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Showing content with the highest reputation since 04/27/2020 in Posts

  1. 17 points
    "Only grown-up men are scared of women." Historical Setting: 1938 Salzburg, Austria Source from the Period "The excitement of the first Sunday in Advent had hardly died down when the sixth of December came around, one of the most momentous days for all houses where little children lived. On the vigil of this day Saint Nikolaus comes down to earth to visit all the little ones. Saint Nikolaus was a saintly bishop of the fourth century, and being always very kind and helpful to children and young people, God granted that every year on his feastday he might come down to the children. He comes dressed in his Bishop’s vestments, with a mitre on his head and his Bishop’s staff in his hand. He is followed, however, by the Krampus, an ugly, black little devil with a long, red tongue, a pair of horns, and a long tail. When Saint Nikolaus enters a house, he finds the whole family assembled, waiting for him, and the parents greet him devoutly. Then he asks the children questions from their catechism. He has them repeat a prayer or sing a song. He seems to know everything, all the dark spots of the past year, as you can see from his admonishing words. All the good children are given a sack with apples and nuts, prunes and figs, and the most delicious, heavenly sweets. Bad children, however, must promise very hard to change their life. Otherwise, the Krampus will take them along, and he is grunting already and rattling his heavy chain. But the Holy Bishop won’t ever let him touch a child. He believes the tearful eyes and stammered promises, but it may happen that, instead of a sweet bag, you get a switch. That will be put up in a conspicuous place and will look very symbolic of a child’s behavior.” - Maria Augusta von Trapp, The Story of the Trapp Family Singers Historical Context "In July 1934, Chancellor Engelbert Dollfuss was assassinated by Austrian Nazis, as part of a failed coup. The Christian Social party came out of the civil war victorious, and the place of Dollfuss was taken by Kurt Schuschnigg, who abolished other parties and imposed a semi-fascist regime on the country. The question of union with Germany remained alive, however, and the Nazis maintained a constant campaign of terror against the Christian Social regime. In 1936, Schuschnigg agreed to end the ban of the Nazi party in Austria and accepted Nazis into his cabinet. This did not satisfy Adolf Hitler, who upped his demands for incorporation of Austria into the Reich – part of a general foreign policy of Heims in Reich, literally, “home into the Reich,”, which called for bringing ethnic Germans living beyond the country’s borders under German sovereignty. In practice, this would include annexation of Austria, western Poland and Czechoslovakia’s Sudetenland. This was the prelude to the Anschluss, which was greeted by vocal protests from the United Kingdom and the United States, as well as the Vatican, but not much more. On March 12, when German forces crossed the border into Austria, they faced no resistance, and were greeted with flowers. That same afternoon, Hitler arrived, crossing into the country at Braunau, his birthplace. Over the next few days, he toured the country, with the climax of his visit taking place in Vienna on March 15, where he appeared at a rally before some 200,000 people at the Heldenplatz. A month later, a plebiscite on incorporation was held, and 99.7 percent of the population voted to approve. (By that time, some 70,000 potential dissenters had been rounded up and imprisoned.)" - David B. Green, Haaretz Historical Accuracy "While The Sound of Music was generally based on the first section of Maria's book The Story of the Trapp Family Singers (published in 1949), there were many alterations and omissions. Maria came to the von Trapp family in 1926 as a tutor for one of the children, Maria, who was recovering from scarlet fever, not as governess to all the children. Maria and Georg married in 1927, 11 years before the family left Austria, not right before the Nazi takeover of Austria. Maria did not marry Georg von Trapp because she was in love with him. As she said in her autobiography Maria, she fell in love with the children at first sight, not their father. When he asked her to marry him, she was not sure if she should abandon her religious calling but was advised by the nuns to do God's will and marry Georg. "I really and truly was not in love. I liked him but didn't love him. However, I loved the children, so in a way I really married the children. There were 10, not 7 von Trapp children. The names, ages, and sexes of the children were changed. The family was musically inclined before Maria arrived, but she did teach them to sing madrigals. Georg, far from being the detached, cold-blooded patriarch of the family who disapproved of music, as portrayed in the first half of The Sound of Music, was actually a gentle, warmhearted parent who enjoyed musical activities with his family. While this change in his character might have made for a better story in emphasizing Maria's healing effect on the von Trapps, it distressed his family greatly. The family did not secretly escape over the Alps to freedom in Switzerland, carrying their suitcases and musical instruments. As daughter Maria said in a 2003 interview printed in Opera News, "We did tell people that we were going to America to sing. And we did not climb over mountains with all our heavy suitcases and instruments. We left by train, pretending nothing." The von Trapps traveled to Italy, not Switzerland. Georg was born in Zadar (now in Croatia), which at that time was part of the Austro-Hungarian Empire. Zadar became part of Italy in 1920, and Georg was thus an Italian citizen, and his wife and children as well. The family had a contract with an American booking agent when they left Austria. They contacted the agent from Italy and requested fare to America." - US National Archives The Film Itself The Story "Maria (Dame Julie Andrews) had longed to be a nun since she was a young girl, yet when she became old enough discovered that it wasn't at all what she thought. Often in trouble and doing the wrong things, Maria is sent to the house of retired Naval Captain Georg Von Trapp (Christopher Plummer), to care for his children. Von Trapp was widowed several years before and was left to care for seven "rowdy" children. The children have run off countless governesses. Maria soon learns that all these children need is a little love to change their attitudes. Maria teaches the children to sing, and through her, music is brought back into the hearts and home of the Von Trapp family. Unknowingly, Maria and Captain Von Trapp are falling helplessly in love, except there are two problems, the Captain is engaged, and Maria is a postulant." Critic Opinion "For the story of the Von Trapp family singers, of the events leading up to their becoming a top concert attraction just prior to World War II and their fleeing Nazi Austria, Wise went to the actual locale, Salzburg, and spent 11 weeks limning his action amidst the pageantry of the Bavarian Alps. Ted McCord catches the beauty and fascination of the terrain with his facile cameras, combining the splendor of towering mountains and quiet lakes with the Old World grace of the historic City of Music, a stunning complement to interiors shot in Hollywood. Against such background the tale of the postulant at Nonnberg Abbey in Salzburg who becomes governess to widower Captain Von Trapp and his seven children, who brings music into a household that had, until then, been run on a strict naval office regimen, with no frivolity permitted, takes on fresh meaning. Richard Rodgers composed two new songs for the picture, for which he also wrote the lyrics, as he did with added numbers to the remake of “State Fair.” Pair, “I Have Confidence In Me,” sung by Miss Andrews, and “Something Good,” an Andrews-Plummer duet, replace three songs from the original stage show which didn’t blend well into changes made by Lehman in the libretto. While neither is as catchy, perhaps. As certain of the other songs. Both are made into interesting numbers. Of particular interest is the sequence simulating part of the famous Salzburg Festival and actually shot in the spectacular Felsenreitschule, or Rocky Riding School. The stage of the vast amphitheatre is backgrounded by scores of arched tunnels carved out of the rocky mountain that surrounds the city and it forms an impressive backdrop for the climactic scenes of the film, which show the Von Trapp family making their escape after an appearance onstage while storm troopers are waiting for them in the audience." - Whitney Williams, Variety BOT User Opinion "Emotional, gripping and having something to say would be qualities that I seek in movies and Sound of Music final 40 minutes has that in spades." - @Goffe Factoids The Sound of Music was directed by Robert Wise. It received 36 points and 6 votes Countries Represented: Austria (1), England (1), France (1), Israel (1), Japan (2), Spain (1), United States (3) Time Periods Represented: 16th Century (1), 17th Century (1), 19th Century (1), 21st Century (1), Classical Period (1), Middle Ages (1), World War 1/1910s (1), World War 2/1940s (3) Cross Section of Times and Countries: 19th Century - United States (1), 21st Century - United States (1), Classical Period - Israel (1), Middle Ages - England (1), Sengoku Period - Japan (1), Tokugawa Shogunate - Japan (1), World War 1 - France (1), World War 2/1940s - Spain (1), World War 2 - Austria (1), World War 2 - United States (1) Directors Represented: David Fincher (1), Anthoney Harvey (1), Terry Jones (1), Masaki Kobayashi (1), Akira Kurosawa (1), Penny Marshall (1), Sam Mendes (1) Steven Spielberg (1), Guillermo Del Torro (1), Robert Wise (1) Decades Represented: 60s (3), 70s (1), 80s (1), 90s (1), 00s (1), 10s (3)
  2. 16 points
    "You are probably going to be a very successful computer person. But you're going to go through life thinking that girls don't like you because you're a nerd. And I want you to know, from the bottom of my heart, that that won't be true. It'll be because you're an asshole." Historical Setting: Early 2000s, United States Source from the Period "So there’s definitely fun thinking about this but we always thought this could be a great business as well. It’s actually Harvard Connection that was rebranded to connect to you but the idea was to help students connect more easily on campuses. We went to Harvard for undergraduate but in — in Boston alone there’s at least 50 schools. There’s so many different students but by junior year legal we hadn’t really met many people from outside of your walk of life. You — you know your own sports team, you do — you have your major and you don’t really like connect outside of your bubbles. Like life’s too busy and geography constraints, whatever. So we sort of said like let’s let our fingers do the walking. And let’s put real life social networks online and let’s use email addresses to filter people into networks within networks. So if you go to Harvard, you have a Harvard.edu email address. You can’t get that unless you’re actually a student. The Registar gives you one and they don’t issue you more than one. So you can’t just give one — and extra one to a friend. So — and the same thing if you go and you work at company — let’s say you go to work at Goldman Sachs, you get a Goldman Sachs, you know, email address. I can’t get one because I don’t work there. And so all the sudden you can start building some order online. You know the predecessors to connect (inaudible) were MySpace Friendster but they were just one network, a whole morass of people. You couldn’t really find people based on their schools or where they were and that was really the breakthrough that we — that we had that later was, you know, pushed into — into Facebook." - Interview of Winklevoss Twins Historical Context "Social media have had profound impacts on the modern world. Facebook, which remains by far the largest social media company, has 2.3 billion monthly active users worldwide (Facebook 2018). As of 2016, the average user was spending 50 minutes per day on Facebook and its sister platforms Instagram and Messenger (Facebook 2016). There may be no technology since television that has so dramatically reshaped the way people get information and spend their time. Speculation about social media's welfare impact has followed a familiar trajectory, with early optimism about potential benets giving way to widespread concern about possible harms. At a basic level, social media dramatically reduce the cost of connecting, communicating, and sharing information with others. Given that interpersonal connections are among the most important drivers of happiness and well-being (Myers 2000; Reis, Collins, and Berscheid 2000; Argyle 2001; Chopik 2017), this could be expected to bring widespread improvements to individual welfare. Many have also pointed to wider social benets, from facilitating protest and resistance in autocratic countries, to encouraging activism and political participation in established democracies (Howard et al. 2011; Kirkpatrick 2011). More recent discussion has focused on an array of possible negative impacts. At the individual level, many have pointed to negative correlations between intensive social media use and both subjective well-being and mental health.1 Adverse outcomes such as suicide and depression appear to have risen sharply over the same period that the use of smartphones and social media has expanded.2 Alter (2018) and Newport (2019), along with other academics and prominent Silicon Valley executives in the \time well-spent" movement, argue that digital media devices and social media apps are harmful and addictive. At the broader social level, concern has focused particularly on a range of negative political externalities. Social media may create ideological \echo chambers" among like-minded friend groups, thereby increasing political polarization (Sunstein 2001, 2017; Settle 2018). Furthermore, social media are the primary channel through which misinformation spreads online (Allcott and Gentzkow 2017), and there is concern that coordinated disinformation campaigns can affect elections in the US and abroad." - The Welfare Effects of Social Media, Hunt Allcott, Luca Braghieri, Sarah Eichmeyer and Matthew Gentzkow (2019) Historical Accuracy "In contrast to the real Zuckerberg, it’s hard to imagine Eisenberg’s version, care of Aaron Sorkin, squirm in front of Congress, be wishy-washy about Holocaust deniers or Alex Jones, or act flummoxed about trolls using the site to harass or interfere in elections. Michael Cera is the actor who comes to mind for that depiction, not the man who would become Lex Luthor. The complexity of the film version of Zuckerberg adds immeasurably to the The Social Network’s impact and power, but a change of this magnitude can’t help but strike a dangerous note with the hindsight of the past eight years. When The A.V. Club reviewed Zero Dark Thirty, another film whose accuracy was fretted over, the critic wrote that it “stands to become the dominant narrative about this important historical event, no matter its distortions, composite, or other slippery feints of storytelling. In that, it wields a dangerous power.” There’s a similar issue at play with The Social Network. The film defines Zuckerberg for many people, and given his centrality to today’s world, who knows what impact that’s had? Like the company that is its subject, The Social Network is a huge platform for its message, and it’s a problem when that message is less about the truth and more about emotional manipulation. Of course, the real Zuckerberg must have some of the attributes the film depicts—he did create the most influential company of modern times and squeeze allies out of it, both of which require a certain amount of cold-bloodedness—which makes comparing the film’s depiction to the real person tricky. However, there’s no denying that other parts of The Social Network, just as central to its thesis about who Zuckerberg is, were more or less invented. Sorkin said the film is “absolutely nonfiction,” albeit “nonfiction about facts that are in dispute.” He also said, “I don’t want my fidelity to be to the truth; I want it to be to storytelling.” Still, if the film isn’t accurate to Zuckerberg’s history, it is prescient about the personality type that would become dominant online in the subsequent years. The character’s coiled anger and nonstop sarcasm are very trollish, just as his FaceMash revenge campaign, waged from the safe distance of cyberspace, is reminiscent of the Gamergate harassment that would occur four years after the film’s release. Both elevate male victimhood, specifically the pain and humiliation that come from female rejection, into the kind of all-consuming fury for which every possible response counts as a proportional. Ultimately, this is why the film made such an impact, and why it continues to be discussed. It isn’t accurate, but it is true, ecstatically so." - Ryan Vlastelica, The AV Club The Film Itself The Story "Every age has its visionaries who leave, in the wake of their genius, a changed world--but rarely without a battle over exactly what happened and who was there at the moment of creation. "The Social Network" explores the moment at which Facebook was invented--through the warring perspectives of the super-smart young men who each claimed to be there at its inception. The movie moves from the halls of Harvard to the cubicles of Palo Alto to capture the heady early days of a culture-changing phenomenon in the making--and the way it both pulled a group of young revolutionaries together and then split them apart. In the midst of the chaos are Mark Zuckerberg (Jesse Eisenberg), the brilliant Harvard student who conceived a Web site; Eduardo Saverin (Andrew Garfield), once Zuckerberg's close friend, who provided the seed money for the fledgling company; Napster founder Sean Parker (Justin Timberlake), who brought Facebook to Silicon Valley's venture capitalists; and the Winklevoss twins (Armie Hammer and Josh Pence), the Harvard classmates who asserted that Zuckerberg stole their idea and then sued him for ownership of it. Each has his own narrative, his own version of the Facebook story in this multi-level portrait of 21st Century success--both the youthful fantasy of it and its finite realities as well." Critic Opinion "There was a lot of pre-release hype for THE SOCIAL NETWORK -- and for once, the buzz is well-deserved. This is truly an enthralling film; all of the pieces -- writing, plot, direction, acting, soundtrack -- create a memorable, timely movie that couldn't be more relevant to the current zeitgeist. If a story about a business' Ivy League founders or Harvard social intrigue or young billionaires in the making doesn't sound compelling, this movie will surprise you. And the credit must go to director David Fincher and writer Aaron Sorkin, who've taken what sounds like a very boring premise -- boy genius possibly steals an idea to create one of the dominating media forces of the decade -- and turned it into an award-worthy film that even Facebook objectors will enjoy. Eisenberg plays Zuckerberg as a socially awkward computer genius who isn't an adorable geek (like many of Eisenberg's previous roles). He's a huge jerk -- or, as his date tells him in the first scene, a first-class "a--hole" -- obsessed with status and, later, getting back at said date for rejecting him. How many multibillion dollar ideas started out as a way to show up someone who rejected the innovator? And how many business are built on the backs of broken friendships? As Saverin, British import Garfield is pitch perfect. He exudes the confidence that comes with wealthy, but unlike Zuckerberg or the Winklevoss twins, he's not condescending. In many ways, he's the heart of the movie, because his character is so much more likable than Zuckerberg -- so much so that you want him to win his lawsuit against Facebook. The movie's biggest scene-stealers are Timberlake -- who's all slimy and paranoid charm as Parker -- and the Winklevoss brothers, who are played by Hammer so well that you'd swear it was twin actors. Each twin is patrician perfection personified, and the fact that their social networking idea is the seed that Zuckerberg turns into Facebook serves as a slap in the face to their entitlement. What's true and what isn't doesn't quite matter for the purposes of this film; in the end Facebook's "status" is bigger than all its players." - Sandie Angulo Chen BOT User Opinion "One of the greatest films of all time. An intoxicatingly entertaining movie with some of the snappiest and most intelligent dialogue I've ever heard, amazing performances (especially from the mesmerizing Jesse Eisenberg who deserved an Oscar), great cinematography, slick editing, a fucking fantastic score, a goosebump inducing final scene and overall masterful directing from David Fincher.The Social Network is about as close as you can get to cinematic perfection. It will go down as the best movie of its time." - @Jack Nevada Factoids The Social Network was directed by David Fincher. It received a total of 34 points and 6 votes Countries Represented: England (1), France (1), Japan (1), Spain (1), United States (3) Time Periods Represented: 17th Century (1), 19th Century (1), 21st Century (1), Middle Ages (1), World War 1/1910s (1), World War 2/1940s (2) Cross Section of Times and Countries: 19th Century - United States (1), 21st Century - United States (1), Middle Ages - England (1), Tokugawa Shogunate - Japan (1), World War 1 - France (1), World War 2/1940s - Spain (1), World War 2 - United States (1) Directors Represented: David Fincher (1), Anthoney Harvey (1), Masaki Kobayashi (1), Penny Marshall (1), Sam Mendes (1) Steven Spielberg (1), Guillermo Del Torro (1) Decades Represented: 60s (2), 90s (1), 00s (1), 10s (3)
  3. 14 points
    "What befalls others today, may be your own fate tomorrow." Historical Setting: Tokugawa Shogunate, Japan Source from the Period “For generation after generation, men have taken their livelihood from tilling the soil, or devised and manufactured tools, or produced profit from mutual trade, so that peoples’ needs were satisfied. Thus the occupations of farmer, artisan, and merchant necessarily grew up as complementary to one another. But the samurai eats food without growing it, uses utensils without manufacturing them, and profits without buying or selling. What is the justification for this? When I reflect today on my pursuit in life, [I realize that] I was born into a family whose ancestors for generations have been warriors and whose pursuit is service at court. The samurai is one who does not cultivate, does not manufacture, and does not engage in trade, but it cannot be that he has no function at all as a samurai. He who satisfies his needs without performing any function at all would more properly be called an idler. Therefore one must devote all one’s mind to the detailed examination of one’s calling. The business of the samurai is to reflect on his own station in life, to give loyal service to his master if he has one, to strengthen his fidelity in associations with friends, and, with due consideration of his own position, to devote himself to duty above all. However, in his own life, he will unavoidably become involved in obligations between father and child, older and younger brother, and husband and wife. Although these are also the fundamental moral obligations of everyone in the land, the farmers, artisans, and merchants have no leisure from their occupations, and so they cannot constantly act in accordance with them and fully exemplify the Way. Because the samurai has dispensed with the business of the farmer, artisan, and merchant and confined himself to practicing this Way, if there is someone in the three classes of the common people who violates these moral principles, the samurai should punish him summarily and thus uphold the proper moral principles in the land. It would not do for the samurai to know martial and civil virtues without manifesting them. Since this is the case, outwardly he stands in physical readiness for any call to service, and inwardly he strives to fulfill the Way of the lord and subject, friend and friend, parent and child, older and younger brother, and husband and wife. Within his heart he keeps to the ways of peace, but without, he keeps his weapons ready for use. The three classes of the common people make him their teacher and respect him. By following his teachings, they are able to understand what is fundamental and what is secondary." - The Way of the Samurai, Yamaga Soko Historical Context "The Battle of Sekigahara in 1600 established the power of the Tokugawa Shogunate over Japan and brought to an end the period of almost continuous warfare that preceded it. Tokugawa Ieyasu set up his power base in Edo (present-day Tokyo), which during the period was to become the largest city in the world. The Tokugawa clan directly controlled the most strategic areas of the country including the cities of Edo, Kyoto, Osaka and Nagasaki, while those daimyo who were on the losing side at Sekigahara (tozama 外様 or "outside lords") were relegated to the more remote areas of Japan, such as the Mori clan who were forced out of their lands in Hiroshima and moved to the remote town of Hagi on the Japan Sea coast. The fudai lords (譜代大名) were the trusted hereditary vassals of the Tokugawa and provided the shogunate with its officials and administrators. Feudal lords or daimyo were forced to spend alternate years in Edo under a system known as sankin kotai (参勤交代), set up in 1635 to allow the authorities to keep a close watch for any sign of dissent. Rebuilding or extensions to existing castles were also tightly controlled and needed permission from the shogun. The Tokugawa government vastly improved the Gokaido (the five main roads leading to and from Edo (Tokyo) - the Tokaido, Nakasendo, Nikko Kaido, Oshu Kaido and Koshu Kaido). This network of highways allowed their power to spread to the furthest parts of Japan and were the routes taken by the daimyo and their retinues to and from Edo to perform sankin kotai." - Japan Visitor Historical Accuracy (Not about the film specifically but about a famous incident of Seppuku in 1877 that's very interesting and provides some context for the film) "The story of Saigõ s seppuku is often juxtaposed with fantastic legends of his death. Ivan Morris, for example, in his influential Nobility of Failure, wrote that Saigõ "bowed in the direction of the Imperial Palace and cut open his stomach." This heroic death helped inspire amazing stories of Saigõ s valor, including "the fantastic legend according to which Saigõ would reappear in 1891 on a Russian warship in order to rescue his country from foreign danger" (Morris 1975, 267, 273). In their study of early Japanese newspapers, The Birth of the News (Nyüsu no tanjo), Kinoshita Naoyuki and Yoshimi Shun'ya contrasted the associ- ation of Saigõ and Mars with the seemingly objective details of his death: "rumors of the appearance of a 'Saigõ star* had already become a topic of popular conver- sation before Saigõ stabbed himself to death (jijin) on September 24th" (1999, 229). These juxtapositions are misleading. Saigõ s seppuku is merely another Saigõ legend, not an empirically grounded account of his death. Saigõ did not "cut open his stomach" or "stab himself to death." These tales of suicide, like stories of Saigõs ascent to Mars, were attempts to represent the enormous implications of Saigõs death. If, for example, Saigõ was the last true samurai, then he needed a spectacular and iconic death. What is fascinating about Saigõs seppuku is how it has morphed into something else: a standard account of Saigõ s demise, reproduced in reference works and textbooks. How and why did this happen? The transformation of Saigõ s seppuku from fantasy to history coincided with the rise of bushidõ as a national ideology. Con- necting Saigõ to bushidõ allowed ideologues both inside and outside the Meiji state to embed him in a longer narrative of Japanese martial heroes. A glorious death by seppuku also meant that critics could both venerate Saigõ and criticize his insurrection: a proper suicide ensured that Saigõ was dead, but honorably dead. This was a fitting end for a man who was both a leader of the Restoration and a major threat to the Meiji state. The legend of Saigõ s seppuku was thus most amenable to late Meiji nationalism and its emphasis on bushidõ. Seppuku turned Saigõ into a forerunner of Japanese militarism, rather than a dangerous challenger to the state." - The Apocryphal Suicide of Saigō Takamori: Samurai, "Seppuku", and the Politics of Legend, Mark J. Ravina The Film Itself Storyline "Peace in 17th-century Japan causes the Shogunate's breakup of warrior clans, throwing thousands of samurai out of work and into poverty. An honorable end to such fate under the samurai code is ritual suicide, or hara-kiri (self-inflicted disembowelment). An elder warrior, Hanshiro Tsugumo (Tatsuya Nakadai) seeks admittance to the house of a feudal lord to commit the act. There, he learns of the fate of his son-in-law, a young samurai who sought work at the house but was instead barbarically forced to commit traditional hara-kiri in an excruciating manner with a dull bamboo blade. In flashbacks the samurai tells the tragic story of his son-in-law, and how he was forced to sell his real sword to support his sick wife and child. Tsugumo thus sets in motion a tense showdown of revenge against the house." Critic Opinion "Japanese director Masaki Kobayashi came of age in the postwar moment, a time when filmmakers were at the vanguard of dissident expression in that country. Drawing upon a rich history of protest in Japanese cinema, which had fallen dormant during the war and occupation years, filmmakers seized the opportunity to challenge those institutions that remained wedded to the nation’s feudal past. Of this generation of directors, none was as passionate as Kobayashi. Every one of his films, from The Thick-Walled Room (1953) to the feature-length documentary Tokyo Trial (1983) to The Empty Table (1985), is marked by a defiance of tradition and authority, whether feudal or contemporary. Kobayashi found the present to be no more immune to the violation of personal freedoms than the pre-Meiji past, under official feudalism, had been. “In any era, I am critical of authoritarian power,” the filmmaker told me when I interviewed him in Tokyo, during the summer of 1972. “In The Human Condition [1959–61], it took the form of militaristic power; in Harakiri, it was feudalism. They pose the same moral conflict in terms of the struggle of the individual against society.” Like other directors of this period—notably Akira Kurosawa—Kobayashi often expressed his political dissidence via the jidai-geki, or period film, in which the historical past becomes a surrogate for modern Japan. In Kobayashi’s hands, the jidai-geki exposed the historical roots of contemporary injustice. (Japanese audiences were well schooled in history and could be counted on to connect the critique of the past with abuses in the present.) Harakiri, made in 1962, was, in Kobayashi’s career, the apex of this practice. In the film’s condemnation of the Iyi clan, Kobayashi rejects the notion of individual submission to the group. He condemns, simultaneously, the hierarchical structures that pervaded Japanese political and social life in the 1950s and 1960s, especially the zaibatsus, the giant corporations that recapitulated feudalism." - Joan Mellon, Criterion Collection BOT User Opinion "One of those films that feels like it should be much more widely known and accepted as a classic than it is. Both fully accessible and absolutely masterful on basically every level. " - @Jake Gittes Factoids Harakiri was directed by Masaki Kobayashi and received 33 Points and 4 Votes Countries Represented: England (1), Japan (1), Spain (1), United States (2) Time Periods Represented: Middle Ages (1), 17th Century (1), 19th Century (1), World War 2/1940s (2) Cross Section of Times and Countries: 19th Century - United States (1), Middle Ages - England (1), Tokugawa Shogunate - Japan (1), World War 2/1940s - Spain (1), World War 2 - United States (1) Directors Represented: Anthoney Harvey (1), Masaki Kobayashi (1), Penny Marshall (1), Steven Spielberg (1), Guillermo Del Torro (1) Decades Represented: 60s (2), 90s (1), 00s (1), 10s (1)
  4. 13 points
    "By his own approximation, Bob assassinated Jesse James over 800 times. He suspected no one in history had ever so often or so publicly recapitulated an act of betrayal." Historical Setting: Late Reconstruction Era, The American West Source from the Period "Governor McClurg: DEAR SIR: I and my brother Frank are charged with the crime of killing the cashier and robbing the bank at Gallatin, Mo., Dec. 7th, 1869. I can prove, by some of the best men in Missouri, where I was the day of the robbery and the day previous to it, but I well know if I was to submit to an arrest, that I would be mobbed and hanged without a trial. The past is sufficient to show that bushwackers have been arrested in Missouri since the war, charged with bank robbery, and they most all have been mobbed without trials. I will cite you the case of Thomas Little, of Lafayette county, Mo. A few days after the bank was robbed at Richmond, in 1867, Mr. Little was charged with being one of the party who perpetrated the deed. He was sent from St. Louis to Warrensburg under a heavy guard. As soon as the parties arrived there, they found out that he (Mr. Little) could prove, by the citizens of Dover, that he was innocent of the charge -- as soon as these scoundrels found out that he was innocent -- a mob was raised, broke in the jail, took him out and hanged him. Governor, when I think I can get a fair trial, I will surrender myself to the civil authorities of Missouri. But I never will surrender to be mobbed by a set of bloodthirsty poltroons. It is true that during the war I was a Confederate soldier, and fought under the black flag, but since then I have lived a peaceable citizen, and obeyed the laws of the United States to the best of my knowledge. The authorities of Gallatin say the reason that led them to suspect me was that the mare left at Gallatin, by the robbers, was identified as belonging to me. That is false. I can prove that I sold the mare previous to the robbery. It is true that I fought Deputy Sheriff Thomason, of Clay county, but was not my brother with me when we had the fight. I do not think that I violated the law when I fought Thomason as his posse refused to tell me who they were. Three different statements have been published in reference to the fight that I had with Thomason, but they are all a pack of falsehoods. Deputy Sheriff Thomason has never yet given any report of the fight, that I have seen. I am personally acquainted with Oscar Thomason, the Deputy's son, but when the shooting began, his face was so muffled up with furs that I did not recognize him. But if I did violate the law when I fought Thomason I am perfectly willing to abide by it. But as to them mobbing me for a crime that I am innocent of, that is played out. As soon as I think I can get a just trial I will surrender myself to the civil authorities of Missouri, and prove to the world that I am innocent of the crime charged against me. Respectfully, Jesse W. James" - The Liberty Tribune, June 24, 1870 June, 1870 Historic Context "Well before he died, Jesse James was a legend. Some thought him a Robin Hood, who robbed banks and handed out cash to the poor. Others, including President Ulysses S. Grant, judged him a homicidal crook. Unfortunately, there doesn't seem to be any evidence that he redistributed his ill-gotten gains. And as for his violent behavior, it appear to have been rooted in a very specific historical context. Born in 1847, he and his brother Frank came of age during the American Civil War. They enlisted with the Confederate Army as teenagers and although the war ended in 1865, for the James brothers, it was never really over. T. J. Stiles is the award-winning author of, "Jesse James: Last Rebel of the Civil War." In an email interview, he laid out some of the conditions that led Jesse James toward a life of post-Civil War violent crime. The influences of Zerelda and Archie Clement combined with Jesse James' war experiences to foster James' career of politically-tinged violence. Stiles notes that the Confederate guerrilla group he joined at the age of 16, was, "essentially a death squad, going farm to farm in the county where he had grown up, murdering farmers in their fields or homes simply because of their loyalties." In other words, the war taught him he could commit acts of terrorism and get away with it. And post-Civil War politics had everything to do with his longevity as a criminal. "The reason Jesse James lasted free and alive as a fugitive for more than a decade — far longer than the typical outlaw," explains Stiles, "is that he was seen as a political hero to former Confederates, a role he cultivated." But the protection this status afforded him would not last forever. After a bank robbery in Minnesota went wrong, Jesse's gang barely escaped capture. They fled back to Missouri and while Frank James, his brother, seems to have settled down, Jesse went on another crime spree. The new governor of Missouri, Thomas Crittenden, convinced private corporations to offer a substantial reward for the capture and conviction of the James brothers. Then he arranged a secret meeting at a hotel after a ball in Kansas City with the last two remaining members of Jesse's gang, Charley and Robert Ford. By this time, Jesse had grown paranoid and the Ford brothers were the only people he still trusted. His trust was poorly placed. On the morning of April 3, 1882, Jesse and the Ford brothers breakfasted together before retiring to the living room to discuss their plans for an upcoming robbery. Jesse noticed a dusty picture on the wall and decided now was the time to clean it. He climbed onto a chair to reach it. Robert Ford took a deep breath and drew his gun. Jesse was a man Ford had long admired. A man he'd emulated. Yet Ford aimed his gun at the back of Jesse's head and fired. After the Ford brothers notified the authorities, they were arrested and thrown in prison for murder. They confessed and were sentenced to death. But this seems to have been part of the governor's plan. T. J. Stiles states that, given the circumstances, it seems almost certain that when Governor Crittenden met with the Ford brothers before the shooting, he promised to let them off the hook when the time came if they were up for some extrajudicial killing. "By the time Jesse James was marked for death," says Stiles, "his cause had run its course. Reconstruction was reversed nationwide and within Missouri, where former Confederates dominated the ruling Democratic Party. The outlaw had no more political support; he was simply a criminal. Crittenden had a free hand, so to speak. Two things suggest that Crittenden explicitly authorized the Ford brothers to kill Jesse James at their secret meeting after the ball in Kansas City: First, the brothers immediately surrendered to authorities after the murder and pleaded guilty. (A pardon could only be issued after a conviction.) They would hardly have done so if they were not certain of a pardon. Second, they were actually pardoned. I find it impossible to conclude that there was not an explicit understanding." Out of prison, the Ford brothers leveraged their notoriety into a travelling show in which they reenacted the killing of Jesse James. But over time, public opinion turned against them. They folded the show and went their separate ways. Frank James surrendered to the authorities after his brother's death. He spent a year and three weeks in jail but was never convicted for his many crimes. He married, had children and eventually returned to his mother's farm, where, after a long and mostly uneventful life, he died at the age of 74. Some people do not believe that Jesse James was killed on April 3, 1882; these people claim his death was faked and that he actually died of old age many years later. There is also a bit of controversy about whether he was actually standing on a chair or had just turned his back on Robert Ford, though most historians do ascribe to the theory that James had stepped up on a chair to do a bit of housekeeping." - The Cold-blooded Assassination of Outlaw Jesse James Oisin Curran Historical Accuracy "The James-Younger gang is in Blue Cut, Missouri, to rob a train. James himself is shown to be a greedy thug with a penchant for smashing people's faces in. It's true about the face-smashing but, other than that, reports of the Blue Cut robbery suggest the real James was in relatively good humour. He delivered a long rant against the railroad corporations, bragged about himself, and allegedly fetched a wet handkerchief to revive a woman who fainted, before giving her back the dollar he had stolen from her. Following this brief flurry of excitement, the film settles into a ponderous rota of lingering landscape shots and the occasional explosion of rough banter between incomprehensibly-accented bandits. Brad Pitt plays James as Hamlet: he wears big coats made of wolfskins, wanders gloomily on to frozen ponds to contemplate existential questions, and alternates moments of tenderness with raging fury. It's a supportable biographical portrait. Frustratingly, though, director Andrew Dominik is bent on keeping the style as solemn and remote as possible, rendering Pitt's performance almost too historically accurate. It's correct to the letter of the available sources, but communicates little sense of James as a human being. Finally, Ford gets his moment. In a painstaking reconstruction of the real-life scene, James uncharacteristically lays down his gunbelt, turns his back on it, and walks to the other side of the room to dust a painting of a horse. Ford seizes a gun and shoots him in the back of the head. The film suggests an intriguing interpretation of James letting his guard down at this moment, an odd piece of behaviour that has always puzzled biographers. You'll have to see the movie to find out what. Ford is drowning his sorrows in a bar when who should turn up but Nick Cave (composer of the exquisite soundtrack), wearing a bowler hat and a handlebar moustache, and singing a jolly folk song about "that dirty little coward" Robert Ford. This cameo by a modern rock star delivers a massive jolt to the movie's hypnotic serenity, which isn't entirely a bad thing. Cave would have been less incongruous in the 1986 TV version of James's life, which featured an all-star country and western cast: Kris Kristofferson as Jesse, Johnny Cash as Frank, June Carter Cash as, er, their mother, and Willie Nelson as Confederate general Joseph O Shelby. It may not be as accurate as this one, but it sounds a damn sight livelier." - Alex von Tunzelmann The Film Itself The Story "Taking place in Missouri in the early 1880s, the film dramatizes the last seven months in the life of famed outlaw Jesse James, beginning with the Blue Cut train robbery of 1881 and culminating in his assassination at the hands of Robert Ford the following April. In the time between these two fateful events, the young and jealous Ford befriends the increasingly mistrustful outlaw, even as he plots his demise." Critic Opinion "It happened with regularity in the '70s, but every once in a while, a major studio accidentally produces a work of art like The Assassination Of Jesse James By The Coward Robert Ford—a dark, iconoclastic Western that lacks clear heroes and villains, tucks its only shoot 'em up sequence in the opening reel, and closes on a note of profound ambiguity and regret. In look and tone, it recalls moody revisionist Westerns like McCabe & Mrs. Miller and The Shooting, but with a special attentiveness to the natural world that's closer to Terrence Malick. But perhaps its closest antecedent is Walter Hill's underrated Wild Bill, another story of an outlaw who had the misfortune of being a legend before his death, thus inviting fame-seekers to strike him down. Both films derive a sick sort of tension from the inevitable, as their paranoid anti-heroes wait for an end that they seem to know is coming. Much like writer-director Andrew Dominik's fine debut feature Chopper, which filtered real events through the self-inflating memory of famed Australian sociopath Mark Read, The Assassination Of Jesse James both respects the James legend and brings it back down to earth. As it opens in September 1881, the diminished James gang, led by Brad Pitt's Jesse James and his older brother Frank (Sam Shepard), has been forced to trust some dubious characters in order to pull off what would be its last train robbery. Among them are the Ford brothers, Charley (Sam Rockwell) and Robert (Casey Affleck), the latter a quiet, shifty 19-year-old who bows to no one in his idolization of the notorious gunslinger. Though clearly uneasy with the kid's gnat-like presence—at one point, he asks, "Do you want to be like me, or do you want to be me?"—James keeps him around until the bitter end." - Scott Tobias, The AV Club BOT User Opinion "It may be a film about betrayal, but oh man, this is so much more than that. Beautifully shot, great score, and potentially one of the strongest displays of an acting ensemble I've ever seen. Pitt, Affleck, and Rockwell were magnificent. This is one of those films that really creeps up on you with its greatness. It's a slow-moving, intricate film that takes time to build up the characters and get you into the atmosphere of the film. I love how nothing in the film is simply black or white. Every character is multi-dimensional, and multi-layered. It's simply one of those films that you get so involved with, you forget you're watching a movie. The 10-minute epilogue at the end was also fantastic......ironic, heartbreaking, poignant, and somewhat devastating. Definitely in my top 50 all-time." - @mattmav45 Factoids The Assassination of Jesse James by the Coward Robert Ford was directed by Andrew Dominik. It received 47 points and 7 votes. Countries Represented: Algeria (1), Austria (2), Belarus (1), England (1), France (1), Germany (2), Israel (2), Korea (1), Poland (1), Japan (3), Spain (1), United States (16), Vietnam (1) Time Periods Represented: 16th Century (1), 17th Century (2), 18th Century (2), 19th Century (4), 1920s (1), 1930s (3), 1950s (2), 1960s (5), 1990s (1), 21st Century (2), Classical Period (2), Middle Ages (1), World War 1/1910s (1), World War 2/1940s (6) Cross Section of Times and Countries: 18th Century - Austria (1), 18th Century - United States (1), 19th Century - United States (4), 21st Century - United States (2), 1920s - United States (1), 1930s - Germany (1), 1930s - Korea (1), 1930s - United States (1), 1950s - Algeria (1), 1950s - United States (1), 1960s - United States (4), 1960s - Vietnam (1), 1990s - United States (1), Classical Period - Israel (2), Middle Ages - England (1), Sengoku Period - Japan (1), Tokugawa Shogunate - Japan (2), World War 1 - France (1), World War 2/1940s - Belarus (1), World War 2/1940s - Germany (1), World War 2/1940s - Poland (1), World War 2/1940s - Spain (1), World War 2 - Austria (1), World War 2 - United States (1) Directors Represented: Park Chan-Wook (1), Francis Ford Coppola (1), Kevin Costner (1), Andrew Dominik (1), Stanley Donen (1), David Fincher (2), John Ford (1), Milos Forman (1), Bob Fosse (1), Anthoney Harvey (1), Terry Jones (1), Philip Kaufman (1), Gene Kelley (1), Elem Klimov (1), Masaki Kobayashi (1), Stanley Kramer (1), Akira Kurosawa (1), Michael Mann (1), Penny Marshall (1), Adam McKay (1), Steve McQueen (1), Theodore Melfi (1), Sam Mendes (1), Gillo Pontecorvo (1), Martin Scorsese (2), Steven Spielberg (2), Oliver Stone (1), John Sturges (1), Guillermo Del Torro (1), Robert Wise (1), William Wyler (1) Decades Represented: 40s (1), 50s (2), 60s (6), 70s (3), 80s (5), 90s (3), 00s (4), 10s (9)
  5. 13 points
    @Cap prepare for more ground to be broke "It was in the silence that I heard Your voice." Historical Setting: Tokugawa Shogunate, Nagasaki, Japan Source from the Period "1. Japan is the country of gods, but has been receiving false teachings from Christian countries. This cannot be tolerated any further. 2. The [missionaries] approach people in provinces and districts to make them their followers, and let them destroy shrines and temples. This is an unheard of outrage. When a vassal receives a province, a district, a village, or another form of a fief, he must consider it as a property entrusted to him on a temporary basis. He must follow the laws of this country, and abide by their intent. However, some vassals illegally [commend part of their fiefs to the church]. This is a culpable offense. 3. The padres, by their special knowledge [in the sciences and medicine], feel that they can at will entice people to become their believers. In doing so they commit the illegal act of destroying the teachings of Buddha prevailing in Japan. These padres cannot be permitted to remain in Japan. They must prepare to leave the country within twenty days of the issuance of this notice. 4. The black [Portuguese and Spanish] ships come to Japan to engage in trade. Thus the matter is a separate one. They can continue to engage in trade." - The Edicts of Toyotomi Hideyoshi: Excerpts from Expulsion of Missionaries, 1587 Historical Context "Early bereft of their foreign clergy and deprived of all Christian books,3 including the Bible itself, the kakure kirishitan evolved ac- cording to their own indigenous systems. Originally this was probably tactical: Christianity was outlawed in 1614 and the rite of ebumi , (trampling on a Christian plaque) was introduced in 1629,4 leaving the faithful with only four choices: martyrdom, conversion to Buddhism, self-imposed exile, or going underground. Going underground requires a strategy and the kakure kirishitan, surround- ed by a dominant Buddhist culture, attempted to absorb, imitate, but redeploy its symbols. This was not only necessary to survive, but also an attempt to preserve their own religious identity by paradoxically imitating that of their adversary. Such a strategy is indeed risky because what begins as a superficial adoption sometimes proves overwhelming and ends up subverting the very values its adoption strove to protect. One may start out by trying to convert foreign symbols to one's own system, but end up instead being converted by them. In the early days of Christianity in Japan, Christian symbols had been immensely popular: elegant ladies wore hairpins with gold crosses painted on them, while warriors' helmets and stirrups were sometimes similarly decorated. But when anti-Christian persecution commenced, a new relation to these symbols emerged which could be called forced or artificial syncretism with the dominant element being Buddhist. Kakure kirishitan made use of Bud- dhist objects but added some Christian symbol to convert them, as it were, to their own beliefs. Particularly prevalent were the household altar statues of Kannon, who in some cases can be found wearing a nearly undetectable cross around her neck; in other instances she bears a cross on the back of her head. … Symbols are indeed powerful, as also are the social forces that kept the kakure kirishitan hiding for so long that concealment became an all-encom-passing end in itself. Some hope of change and adaptation had been raised, but the faithful could not recover what they had hidden only too well even from themselves. In the end petty and insignificant differences kept them divided and left them vulnerable. The kakure kirishitan initially began by hiding their religious faith out of necessity, but they become so accustomed to concealing both their faith and their shame that the two became enmeshed. To be a kakure kirishitan on Goto was also to be a hirakimon, an itsukimon, a poor and despised human being. But once they reached a semblance of economic equality with the jigemon, the kakure kirishitan would seem to have nothing left to hide. But hiding and concealment have always been the mainstay, the very core of their religious and social identity, and it is truly ironic that religious freedom and economic stability pose a threat to the continued existence of the kakure kirishitan." - Religion Concealed: The Kakure Kirishitan on Narushima Christal Whelan Historical Accuracy "The history of Christian missionaries—in Japan and elsewhere—is a complicated one. Remember that when speaking about “Christian missionaries” we are talking about a 2,000-year history that begins with St. Paul and took place in almost every country in the world. Add to that the variety of the originating countries of the missionaries, and you get an idea of the complexity of the history. Even if we consider simply the era in which the film is set, the 17th century, almost every European country, was sending Christian missionaries abroad. Also, we must take into account the wide variety of approaches among the many Catholic religious orders active in the missionary field: Franciscans, Jesuits, Dominicans and so on. In some instances, missionary priests, brothers and sisters traveled with representatives of the colonial powers and were seen, rightly or wrongly, as adjuncts of these political actors. But the missionaries came to these new lands to bring what they considered a gift of inestimable value to the people they would meet: the Good News of Jesus Christ. Let us look at the case of Fathers Rodrigues and Garupe. Both have come to Japan to spread the Gospel. (We can reasonably presume their being sent from Portugal not simply to find Father Ferreira but later to remain in Japan.) They are bringing what they consider to be the most precious thing that they know to a new people: Jesus. Is it arrogant to say that they are bringing a gift? Others may think so, but not to my mind. Think of it as a physician wanting to bring medicine to someone he or she knows is in need. And doing so at peril to his or her own life. In reality, Jesuit missionaries poured themselves out selflessly for the peoples among whom they ministered—enduring extraordinary physical hardships, mastering the local languages (even writing dictionaries for those languages, which are still in use), eating unfamiliar foods and working as hard as any of the people with whom they ministered. (Read the diaries of St. Jean de Brébeuf, one of the North American Martyrs, and his admonitions to his brother Jesuits that they needed to paddle their canoes as hard as the Hurons did, so as not to be seen as lazy.) This is called “inculturation,” a loving insertion of oneself into the local culture. Jesuits both fictional and real did this out of love. Out of love for God and love for the peoples with whom they were ministering. If you doubt their motivation I would ask this: Would you leave behind all that you knew—your country, your language, your family, your friends, your food, your culture, your traditions—to travel across the globe at immense risk, in order to give a gift to a group of people whom you’d never met, a group of people whom many in your home country think are unworthy of being given that gift—knowing that you might be tortured and killed? To me that is an immense act of love." - Fr. James Martin answers 5 common questions about 'Silence' The American Jesuit Review The Film Itself The Story "Intent on investigating the truth behind Father Cristovão Ferreira's abrupt end of correspondence, the devout Portuguese Catholic priests, Sebastião Rodrigues and Francisco Garupe, set off to Japan, in 1633. In great disbelief, as the rumours of Ferreira's apostasy still echo in their minds, the zealous Jesuit missionaries try to locate their mentor, amid the bloodshed of the violent anti-Christian purges. Under those circumstances, the two men and the Japanese guide, Kichijiro, arrive in Japan, only to witness firsthand the unbearable burden of those who have a different belief in a land founded on tradition. Now--as the powerful Grand Inquisitor, Inoue, performs hideous tortures on the brave Japanese Christians--Father Rodrigues will soon have to put his faith to the ultimate test: renounce it in exchange for the prisoners' lives. There, in the ends of the world, a subtle change has begun; however, why is God's silence so deafening?" Critic Opinion "This is a direct challenge to Rodrigues’s perception of what it means to minister and have faith, one forged in a European context. That the image of Christ calls him to drop his preconceptions rends his heart and challenges him. He must not just repudiate his religious beliefs externally, but also relinquish his own idea of how he’ll serve God, which in turn causes him to wonder whether he is fit to do so at all. The agony of Rodrigues’s choice to trample the fumie, then, is the agony of letting go of his self-image of faith for another one, an ignominious one in which he will always be the priest who apostatized, no longer the agent of grace and the sacraments to the Japanese. The movie (and the novel) flip to another point of view after Rodrigues’s apostatization, and now we can only see his actions from the outside, rather than experiencing them through the voiceover of his thoughts, agonies, and prayers that we heard before. Rodrigues’s faith, as it were, has become silent. His suffering for Christ isn’t physical, but spiritual: He is questioning whether his faith is faith at all, and whether God is with him even when he seems to be so far away. But the fumie is an image of the Christ he is meant to imitate, and it is covered in mud, stepped upon by feet, nothing compared to the glorious image he holds in his mind. It’s more in keeping with the Bible’s depiction of Christ (as lowly, crucified in the manner of a thief), but its very kindness in the face of his impending betrayal is enough to break Rodrigues’s heart. During the film’s telling, climactic moment — when Rodrigues finally tramples on the fumie — you can hear a rooster crow somewhere in the distance. That, of course, is the same thing that happened in the Gospels, when Peter denied Christ before the crucifixion. Since seeing Silence, I’ve been eager to know how others will react to the film. I am a Christian, and Endō’s Silence has been widely read and studied in my community for decades. Even though I’m familiar with the story, I found the film unsettling: The tendency for any religious person is to seek definitive answers for the greatest, most troubling existential questions, and I was confronted with the suffering that can happen on the path to faith, and the doubt that has to be part of that. But it’s been remarkable to discover that Silence is a challenging film for many critics and early viewers, including those who aren’t interested in religion at all, or who don’t identify with a particular faith. The genius of Endō’s story and Scorsese’s adaptation is that it won’t characterize anyone as a saint, nor will it either fully condone or reject the colonialist impulses, the religious oppression, the apostasy, or the faltering faith of its characters. There is space within the story for every broken attempt to fix the world. Endō’s answer still lies in Christ, but his perception of Christ is radically different from what most people are familiar with — and even those who don’t identify with Christianity will find the film unnerving and haunting. Silence is the kind of film that cuts at everyone’s self-perceptions, including my own. I haven’t been able to shake it, because I need to remember — now, frankly, more than ever — that I am not able nor responsible to save the world, let alone myself. How the world changes is a giant, cosmic mystery. To grow too far from that and become hardened in my own belief is a danger: I grow complacent and deaf, too willing to push others away. In Silence, nobody is Christ but Christ himself. Everyone else is a Peter or a Judas, a faltering rejecter, for whom there may be hope anyway. What Scorsese has accomplished in adapting Endō’s novel is a close reminder that the path to redemption lies through suffering, and that it may not be I who must save the world so much as I am the one who needs saving." - Alissa Wilkinson, Vox BOT User Opinion "Not only is Silence the best movie of the decade, and the most overlooked one (which is shocking given it's Scorsese's career long passion project), not only do I find it to be the best film of Scorsese's career, it has just about moved its way into one of my top 5 films of all time. One of the most powerful movies I have ever watched. Silence is certainly not an easy watch, and one that you'll certainly leave gaps of time before you come back and re-watch it, but that does not diminish the immense power of the movie. It is not an easy, glowing endorsement of the faithful, nor is it a glorification of martyrdom, and it's also not a skeptical critique on religion. Silence is a layered and nuanced look at faith, to what extent a person will go to hold onto it (to what extent the faithful should hold onto it), a question about suffering and how it can be allowed, and ultimately a work that is affirming to the spirit and rewarding to the faithful. There's movies you never forget, there's movies that stick with you, there's movies that challenge you, but Silence is one of the few that goes beyond all of that. If you're willing and of the right state of mind, it just might etch its way in your soul. It's a movie with ideas and imagery that I'm still meditating over three years later, but ideas and imagery that were always there within my personal spiritual theology, it just provided the clarity to allow me to look and see them." - @The Panda Factoids Silence was directed by Martin Scorsese. It received 38 points, 6 votes and won over Apocalypse Now by having 2 Top 3 Placements to Apocalypse Now's 1 Top 3 Placement. Countries Represented: Algeria (1), Austria (1), England (1), France (1), Israel (1), Korea (1), Japan (3), Spain (1), United States (9), Vietnam (1) Time Periods Represented: 16th Century (1), 17th Century (2), 18th Century (1), 19th Century (2), 1930s (1), 1950s (1), 1960s (4), 21st Century (2), Classical Period (1), Middle Ages (1), World War 1/1910s (1), World War 2/1940s (3) Cross Section of Times and Countries: 18th Century - United States (1), 19th Century - United States (2), 21st Century - United States (2), 1930s - Korea (1), 1950s - Algeria (1), 1960s - United States (3), 1960s - Vietnam (1), Classical Period - Israel (1), Middle Ages - England (1), Sengoku Period - Japan (1), Tokugawa Shogunate - Japan (2), World War 1 - France (1), World War 2/1940s - Spain (1), World War 2 - Austria (1), World War 2 - United States (1) Directors Represented: Park Chan-Wook (1), Francis Ford Coppola (1), David Fincher (2), Anthoney Harvey (1), Terry Jones (1), Masaki Kobayashi (1), Akira Kurosawa (1), Michael Mann (1), Penny Marshall (1), Adam McKay (1), Steve McQueen (1), Theodore Melfi (1), Sam Mendes (1), Gillo Pontecorvo (1), Martin Scorsese (1), Steven Spielberg (1), Oliver Stone (1), Guillermo Del Torro (1), Robert Wise (1) Decades Represented: 60s (4), 70s (2), 80s (2), 90s (2), 00s (2), 10s (8)
  6. 13 points
    Personalizing a health plan based on an individual’s needs is smart and entirely appropriate — and IMO very different from the “vaccines will poison your child and cause autism because Big Pharma wants the money” commentary from the anti-vaxxer crowd.
  7. 12 points
    I don't post much here but I hope everyone in this forum is safe and doing fine. I really miss tracking the BO and going to the cinema. Last movie I watched before lockdown in cinemas was 'Little Women' but during quarantine I had time to catch up with movies like 'Sonic', 'Onward', 'Birds of Prey' or 'The Invisible Man' and I quite liked all of them. I live in The Netherlands and cinemas here are re-opening on the 1st of June with limited capacity and they are playing a mix of new movies (Onward, The Invisible Man) and "old" movies (Harry Potter, Interstellar) so I might go if cases here continue to decline and if I feel safe going. Also finally could book a plane ticket to go back home (Spain) for early July, I am a student living abroad so because of this situation I couldn't go back home until things cleared out a bit.
  8. 12 points
    ""Treason doth never prosper," wrote an English poet, "What's the reason? For if it prosper, none dare call it treason."" Historical Setting: 1960s, The Aftermath of the JFK Assassination Source from the Period "In a solemn and sorrowful hour, with a nation mourning its dead President, Lyndon B. Johnson Friday took the oath of office as the 36th chief executive of the United States. Following custom, the oath-taking took place quickly -- only an hour and a half after the assassination of President Kennedy. Federal Judge Sarah T. Hughes of Dallas administrated the oath in a hurriedly arranged ceremony at 2:39 p.m. aboard Air Force 1, the presidential plane that brought Kennedy on his ill-fated Texas trip and on which his body was taken back to Washington. Mrs. Johnson and Mrs. Kennedy, her stocking still flecked with blood from the assassination, flanked the vice-president as he raised his right hand in the forward compartment of the presidential jetliner at Love Field. About 23 White House staff members and friends were present as Johnson intoned the familiar oath: "I do solemnly swear that I will perform the duties of President of the United States to the best of my ability, and defend, protect and preserve the Constitution of the United States." The 55-year-old Johnson, the first Texan ever to become President, turned and kissed his wife on the cheek, giving her shoulders a squeeze. Then he put his arm around Mrs. Kennedy, kissing her gently on her right cheek. Mrs. Kennedy, in tears, was wearing the same bright pink suit she wore on the fatal ride, a ride in which she has been wildly acclaimed by friendly, cheering crowds in Dallas before rifle shots rang out and the President collapsed in the seat of the car beside her. Johnson had deliberately delayed the ceremony to give Kennedy's widow time to compose herself for one of the gruelling aspects of her husband's assassination. Connally spent four hours on an operating table, but his condition was reported as "quite satisfactory" at midnight. The assassin, firing from the sixth floor of the Texas School Book Depository Building near the Triple Underpass sent a Mauser 6.5 rifle bullet smashing into the President's head. An hour after the President died, police hauled the 24-year-old suspect, Lee Harvey Oswald, out of an Oak Cliff movie house. He had worked for a short time at the depository, and police had encountered him while searching the building shortly after the assassination. They turned him loose when he was identified as an employe [sic] but put out a pickup order on him when he failed to report for a work roll call. He also was accused of killing a Dallas policeman, J. D. Tippit, whose body was found during the vast manhunt for the President's assassin. Oswald, who has an extensive pro-Communist background, four years ago renounced his American citizenship in Russia and tried to become a Russian citizen. Later, he returned to this country. Shockingly, the President was shot after driving the length of Main Street, through a crowd termed the largest and friendliest of his 2-day Texas visit. It was a good-natured crowd that surged out from the curbs almost against the swiftly moving presidential car. The protective bubble had been removed from the official convertible. Mrs. Connally, who occupied one of the two jump seats in the car, turned to the President a few moments before and remarked, "You can't say Dallas wasn't friendly to you."" - KENNEDY SLAIN ON DALLAS STREET By ROBERT E. BASKIN Washington Bureau of The News Dallas Morning News Historical Context "On March 1, 1967, New Orleans businessman Clay Shaw was arrested at his home on 1313 Dauphine Street on charges that he conspired to assassinate President John F. Kennedy. New Orleans District Attorney Jim Garrison believed that Shaw had conspired with Lee Harvey Oswald and David Ferrie, an affiliate of New Orleans private investigator Guy Banister, in the assassination of the president. On November 23, 1963, the day after the assassination, Oswald had been formally accused of assassinating Kennedy. Garrison, along with many Americans, found it hard to believe that Oswald acted alone. In 1966, Garrison began an investigation linking Oswald to two New Orleanians, David Ferrie and Clay Shaw. Ferrie was linked to Oswald through a 1955 photo that showed Ferrie and Oswald at a social event as members of the Civil Air Patrol. A dubious eyewitness, under Garrison’s interrogation, recalled that he had heard Ferrie, Oswald, and Shaw discussing an assassination plot at a party hosted in Ferrie’s home. Additionally, Garrison believed Shaw to be the unidentified “Clay Bertrand” who, the day after the assassination, had phoned a New Orleans attorney requesting that the attorney represent Oswald. According to Garrison, Bertrand was Shaw’s alias in the New Orleans gay society. (In his investigation Garrison often exploited Shaw’s purported sexual preferences and his private life.) On March 2, 1967, the day after his arrest, Shaw was released on a $10,000 bond. In the following two years, Shaw and Garrison dominated the headlines of New Orleans newspapers, leading to national coverage of the trial of Clay Shaw." - The Arrest of Clay Shaw Rebecca Poole and Connie Gentry Historical Accuracy "Stone's crucial question remains: Why was Kennedy assassinated? He privately acknowledges not knowing, but he presents a strong feeling in JFK that can easily be accepted as fact. The implication is that Kennedy's death came as a result of a supposed 1963 decision to end the war in Vietnam by first withdrawing 1,000 troops. This might be coupled with Kennedy's conciliatory American University speech and the Nuclear Test Ban Treaty, both in 1963. Hence, Kennedy's cold war "betrayal" became the supposed motive of the Establishment. Yet the record is much less clear than presented in JFK. The 1,000-force cutback slated for the end of 1963 mostly involved a construction battalion that had completed its work; it was understood that it would be replaced by other troops. Moreover, the testimony of several contemporaries and Kennedy's own statements suggest that he intended no pullout after the 1964 election. In a 1964 oral history interview, Robert Kennedy, who knew his brother best, confirmed that the administration had not considered a withdrawal. When asked what the president would have done if the South Vietnamese appeared doomed, Robert answered in a way that truthfully expressed the ad hoc nature of the Kennedy presidency: "We'd face that when we came to it." The recently published Foreign Relations of the United States, Volume 4, Vietnam, August-December 1963, further affirms the no-pullout conclusion. Regardless of his admiration for Kennedy, Stone's primary purpose is not to elevate JFK's reputation. Exposing the Establishment for betraying the people's trust most drives Stone. His targets are the Warren Commission, the intelligence agencies, the military, the media, and the other hypocritical myth perpetrators of the cold war era. He responds with a countermyth so colossal and compelling that it commands our attention. But only the knowledgeable viewer can discern Stone's qualifiers and subtleties. In the film's final message, Stone leaves the resolution of the assassination to the "young, in whose spirit the search for truth marches on." Of course, JFK distorts history; of course, it is potentially dangerous to an alienated and uneducated public; and, of course, Stone and Warner Brothers stand to make millions from it. This aside, Stone's riveting drama has contributed to an unprecedented interest in the Kennedy assassination. Teachers can use the film as a teaching tool in conjunction with the innumerable scholarly works on the assassination—many of them recently heading the best-seller lists. Moreover, this frenzied publicity may also cause the government to open all of the restricted material on the assassination—the files of the CIA and the FBI, the House investigation, the Church Committee investigation on intelligence in 1975, and the Warren Commission. Senator Edward Kennedy has indicated that the Kennedy family has no objections to such a release. On ABC's Nightline, in January, Congressman Louis Stokes, chair of the 1978 House Committee investigation, and David Belin, Warren Commission counsel, both indicated that they favored opening all of the material. Perhaps as a result of such a full disclosure, we might know much more about Kennedy's assassination and the investigations themselves despite the deaths of witnesses and the destruction of evidence. Only then might this matter be put to rest." - James N. Giglio, Professor of History at Southwest Missouri State University The Film Itself The Story "On November 22, 1963, president John F. Kennedy is assassinated in Dallas. Lee Harvey Oswald is arrested for the crime and subsequently shot by Jack Ruby, supposedly avenging the president's death. An investigation concludes that Lee Harvey Oswald and Jack Ruby acted alone in their respective crimes, but Louisiana district attorney Jim Garrison is skeptical. Assembling a trusted group of people, Garrison conducts his own investigation, bringing about backlash from powerful government and political figures." Critic Review "The subterfuge and corruption of JFK takes place, not in a seedy noirish milieu, but in a world so bleached out that its brightness hurts the eyes. Stone knits together the searing imagery with rapid-fire editing that simultaneously scrambles then invigorates the brain (for all its visual pyrotechnics, the director plays out his most important points — Sutherland's informant X spilling the beans to Garrison—with just two men talking on a park bench). Much of Stone's visual and aural fireworks were laid out in his screenplay. Naturally, faced with a 158-page document filled to the brim with flashbacks, execs at Warner Brothers were confused, so Stone presented them with a simpler blueprint for the film and then rebuilt the current prismatic structure in the edit suite. "I wanted to do the film on two or three levels," ran Stone's erudite and convincing argument. "Sound and picture would take us back, and we'd go from one flashback to another, and then that flashback would go inside another flashback. I wanted multiple layers because reading the Warren Commission report is like drowning." JFK — which was awarded Empire's Movie Masterpiece in 2000 — makes a mockery of the idea that courtroom dramas have to be stagey affairs. Throughout the film, different formats and film stocks offer competing versions of truths; real and recreated news footage, 8mm home movies, still photographs, diagrams, black and white drama and colour all add to the fractured nature of the storytelling. Occasionally, it looks like a pattern is emerging from the intensity — monochrome seems to be the idiom for "speculation" — but there never is a formula. The razzle-dazzle editing is meant to enliven dry testimony, but it also sits at the core of JFK's theme: what we held true about the pastwill always be just a collage of conflicting histories." - Empire BOT User Review "I was taken to see this film by my Honors History teacher at the time. She took the history club, which I wasn't a part of, but since I was the only student in her class not part of the club, she let me tag along anyway. I do enjoy the film. It is well made and acted. I am not going to get into the inaccuracies or anything as they are well documented, but that doesn't change how good the film really is. It didn't affect me as much as some as my dad was heavy into the whole thing so I had books and such all around when I was a kid. So I read up a lot before the movie was even being done. But I can definitely see how this movie could influence people. Overall, if people were influenced in the right way, then that is a testament to the movie." - @75Live Factoids JFK is the first conspiracy fiction movie to somehow make the historical fiction list, it was directed by Oliver Stone. JFK received 54 points and 9 votes. Countries Represented: Algeria (1), Austria (2), Belarus (1), Brazil (1), England (1), France (2), Germany (2), Israel (2), Korea (1), The Ocean (2), Poland (1), Japan (3), Russia (1), Scotland (1), Spain (1), United States (17), Vietnam (1) Time Periods Represented: 16th Century (1), 17th Century (2), 18th Century (2), 19th Century (5), 1920s (2), 1930s (3), 1950s (2), 1960s (7), 1990s (1), 21st Century (2), Classical Period (2), Middle Ages (2), World War 1/1910s (2), World War 2/1940s (7) Cross Section of Times and Countries: 18th Century - Austria (1), 18th Century - United States (1), 19th Century - The Ocean (1), 19th Century - United States (4), 21st Century - United States (2), 1910s-1920s - Russia (1), 1920s - United States (1), 1930s - Germany (1), 1930s - Korea (1), 1930s - United States (1), 1950s - Algeria (1), 1950s - United States (1), 1960s - Brazil (1), 1960s - United States (5), 1960s - Vietnam (1), 1990s - United States (1), Classical Period - Israel (2), Middle Ages - England (1), Middle Ages - Scotland (1), Sengoku Period - Japan (1), Tokugawa Shogunate - Japan (2), World War 1 - France (2), World War 2/1940s - Belarus (1), World War 2/1940s - Germany (1), World War 2 - The Ocean (1), World War 2/1940s - Poland (1), World War 2/1940s - Spain (1), World War 2 - Austria (1), World War 2 - United States (1) Directors Represented: Park Chan-Wook (1), Francis Ford Coppola (1), Kevin Costner (1), Andrew Dominik (1), Stanley Donen (1), David Fincher (2), John Ford (1), Milos Forman (1), Bob Fosse (1), Mel Gibson (1), Anthoney Harvey (1), Terry Jones (1), Philip Kaufman (1), Gene Kelley (1), Elem Klimov (1), Masaki Kobayashi (1), Stanley Kramer (1), Akira Kurosawa (1), David Lean (1), Michael Mann (1), Penny Marshall (1), Fernando Meirelles (1), Adam McKay (1), Steve McQueen (1), Theodore Melfi (1), Sam Mendes (1), Lewis Milestone (1), Wolfgang Peterson (1), Gillo Pontecorvo (1), Martin Scorsese (2), Steven Spielberg (2), Oliver Stone (2), John Sturges (1), Guillermo Del Torro (1), Peter Weir (1), Robert Wise (1), William Wyler (1) Decades Represented: 30s (1), 40s (1), 50s (2), 60s (7), 70s (3), 80s (6), 90s (5), 00s (6), 10s (9)
  9. 12 points
    Here is the next batch of honorable mentions before I do a some more full writes ups for the top 50 in an hour or so. 91. The Godfather Part II 92. Persepolis 93. A Man for All Seasons 94. Blood Diamond 95. Becket 96. Barry Lyndon 97. First Man 98. Ugetsu 99. The Searchers 100. Cinema Paradiso
  10. 12 points
  11. 10 points
    Congratulations on the child! Your family is somehow lucky that at least she was born just before shit hit the fan. Mine isn't so luck unfortunately, my baby girl will be born sometime in the next couple of weeks, just as my country hits 1k deaths per day. What a sad world to be born into, isn't it? But nonetheless I can't wait to see her and watch her grow up, that's the real joy and I hope you get a lot of joy from yours as well.
  12. 10 points
    "Houston, we've had a problem." Historical Setting: 1969, Apollo 13 Lunar Mission Source from the Period "055:55:19 Swigert: Okay, Houston... 055:55:19 Lovell: ...Houston... 055:55:20 Swigert: ...we've had a problem here. [Pause.] 055:55:26 Fenner (GUIDO): FLIGHT, GUIDANCE. 055:55:27 Kranz (FLIGHT): Go GUIDANCE. 055:55:28 Lousma: This is Houston. Say again, please. 055:55:28 Fenner (GUIDO): We've had a Hardware Restart. I don't know what it was. 055:55:30 Kranz (FLIGHT): Okay. GNC, you want to take a look at it? See if you see any problems? 055:55:35 Lovell: [Garble.] Ah, Houston, we've had a problem. We've had a Main B Bus Undervolt. 055:55:36 Kranz (FLIGHT): Roger, we're copying it, CapCom. We see a hardware restart. 055:55:41 Kranz (FLIGHT): You see an AC Bus Undervolt there, GUIDANCE - ehhhm EECOM? 055:55:42 Lousma: Roger. Main B Undervolt. [Long pause.] 055:55:46 Liebergot (EECOM): Negative, FLIGHT 055:55:48 Kranz (FLIGHT): I believe the crew reported it. 055:55:50 Lousma (CAPCOM): We've got a Main Bus B undervolt. 055:55:51 Liebergot (EECOM): Okay, flight, we've got some instrumentation funnies. Let me add them up. 055:55:54 Kranz (FLIGHT): Roger. 055:55:58 Lousma: Okay, stand by, 13. We're looking at it. [Pause.]" - Day 3, part 2: 'Houston, we've had a problem' Apollo 13 Lunar Surface Journal Historical Context "The Apollo 13 mission was launched at 2:13 p.m. EST, April 11, 1970 from launch complex 39A at Kennedy Space Center. Apollo 13 Launch The space vehicle crew consisted of James A. Lovell, Jr. commander, John L. Swigert, Jr., command module pilot and Fred W. Haise, Jr. lunar module pilot. The Apollo 13 Mission was planned as a lunar landing mission but was aborted en route to the moon after about 56 hours of flight due to loss of service module cryogenic oxygen and consequent loss of capability to generate electrical power, to provide oxygen and to produce water. Spacecraft systems performance was nominal until the fans in cryogenic oxygen tank 2 were turned on at 55:53:18 ground elapsed time (GET). About 2 seconds after energizing the fan circuit, a short was indicated in the current from fuel cell 3, which was supplying power to cryogenic oxygen tank 2 fans. Within several additional seconds, two other shorted conditions occurred. Electrical shorts in the fan circuit ignited the wire insulation, causing temperature and pressure to increase within cryogenic oxygen tank 2. When pressure reached the cryogenic oxygen tank 2 relief valve full-flow conditions of 1008 psi, the pressure began decreasing for about 9 seconds, at which time the relief valve probably reseated, causing the pressure to rise again momentarily. About a quarter of a second later, a vibration disturbance was noted on the command module accelerometers. The next series of events occurred within a fraction of a second between the accelerometer disturbances and the data loss. A tank line burst, because of heat, in the vacuum jacket pressurizing the annulus and, in turn, causing the blow-out plug on the vacuum jacket to rupture. Some mechanism in bay 4 combined with the oxygen buildup in that bay to cause a rapid pressure rise which resulted in separation of the outer panel. The panel struck one of the dishes of the high-gain antenna. The panel separation shock closed the fuel cell 1 and 3 oxygen reactant shut-off valves and several propellant and helium isolation valves in the reaction control system. Data were lost for about 1.8 seconds as the high-gain antenna switched from narrow beam to wide beam, because of the antenna being hit and damaged. As a result of these occurrences, the CM was powered down and the LM was configured to supply the necessary power and other consumables. The CSM was powered down at approximately 58:40 GET. The surge tank and repressurization package were isolated with approximately 860 psi residual pressure (approx. 6.5 lbs of oxygen total). The primary water glycol system was left with radiators bypassed. All LM systems performed satisfactorily in providing the necessary power and environmental control to the spacecraft. The requirement for lithium hydroxide to remove carbon dioxide from the spacecraft atmosphere was met by a combination of the CM and LM cartridges since the LM cartridges alone would not satisfy the total requirement. The crew, with direction from Mission Control, built an adapter for the CM cartridges to accept LM hoses. The service module was jettisoned at approximately 138 hours GET, and the crew observed and photographed the bay-4 area where the cryogenic tank anomaly had occurred. At this time, the crew remarked that the outer skin covering for bay-4 had been severely damaged, with a large portion missing. The LM was jettisoned about 1 hour before entry, which was performed nominally using primary guidance and navigation system." - APOLLO 13 (AS-508), Smithsonian Air and Space Museum Historical Accuracy "The 1995 film Apollo 13 has been praised for its accuracy, but many people still wonder if director Ron Howard played up the tension among the astronauts and inside mission control to heighten the movie's emotional impact. Bill Parkinson, an attorney working for the U.S. Department of Justice in Dallas, is one of the wonderers. "Apollo 13 portrayed the capsule's reentry as protracted beyond all expectations," he writes. "As a teenage junkie for all things aeronautical, I followed that flight and seem to recall that the flight's descent path was shallower than ideal, and that the blackout period was indeed much longer than it should have been. [But] I'm certain the movie embellished the scenario for dramatic effect. Can you help before I tear out what little is left of my hair when the movie is on?" Even when they finally heard astronaut Jack Swigert's voice over the radio, confirming that the crew had survived, the controllers didn't say a word, just kept silent until the capsule splashed down in the Pacific nine minutes later, according to Cooper's account. (In the movie, as soon as the astronauts are proven to be alive, the cheering starts.) At 12:07 p.m. Houston time on April 17, Odyssey hit water and the flight controllers finally cheered. At least one contemporary account did downplay the drama of that day. BBC reporter Reginald Turnill wrote that after Swigert, Jim Lovell, and Fred Haise moved into the command module in preparation for their return, "it was a familiar reentry procedure." Kranz scoffs at this. "We had a 500-plus item checklist that had been written only hours before," he says. "Power and water were critical, we did an emergency trajectory correction maneuver, and a battery was predicted to fail about the time the chutes came out. Nothing about the reentry was routine in mission control." It seems, then, that the movie got the reentry scene mostly right. But that's not to say Howard has a perfect record. On the tenth anniversary DVD of Apollo 13, Lovell and his wife Marilyn detail several inaccuracies, including the inflated role of astronaut Ken Mattingly (whose work is an amalgamation of efforts undertaken by several astronauts and engineers), exaggerated doubts about Swigert's role in the mission, and the fact that the engine burn that corrected their course was not, as the movie showed, aimed in the direction of Earth." - Did Ron Howard Exaggerate the Reentry Scene in Apollo 13?: A little, maybe, but not much, Air and Space Magazine The Film Itself The Story "Based on the true story of the ill-fated 13th Apollo mission bound for the moon. Astronauts Lovell, Haise and Swigert were scheduled to fly Apollo 14, but are moved up to 13. It's 1970, and The US has already achieved their lunar landing goal, so there's little interest in this "routine" flight.. until that is, things go very wrong, and prospects of a safe return fade." Critic Review "A movie about astronauts — Pauline Kael once called them walking apple pies — raises visions of flag-waving and the gung-ho sentimentality we expect from director Ron Howard (Cocoon, Parenthood). Well, surprise. Howard lays off the manipulation to tell the true story of the near-fatal 1970 Apollo 13 mission in painstaking and lively detail. It’s easily Howard’s best film. Cmdr. Jim Lovell (Tom Hanks) and co-pilots Jim Swigert (Kevin Bacon) and Fred Haise (Bill Paxton) are on their way to a lunar landing — the third in NASA history — when a tank of compressed liquid oxygen explodes in the spacecraft. To avoid death by freezing or suffocation, the three men squeeze into the ship’s lunar lander, basically a tin can that might keep two men alive for two days. It will take four days to get them back — that is, the men aren’t incinerated on reentering the Earth’s atmosphere. Houston, we have a problem,” Lovell tells mission control, headed by Gene Kranz (Ed Harris in ironman mode). It’s a typical understatement from Lovell, whose 1994 book, Lost Moon (written with Jeffrey Kluger), formed the basis of the screenplay by William Broyles Jr. and Al Reinert. Hanks gives another great performance — instinctive and assured. He humanizes the hardware and the space-speak, shows feeling in Lovell’s scenes with his children and wife, Marilyn (a touching Kathleen Quinlan), and subtly draws us into the heartache of a dedicated man who won’t fulfill his dream to set foot on the moon. There is nothing showy in the Philadelphia and Forrest Gump mode in what Hanks does here, yet his acting as the unassuming Lovell ranks with his most impressive work. Bacon and Paxton also do wonders in fleshing out their characters with an assist from script doctor John Sayles. Gary Sinise is superb as Ken Mattingly, the pilot whose exposure to measles knocked him out of the flight in favor of the less-experienced Swigert. Sitting in a flight simulator, Mattingly tries to figure out a way to get his buddies home. Though the trio’s safe return is historical fact, Howard and editors Michael Hill and Daniel Hanley build nail-biting tension in the crosscutting from ship to mission control. The you-are-there feeling is intensified by cinematographer Dean Cundey’s documentary realism. It all adds up to a triumph of stirring storytelling and heart-stopping suspense." - Peter Travers, Rolling Stone BOT User Review "Two of my favorite moments early on are where Tom Hanks is leading the tour around Cape Kennedy & remarks how anything is possible then talks about a computer fitting in a single room & containing millions of pieces of information. This was filmed in 1995 so remember the real internet explosion to becoming everything in our daily lives hadn't happened yet so very nice touch by Hanks & Ron Howard portraying how fast we can accomplish things that seem impossible. That quote "give me a lever long enough & I'll move the world" should be used more today in the space program. It's sad how little of importance NASA (space exploration in general) has become in the 21st Century. 2nd is much smaller philosophically, but when Hanks is calming his wife down about the mission having the number 13, he brushes it off as any scientist would. It goes to show you despite all the randomness out there things can happen that defy expectation. What were the odds to have something unlucky happen & survive? They can't be good but somehow it turned into one of our space programs finest moments." - @GiantCALBears Factoids Apollo 13 was directed by Ron Howard. It received 64 points and 10 votes. Countries Represented: Algeria (1), Austria (2), Belarus (1), Brazil (1), Burma (1), England (1), France (2), Germany (2), Israel (2), Korea (1), The Ocean (3), Outer Space (1), Poland (1), Japan (4), Russia (1), Scotland (1), Rome (1), Spain (1), United States (17), Vietnam (1) Time Periods Represented: 16th Century (2), 17th Century (2), 18th Century (2), 19th Century (5), 1920s (2), 1930s (3), 1950s (2), 1960s (8), 1990s (1), 21st Century (2), Classical Period (3), Middle Ages (2), World War 1/1910s (3), World War 2/1940s (8) Cross Section of Times and Countries: 18th Century - Austria (1), 18th Century - United States (1), 19th Century - The Ocean (1), 19th Century - United States (4), 21st Century - United States (2), 1910s - The Ocean (1), 1910s-1920s - Russia (1), 1920s - United States (1), 1930s - Germany (1), 1930s - Korea (1), 1930s - United States (1), 1950s - Algeria (1), 1950s - United States (1), 1960s - Brazil (1), 1960s - Outer Space (1), 1960s - United States (5), 1960s - Vietnam (1), 1990s - United States (1), Classical Period - Israel (2), Classical Period - Rome (1), Middle Ages - England (1), Middle Ages - Scotland (1), Sengoku Period - Japan (2), Tokugawa Shogunate - Japan (2), World War 1 - France (2), World War 2/1940s - Belarus (1), World War 2 - Burma (1), World War 2/1940s - Germany (1), World War 2 - The Ocean (1), World War 2/1940s - Poland (1), World War 2/1940s - Spain (1), World War 2 - Austria (1), World War 2 - United States (1) Directors Represented: James Cameron (1), Park Chan-Wook (1), Francis Ford Coppola (1), Kevin Costner (1), Andrew Dominik (1), Stanley Donen (1), David Fincher (2), John Ford (1), Milos Forman (1), Bob Fosse (1), Mel Gibson (1), Anthoney Harvey (1), Ron Howard (1), Terry Jones (1), Philip Kaufman (1), Gene Kelley (1), Elem Klimov (1), Masaki Kobayashi (1), Stanley Kramer (1), Akira Kurosawa (2), David Lean (2), Michael Mann (1), Penny Marshall (1), Fernando Meirelles (1), Adam McKay (1), Steve McQueen (1), Theodore Melfi (1), Sam Mendes (1), Lewis Milestone (1), Wolfgang Peterson (1), Gillo Pontecorvo (1), Martin Scorsese (2), Ridley Scott (1), Steven Spielberg (2), Oliver Stone (2), John Sturges (1), Guillermo Del Torro (1), Peter Weir (1), Robert Wise (1), William Wyler (1) Decades Represented: 30s (1), 40s (1), 50s (4), 60s (7), 70s (3), 80s (6), 90s (7), 00s (7), 10s (9)
  13. 10 points
    Mrs. Tele was finally able to secure a PPP loan. It took her and her business partner over half a dozen attempts — in the end they hired a PPP loan specialist to help them get it (yes, that’s a specific job that some consultants are doing now). The lack of formal details and confusing/conflicting information coming from the government made this whole thing a nightmare (for the banks too, from what I can tell, although it also seems like a lot of them fell back on just immediately giving loans to their big clients).
  14. 9 points
    January 6-8 “Gateways” Opens a Portal to the New Year, “Vixen” Barely a Glimmer Holdovers from a holiday season dominated by Gateways and Most Wanted Man in Great Britain ruled the box office top ten, as expected. In terms of post-holiday weekends, this one was a bit below average, with the weekend’s sole new release, Vixen and the Flaming Feather, barely falling behind in fourth place with a $6.1 million gross. With a $13.5 million production budget, “Vixen” should be in the black in the long run, but as the debut feature for a new CAYOM distributor it’s not a smash hit out of the gate, not that it was ever expected to be. The film received a “B” cinemascore with audiences, which sounds about right given the artier nature of the production. Gateways - $34,363,720 (-54.4%) The Most Wanted Man in Great Britain - $20,027,982 (-27.7%) Guardians of the Internet - $6,294,962 (-47.7%) Vixen and the Flaming Feather - $6,110,765 (1st weekend) Bleach - $3,802,856 (-34.9%) Duck Hunt - $3,544,554 (-31.1%) Paradise Island - $2,882,469 (-18.7%) The Neon Psalms - $2,387,993 (-69.6%) Thawed - $2,051,529 (-61.4%) LucIId - $1,089,977 (-55.5%) Top 10: $82,556,807 (-43.6%) January 13-16 (Martin Luther King Jr. Weekend) “Hypercompetency” Competent if Not Especially Hyper, “Father” Knows His Third Place Hypercompetency outperformed every other Wachowski feature bar The Matrix sequels with a decent MLK weekend for a sci-fi tentpole. The issue, however, is that “Hyper” is its own worst enemy when it comes to its cost, and recovering the $185 million spent on it is going to prove mightily difficult without an international rescue. Still, with expectations for an opening in the 40s, “Hyper” hitting the mark should allow Blankments Productions executives to at least sleep at night. Sporting a “B+” cinemascore, word of mouth is solid enough. Praise has been laid towards “Hyper”’s action sequences, which may or may not aid holds in the long run, although the coming weeks aren’t exactly empty on other action films. Serving an underserved audience, Father Knows Worst performed somewhat above expectations with a near $22 million opening over the four-day, even if it’s middle of the road for a Tyler Perry feature. Like most of Tyler Perry's work, it pleased the audience it served if no one else, scoring a “A” cinemascore. Hypercompetency - $42,695,011 / $50,196,110 (1st weekend) Gateways - $23,985,877 (-30.2%) Father Knows Worst - $18,841,594 / $21,938,886 (1st weekend) The Most Wanted Man in Great Britain - $11,796,482 (-41.1%) Vixen and the Flaming Feather - $3,977,110 / $5,288,510 (-34.9%) (2nd weekend) Guardians of the Internet - $2,492,805 (-60.4%) Paradise Island - $2,228,148 (-22.7%) Bleach - $1,985,091 (-47.8%) Duck Hunt - $1,729,742 (-51.2%) The Neon Psalms - $976,689 (-59.1%) Top 10 (3-day): $110,708,549 (+31.7%) January 20-22 “Hyper” Rules by Default Because not much of note came out this weekend, box office was reliant on holdovers from the MLK weekend to keep things afloat, and they did a decent if not overly impressive job at that. Hypercompetency both did and did not freeze in place during week two, in that it remained in top position, but it also didn’t crash either, dropping just over fifty percent and should be the first film of the year to gross over $100 million within a week or two. The week’s lone release, Finders Keepers, found next to no audience to keep as it played to mostly empty screens this weekend. Locating a “C-” cinemascore among those who saw it, mostly due to its generic characters and unappealing premise, this Numerator Pictures dump is the first film of the year to underperform to expectations although, with a $10 million budget, the final total shouldn’t sting their wallets too much, especially when the real money lies with the Pillars of Eternity trilogy finale in two months. Hypercompetency - $21,060,229 (-50.7%) (2nd weekend) Gateways - $17,413,747 (-27.4%) Father Knows Worst - $10,007,119 (-46.9%) (2nd weekend) The Most Wanted Man in Great Britain - $6,771,180 (-42.6%) Finders Keepers - $6,555,110 (1st weekend) Vixen and the Flaming Feather - $3,006,896 (-24.3%) (3rd weekend) Paradise Island - $2,807,467 (+26.0%) Duck Hunt - $1,555,038 (-10.1%) Guardians of the Internet - $1,184,082 (-52.5%) Bleach - $1,103,711 (-44.4%) Top 10 gross: $71,464,579 (-35.4%) January 27-29 “Outside” Decent on the Inside A week after Finders Keepers bombed with audiences, Numerator Pictures’ other January release, Outside the Law, debuted to decent enough numbers to take the top spot. With a “B” cinemascore from moviegoing audiences, word of mouth is fairly average, which makes sense seeing how the film has often been criticized as being generic. With only one release again this weekend, the box office is slowing down considerably, and next weekend looks especially grim for forecasters. Buckle up, we’re going to the Super Bowl. Outside the Law - $20,116,765 (1st weekend) Hypercompetency - $13,054,110 (-38.0%) (3rd weekend) Gateways - $11,911,003 (-31.6%) The Most Wanted Man in Great Britain - $8,531,687 (+26.0%) Father Knows Worst - $6,804,110 (-32.0%) (3rd weekend) Finders Keepers - $3,351,990 (-48.9%) (2nd weekend) Paradise Island - $2,024,184 (-27.9%) Vixen and the Flaming Feather - $1,900,829 (-36.8%) (4th weekend) Duck Hunt - $785,294 (-49.5%) Bleach - $664,434 (-39.8%) Top 10 gross: $69,144,406 (-3.2%)
  15. 8 points
    SEPTEMBER (3:37AM - To be perfectly honest, I expected this to be worse. No, it's not good, but as a mystery thriller, it kept me engaged. But it was also pretty dull, it blends into the Groundhog Day genre like any other of those movies and found footage horror is totally outdated at this point. - C-) (3:38AM - Now this is the DUD I expected the first one to be. It's exactly the same movie. Like, 100%. The only key difference is it's a guy instead of a girl. Talk about no effort whatsoever. - F) 3:32AM - Laughing. My. Fucking. Ass. Off. I don't know what's funnier: the fact that this is a prequel that's completely pointless because it doesn't explain anything, or if it's still exactly the same movie. - F The First Month - At the top of the first month (LOL) of the fall is this WWIII drama from Numerator, brought to us by a director with strong irl output and... not so strong CAYOM output (BioShock, anyone?). Thankfully, this is not another BioShock. The First Month is a triumph in writing, ensemble acting and directing. It's a smart script that brilliantly explores the many different reactions that a group of people, all of whom supposed to be iron-faced, would have to a catastrophe out of their control. It's fascinating to see all the discrepancies in the ways people cope with the disaster. Of course, the script would have little to it were it not for the great cast boosting this movie up. Everyone is really good to great, with extra kudos going to Bruce Greenwood for his stupendous supporting performance. The tension is palpable with a butter knife and the editing is terrific as well. The only downsides to this movie are that it starts off a little shaky, as the movie throws so many characters at you that it's hard to feel anything for all of them up until the plot truly begins to unravel; and the villain, while serviceable, felt a little cartoony at times. Still, The First Month is a really strong putting from Alex Garland and one that's sure to have my attention in a number of Oscar ballots. - A- Banjo-Kazooie - After last year's quiet and ponderant adaptation of Pikmin, New Journey Pictures' latest attempt to bring a Nintendo game to the screen is this musical animation revival of Rareware's legendary Banjo-Kazooie. What is there to say about Banjo that you can't say about your typically solid and entertaining family adventure? Well, it's definitely a strong adaptation of the game, so if you're a diehard fan of the game and just want to see that be faithfully adapted, you're getting an A+ effort here. But does that work as a movie? Yeah, it does. At its core, this is a simple musical family adventure, and it works for two reasons: the voice cast, which is great all around (highlight, besides Freddie Highmore and Beanie Feldstein, is Frances McDormand as the film's wicked villain Gruntilda); and the core relationship between the nutty but courageous Banjo and the sassy but intelligent Kazooie. The animation is good, the adventure is fun and the characters are likeable. The movie comes to issues in terms of structure, because it really feels like the video game adaptation that it is, with its "go here, go there, collect this, collect that" approach to its plot that sometimes puts character development behind for the sake of adventure. Also, the musical numbers, while fine, were pretty redundant for the plot. But overall, Banjo-Kazooie is a solid achievement that should give anyone of any age some enjoyment. - B Columbine - Hmmm... this is a weird movie. The second of two Cannastop Productions launch titles, after the honestly terrible Lena And The Featherweights, is this awards hopeful from Sam Mendes about the 1999 Columbine High School massacre. Most reviews have pegged this as a gross cash-in on a tragedy, but @SLAM!'s review kinda highlighted another interpretation that you could have towards this movie (that of an exploration of how sudden and unexplainable evil can really be). After watching the movie for myself, I can kinda see both interpretations. On one hand, you have a movie that barely touches on any sort of motivation that the two perpetrators of the incident could have had to go on and do something as monstruous as what they did (there's some rumblings of bullying and mistreatment). It just shows you what the life of these two teenagers was and then goes on in graphic detail to depict the massacre itself, almost as if Mendes was shooting one of his war sequences from 1917... only about the mass murder of innocent youngsters instead of a heroic rush. (Yes, that's exactly what @cookie said, and I back him up.) On the other, if you see it from that other point of view, you can kinda see some hidden brilliance in the film simply depicting a tragedy with no explanation for why it happened whatsoever. That being said, it doesn't mask the fact that this movie is without a doubt misguided, because whoever thought it was a good decision to turn the Columbine massacre into a Hollywood spectacle of sorts where we see, no holds barred, Eric Harris and Dylan Klebold unleash the carnage that made them an infamous piece of history should really rethink how they approach movies. Nevermind the fact that the cast, while supremely talented, is totally overqualified and miscast... we're talking about people who are both and/or either way too old for the roles they're playing or way too talented for them. This is a deeply, deeply flawed attempt at touching at one of America's darkest moments, and while there is an underlying element of interest in the way Columbine approaches its subject matters, it really isn't a movie that I can honestly recommend. - D Dawn Of The Last Six - I was probably one of the most positive reviewers of the original The Last Six that I know of. Personally, I found it to be basically The Avengers lite, but fun for what it was. So I actually had some sort of expectations for this sequel, directed by James Wan who knows how bring spectacle together. I walked out of Dawn Of The Last Six pretty disappointed. This is a boring ass movie that dives way too deep into exposition and takes too long to get to the meaty bits. Now, those meaty beats are fun and unique. But to get there, you have to go through a slog of exposition and honestly uninteresting character interactions. The characters here are not as well written as they were in the first movie, and with a less interesting villain and another new character that is basically annoying to the point of where you could punch him. The sad thing is the movie is actively trying to be more dialed down and more centered on character drama, but it just falls flat on its face because the writing doesn't live up to the necessary quality. And I don't even know how it got a 200M budget, it feels cheaper than its predecessor. It takes points for its takes on what would the point of home be if there wasn't anyone else in it, as well as for its gender-bending fun third act, but generally, I'd suggest you just go and watch The Long Way Home again if you're still seeking action tentpole thrills in September. - C- Fish Fry - Meh. It's another Tyler Perry movie. It's heartfelt enough, but it feels perfunctory. There's hardly much of a plot beyond just this one guy getting better as a person, which, again, is commendable in spirits, but makes for some seriously dull filmmaking, especially in the hands of someone who handles drama so cartoonishly overdramatically like Tyler Perry. - D+ Laika - First thing's first: FUCK HUMANITY. Like, fuck it. Fuck human beings. Okay, that out of the way, second thing's second: I know that my position to talk about a movie that deals with animal cruelty should be limited due to my Love After Loving fuck-up, but again, that was a mistake. What the humans depicted in Laika - humans who were very, very real, by the way - did towards this innocent fighter, to them, wasn't a mistake, however, and that is honestly the most shocking thing that this story has to teach: there was a point in time where humanity didn't value life outside of its own. The selfish, arrogant nature of our kind to the point where it completely dismissed inhuman life is explored here to maximum degree of emotional effect. It's impossible not to feel empathy for poor Kudryavka - I refuse to call it Laika, by the way - and for anyone to tried to save her from her harrowing fate. Carey Mulligan, Douglas Hodge and Olivia Colman stand out in this superb voice cast ensemble, while Michael Sheen's performance gives some degree of humanity to even the dark side of "scientific necessity". The animation, despite running on a small budget, looks beautiful, it being directly inspired by the graphic novel. And the score? Haunting. There's just nothing else to be said here... this movie will haunt me for a long, long time. And if you are a dog lover, I think it's best for you not to watch this movie, as it will traumatize you for life. As for anyone else... I dare you to face humanity at its coldest. This movie stunned me.
  16. 8 points
    Great post from an immunology professor at Dartmouth. Highly suggest reading the full thing. Contains really practical information on minimizing risk to infection, infecting others and understanding the risks that come with various reopenings. ”The reason to highlight these different outbreaks is to show you the commonality of outbreaks of COVID-19. All these infection events were indoors, with people closely-spaced, with lots of talking, singing, or yelling. The main sources for infection are home, workplace, public transport, social gatherings, and restaurants. This accounts for 90% of all transmission events. In contrast, infections while shopping appear to be responsible for 3-5% of infections. (ref) Importantly, of the countries performing contact tracing properly, only a single outbreak has been reported from an outdoor environment (less than 0.3% of traced infections). (ref)” http://erinbromage.wixsite.com/covid19/post/the-risks-know-them-avoid-them
  17. 8 points
    Good news from Hungary! Numbers from mass testing starting in early May are coming in. Over 12k results from the last 2 days, only 58 positives which is less than 0.5%. Yesterday the number of new cases was 19, lowest in a month and second lowest since 21 March. Deaths per day are in the high single digits, which is still high for a country this size, but at least it's not increasing.
  18. 8 points
    Ugh Nate in general does a solid job with his work with political science, sports models and polling models but many of his takes have been fairly bad about COVID-19 (not all of them, he’s just been a mixed bag on this subject). This is certainly an odd take given the fact there are clear peers to the US that have managed the crisis quite a bit better, such as New Zealand and South Korea. It’s also odd to assume that if most major Western European countries have responded poorly that their responses must have been optimal and unavoidable.
  19. 7 points
    March 3-5 “Doghouse” Gets Thrown a Bone The David Fincher soap opera drama In The Doghouse took the top spot with an expected $30 million opening. As the first feature from Phoenix Fire Entertainment with any decent box office prospects (Vixen was always going to be a low-key performer, and this outlet refuses to call Love After Loving a “feature”), hitting expectations should be considered a victory if nothing else. While some loftier predictions pegged it to open above Fincher’s own Gone Girl, “Doghouse” simply didn’t have the traction to open that high, and with mixed reviews is unlikely to have the same staying power (audiences awarded it a “B-”), but the lack of similar fare in the coming months should help carry legs to an extent. Business continued as usual below “Doghouse,” although Conventionally Wiser slipped to fourth place below Starlight and Carver continued its strong run. In the Doghouse - $30,744,077 (1st weekend) Plastic Man - $15,046,875 (-43.8%) (3rd weekend) Starlight - $13,101,786 (-33.0%) (4th weekend) Conventionally Wiser - $11,099,778 (-55.0%) (2nd weekend) Carver - $5,420,787 (-23.7%) (3rd weekend) The Scavenger Wars Part II: Director’s Cut - $3,185,668 (-55.7%) (2nd weekend) Outside the Law - $1,266,796 (-38.4%) (6th weekend) Hypercompetency - $1,250,893 (-45.3%) (8th weekend) Paradise Island - $1,142,316 (-40.8%) Gateways - $947,428 (-43.5%) Top 10 gross: $83,206,404 (-12.4%) March 10-12 “Higher Ground” More of a Gentle Slope With mixed reviews and a “C-” score from moviegoers, New Journey Pictures’ Higher Ground slid below even the lowest of expectations (most forecasts pegged an opening between $25 to 35 million) with a gross of only just over $20 million. Drawing from the disaster genre which was hugely successful a few years ago (see The Towering Inferno and Cataclysmic) but has stalled in recent times due to a lack of appealing fare, “Ground” was the latest to be, well… grounded at the box office, pardon the pun. Audience criticism seems to stem from the fact that the “disaster” aspect was overhyped, and the rest of the film took a turn that left viewers on a sour note. With the Pillars trilogy finale arriving just a week from now, the question is if “Ground” could even reach a $60 million total gross, but with a $50m budget and likely more forgiving international markets, the end result shouldn’t sting too bad for the studio. Down at number five, the Cardi B concert film Dazzling opened to standard concert film numbers. Because the audience attending these are fans, the doc received an “A” cinemascore almost by default. Higher Ground - $20,432,079 (1st weekend) In the Doghouse - $17,440,669 (-43.3%) (2nd weekend) Starlight - $10,350,884 (-20.1%) (5th weekend) Plastic Man - $10,334,885 (-31.3%) (4th weekend) Dazzling - $7,196,797 (1st weekend) Conventionally Wiser - $6,796,237 (-38.8%) (3rd weekend) Carver - $4,557,206 (-15.9%) (4th weekend) The Scavenger Wars Part II: Director’s Cut - $1,800,445 (-43.5%) (3rd weekend) Hypercompetency - $897,116 (-28.3%) (9th weekend) Outside the Law - $860,009 (-32.1%) (7th weekend) Top 10 gross: $80,666,327 (-3.1%) March 17-19 “Pillars” Leaves Box Office Legacy When they say “beware the Ides of March,” what they really mean is “watch out for Ana De Armas,” for her breakout fantasy franchise Pillars of Eternity is reaching new heights at the box office this weekend, grossing a staggering $155 million over three days, handily scoring the second biggest opening weekend for a Spring release behind last year’s Spark finale, and unquestionably the highest of Year 7, likely to stick until when the third Scavenger Wars film bows this summer. How does one explain this opening? Obviously, audience trust in the brand is high, but a factor not often considered is that “Legacy” is the first real live-action event film at the box office since the “Spark” finale, and is the first film since Numerator Pictures’ own Mass Effect: Ascension to open to over $100 million. Simply put, it’s been a long, underwhelming summer and a holiday frame dominated by Gateways to get to this point, and blockbuster audiences were simply craving for a major tentpole to rally around. Of course, it helps that “Pillars” is the de facto high fantasy franchise in CAYOM, especially when potential competitors outside of He-Man either stumbled out of the gate or have yet to take off, leaving “Pillars” to fulfill another itch audiences have in a blockbuster landscape dominated by space operas and cartoons about imagination and portals. Plus, looking at Odyssey and Spark, audiences simply love conclusions. With an “A” cinemascore, audience approval is high, and means the run for a domestic total over $400 million is on. “Pillars” certainly took a massive toll at the remaining box office this weekend. Last week’s openers, Higher Ground and Dazzling, both tumbled over seventy percent each. Major ouch. Pillars of Eternity: An Ancient Legacy - $155,079,111 (1st weekend) In the Doghouse - $9,766,107 (-44.0%) (3rd weekend) Higher Ground - $6,095,177 (-70.1%) (2nd weekend) Starlight - $5,107,696 (-50.7%) (6th weekend) Plastic Man - $4,643,077 (-55.1%) (5th weekend) Carver - $3,497,197 (-23.3%) (5th weekend) Conventionally Wiser - $3,055,831 (-55.0%) (4th weekend) Dazzling - $2,103,796 (-70.8%) (2nd weekend) The Scavenger Wars Part II: Director’s Cut - $720,115 (-60.0%) (4th weekend) Hypercompetency - $387,105 (-56.9%) (10th weekend) Top 10 gross: $190,455,212 (+136.1%) March 24-26 ”Pillars” Stand Tall Still With very little in the way of competition, Pillars of Eternity: An Ancient Legacy saw the expect drop for a major tentpole opener and claimed the top spot a second time with a gross over $65 million, which is more than what the previous Y7 opening record holder, Plastic Man, did in its first three days. With audiences returning from Spring Break, it remains to be seen if "Pillars" can hold on for much longer, but it’s on a good track still. The openers are honestly nothing to write home about, even if Hoops 3 scored the largest debut in its series. With “Hoops” and The Last Fifer: Portrait of a Clarinetist both receiving an “A” cinemascore, they obviously pleased the audiences they served. Curiously, Dazzling saw another drop above seventy percent this weekend. Guess audiences don’t like them thicc as much as we thought. Pillars of Eternity: An Ancient Legacy - $65,443,779 (-57.8%) (2nd weekend) Hoops 3 - $11,006,972 (1st weekend) In the Doghouse - $6,820,195 (-30.1%) (4th weekend) The Last Fifer: Portrait of a Clarinetist - $4,065,101 (1st weekend) Starlight - $4,006,795 (-21.6%) (7th weekend) Plastic Man - $3,701,796 (-20.3%) (6th weekend) Higher Ground - $3,007,682 (-50.7%) (3rd weekend) Carver - $2,966,206 (-15.2%) (6th weekend) Conventionally Wiser - $1,733,005 (-43.3%) (5th weekend) Dazzling - $587,010 (-72.1%) (3rd weekend) Top 10 gross: $103,338,541 (-45.7%) March 31-April 2 “Beyblade” Wobbly, But Spins on Top While it didn’t meet its loftier expectations, the mouthful Beyblade: The War Unleashed — Let it Rip! came out on top over the third Pillars entry, although with previews factored in (estimated around $2.5 million), Sarana and crew actually won the Friday-Saturday-Sunday stretch in raw dollars. Still, while it didn’t perform to curious predictions that pegged it in the vicinity of Ready Player One or Kong: Skull Island, it still outperformed past March follies such as John Carter and Pacific Rim: Uprising. Question remains if the highly divisive film can have enough steam to reach the coveted $100 million mark, especially with a strongly negative fan reaction (it’s not much of a Beyblade film, let's not beat that around the bush) and a divided “B” cinemascore among audiences, but the Robert Rodriguez directed sci-fi action tentpole should turn a profit with international revenues included. Beyblade: The War Unleashed — Let it Rip! - $36,154,066 (1st weekend) Pillars of Eternity: An Ancient Legacy - $35,301,886 (-46.1%) (3rd weekend) Hoops 3 - $5,900,762 (-46.4%) (2nd weekend) In the Doghouse - $4,311,879 (-36.8%) (5th weekend) The Last Fifer: Portrait of a Clarinetist - $3,085,155 (-24.1%) (2nd weekend) Carver - $2,415,387 (-18.5%) (7th weekend) Starlight - $2,411,879 (-39.8%) (8th weekend) Plastic Man - $2,085,119 (-43.7%) (7th weekend) Higher Ground - $1,312,735 (-56.3%) (4th weekend) Conventionally Wiser - $812,779 (-53.1%) (6th weekend) Top 10: $93,791,647 (-9.0%)
  20. 7 points
    Puppy has a had a bacteria infection since we got her. Was getting better now diarrhea every day (miracle for 9 week old to have like 10 poops all outside /prayers) Anyways her favorite toy is a pink teacup. Lol
  21. 7 points
    Obviously there's no way to know but I think holidays would definitely boost rewatches and make people who aren't into the MCU more likely to check it out, especially for a 3 hour movie. I definitely think TFA and Aquaman were helped by the holiday season
  22. 7 points
    Bex Taylor-Klaus This is a story for anybody Jennifer Jason Leigh Awkwafina in the universe who ever wanted Lakeith Stanfield Anthony Ramos to feel like they could escape with Colin Farrell and Song Kang-Ho to somewhere better. #Y8 #ProjectAmora
  23. 7 points
    Difficulties in long-term care homes are definitely a big part of the death count here, but aren't particularly unique to Canada. Biggest factor separating Canada from Australia and New Zealand is proximity to the US - vast majority of cases here trace their origin not to early introductions from China or Iran but to later introductions from the the US. Quebec has been hardest hit because they had a March break one week earlier than the other provinces, before people were warned about US travel - so many Quebecers went to March break vacations in warm parts of the US and brought the virus back with them. The border with the US wasn't closed until around March 18, which turned out to be at least a few weeks too late. I would really like to know when the government was first warned by its scientists about the situation in the US; it was obvious that there was a very big problem in the US at least a week earlier. (Huge proportion of cases identified by testing here had US travel history; making it clear that the scale of the outbreak in the US was probably much larger than the US test counts indicated.) Apparently the border closing was delayed because the Canadian government was negotiating with the US over it; while I understand why there would need to be mutual agreement over the border closure (because of the need to keep goods flowing), but reaching that agreement took too long for whatever reason. cc: @DeeCee
  24. 7 points
    3:32- another day another one of these. I continue to think they’re fun while no one else does- 3/5 The First Month- A film looking at the aftermath and hysteria of hugly disrupting events of war. The set up of this film is hugly intriguing and the film is built on strong atmosphere. Ryan Gosling is terrific here as always. Once the film slows down a bit and we get to the second half and learn the conflict that is going to make up the rest of the film it ends up being a bit underwhelming but this is still a nice mood piece- 3.5/5 Columbine- yeah…. This seems…. Kinda gross. I’m sure there was good intent behind this but I just don’t know what the goal of this project was. It doesn’t seem to make any kind of statement on the state of gun violence in schools in this country. I don’t get any sense of anything other than the studio wanted something for awards and this is what sam mendes pooped out when he has a spare second- 1/5 Banjo- Kazooie- There’s a lot to this movie that I don’t get. The actual plot and the antagonist and her actions I can’t make anything meaningful out of . But what does work is the relationship between Banjo and Kazooie which is cute, delightful and enduring. Thrown in some fun musical numbers and you got yourself a good time for the kids- 3/5 Dawn of the Last Six- A big blockbuster sequel that finds our mythological heroes or gods or whatever facing off against lust. Which seems like fun enough on principle but the film never really gets wild and horny enough for that premise. Lots of slow investigation work and then big cgi final act that *shurg* -2/5 Fish Fry- Kinda Cute- 3/5 Laika- A beautiful animation that follows a dog. Going by a couple names, and the people that interact with him throughout his life. The voice cast does excellent work here especially Carrie Mulligan and Michael Sheen. A story filled with lots of empathy and moral quandary about the value of life that might not be human. This is a roller coaster emotional journey that is sure to pull on heartstrings and leave you with thoughts on the impacts that pets may have on you and their value- 5/5
  25. 7 points
    I've watched an incredible amount of movies while in quarantine, it's honestly just sad. Most recently I saw Hal Ashby's Shampoo with Warren Beatty, a pretty funny movie about being a boomer piece of shit and getting your dick sucked nonstop.
  26. 7 points
    In the Doghouse- What has Fincher come up with after a 5 year hiatus? A solidly crafted dark thriller that sets its eyes on tearing apart the surfaces of what makes a family and what keeps it together. A superbly acted joint across the board with highlights coming from David Harbour and Daniela Ruah as the parents. The film does take a bit of a tumble in the pacing category. Feels as if maybe the movie is moving too fast at times to really build the tension that it desires. Certain characters and parts of the story could have seen further fleshing out as well. Still a film that’s impressive technical paralysis and superb filmmaking behind the camera will provide some thrills even if it is not Fincher’s best work -3.5/5 Dazzling- Cardi B puts on a pretty rad show- 3/5 Higher Ground- A surprising horror disaster film. The disaster may be what triggers the film but the film is intent on digging into long lasting damage of not just natural disaster. A film that leaves a lot to be unpacked as it is not in the slightest into the idea of clearly laying out what the film is about. A film that may not truly get a proper build of tension or lay everything on the table as a clearly cohesive set of ideas. But perhaps that comes from being a truly ambitos piece that might just have too many balls in the air. An effective rumination on trauma be it from natural disaster or something else- 4/5 Pillars of Eternity: An Ancient Legacy- I revisited the first two Pillars movies before I came to this one. I found that while the first movie somewhat feels like an extended prologue for the next two films it does introduce some interesting characters. And the second film was a notable step up yet still I don’t think even in my revisit I was as high on the films as many other critics were. And this one? I think it’s comparable to the second movie in terms of quality for the most part. There’s interesting content in here but I can’t help but feel like some of it drags out over the nearly 3 hour runtime. My favorite part of this movie is honestly the flashbacks. That to me feels like the most raw emotional part of the story. I did like some of the reveals that came with the ultimate conclusion and think that it is a rewarding ending. I just kinda wish there was an easier way to get there at times- 3.5/5 Hoops 3- As amusing as it is to see Giannis play basically Giannis, but not name Giannis, this is just another hoops movie. -1.5/5 The Last Fifer: Portrait of a Clarinetist- A well made documentary, be it not one that leaves you with a super burning interesting or memorable subject- 3/5 Beyblade: The War Unleashed- Let Them Rip- Big fun baby. A delirious blockbuster experience that demands to be seen on the big screen. It may not have a effervescent place in your long term memory but you’re sure to have fun in the moment- 3.5/5
  27. 6 points
    It's their fault if some political leaders read about the WHO declaring the highest alert warning back in January, then did nothing for weeks. The WHO should have created an even higher level of alert.
  28. 6 points
    Just spoke to my son. He's been asked by the UK government to make 1 million PPE visors in the next 3 months. Together with another local company they have 11 A0 laser cutting machines, they will need to run 24/7.
  29. 6 points
    This list is a cruel and unforgiving god. 😂😂😂😂
  30. 6 points
    Horizon entertainment has announced "Clover" a animated feature to be Directed By Dave Filoni ( Avatar: TLA, The Mandlorian) the film which is set in a urban fantasy world follows a unlucky tiefling woman named Clover who unwittingly uncovers a conspiracy that could destroy the city she lives in, she sets out to stop it. Dave Filoni also has a co-writing credit on lightspeed and will also direct a live action film for horizon in y9
  31. 6 points
    A virologist talks about how he got COVID-19 and how it’s changed him. “ON 19 MARCH, I SUDDENLY HAD A HIGH FEVER and a stabbing headache. My skull and hair felt very painful, which was bizarre. I didn’t have a cough at the time, but still, my first reflex was: I have it. I kept working—I’m a workaholic—but from home. We put a lot of effort into teleworking at the London School of Hygiene & Tropical Medicine last year, so that we didn’t have to travel as much. That investment, made in the context of the fight against global warming, is now very useful, of course.“ https://www.sciencemag.org/news/2020/05/finally-virus-got-me-scientist-who-fought-ebola-and-hiv-reflects-facing-death-covid-19
  32. 6 points
  33. 6 points
    This article looks at how people were reacting before Stay at Home orders took place. The big take away is that people were already modifying behavior before being told what to do. The majority of the change in behaviors (and resultant economic loss) occurs before stay at home orders. Roughly 10 days out in early adopter states and 20 days out in late adopter states. So the economic crash had less to do with stay at home orders and more to do with what people were seeing and reacting to. it also suggests that just 're-opening' the economy is not likely to lead to much new economic activity. That will only occur when people decide it is safe for them to resume. in the states that have started re-opening the uptick in economic activity so far is pretty minimal. They also had an interesting survey asking people would they definitely or likely consider doing an activity vs definitely or likely not consider doing an activity after restrictions are eased. They also had the % that said they wouldn't do it before COVID19 so you could filter those out from the ratio. Not surprisingly the activities that people were least likely to do where large scale, lots of people events - concerts (19% yes, 64% no) and sporting events (19% yes, 61% no). Movies were the next least likely (61% no, 26% yes), then fly on an airplane and go to a shopping mall. The most likely public thing they would do is eat at a restaurant and even that was net negative (53% no, 43% yes). Interestingly, the vast majority also said they would not send their kids to school (48% no, 29% yes) The only activities where people responded with a net positive in terms of willingness were attending a funeral (+3 net), going to the dentist (+14), get a haircut (+13), and have dinner at a friend's (+20).
  34. 6 points
    Oh my friend, this is America. You underestimate our capacity for dumbassery.
  35. 6 points
    This is Major Tom to Ground Control I'm stepping through the door And I'm floating in a most peculiar way And the stars look very different today For here Am I sitting in a tin can Far above the world Planet Earth is blue And there's nothing I can do Laika
  36. 6 points
    Interesting you mention this. Iowa tells workers to return to their jobs or lose unemployment benefits, despite warnings that reopening could lead to a 2nd wave of infections Iowa isn't the only state to be doing this. Soooo... Show up to work even though you might have increased exposure (especially as some companies are blatantly disregarding health and saftey regs) or lose unemployment insurance if you don't. As you say, people who "voluntarily quit" might lose their insurance. But is it really 'voluntary' when they're concerned about their health in a pandemic? I mean, I suppose so legally. But if so, then the law is an ass, as a famous phrase goes.
  37. 6 points
    There is one and maybe 2 vaccines already in phase 2 trials .... many more in Phase 1. We don't need to build factories? One company is already manufacturing the most promising vaccine and Bill Gates will start manufacturing up to 7 before the trials are finished. Corona viruses are not new unknown viruses. They've been studied for decades and a few labs had already started on a vaccine. That tweet is full of hyperbole
  38. 6 points
    MARCH Dazzling - Concert documentaries rely mostly on the artist to survive. The film was well shot, I'll give it that... but I'm not a fan of Cardi B. Sorry. - C- Higher Ground - As TriCrescent Media took a hiatus this year, New Journey Pictures picked up the mantle of doing a disaster flick for Y7. The result is this tsunami thriller from Gavin Hood (a surprising choice for a disaster movie, but one that peaked my interest) featuring a (mostly) talented cast. So what do we get? A movie that takes much different turns than I expected. This is not just a disaster movie. This is actually a movie about PTSD and trauma. The tsunami just serves as an excuse to inflict conflict on our lead, Brenda, played expertly by Dakota Johnson, as well as the character strongly played by Hillary Swank. These two could end up getting awards buzz for their work here... especially Swank. Another element of praise is definitely in the cinematography. The film is really well shot - there are some absolutely jaw-dropping shots along the way - and has a strong presence and atmosphere of horror attached to it. Kudos also the VFX team that did a terrific job as well. But I will say this: this movie is a trip. Like, this movie is a fucking Hell of a trip. There will be points where you will have absolutely no idea of what the fuck is going on. It is one of those movies that is bound to be studied for years and years. The film, as I mentioned, is basically a supernatural horror meets disaster flick metaphor for PTSD, and, upon many rewatches, I imagine it could end up being as a hardcore horror fan's favorite. But I will still point out that there are definitely elements that don't add up; most of characters are just there and hardly given anything to do; the focus of the movie can easily come across as muddled; and sometimes, it feels almost as if they're just making it up as they go along. Still... oh my fucking Goodness, this is a movie that will spark a lot of discussion. Every bit as much as Yang, this is surely a spiritual successor to Yin in a lot of ways. I can't wait to see what people have to say about this one. - B+ Pillars Of Eternity: An Ancient Legacy - The culmination of one of the biggest trilogies in CAYOM history. I wasn't a huge fan of The Hollow Vale, but Never Far From The Queen is one of my favorite CAYOM movies and it left a HUGE cliffhanger at hands that was all but promised to be resolved in the epic trilogy conclusion An Ancient Legacy. How does Miguel Sapochnik's blockbuster fare up? Personally, I think that this is better than The Hollow Vale, but not quite the height of Never Far From The Queen, which was always going to be a far reach. Still, it is a very impressive work from Sapochnik and Numerator. Once again, the ensemble cast absolutely shines. The movie gives everyone something to do - which is incredibly impressive, considering just how massive the cast is - and while some characters definitely get more development than others, everyone ends up where it makes sense for them to end up. JK Simmons as Durance takes the show for himself, once again... the man is a genius and this character fits him to a tee. Technically, the film is an absolute accomplishment as well - visually enthralling, epic, enrapturing... it's what you expected out of Pillars. And it is definitely a satisfying conclusion to a franchise that brings a lot of answers and also a lot of questions. And it makes you wonder about the real world parallels to its own story's morals. It's certainly a philosophically charged film, it's not just substanceless style. On the downside, I think the movie is coherently structured - I mean, it follows the directions it had to follow after the conclusion of Never Far From The Queen - but it does lead to some tonal problems were you feel like you are watching different movies. It kinda builds along to something and then it's like, "oh, I still have THIS to do". It's pretty video gamey in that sense. Also, very much like in the previous entries, the dialogue is very exposition-heavy and things can get confusing if you don't follow along closely, although it's not a deep offender in this issue. Overall, An Ancient Legacy is a strong closer to one of the best CAYOM franchises. If you're a fantasy fan and especially if you're a Pillars fan, it is absolutely worth watching. Not the peak of the series, but by God, still a triumph in its own right. - A- Hoops 3 - Well, I hated the first two Hoops movies, so of course they had to make a third one. Luckily for me, this is the best one so far. Hardly saying anything, but hey, at least it's neither an incoherent dumb fuck or a dry and content-less borefest. It's just a generic sports drama featuring LeBron James as an ex-convict. Sure. There's nothing offensive about this one, it's just... a movie that exists. - C- The Last Fifer: Portrait Of A Clarinetist - Biographical documentaries usually have two jobs: be informative and be entertaining in their task to shed new light or give us any sort of light on a personality. This was informative. But entertaining? Ehh... it was pretty basic and dry. I compare this to the other New Journey biographical film from the past month, Carver - which I recognize is a stretch of a comparison since one is docu-fiction and the other is pure doc, but still - and I feel like Carver just happens to have a far more interesting and impactful subject matter. I mean, The Last Fifer has some valuable lessons and all, but neither is the subject of the doc all that interesting or important and neither is the doc exquisitely structured. Meh. - C Beyblade: The War Unleashed - Let Them Rip! - I am a huge Beyblade fan. I grew up with the anime, I grew up buying Beyblade toys (spinners, basically), I was just totally in for that thing. Yeah, it was derivative of other action fantasy for kids shows of the time, especifically Pokémon, but hey, I was down for it. But Blankments Productions' live action adaptation... is basically Beyblade only in name. Does that affect the movie too much? I mean, I knew what I was in for when the movie presented its opening title three different times All I could help to do when watching the movie was picture an anime version of it. Not the actual Beyblade anime - an anime version of this movie. I feel like every aspect would feel so much cooler and so much less awkward than in live action. Particularly the villain, played here by Mark Ruffalo... he's a great actor and he's trying his hardest to chew the scenery, but I feel like he was miscast. Nevertheless, that's not to say that this movie isn't KEWL AS FUCK. Because it is. Let me tell you: this has nothing to do with Beyblade apart from the spinning tops and some of the character names. But, for what it is, this is a fun dumb blockbuster with tons of explosions, huge special effects and grand things happening and unfolding in the screen. It's made for children to feast their eyes on and it delievers the good in being entertaining. Does it make any sense? Not really, but it's one of those movies that doesn't necessarily have to make a whole lot of sense. You just watch it to watch giant spinner tops beat each other up and cool weapons and cool kids and shit. It's a fun watch. Not one of my faves even in the dumb blockbuster genre, but I can't say I didn't have at least a solid time. - C+
  39. 6 points
    FEBRUARY Broadway Selects: Burn This - As I mentioned before, I don't rate Broadway Selects higher than C+, because they're plays, not movies, or lower than C-, because the fact that they're plays makes them completely different types of art that has a whole kind of craft to it that you just have to respect. That being said, Burn This goes on the lower end, because it strongly relies on the chemistry (or lack there of) between the two leads. It's a simple drama but it asks you to be invested in a developing love story that doesn't really fly with me because Pale is pretty unlikeable. And Burton isn't good either, so Larry is the only one that deserves Anna. - C- Starlight - Starlight, Horizon Entertainment's sole entry for the year, is Y7's first animated tentpole and, well, not the first 2D animated movie (that'd be Vixen), but certainly the first one that has quite a lot at stake. I like Alex Hirsch and Rodney Rothman a lot, I like animation a lot and I like sci-fi a lot. So how does Starlight hold up? Well, I can definitely see this one becoming a child's favorite sci-fi adventure, alas Titan AE or The Iron Giant. Without going into spoilers, Starlight is more than just a sci-fi movie: it's a tribute to sci-fi. What I originally found to be derivative aspects ended up all tying together as an ensemble of pieces that make for a tribute from a clear fan of a genre. But more than just emptying all of your favorite toys and putting them in movie form, this is a pretty coherent movie on its own right that would entertain anyone of any age. It's not perfect. It's tropey and the story and character development feel a bit rushed/underdeveloped at times. But it makes up in absolutely mad visual style. The 2D retro animation looks stunning and gives it a unique identity that helps it stand out from the animated tentpole pack. And, as per usual with Horizon flicks, the action is well done. It's also nice to see Ryan Potter in a big leading role, his performance is up to par and Haliar, albeit definitely a 15 year old at first, goes through an interesting coming of age journey that helps him shine as a hero. Though the standout of the cast was Daisy Ridley as Liena. Yeah, it's a fun watch. Not great, but I definitely enjoyed it. - B Carver - I thought early on that this movie was gonna be another "preach to the choir" faith film, but luckily, Carver subverted my expectations and admitted that the subject matter did have his share of faith, but he also managed to bring that together with pure talent and scientific prowess. That's not a typical message to be sent in a Christian film and I find that very encouraging. Otherwise, a very simple biopic about a man who may not seem all that important, but he certainly left a big mark in history. Nothing too exciting as a movie, though, but Jonathan Majors did a good job in the lead role. - C+ Plastic-Man - A staple of CAYOM has been the superhero film as brought to us by Endless Entertainment. We've seen it all, from animated romps like The Unbeatable Squirrel Girl, to live-action blockbusters like Green Lantern Corps. Plastic Man is somewhere between both - it's live action but it's more of a comedy romp about a lesser known superhero. With the talented Nicholas Stoller at the helm, does it work? I can definitely say... this was a lot of fun! A really good superhero comedy. Bill Hader and Eric Andre are gold as Patrick and Woozy, two down on their luck bros trying to live a life of hustle and ending up on the superhero side by accident. Anna Kendrick and Billy Magnussem are also great as no nonsense police officer and over the top megalomaniac psycho respectively. The humor, both physical and written/vocal, is expertly done. The action is inventive and delirious, and the film is well paced from start to finish. There's really not a whole lot bad to say about this movie. I guess you could say that it follows every origin story trope closely and is rather predictable at every turn, but hey, I don't really see that as much of a flaw. If your movie is good, it doesn't matter if the structure is identical to that of other movies. Overall, really fun time in the theaters. PS: @YourMother the Edgelord I know I'm not the best person for grammar advice, but try not to use the word "as" as much. - A- (Conventional Wisdom - This is basically a Die Hard remake. But Joe is cool and the action is exciting. - C) Conventionally Wiser - Although the setup for the villain makes absolutely no fucking sense... as a matter of fact, you could argue very little of this movie makes sense, I actually liked it more than the predecessor. The villain was more ruthless, Joe's chracter progressed in an interesting way and the movie embraces its absolute ludicrousness in a fun way. It's dumb as shit, but it's fun. - C+ The Scavenger Wars Part II: Director's Cut - I already reviewed this in my Old Reviews Corner. It's pretty great. I say this but I need to reiterate that I did not watch the original cut, so I don't know the differences. But, this cut is damn good for any uninitiated anyway. - B+
  40. 5 points
  41. 5 points
  42. 5 points
    Watched California Split (1974) on Prime. I’ve always heard a lot about it but it was never available before. Fantastic low-key grimy story — really nails the highs and lows of hanging out in casinos. George Segal is really good but Elliot Gould takes it to another level. Blink and you’ll miss a Jeff Goldblum appearance.
  43. 5 points
  44. 5 points
    You said the same thing I did. Musk is an idiot when it comes to his public profile and going public was stupid... he should've gone directly to the state 1st. (which he might have done) But there are issues with different jurisdictions having different rules and big inconsistencies between what's essential and what is not. Some places like restaurants are deemed essential just because the general public would have a fit if they were not. However manufacturing where the general public is not involved and social distancing and testing can be easily enforced is not?
  45. 5 points
    In theory Musk followed the CA guidelines for reopening and a local official prevented it. If true than he was technically in the right to bitch about it but his acting like a 5 year old about it and going public really makes him look bad.
  46. 5 points
    Extending the deadline by a week due to work taking precedence. Tagging again for visibility, please PM me your lists @#ED @4815162342 @75Live @A Star is Orm @a2k @aabattery @ACSlater @AJG @Alpha @AndyLL @angeldelmito @Arlborn @Barnack @baumer @Biggestgeekever @Blaze Heatnix @boomboom234 @Boxofficerules @BoxOfficeFangrl @BoxOfficeZ @Brainbug @Captain Craig @CaptainJackSparrow @Catty @cdsacken @cax16 @Jedi Jat @chasmmi @ChD @Chewy @ChipMunky @CJohn @Claire of Themyscira @Cmasterclay @cookie @CoolioD1 @DAJK @darkelf @Darth Lehnsherr @Daxtreme @ddddeeee @DeeCee @Deja23 @EarlyDeadlinePredictions @Eevin @el sid @ElsaRoc @elcaballero @Empire @EmpireCity @Exxdee @Fancyarcher @FantasticBeasts @Films @Finnick @FlashMaster659 @franfar @Frozen @FrozenUnicorn @FrozenFan626 @Goffe @Gopher @grim22 @IceFire9yt @Inceptionzq @IronJimbo @Ithil @Jack Nevada @James @Jandrew @Jason @Jayhawk @JB33 @Jim Shorts @JimiQ @JJ-8 @justvision @K1stpierre @Kalderic @Kalo @kayumanggi @KeepItU25071906 @kitik @Krissykins @lilmac @Lion Roar @LonePirate @Lordmandeep @m3racer123 @Mattrek @MCKillswitch123 @Mekanos @Menor @Michael Gary Scott @Mike Hunt @misafeco @Morieris @MovieMan89 @Spaghetti @MrGlass2 @Ms Lady Hawk @Mulder @Napoleon @narniadis @Neo @Noctis @Nova @Olive @Ozymandias @peludo @Porthos @RandomCat @RealLyre @Rebeccas @reddevil18 @redfirebird2008 @RichWS @RobrtmanAStarWarsReference @Rorschach @rukaio101 @Sam @sfran43 @Shawn @Sheikh @ShouldIBeHere @SLAM! @Spidey Freak @TalismanRing @tawasal @terrestrial @Thanos Legion @That One Guy @The Fast and the Furiosa @ThiagoMaia @titanic2187 @TLK @TMP @Tower @tribefan695 @trifle @TwoMisfits @VanillaSkies @vc2002 @VenomXXR @ViewerAnon @Walt Disney @Water Bottle @Webslinger @Wrath @WrathOfHan @YourMother the Edgelord @ZeeSoh @Jake Gittes
  47. 5 points
    Hilda and the Midnight Giant Normally known for films about a family of disgustingly rich ducks, Cooke Pictures Animation now shifts its gears to telling a new wave of stories, starting with one about an adventurous, incorrigible girl exploring the magical and mystical world around her. In many ways the film is a test case of whether Cookie Pictures can be more than just a studio about Ducks, Mechs, and Bugs. So, what is the result of the exam?
  48. 5 points
  49. 5 points
    Heart breaking story, https://twitter.co @terrestrial, welcome back.

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