,000-seater stadium. They mock all sorts of musical genres and social situations. Crucially, though, they ply sweetness as well as sarcasm, and real musical skill. They’ve never been better. See them: their new special, recorded on their British tour, is on HBO this year 8 Michelle Wolf, 33 Her Edinburgh Fringe appearance in 2016 marked out this former Daily Show contributor as one of America’s brightest young talents. Then, hello, her fierce, funny, fearless speech at the White House correspondents’ dinner took her into another league. Not only did she take on Trump with naked but nifty hostility (hey, who doesn’t?), she also roasted the media outlets present for delighting too much in Trump’s awfulness. Where next for Wolf? Can’t wait to find out. See her: giving her White House correspondents’ dinner speech on YouTube 9 Peter Kay, 45 He pulled out of the biggest stand-up tour of the year for “unforeseen family circumstances”. We know no more than that. Yet what he did give us this year, the final episode of his and Sian Gibson’s sitcom Car Share, was full of all the acute lifelike observations the series has excelled in, plus an anything but lifelike sequence in which he replaced Gary Barlow in an old Take That video. A comedy star for two decades, yet still Kay is as good as it gets at having fun with the small concerns of everyday life. See him: Car Share is available to stream on iTunes, Amazon etc 10 Bridget Christie, 46 No comedian responded to Brexit better — or faster — than Christie, who rewrote an entire Edinburgh show from scratch in the aftermath of the EU referendum. Her latest live hour, What Now?, is just as good, organised around the neat conceit that in these deceptive times she is morally obliged to speak only the truth. Cue glorious routines about awful television executives, awful children, awful parents, the passive-aggressive admin sessions that make up a marriage (in her case, although she would never mention it on stage, to Stewart Lee). Nobody mixes the raging and the ridiculous with such fabulous focus. See her: Leicester Square Theatre, London WC2 (020 7734 2222), Sept 13-Nov 10, and touring to Dec 4, bridgetchristie.co.uk 11 Trevor Noah, 34 Born in apartheid-era South Africa, the son of a Xhosa mother and a Swiss-German father, Noah grew up speaking English as his first language, a master of both engaging with different cultures and seeing their kinks clearly. That skill enabled him to take over The Daily Show from Jon Stewart in 2015. Live, though, he has gone from being a skilled stand-up to a spectacular one: Noah now is a master of satire, impressions and throwaway funny stories, and is impassioned and inclusive. He is writing a second memoir; his first, Born a Crime, is being filmed with Lupito Nyong’o as his mother, Patricia. See him: his latest stand-up special, Afraid of the Dark, is on Netflix. 12 Daniel Kitson, 41 Two reasons why Kitson is the comedian’s comedian: 1) At his best, this Yorkshireman has a speed of thought that has no peer. 2) Ever since he won the Perrier award in 2002, age 25, he has worked entirely on his own terms. No television. No radio. A habit of staging plays at the National or the Old Vic one moment, returning to stand-up the next. Charging cinema prices as he does so. He can be sprawling, he can be arrogant, but his ambition and skill are second to none. See him: his new work-in-progress midnight show, Good for Glue, is at The Stand, Edinburgh (0131 226 0000), Aug 5-26, returns only 13 Bob Mortimer, 59 This renaissance-man absurdist is on the form of his life after recovering from a triple heart bypass. He still works with Vic Reeves — a new series of their Big Night Out is imminent — but also has a footballing podcast, Athletico Mince, and excelled alongside Paul Whitehouse in Mortimer & Whitehouse: Gone Fishing. His comedy is as victimless as it is disarming. See him: Mortimer & Whitehouse: Gone Fishing is on BBC iPlayer 14 Chris Rock, 53 When comedians ooze a confidence they don’t deserve, it’s infuriating. When comedians ooze a confidence their talent backs up, it’s exhilarating. That’s Rock, who uses his latest stand-up show to own up to the porn habit and cheating that broke his marriage, but also to speak up for a common-sensicality he fears is in peril from right and left alike. See him: his latest stand-up special, Tamborine, is on Netflix 15 The League of Gentlemen Mark Gatiss, Steve Pemberton, Reece Shearsmith and Jeremy Dyson have been so busy with other work (Sherlock, Inside No 9, Ghost Stories) that we may just have forgotten how fabulous they were together in their gleefully gnarly sketch troupe. Last Christmas’s television comeback changed that in a trice after 12 years away. Now, the big live tour. If it’s only a temporary reunion, let’s enjoy it while we can. See them: Queens Theatre, Barnstaple (01271 316063), Aug 6 & 7, then touring to Sept 29; leagueofgentlemen.live 16 Julia Davis, 51 Dear Joan and Jericha, the agony-aunt podcast that Julia Davis and Vicki Pepperdine surprised us with this year, is as quietly, brutally funny as you’d expect from the woman behind Nighty Night, Hunderby and Camping. And filthy enough to make you think of a female Derek and Clive. Coming soon: Davis’s new series for Sky, Sally4Ever, while the Girls creator Lena Dunham is making an American version of Camping. Hear her: on Dear Joan and Jericha 17 Tim Vine, 51 There are some fine one-liner merchants about: Jimmy Carr, Milton Jones, Stewart Francis, Gary Delaney. None of them sustain a live show as blissfully well as Jeremy Vine’s kid brother. He delivers his artful wordplay with a heroically uncool, end-of-the-pier enthusiasm, allied to silly props and silly songs. He makes the real world melt away. See him: performing his Sunset Milk Idiot show, City Varieties, Leeds (0113 243 0808), Oct 2 & 3, then touring to Oct 31; timvine.com 18 Sara Pascoe, 37 Once, Pascoe performed dense, fascinating, provocatively philosophical and personal live shows, pushing at the edges of what comedy could do. Then, somewhere between her becoming a panel-show stalwart and her latest live show, LadsLadsLads, she found a way of uniting her big ideas with something still personal, but lighter, more gag-filled. The results are still smart, but newly joyous. See her: Theatre Royal, Norwich (01603 630000), Sept 16, then touring to Nov 28; sarapascoe.com 19 Michael McIntyre, 42 There aren’t many comics who can make amusing 20,000 strangers in an atmosphere-free arena look like such a doddle. So don’t underestimate McIntyre, whose beaming smile conceals a planet-sized comic brain that can seize on pretty much any topic and make merry with it. See him: his Big World Tour resumes Sept 4-Nov 11; michaelmcintyre.co.uk. Michael Mcintyre’s Big Show returns to BBC One later this year 20 Romesh Ranganathan, 40 After starting out as a maths teacher in Crawley, West Sussex, the gorgeously grumpy Ranganathan has now become not only a formidably funny stand-up, but is also fronting travel documentaries, a forthcoming courtoom show (Judge Romesh) and has sitcoms on the way too. Talk about making up for lost time. See him: The Misadventures of Romesh Ranganathan is on BBC iPlayer 21 Lee Mack, 49 Is there any greater pleasure in comedy than Lee Mack going off on one on Would I Lie to You? His mind moving faster than a speeding train, he will pounce on and play with any passing absurdity. All credit to Rob Brydon and David Mitchell, who balance him perfectly, but it’s Mack who is the star soloist on one of the most dependably entertaining formats of the past decade. See him: Would I Lie to You? is on BBC iPlayer and repeated on Dave 22 Sarah Silverman, 47 She snarked for America in her early stand-up. Now, although her sarcasm is still to the fore, the comic and actress (that’s her behind a tennis-court-sized pair of shades in Battle of the Sexes) is adding personal stories and emotional awareness to comedy that snarls smartly. And her Twitter exchange with a troll to whom she extended support rather than spite showed the heart behind the snark. See her: on A Speck of Dust, her most recent stand-up special for Netflix (in which she speaks about her former boyfriend Michael Sheen) 23 Simon Amstell, 38 Television presenter, sitcom star, vegan activist: but best of all a confessional stand-up. In his fifth and finest live show, playing to acclaim in New York, Amstell takes us past his early worries about homosexuality and into a new kind of self-acceptance. Among British-based stand-ups, only Dylan Moran can rival him for mixing the accessible with the questingly intellectual. See him: Regent’s Park Open Air Theatre, London NW1 (0844 8264242), Aug 19 24 Tina Fey, 48 Not content with turning her film Mean Girls into a Broadway musical this year, Fey has also kept her hand in as a performer on Saturday Night Live, and remains one of the great writer-performers in modern American comedy. OK, her sitcom Unbreakable Kimmy Schmidt isn’t quite 30 Rock. What is, though? See her: hosting a celebrity-heavy Q&A session on the final episode of Saturday Night Live’s most recent season, on SNL’s YouTube channel 25 John Oliver, 41 This British satirist has been plying unabashedly intelligent, outspoken satire as the host of the crusading American talk show Last Week Tonight With John Oliver since 2014. Crucially, while he’s all about the issues, he doesn’t mistake himself for John Pilger. “It’s not journalism,” he once said. “It’s comedy first, and it’s comedy second.” See him: Last Week Tonight is on hbo.com, or watch clips on YouTube 26 Reginald D Hunter, 49 Before Reginald D Hunter’s previous tour, his agent begged him to do some “light, funny, bouncy” jokes — not just the sort of stuff about sex and race and politics and family that gets them both into trouble. Well, even at his lightest this American-comedian-in-Britain can’t do bouncy, but what he will do is toy with liberal and conservative preconceptions in a way that’s always entertaining and often masterly. See him: at Pleasance at EICC, Edinburgh (0131 226 0000), Aug 1-26. Reginald D Hunter’s Songs of the Border is on BBC Two on July 28 at 9pm 27 Sophie Willan, 30 Anyone for gnarly questions of how the world describes us and how we describe ourselves? Nobody? Ah, but the wonder of Willan’s latest show, Branded, is the way she reminds us how complex identity is, even as she investigates the implications of being a female, northern, working-class comic, the daughter of a heroin addict and more. All with the breeziness of a frothy club set. Remarkable. See her: rescheduled dates from the Branded tour are at Theatr Mwldan, Cardigan (01239 621200), Sept 21; Wyeside Arts Centre, Builth Wells (01982 552555), Sept 22 28 Sacha Baron Cohen, 46 The jury is still out on Baron Cohen’s return to television, Who Is America? — a display of pointed pranking that is funny or resonant only when picking on someone his own size (the Republicans endorsing a crazy campaign to arm four-year-olds, say). His gumption and virtuosity is undeniable; we wait to see if bigger targets such as Roy Moore and Dick Cheney bring out the best from the London-born comic’s huge talent. See him: on Who Is America?, Channel 4, Mondays, 10pm 29 Mo Gilligan, 30 If you’ve not heard of him, despite his huge tour that visits the West End in October, that may be because he broke through on social media, is only now getting going on live and television work. Already, though, this south London actor turned comic has such skill, such charisma, such promise. When his writing gets as sharp as his performing, the arenas surely beckon. See him: as a sidekick on The Big Narstie Show on Channel 4; in the Coupla Cans tour at the Vaudeville, London WC2 (0330 3334814), Oct 22-Nov 10 30 Diane Morgan, 42 Best known as the spoof pundit Philomena Cunk. In BBC shows such as Cunk on Britain, she brings extraordinary comic presence and improvising skills to a character who is as fearless as she is clueless. She’s also the best thing in the parenting sitcom Motherland. See her: on YouTube, where clips and episodes are spottily available. Or in the DVD of Motherland
2018.01.06 00:32 autotldrJemaine Clement has finished a pilot script for 'What We Do In The Shadows’ American spin-of
This is the best tl;dr I could make, original reduced by 9%. (I'm a bot)
Jemaine Clement and Taika Waititi's What We Do In The Shadows has spawned quite a franchise: Not only is there a cinematic spin-off planned for the polite lycanthropes led by Rhys Darby in the original, but the collaborators have also been working on two TV adaptations. Now Clement, who's since become a series regular on FX's Legion, says those two projects are well on their way to our screens. Speaking with reporters at the Television Critics Association winter press tour today, Clement said that filming on Wellington Paranormal, which focuses on the two bumbling cops from the 2014 film, has already wrapped: "It was really fun-tiring because we'd start in the afternoon then wrap 12 hours later, so a month of that was quite hard." And that six-episode season, which doesn't have a firm premiere date yet but will air on New Zealand's TVNZ 2, probably won't be the only dim-witted but well-meaning paranormal investigators' only outing. "There's a chance for more [seasons]," Clement said. When The A.V. Club asked about the potential American spin-off that was recently teased, Clement said he'd already written the pilot, but would not appear on camera. Clement also talked about getting the band back together and touring with Bret McKenzie once more as "New Zealand's fourth most popular folk parody band." A Flight Of The Conchords reunion is possible, but for now, Clement is just trying to get accustomed to playing his instruments again.
Summary SourceFAQFeedbackTopkeywords: Clement#1already#2two#3tour#4series#5 Post found in /television. NOTICE: This thread is for discussing the submission topic. Please do not discuss the concept of the autotldr bot here.
2017.11.22 21:34 LittleYellowFish1Fixing The Emoji Movie (with inspiration from Bobsheaux)
The first change I would make would be to the animation style. Adding arms and legs to the emojis is just ugly and not really inventive, especially in 3D animation. Therefore, I suggest using the same type of 2.5D animation that was used for The Peanuts Movie and Captain Underpants, which is essentially the midpoint between a CGI-animated movie and a Saturday Morning cartoon. The emojis would look like actual emojis and would move by bouncing or hopping, similar to the Angry Birds games. The casting choices and characters are the next change I would make. The main character would be the meh emoji, called Martin Meh, voiced by Dane DeHaan. Rather than use the confusing idea of having Meh parents, his parents are Harry Happy (played by George Clooney) and Sally Sadness (voiced by Sandra Bullock). Hi-5 is replaced by the Handshake emoji, who are conjoined twins named Hand and Shake, voiced by Taika Waititi and Jemaine Clement. Jailbreak is not the Wildstyle/Vannelope carbon-copy that she was in the film and is just an overly-feminine princess emoji that's perfectly fine with her identity, meaning she's just called Linda. She also has a crush on Martin and is voiced by Elizabeth Debicki. Martin's father Harry is the mayor of Textopolis, and his anxious assistant mayor is Gary Grimace, voiced by Colin Firth. Instead of having more than one face, Martin only has a Meh face and has been working as the Meh emoji for his entire life. Because the phone's user is a typical teenager, Martin is the most popularly-used emoji, second only to Poop (who is still voiced by Patrick Stewart). The overly-repetitive nature of his day bores Martin, who is convinced by Hand and Shake to take a vacation. He, Hand/Shake and Linda leave the emoji app and explore the entire phone. The apps that they visit are now substitutes of well-known apps rather than the apps themselves. Including the real Just Dance and Instagram apps just dated the film before it was even out, and the use of parodies means that the writers are allowed to throw jokes and jabs at the real apps, like what Wreck-It-Ralph did with Hero's Duty. Yes, WIR also used real games like Street Fighter and Sonic, but those games are old-school games with huge cult followings, meaning they're mainly there as nostalgic shout-outs rather than pandering to the "hip and current" kids. So instead, the heroes visit apps like "Quick-Cam", "Catch-Flicks", "Quacker" (which has a yellow duck for a logo), "Sweet Smash" or "Railway Runner", all the while pointing out all of the glaring problems with these apps and wondering why the people of today even download them anymore. When Martin does not show up at the app the next day, the user struggles to express himself without the meh emoji, which causes him to fall out with his friends. This causes mass panic in Textopolis, who worry that he may lose all of his friends unless they bring Martin back. Martin's parents decide to cut the app off until they can find their son. Gary Grimace serves as the film's antagonist, finding Martin's rebelliousness to be too much of a threat for Textopolis and the user's popularity in the outside world. He secretly plots to reprogram all of the emojis permanently into their one-face state for their own good. Without the emoji app to help him, the user continues to alienate his friends by accidentally insulting them, to the point where he eventually texts his friends to come and meet him somewhere. Eventually, a falling-out happens between the group of heroes after they learn the drama their absence has caused. Martin is captured by Gary, who has captured Martin's parents and plans to try the reprogramming device on all of the characters. When Linda and Hand/Shake arrive to help fight, the other emojis help them to destroy Gary's device. Defeated, Gary threatens to activate a virus that will permanently corrupt the phone, feeling that a "clean slate" is the only option to save the user's social life. When Harry attempts to have him arrested, Martin objects, offering to show Gary what they have done. He activates the camera on the phone, allowing them to see what the user is doing: playing soccer and physically hanging out with his friends for the first time since they got their phones. Since he could not use Martin, he was forced to communicate with them face-to-face and felt happier than he had felt in years. The sidekicks are able to broadcast this footage into the Cloud, allowing it to be seen by every emoji on every phone in the world. Martin has a heartwarming speech where he states that emojis should exist to enhance feelings and conversations, not replace them. Moved by his words, Gary disables the virus and Martin is hailed as a hero. A few weeks later, the other emojis have made similar changes to their worlds, allowing their users to look up from their phones and see the real world and the real people in it. The world has become a much happier and community-based place. The emojis are used and needed much less, allowing them to take some well-needed vacations. Gary is also happy and redeemed, though he still needs to serve 121 hours of community service by cleaning out the phone's trash bin once a week.
Haunting Of Cellblock 11 (Director: Andrew P. Jones)
Healing (Director: Craig Monahan)
Heaven Knows What (Directors: Ben Safdie + Joshua Safdie)
Hector And The Search For Happiness (Director: Peter Chelsom)
Helen Alone (Director: Henrik Bech Poulsen)
Hellion (Director: Kat Chandler)
Hollows Grove (Director: Craig Efros)
Honeymoon (Director: Leigh Janiak)
Horrible Bosses II (Director: Sean Anders)
House At The End Of The Drive (Director: David Worth)
I Origins (Director: Mike Cahill)
Iceman (Director: Wing-Cheong Law)
In Order Of Disappearance (Director: Hans Petter Moland)
In The Blood (Director: John Stockwell)
In The Courtyard (Director: Pierre Salvadori)
In The Name Of My Daughter (Director: André Téchiné)
In The Name Of The King: The Last Job (Director: Uwe Boll)
Indigenous (Director: Alastair Orr)
Infinitely Polar Bear (Director: Maya Forbes)
Inherent Vice (Director: Paul Thomas Anderson)
It Follows (Director: David Robert Mitchell)
Jarhead II: Field Of Fire (Director: Don Michael Paul)
Jersey Boys (Director: Clint Eastwood)
Jersey Shore Massacre (Director: Paul Tarnopol)
John Doe: Vigilante (Director: Kelly Dolen)
John Wick (Director: Chad Stahelski + David Leitch)
Julia (Director: Matthew A. Brown)
Just Before I Go (Director: Courtney Cox)
Kelly & Cal (Director: Jen McGowan)
Kill Me Three Times (Director: Kriv Stenders)
Kill The Messenger (Director: Michael Cuesta)
Kilo Two Bravo (Director: Paul Katis)
Kingsman: The Secret Service (Director: Matthew Vaughn)
Kite (Director: Ralph Ziman)
Kony Montana (Director: Patryk Depa)
Labyrinth Of Lies (Director: Giulio Ricciarelli)
Laggies (Director: Lynn Shelton)
Land Ho! (Directors: Aaron Katz + Martha Stephens)
Lap Dance (Director: Greg Carter)
Last Shift (Director: Anthony DiBlasi)
Learning To Drive (Director: Isabel Coixet)
Leprechaun: Origins (Director: Zach Lipovsky)
Let’s Be Cops (Director: Luke Greenfield)
Leviathan (Director: Andrey Zvyagintsev)
Life After Beth (Director: Jeff Baena)
Life Partners (Director: Susanna Fogel)
Like Sunday, Like Rain (Director: Frank Whaley)
Locker 13 (Directors: Bruce Dellis, Jason Marsden, Matthew Mebane, Adam Montierth + Donovan Montierth)
Lords Of London (Director: Antonio Simoncini)
Lost River (Director: Ryan Gosling)
Love Is Strange (Director: Ira Sachs)
Love, Rosie (Director: Christian Ditter)
Low Down (Director: Jeff Preiss)
Lucy (Director: Luc Besson)
Lullaby (Director: Andrew Levitas)
Madame Bovery (Director: Sophie Barthes)
Making The Rules (Director: Jimbo Lee)
Mall (Director: Joseph Hahn)
Maps To The Stars (Director: David Cronenberg)
Match (Director: Stephen Belber)
Matthew 18 (Director: Roy Belfrey)
Mea Culpa (Director: Fred Cavayé)
Men, Women & Children (Director: Jason Reitman)
Mercy (Director: Peter Cornwell)
Mommy (Director: Xavier Dolan)
Monsters: Dark Continent (Director: Tom Green)
Mr. Turner (Director: Mike Leigh)
Muffin Top: A Love Story (Director: Cathryn Michon)
My Man Is A Loser (Director: Mike Young)
Neighbors (Director: Nicholas Stoller)
NightLights (Director: David Midell)
Nightcrawler (Director: Dan Gilroy)
Northmen - A Viking Saga (Director: Claudio Fäh)
Obvious Child (Director: Gillian Robespierre)
Operation Rogue (Director: Brian Clyde)
Out Of The Dark (Director: Lluís Quílez)
Paranormal Activity: The Marked Ones (Director: Christopher Landon)
Parts Per Billion (Director: Brian Horiuchi)
Phantom Halo (Director: Antonia Bogdanovich)
Plastic (Director: Julian Gilbey)
Playing It Cool (Director: Justin Reardon)
Predestination (Directors: Michael Spierig + Peter Spierig)
Premature (Director: Dan Beer)
Pride (Director: Matthew Warchus)
Private Number (Director: LazRael Lison)
Puncture Wounds (Director: Giorgio Serafini + James Coyne)
Reasonable Doubt (Director: Peter Howitt)
[rec.] 4: Apocalypse (Director: Jaume Balagueró)
Reclaim (Director: Alan White)
Revenge Of The Green Dragons (Directors: Wai-Keung Lau + Andrew Loo)
Ride (Director: Helen Hunt)
Rio, I Love You (Directors: Vicente Amorim, Guillermo Arriaga, Stephan Elliott, Sang-soo Im, Nadine Labaki, Fernando Meirelles, José Padilha, Carlos Saldanha, Paolo Sorrentino, John Turturro, Andrucha Waddington + César Charlone)
Road To Paloma (Director: Jason Momoa)
Rob The Mob (Director: Raymond De Felitta)
Rosewater (Director: Jon Stewart)
Rudderless (Director: William H. Macy)
Runoff (Director: Kimberly Levin)
SEAL Patrol (Director: Nicholas Aaron Mezzanatto)
Sabotage (Director: David Ayer)
Saint Laurent (Director: Bertrand Bonello)
Samba (Directors: Olivier Nakache + Eric Toledano)
School Dance (Director: Nick Cannon)
Search Party (Director: Scot Armstrong)
Sector 4: Extraction (Director: Olivier Gruner)
See No Evil II (Director: Jen Soska + Sylvia Soska)
Serena (Director: Susanne Bier)
Sex Tape (Director: Jake Kasdan)
She’s Funny That Way (Director: Peter Bogdanovich)
Sin City: A Dame To Kill For (Directors: Frank Miller + Robert Rodriguez)
Sins Of Our Youth (Director: Gary Entin)
Skin Trade (Director: Ekachai Uekrongtham)
Small Time (Director: Joel Surnow)
Some Kind Of Beautiful (Director: Tom Vaughan)
Something Wicked (Director: Darin Scott)
Son Of A Gun (Director: Julius Avery)
Space Station 76 (Director: Jack Plotnick)
Stage Fright (Director: Jerome Sable)
Stretch (Director: Joe Carnahan)
Suburban Gothic (Director: Richard Bates, Jr.)
Swelter (Director: Keith Parmer)
T-Rex (Director: Mickey Reece)
Tammy (Director: Ben Falcone)
Tapped Out (Director: Allan Ungar)
Teen Lust (Director: Blaine Thurier)
Tell (Director: J.M.R. Luna)
That Awkward Moment (Director: Tom Gormican)
The Angriest Man In Brooklyn (Director: Phil Alden Robinson)
The Appearing (Director: Daric Gates)
The Bag Man (Director: David Grovic)
The Barber (Director: Basel Owies)
The Blackout (Then There Was) (Director: Louis Mandylor)
The Blood Lands (Director: Simeon Halligan)
The Blue Room (Director: Mathieu Amalric)
The Calling (Director: Jason Stone)
The Captive (Director: Atom Egoyan)
The Connection (Director: Cédric Jimenez)
The Dark Horse (Director: James Napier Robertson)
The Dead Lands (Director: Toa Fraser)
The Disappearance of Eleanor Rigby: Them (Director: Ned Benson)
The Drop (Director: Michaël R. Roskam)
The End Of Something (Director: Colin Rivera)
The Equalizer (Director: Antoine Fuqua)
The Forger (Director: Philip Martin)
The Four 3 (Director: Gordon Chan)
The Gambler (Director: Rupert Wyatt)
The Giver (Director: Phillip Noyce)
The Grand Budapest Hotel (Director: Wes Anderson)
The Guest (Director: Adam Wingard)
The Homesman (Director: Tommy Lee Jones)
The Humbling (Director: Barry Levinson)
The Hungover Games (Director: Josh Stolberg)
The Interview (Directors: Evan Goldberg + Seth Rogen)
The Judge (Director: David Dobkin)
The Keeping Room (Director: Daniel Barber)
The Last Diamond (137 Karat) (Director: Eric Barbier)
The Living (Director: Jack Bryan)
The Loft (Director: Erik Van Looy)
The Lost Legion (Director: David Kocar + Petr Kubik)
The M Word (Director: Henry Jaglom)
The New Girlfriend (Director: François Ozon)
The November Man (Director: Roger Donaldson)
The One I Love (Director: Charlie McDowell)
The Popcorn Chronicles (Director: Emilio Portes)
The Possession Of Michael King (Director: David Jung)
The Prince (Director: Brian A. Miller)
The Purge: Anarchy (Director: James DeMonaco)
The Pyramid (Director: Grégory Levasseu)
The Raid II (Director: Gareth Evans)
The Reckoning (Director: John V. Soto)
The Riot Club (Director: Lone Scherfig)
The Road Within (Director: Gren Wells)
The Rover (Director: David Michôd)
The Salvation (Director: Kristian Levring)
The Scribbler (Director: John Suits)
The Silent Storm (Director: Corinna McFarlane)
The Skeleton Twins (Director Craig Johnson)
The Sound And The Shadow (Director: Justin Paul Miller)
The Suicide Theory (Director: Dru Brown)
The Taking Of Deborah Logan (Director: Adam Robitel)
The Target (Director: Chang)
The Town That Dreaded Sundown (Director: Alfonso Gomez-Rejon)
The Toy Soldiers (Director: Erik Peter Carlson)
The Voices (Director: Marjane Satrapi)
The Water Diviner (Director: Russell Crowe)
The Young Kieslowski (Director: Kerem Sanga)
They Came Together (Director: David Wain)
They Exist (Director: BuAli Shah)
This Is Where I Leave You (Director: Shawn Levy)
Throwdown (Director: Timothy Woodward, Jr.)
Top Five (Director: Chris Rock)
Trash (Directors: Stephen Daldry + Christian Duurvoort)
2017.04.16 02:00 GetFreeCashWhat was the best film you saw this week? (04/10/17 - 04/16/17)
The way this works is that you post a review of the best film you saw last week. It doesn't have to be a new release, just any film you have seen over the last seven days that you feel is worth talking about. Here are some rules. 1. Check to see if your favourite film of last week has been posted already. If so, please reply to that comment instead of making a new thread. 2. Please post your favourite film of last week. 3. NO TV SHOWS! 4. ALWAYS use spoiler tags. Report any comments that spoil recent / little-known films (e.g. Ghost in the Shell) without using the spoiler tag. 5. Comments that only contain the title of the film will be removed! Here are some great comments from last week's thread:
2016.10.10 03:06 NicholasCajunDivorce - Series Premiere Discussion
Premise: In the comedy created by Sharon Horgan, Frances (Sarah Jessica Parker) decides she wants to end her decade-long marriage to Robert (Thomas Haden Church) but discovers it's hard to completely let go and start anew.
2016.06.26 04:54 JakeTheSandbagIJW: The BFG (2016)
In the world of cinema, I option to see films at the theater any possible time that I can, as the theater offers the most purest form of escapism I can imagine. As the lights go dim, and trailers play, you prepare yourself for whatever is to come. Then, just as you have finished mulling over what films you are (or are not) going to see next month, the lights completely extinguish. It’s just you, the screen, a projector, and the creative world that plays out before you. A great film under the spell of a great director, cast, and crew, should eloquently transport you, and whisk you away to some other borderline-ethereal experience. This is pure escapism. When cinema works best, be it indie films or the latest blockbuster fare, these experiences are when I feel most comfortable and at peace. A great film experience can, change a life. I hope and trust the world of filmmaking will continue to surprise me with experiences like these. Moments where all real-life responsibilities disappear; all safeguards turn off; and I can be encapsulated by the world that someone else has created, and now wishes to showcase. I am, and always have been, a die-hard Steven Spielberg fan. In the world of filmmaking, this is one man who has continued to show excellency and utmost professionalism in his ability to do all that I have mentioned above. I attribute an unheard of level of respect to him for making my favorite film of all time, Jurassic Park. He and his crew brought to life a world that I have always wanted to be real. I live and breath the essence of Jurassic Park. It is my life-force, and has been since I was a toddler. I can name every character, quote every scene, and make the exact same sound effects whenever they happen. I can imagine and describe every costume, set design, and brilliant shot of the entire film. And yet, every single time I watch it, I still watch it with new eyes. It is pure escapism for me. So, as Spielberg has encroached over 40 years of filmmaking, and having presented very unusual artistic patterns over said years (some understated highs, some notable lows), it absolutely pains me to say what I am about to say: The BFG may be Spielberg’s worst film to date. A few excellent performances from an incredible cast, and another beautiful score from John Williams, cannot save the film from: a horrendously sporadic screenplay; questionable uses of CGI; and some of the most jarring tonal inconsistencies I have ever seen before. Ugh… I hate drawing this comparison to a notoriously worse film, but have you ever seen Nothing but Trouble, the Dan Akyroyd fever dream film? It’s similar in execution. The film, based off of Roald Dahl’s classic children’s novel of the same name, follows Sophie, an orphan girl, who accidentally gets swept up into the magical world of giants in a nearby dimension. When she befriends a Big Friendly Giant, the two must help each other in stopping a series of other evil giants who are kidnapping and eating children in London. The film does follow the novel pretty closely. However, therein lies the first initial problem. It shouldn’t. Or, at least it should make a decision between the following two options. Either A: Make a live-action adaptation, but divert from the novel on plot-points that are going to be or look or feel ridiculous in live action, OR B Make a completely animated film in the style of Adventures of Tintin, and tell the story as it is. The final “finished” film is somewhere dangerously in the middle, and begs for clarity. By being so oddly in the middle, the more outrageous scenes come off as odd when compared to the grounded reality scenes, and the grounded reality scenes come off as outlandish to the more outrageous scenes. It’s a strange Catch-22 that leaves the audience perturbed and tired. Furthermore, it is distracting, and removes the excuse of “this is a movie meant for children.” How can it be meant for children, when an adult can’t make heads or tails out of how to interpret the laughable plot? Spielberg’s critically-hazed children’s film Hook is more tonally consistent and thought-out than this mess. This film suffers from impeccably abhorrent tonal inconsistencies, for which I mostly blame the screenwriter, Melissa Mathison, who is famed for penning the eloquent masterpiece E.T. The Extra Terrestrial. A shame that she returns to the foray with this incoherent mess. Per example, a scene in which the evil giants suspect that the BFG is harboring Sophie, they decide to scour through his abode in search of her. The music and scene play out fairly slapsticky, which is not a genre or tone that had been presented thus far in the film towards the grander scheme of the story. More so, in tandem with this scene is a moment where Sophie discovers the lost chambers of a deceased boy who used to live with the BFG. It is supposed to be this quiet moment of discovery for her, but it is lost with the gigantic “funny” mess that is the moment with the giants. How can an audience know how or what to feel, when it is being simultaneously fed two different emotions, both so jarringly different than the other? Scenes like these are all over the place, and range in tonal variations. Some scenes ask the audience to jump back and forth between awe and discovery, then to nightmarish horror. Some ask the audience to be fearful, and then to laugh, all in a matter of seconds. These are things that I would assume a master like Spielberg could pull off if need be, but with a story that doesn’t need these emotional competitions, I don’t see the point of them. What doesn’t help is that the scenes are edited so drastically close in succession to each other, as well as the pacing being either fast or drawn out. This leaves little time (or ample time) to mull over what exactly happened in the scenes, but unfortunately, to the point of questioning why they are even important. I, for one, found frequent Spielberg editor, Michael Kahn, to be at his absolute worst with this film, as scenes bounced to and fro from each other, with little to no precedent. There are no stakes or goals throughout, or at least until some character makes one up. And then, when the characters must focus on the goal, it is quickly dealt with, just in time for some other nonsensical scene to appear. The best this film has to offer are the performances and the score. The film features a cast of A-List actors, all of which are mostly performing in motion-capture. Mark Rylance, who previously performed in Spielberg’s more recent venture, “Bridge of Spies” (a film I was also unpleasantly disappointed by), turns in an excellent performance as the titular character. Joined at his side is Ruby Barnhill in her feature film debut, and she absolutely steals the show, delivering a very emotional performance throughout. In supporting roles is an absolutely stellar cast, ranging from Bill Hader, Jemaine Clements, and Rebecca Hall. In an utterly useless role as an assistant for the Queen of England is one of my favorite actors of the last decade, Rafe Spall (if you have not seen him in Black Mirror’s White Christmas, do so immediately). He is reduced to a minute character with little to do in the film. He, unfortunately, mostly stands around during the most ridiculous segment of the film, in which Sophie convinces the Queen of England to use military force against the giants in Giant Country. Finally, the score. John Williams returns to the mantle after taking a hiatus from Bridge of Spies and delivers another beautiful modern-Spielbergian score, reminiscent of his work in A.I. Artificial Intelligence which is arguably some of his best work to date. I found myself tearing up a little just at the score alone. Literally. Just the score. Definitely not the film. Aside from these two aspects, there really isn’t much more to discuss. The cinematography is occasionally beautiful, but distracting more often than not. The special effects were fairly well done, but also distracting at times. The negatives absolutely outweigh the positives. Horrendous screenplay, tonal issues everywhere, and borderline experimental editing throughout ultimately leave for a tiring film. As a Spielberg fan, I have seen him venture from non-stop hit after hit through multiple decades (1970s through 1998), on to a series of films showcasing a new, personal, artistic discovery (2001 to 2005) and most recently to a series of unusual ventures that seem to represent a desire for expression. And I will always be an ardent fan of what comes next. But with The BFG I feel he has made his worst to date, and I found that I could not escape to this abhorrent world he showcased. GRADE: D-
The catering was very good on our film, in particular the desserts. Jemaine and I couldn't stop eating the desserts and you can see by the end of the movie that our vampire characters seem a lot fatter.
2014.10.01 09:49 evilknvnevilknvn: #1 What We Do In The Shadows
30/9/14 30/9/14 Firstly, I'd like to apologise for the format of the date if that confused anyone. But now, on to my brief review. What We Do In The Shadows (WWDITS) is a New Zealand mockumentary about the lives of three vampires flatmates, Viago (Taiki Waititi, also co-director), Deacon (Jonathan Brugh) and Vladislav (Jemaine Clement, co-director of WWDITS and star of Flight of the Concords) who invite a documentary camera crew into their lives as they prepare for the Unholy Masquerade. We bear witness to their hilarious misadventures which causes a young fellow named Nick becoming a vampire and this leads to a whole chain of unlucky events. This film is constantly funny, it never drops the ball in terms of the humour. There's great acting from the whole cast, some may be bothered by the fake accents of the vampire but this just added to the humour of the whole film. The only negative thing about it was that it felt like the cinematography was a little too cinematographic for it to feel like a documentary. 4.5 stars
What We Do In The Shadows Season 2: Humor Preview FX
People Places Things Official Movie Trailer
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Oliver Bird Legion - After the Shadow King takes over
Jemaine Clement and James C. Strouse Talk 'People, Places, Things', 'The Hollars' and 'Don Verdean'
Lele pons - YouTube
Jemaine starts dating an Australian, to Bret's dismay and inconvenience. To celebrate the launch of What We Do in the Shadows on 19 June 2014, our Dating Coach - and founder of Dating for Shoes - Angela Meyer gives Viago a tutoria... The film stars Jemaine Clement as a newly single graphic novelist trying to be a parent to his young daughters on weekends, while also trying to figure out the dating scene after his wife left him ... Falling in love with Jemaine Clement and Taiki Waititi - Duration: 4:42. Mashable Watercooler 392,821 views. 4:42. Oliver Bird Tribute ... Irish Dating Show - SNL - Duration: 4:57. SUBSCRIBE to Barcroft TV: http://bit.ly/Oc61Hj AN EXOTIC dancer measuring just 2 ft 10 claims she is the world’s smallest stripper. She may be the same heigh... Bret and Jemaine pick up two women at a croissant shop--but end up with very different dating experiences. Meanwhile, Murray makes an album deal for the band. Will Henry (Jemaine Clement) is a graphic novelist and professor in NYC. At his adorable twin girls’ fifth birthday party, Will’s life is turned upside down when he walks in on the mother of ... An interview with Jemaine Clement & Taika Waititi HD - Duration: 19:24. Cencom 79,471 views. ... Irish Dating Show - SNL - Duration: 4:57. Saturday Night Live Recommended for you. Jemaine Clement - Shiny (from Moana) (Official Video) by DisneyMusicVEVO. 3:25. Tangled - When Will My Life Begin (HD) ... Dating the IT Clown (IT Chapter One) Hannah Stocking