YM! Posted April 3, 2020 Share Posted April 3, 2020 (edited) Fish Fry Studio: Infinite Studios Tyler Perry Studios Release Date: 11/17/Y7 Genre: Comedy/Drama Director: Tyler Perry Rating: PG-13 for mild language Budget: $10M Theater Count: 3,785 Format: 2D Runtime: 98 minutes Cast: Unknowns. A down on his luck gangster named Bud opens a fish restaurant in his hometown of Atlanta, as he unknowingly finds joy in severing up smiles, helping his customers in little way (helping a troublesome child like him find a job, woo his love interest, help out a step dad trying to make a strong relationship) as he learns the true meaning of community. Edited April 3, 2020 by YourMother the Edgelord 2 Link to comment Share on other sites More sharing options...
SLAM! Posted April 4, 2020 Share Posted April 4, 2020 (edited) American Barbeque Studio: New Journey Pictures Director: David O. Russell Genre: Dramedy Release Date: November 10th Theater Count: 3,050 MPAA Rating: PG-13 for language Runtime: 1 hr 42 min Budget: $20 Million Major Cast Shia LaBeouf as Dale Simu Liu as Billy Y'lan Noel as Curtis Wyatt Russell as Freddie Amanda Seyfried as Alice Dale is in the military, and Alice is his wife. He comes home from serving in Afghanistan, rediscovers joy in cooking, and plans a big "American Barbeque." He invites his squadmates (Billy, Curtis, and Freddie) to join. He convinces them to join, and they hang out together at the barbeque. There's a moment near the climax where Alice makes known her desire for Dale to make more time for her (or something like that), and Dale's like, "Of course, you're my wife!" A hawk steals the hot dogs off the grill, but the squadmates cheer up Dale because friendship is more important than a perfect barbecue. They cope with their PTSD and similar issues at the barbeque, and at the end, when it's nighttime, they watch fireworks together. Dale is really thankful to have a good barbeque with his squadmates, and so are the squadmates as well. Therefore, their bond shall never die. Edited April 4, 2020 by SLAM! 2 Link to comment Share on other sites More sharing options...
4815162342 Posted April 8, 2020 Share Posted April 8, 2020 (edited) The Long Way Home Genre: Sci-Fi/Adventure Directed By: Steven Caple Jr. Written by: Christopher Yost Original Music by: Michael Giacchino Release Date: August 11, Year 7 Theater Count: 4,075 Running Time: 135 Minutes Budget: $165 million MPAA Rating: PG-13 for scenes of sci-fi violence, language, and some disturbing images Starring: John David Washington (Marcus Olson), Naomi Scott (Amelia Tanner), Jack Lowden (David Evans), Sonequa Martin-Green (Dr. Taylor Harris), Daniel Wu (Victor Kwan), Jodie Comer (Jyanis), Adria Arjona (Ny’asha), Corey Hawkins (Trokkon – mo-cap), Liam Cunningham (Orzane – mo-cap), Rory Cochrane (Hylonos), Tara Strong (Bataima – voice), Janet Varney (Igden – voice), Kristofer Hivju (Gerzak – mo-cap), Sakina Jaffrey (Mytellas) Special Appearance by Patton Oswalt (Zermano – mo-cap) With Taraji P. Henson (Colonel Ayanna Jackson) With Caitriona Balfe (Su’Tanya) And Bobby Cannavale (General Grakkan – mo-cap) Setting: The 24th Century. Humanity has developed a means of faster-than-light travel that has allowed for the exploration of a number of star systems. Colonies and outposts have begun sprouting on several worlds. More than 95% of the Milky Way remains unexplored and unknown. No signs of intelligent life have been found. Alien Species (SPOILER WARNING) Spoiler In Spoiler Tags I have included, for reference, descriptions of all of the alien species encountered in the film, even those whose species is not explicitly named in the plot. The Endrekar – A chameleonic humanoid race with reddish-brown skin that almost has a texture of scales, and reptilian eyes but otherwise generally human in appearance. They can blend into their surroundings, and also have a limited ability to alter their bodies to resemble other humanoid races of similar size. They are played by people with makeup. The Timistri – A bipedal feline race that looks most similar to a bobcat, about five feet tall. They will be depicted in mo-cap. The Martolians – A primate species that looks most similar to orangutans, about 6.5-7 feet tall and broad. They will be depicted in mo-cap. The Xevox – TThis species is depicted as sort of a cross between a crustacean and arachnid, with six legs, two arms, and a torso, and an angular head with sharp serrated teeth. These are portrayed completely with CGI. The Nevari – A humanoid race with an array of skin tones, from green to blue, to purple, and small curved horns protruding from their head and a thin almost vestigial tail. They’re clearly influenced and inspired by the Tiefling race from Dungeons & Dragons. They are played by people in makeup. The Streikor – A draconic-looking race of sorts, with a snarling lizard head, hands and feet with four digits and claws, and a set of dark leathery wings that allow for limited flying ability. They will be depicted in mo-cap. The Jurappe - A quadruped species that looks like an ultra-shaggy bear with spikes and plates of bone poking out from the fur. Portrayed by a mix of CGI and animatronics. The Boreen - An alien species that resembles a floating bulbous organic gas sack, with a handful of eye stalks, and a half dozen tentacle-like appendages. Portrayed entirely by CGI. The Shevas - A humanoid alien species that looks similar to humans but with distinct vulpine characteristics, such as more hair, including tufts of hair on the cheeks and on arms, and generally kind of like a more feral-looking Wolverine. The species has a variety of skin colors. Portrayed by humans with makeup. Plot Summary: Procyon System. Approximately 11.46 light-years from Earth. (Until a certain point in the film, all alien dialogue is in alien language, and will be shown via italics) (see google doc link here: https://docs.google.com/document/d/1gk1aWrrfk4yx7V_cFGnpmHTe1GXkmEIhNfv6s3bcyZQ/edit?usp=sharing ) Edited April 8, 2020 by 4815162342 6 Link to comment Share on other sites More sharing options...
YM! Posted April 8, 2020 Share Posted April 8, 2020 (edited) GREEN LANTERN CORPS: HOME Studio: Endless Entertainment DC Entertainment Tencent Pictures Bad Robot Productions Director: Christopher McQuarrie Producers: Christopher McQuarrie and J.J. Abrams Executive Producers: Xavier B. Irving, Matt and Ross Duffer, and Sebastian Peters Writers: Christopher McQuarrie, Josh Appelbaum and Andre Nemec Composer: Michael Giacchino Director of Photography: Henry Braham VFX: Weta Digital and Moving Picture Company VFX Supervisors: Roger Guyett and Christopher Townsend Main Cast: (** indicates a voice performance, - all other aliens are done with a mix of practical make up, or * indicates a motion capture performance): Joaquin Phoenix as Thaal Sinestro Armie Hammer as Hal Jordan Rachel Weisz as Queen Imparta Nathalie Emmanuel as Prazha Mark Hamill as Benoz with Tim Blake Nelson as Chief Rathauer Kelly Marie Tran as Ni’in **William Hunt as Vicio and *Hugh Jackman as Atrocitus also featuring Naomi Scott as Arisia *Vanessa Kirby as Mabi *H Jon Benjamin as Ch’p *Ricky Whittle as Salaak Lashawa Lynch as A’Stella Stromfront **Patrick Stewart as Ganthet **Nicole Kidman as Sayd Claes Bang as Mayor Oza Previous Film: Green Lantern Corps: Rise of the Manhunters (Y5) - $290,989,783/$1,003,540,353 Genre: Superhero/Sci-fi/Epic Release Date: December 15th, Y7 Theater Count: 4,520 (including 405 IMAX theaters) Format: 2D (2.39:1), 3D (2.39:1), Dolby Cinema (2.39:1) and IMAX 2D+3D (1.44:1) IMAX: Select sequences shot in 70mm IMAX (1.44:1). Footage cropped to 1.9:1 on digital IMAX screens. Budget: $235 million MPAA Rating: PG-13 for intense sequences of sci-fi action violence, thematic material, language, and scary/disturbing images Running Time: 157 minutes (2 hours, 37 minutes) special thanks to @cookie @Ethan Hunt and @Spaghetti Plot: https://docs.google.com/document/d/1Ixj522TBngaQV3cga3ZBf1WcNzjrePgePRhCuo2pFQQ Edited April 27, 2020 by YourMother the Edgelord 5 Link to comment Share on other sites More sharing options...
4815162342 Posted April 9, 2020 Share Posted April 9, 2020 (edited) An import from the long lost BOM world of 1.0, with some casting changes, and some editing to trim it a little The First Month Genre: Drama Cast: Ryan Gosling (Captain George Abbott), Mackenzie Davis (Captain Kyra Irving), Keon Alexander (Lt. Aaron Hawke), Pablo Schreiber (Sgt. Larry Davies), Xavier Dolan (Sgt. Jason Timmons), Sarah Gadon (Cpl. Lisa McGee), Stephan James (Cpl. Matt Owens), and Bruce Greenwood (Colonel Orson Jones) Written and Directed By: Alex Garland Original Music By: Jonny Greenwood Release Date: September 8, Year 7 Theater Count: 3120 Theaters Running Time: 143 minutes MPAA Rating: R for strong language, sexual content, nudity, disturbing images, and violence Budget: $30 million Plot Summary: Spoiler Day 1 On a summer morning Captain George Abbott (Gosling), an officer in the Royal Canadian Air Force, drives up to the entry gate for Monitoring Station Delta Alpha 7 (DA7), a radar and communications listening post on the western shore of Vancouver Island in British Columbia, Canada. DA7 is part of a chain of early warning stations overseen by NORAD. On the drive, George’s radio is tuned to a news station and a report says that tensions in the Taiwan Strait between China and the U.S. have reached a boiling point with unconfirmed reports of reconnaissance aircraft being shot down. The U.S. is sending naval reinforcements to the area and is mobilizing air operations from Japan and South Korea. George arrives at DA7, which is secured behind a tall, double chain-link electrified fence and guarded by MPs (Military Police Officers). As he enters he sees a sizable number of soldiers and officers leaving, since the station operates on a 72-hour rotation period. This requires there to be rudimentary living, recreation, and maintenance facilities on underground levels. George checks in and is greeted by Sergeant Larry Davies (Schreiber), the head MP. The two chat briefly about how their personal lives are going. As George drops off his stuff, he talks to Lieutenant Aaron Hawke (Alexander), a colleague. Hawke tells George that the Captain is having a meeting for all officers and enlisted personnel once the shifts have fully rotated. The two go to a meeting room. The meeting is just for air force personnel, so no MPs are present. People present include Sergeant Jason Timmons (Dolan), a senior radar engineer, Corporal Lisa McGee (Beharie), a communications monitor, and Corporal Matt Owens (James), a technician for the station’s radar and listening equipment. Finally, the base commander, Colonel Orson Jones (Greenwood) arrives. Jones tells the assembled personnel that the station has been ordered by NORAD to go to DEFCON-2, the second-highest alert for NORAD. The surprise ripples through the crowd. After some more remarks, Jones dismisses the group but tells George and Hawke to stay. Once everyone else files out, Jones tells George and Hawke that they need to be extra vigilant since there is evidence from satellites that the Chinese have moved extra men and equipment to their nuclear missile silos. Jones also tells them that tomorrow, Captain Kyra Irving, a NORAD liaison, will arrive at the station as an extra observer. We then see a handful of short scenes showing work at DA7. During a break Hawke plays cards with several enlisted personnel, including Jason and Matt. Hawke is very outgoing and emotive, Matt being the opposite, insular and quiet. Jason is a calming influence, holding the enlisted men together during disagreements. Meanwhile George talks with Jones. Jones is very much a no-nonsense kind of guy, but he admits to having concerns over the situation, especially since he and many others are stationed hundreds of miles from their families. He tells George that Captain Irving’s observance of the station crew couldn’t have come at a more stressful time. That night, George is off-shift so before he goes to the sub-level to use one of the cots he calls his parents in Toronto. Speaking with his mother, he assures her that things will blow over, but his mother is feeling a little panicky since the news is reporting that now ground troops are mobilizing on the Russia-China border since China has intervened in Central Asia countries holding oil reserves Russia wants. George does his best to calm her down. His dad then comes on the line after his mother leaves and asks George to give him his honest opinion. George takes a deep breath and says that if things don’t cool down within a couple days he should take Mom up to the lake house many miles north of Toronto. Day 2 George wakes up just before dawn and showers. Reporting to duty to relieve Hawke, he gets an update on the situation. Conflict has started, but instead of Taiwan or Central Asia, it is South Korea, invaded suddenly by North Korea. U.S. and Japanese aircraft are supporting South Korean troops but it appears that Chinese forces may be involved as well. Jones tells George that their guest arrives in a few hours and he’ll be back up in time for her arrival. A couple short scenes show everyone increasingly on edge. George goes to the exterior guardhouse and meets up with Larry. The two talk some more, though now Omar is worrying about his wife and kids back in Vancouver. A car pulls up and Captain Kyra Irving (Davis) exits. Jones has arrived and he with George welcomes her to DA7. The two take her on a tour. Kyra is a very sharp and inquisitive officer, asking all of the right questions and knowing when to press on an issue. The tour of the station shows the personnel hard at work, not paying attention to Kyra’s presence. Jones says that they haven’t picked up anything out of the ordinary, which is comforting. The tour also goes to the sub-levels, since Kyra wants to know how the off-duty personnel pass their time. There the tour bumps into Hawke. Hawke introduces himself and comes off a little too unprofessional, but Kyra ignores it. Kyra says she’ll shadow Jones to see how he handles managing the whole station. After she and Jones depart, Hawke looks at George and makes a crude gesture. George pretends he didn’t notice but Hawke sees through it and the two commiserate for a moment. A couple more scenes of work happen, showing character development for the other characters. Lisa picks up a communication saying that Seoul has been overrun by North Korean forces with Chinese support, but the South Korean military is holding firm south of the capital. She brings this to Jones, who says he probably should know more about the people serving below him since they go on these lengthy rotations. Lisa assures him that the enlisted personnel respect him. Meanwhile, with Kyra in the radar room, Jason picks up on radar a large amount of planes flying west. They’re American long-range bombers. Kyra asks how often he’s picked up American planes on the radar. Jason says it happens occasionally, but never this many. During the evening, George is eating dinner when Kyra joins him. He asks what she thinks about the station and she remarks that everything seems to be running quite well. She remarks that Hawke seems eager to impress and asks George to keep this conversation between them. George agrees about Hawke but says that he means well enough. Kyra asks about George and the two trade some details about their background. Kyra then says she is going to grab a bit of sleep and says it was good talking to him. George smiles and decides to find Hawke but when he finds Hawke he finds both him and Jones by a telephone, looking somber. Jones looks at George and says “A Chinese submarine sank an American aircraft carrier in the Taiwan Strait. They retaliated with a cruise missile attack that wiped out half of their naval bases, but they’ve already begun an amphibious invasion of Taiwan and they’re skirmishing with Russian troops in Central Asia. NORAD’s ordered us to DEFCON-1.” Jones says that they will need to work extra hard to keep their subordinates calm and focused, since the rules for DEFCON-1 are that whatever rotation is at the station when the call is made stays there until further notice. He then goes to give the news to Kyra. George and Hawke look at one another with a hint of fear. “Is this really going to happen?” George asks. Hawke doesn’t respond, but looks out a window facing west. Day 3 That morning, George gets news that the South Korean defenses by Seoul had broken and Chinese tanks were aiding the North Koreans. Panicking, someone in Pacific Command went rogue and ordered the use of tactical nukes just north of the pre-war border, obliterating the reinforcements. In response North Korea launched its only nuclear missiles against the South Korean city of Busan, annihilating the metro area. Chinese forces are pushing into Taiwan, though their navy has been wrecked by the Americans. China is having much more success on land, its armies now plunging into Central Asia. Satellites have confirmed fueling trucks being present at Chinese missile silos. George gets a call to come to the exterior of the station and arrives to find Larry and several MPs with guns drawn on a trio of people, two enlisted personnel from the station and one MP, who have tried to flee the station in a jeep. The trio says they’re scared for their families and want to go home but Larry says the rules say no one enters or leaves. George tries to convince the enlisted men that the best thing they can do is to do their jobs, which could save lives. This convinces one of them to return from the jeep as the other officers arrive. Jones orders the remaining two to come back as well. The MP shouts that they’ll have to force him and pulls out his sidearm. Larry tells the MP that he doesn’t want to shoot him but he will if the MP doesn’t put down his weapon. After a tense minute the MP goes to do that, but then the other person grabs the gun. Three of Larry’s men instinctively fire and perforate the enlisted man and the MP with bullets. In the station, Matt is jumpy and says they killed two people upstairs when they just wanted to go home. Jason tells Matt that what happened happened because those people were stupid. Matt returns to his duties and Jason for the first time looks upset and in a locker room pounds the wall in frustration. Lisa, walking by, asks if something is wrong and Jason says that many of the men are about to crack and he can’t help but think he will too. Lisa tells him that he needs to show them that he isn’t feeling the pressure. Work continues, with George and the other officers trying to process what has happened. Hawke talks to Jones about the incident and Jones is distraught, trying to figure out how the situation could have been prevented, Hawke shows a colder side and says that the MPs did what had to be done. Jones gets a message saying that nuclear-armed bombers are being ordered to fail-safe points in the Pacific. George meanwhile finds Kyra smoking a cigarette outside and joins her for a smoke of his own. Kyra says that she always means to quit but always finds herself smoking again. George says he’s the same and adds that given the situation, smoking is the least likely thing to kill them. Kyra laughs at the morbid humor. A little later, there’s a sudden partial power failure. The underground portion of the station is unaffected, as is the radar and communications equipment, but most of the vehicles and equipment in the ground level and outside are dead. George realizes that it had to be an EMP, since the radar and communications equipment dates back to the Cold War and was made to be shielded, as was the underground level. Jones says the only way an EMP would happen was if the Chinese detonated a nuke in the upper atmosphere over the Pacific coast, and they detected no missile trajectories. Kyra says that NORAD has suspected the Chinese covertly placed nuclear devices in “private” satellites, planning to use them as a part of a surprise first strike. “But if that’s true” George begins, “yes” Kyra replies “it’s happening.” The station’s emergency alarm sounds, causing the three to rush to the main radar room. Inside Jason and several personnel are shouting out names and numbers as a large computer screen shows a map of the Pacific Ocean and West Coast, with dots several thousand miles away slowly blipping closer to North America. Hawke is trying to give orders as calmly as possible. “It started with a submarine cruise missile attack at the Alaska early warning stations just after the power failure here” he says. “We now have at least fifty confirmed contacts inbound from China, and that number is growing. The first few appear to be on a track for Hawaii in fifteen minutes but the rest will be hitting the West Coast in just under half an hour.” Just after he finishes several new contacts emerge. Jones, trying to maintain composure, says to the whole room “With the Alaska warning system down we’re one of the few advance stations NORAD has” he says loudly. “Keep on forwarding the data to Cheyenne Mountain and they’ll do the best they can with it.” Strangely everyone, who was nervous before, now have an eerie calm about them now that the unthinkable is happening. The film shows a couple short scenes of the characters as they try to do their jobs with missiles coming in closer and closer. By the time Hawaii gets hit China has launched well over three hundred nuclear missiles against the U.S., Japan, South Korea, and Russia, with the U.S. and Russia sending their own retaliatory strikes. Because ICBMs have MIRV capability, a single missile has the ability to hit multiple targets. A single missile is inbound for the Vancouver area and under normal estimates that is one warhead for Vancouver, one for the British Columbia capital of Victoria on the southern coast of Vancouver Island, and a handful more to lay waste to their combined metro areas. Though DA7 is over a hundred miles away from Victoria and won’t have any direct effects from the nuclear strike, the station will be receiving significant fallout in the hours following the Pacific Northwest getting nuked and from extended fallout drifting across the Pacific from China, Japan, and Russia. Several MPs and enlisted personnel flee, this time Larry and the other MPs not having the stomach to stop them. Jones gets on the station intercom and tells people to stay at their posts until the last missile is accounted for. After that, anyone who wants to take their chances outside is welcome to, with everyone else taking shelter in the sub-levels of the station until the fallout danger is past. Soon enough, the last inbound missile hits its target. In all every significant metropolitan area and military installation from Denver on west has been hit along with a number more in the Midwest. Over half of the remaining personnel elect to leave, all of them having families in the small towns scattered on the northern half of the island. The rest, including the main characters, will be taking shelter in the underground levels, which are secured by a lead-lined sealed door. Larry grieves about his lost family in Vancouver. Matt, still at his post, says that he’s picked up a second wave emanating from the Pacific Ocean. A handful of submarines have launched missiles, their closer distance putting much of the central third of Canada and the US in danger. Contact with Cheyenne Mountain has been lost but Strategic Air Command in Omaha is now giving orders. Matt volunteers to stay behind to feed info to Omaha but Jason tells him he’s crazy since DA7’s exterior will soon be receiving fallout from the Vancouver missile as well as nuclear strikes in Alaska. Matt says someone needs to stay on the line as long as possible and Jones, reluctantly, gives Matt permission. Everyone else goes to the underground levels, about three dozen people in all. Jones gives orders on how to set things up best for an extended stay underground. goes to talk with Hawke, who isn’t relishing being cooped up underground for a while but is more afraid of the fallout outside. About two hours later, Matt calls down on a short-distance radio to say the last missile has hit, but the automated radiation detectors are picking up fallout. Matt looks out a window to see clumps of ash landing in the area. On the radio he says that he doesn’t want to expose the other people to radiation by entering. Jones is torn, but George convinces him that the base is structured such that no fallout will enter the underground portion, but Matt will need to be decontaminated immediately. Jones gives the go-ahead for Matt to come down and enlisted personnel quickly let him in and then quickly, in haz-mat suits, use whatever tools they have to decontaminate Matt and destroy his original clothes. Later, in new clothes, Matt tells the assembled people the situation. Matt looks a little nauseous but otherwise fine. The second wave hit the largest population and military centers between Denver and Chicago. The Eastern third of North America escaped being hit. George asks about Toronto and is told that it didn’t get hit. George breathes a sigh of relief. Jones takes over and tells the men and women that with the damage sustained from the initial attacks and the ensuing fallout, they’ll be cut off from the outside world for at least a few weeks. During this time they’ll keep focused on tasks to keep the underground levels functioning and will use the secondary control room to monitor the situation outside the station. Everyone is nervous, but they all nod. Day 4 Jason and Lisa are taking inventory of a food storeroom. As they catalog the contents Lisa says she hears that Matt is sick. Jason nods and says that though he’s decontaminated, enough radiation penetrated to get him sick. Lisa asks if Matt will make it and Jason replies that he doesn’t know, since they don’t have much medical equipment here. Jones holds a meeting with George, Hawke, and Kyra. He says that inventory shows that they have enough food to last for roughly a month. There’s been no radio contact since Omaha got hit. He also says that Matt came down with nausea, fever, diarrhea, and other symptoms shortly after returning, so he has radiation poisoning. Computer measurements of the outside confirm that the area has received significant fallout. Kyra says that based on the onset of Matt’s symptoms, he’ll be in the immediate stage for another day or so, at which point the sickness will go latent for maybe a week, but then it’ll return. George asks what his chances are. Kyra replies “With quality medical care, maybe 50-50. But with what we have here, he won’t make it.” A sick Matt lies in a cot in a private room. Jason, Lisa, and some others enter to check on him. Jason tells Matt what he did was pretty stupid. Matt smiles, looking pale, and says he just didn’t want to let anyone down. Jason pats him on the shoulder and says he didn’t. Larry stays to himself, in total grief over his family. George notices him and tries to talk to him, but Larry brushes him off and goes to another place to stay in isolation. Kyra sees this and tells George that there’s nothing he can do, everyone processes things differently. She then adds that her parents and sister lived in Calgary, which was hit. George says that he’s so sorry and Kyra thanks him for that, adding that she’s glad his parents are ok. A couple scenes show everyone trying to adjust. Since there is only so much to do once inventory is completed, most time is recreational time. George and Hawke play a game of backgammon, speculating about what things will be like once they go back topside. Hawke speculates that Canada will essentially be fending for itself in the months or even years to come. George can’t imagine the chaos there must be topside and Hawke says pensively “in times like that, it takes a strong person to keep people in line.” Day 9 A few days have passed and life in the underground levels has developed its own kind of routine. To conserve power, hot water is rationed so the men are beginning to grow some facial hair. Matt is in the latency stage and feels well enough to assist in some duties, though the officers know in a few days he’ll take a dramatic turn for the worse. There is still no radio contact with anyone and Jones says that for all they know there have been further nuclear attacks. The radiation meters show that fallout is holding steady as dispersion from across the ocean could take weeks. Larry seems to be slowly pulling out of his darkness and occasionally talks with other personnel, though he keeps the topics limited and shuts down anytime the talk gets close to about the war. Hawke is good at keeping the soldiers organized. The routine gets shattered when Jason calls the officers to the secondary control room. He shows on the camera screens that a small group of civilians is clustering outside the fence, some carrying sick-looking children or adults. George says that some of them appear to be suffering from severe radiation sickness. The screen shows the civilians shouting and pleading for entrance. Jason asks Jones what he is planning on doing. Jones is indecisive for a moment so Hawke says they’re going to do nothing. George says that they’re suffering out there, but Hawke says that the worst thing to do would be to expose the station to a new horde of people. Jones sighs and says that Hawke is right, they don’t have the food or supplies to care for all of those people, some of whom are walking dead anyway. The other officers leave as George watches the civilians slowly trickle away. “He may be right, but it still feels like shit” Jason says. Later George finds Kyra alone, smoking a cigarette. She says that since she can’t go outside to smoke, she’ll just have to be careful where and when she smokes inside. She shares the cigarette with George and the two of them agree that they feel terrible about the civilians, but there just is no choice. George says the only thing that surprised him was how quickly Hawke brought up leaving them out there. Kyra agrees and says that in unimaginable situations like this, people respond in different ways. Day 12 George is woken by a soldier who tells him that Matt is seriously ill. George goes to see Matt, who is back to being in a private room. Matt looks deathly pale and nauseous as he throws up into a bucket. Jones is there and says that overnight all of Matt’s symptoms returned, with much more force. Jones says that based on the severity of the symptoms, Matt may last only a day or so, and now there’s no hiding that fact. Indeed, at a meeting of the whole group, when Jones explains Matt’s prognosis, the news disheartens most of the people. Jason blames himself, saying that he should have made Matt gone down and he should have stayed up there instead. The officers talk about Matt, who is convulsing occasionally and sometimes screaming in pain. Kyra says he has maybe 24 hours to live, but it’ll be a terrible 24 hours. Hawke jumps to the subject of what they do when Matt is dead. Jones doesn’t want to risk exposing his people to radiation. Kyra says that if two people in hazmat suits move quickly to take the body outside, they won’t accumulate significant radiation. Jones is hesitant, showing signs of becoming more indecisive as time passes, so George says that following Kyra’s plan will be good. Hawke then says that the best thing to do is to administer a lethal dose of painkillers to Matt. Hawke justifies it by saying that aside from sparing Matt a lot of pain, the longer he is alive and in pain the longer it will decrease the morale of the other personnel. Jones, after much hesitation, says that if Matt wants it, then they’ll do it. In private George vents to Kyra about Hawke, saying that this isn’t the same person he knew even a week ago. Kyra reminds him that Hawke is simply focusing on survival. She says that she is more concerned about Jones. George asks what they should do and Kyra replies that they can only watch for now. George sighs and goes to leave but as he does, Kyra reaches out and takes hold of his hand. “Don’t let yourself get overwhelmed” she says caringly. “You’re a good person and you know the right thing to do, you just have to help them.” George nods and for a few seconds they stand there like that before George says he should go and leaves the room. Jason finds Jones and asks him if there is anything he can do to help Matt. Jones tells him about the idea to spare Matt some pain and Jason volunteers to talk to Matt about it. Jason goes to Matt’s room, but Matt is almost incoherent at times. Finally, Jason is able to get through to Matt and says that the others would like to spare Matt the pain, if Matt wants it. Matt, in a brief moment of lucidity, weakly says yes. Jason, tearing up, takes the syringe with painkillers and injects it into Matt’s arm. Matt looks at Jason and smiles in a moment of peace before he expires. Jason goes to put on a hazmat suit and Lisa joins him, saying he shouldn’t do it alone. Jason thanks her and the two of them wrap Matt in a sheet and take him to the ground level and quickly go outside to place him there. They then quickly go back inside and seal everything up. After they’ve decontaminated everything, Jason sinks to the floor, crying. Lisa sits next to him and holds him. Day 16 The mood in the underground level is precarious, with some people getting claustrophobic or depressed. One person broke into the medical room, stole some painkillers, and intentionally OD’d on them. With radiation levels not subsiding, Jones says they can’t risk exposure, so the body is dumped in a remote room. One person is complaining about everything so Larry, who is no longer sulking but instead a bit on edge, tells him to shut up. The complainer doesn’t so Larry yells at him to be quiet and the complainer flips out, so Larry proceeds to heavily beat up the complainer before men separate the two. Lisa brings this incident and others to George’s attention, saying that some of the people are getting more prone to outbursts. George has noticed this but he isn’t sure what they can do. Jones is sitting in a small room, staring at pictures of his family from his wallet, his sidearm on a little table next to him. Kyra enters to speak to Jones about the situation in the station and Jones rambles a bit about life before the nuclear strike, about how he loved going home to Winnipeg on leave to be with his family. He says that his wife and kids were thinking of going on vacation around the week the war happened but he convinced them to wait until his deployment ended in three months. Jones says that they’re still waiting for him, but now for a different reason. He asks Kyra what she thinks and Kyra, feeling uneasy, says that she hopes that their families have gone on to a better place. Jones then asks if there was something she wanted and Kyra says it can wait. Kyra pulls George aside and asks him to talk with her in private. Kyra says that she thinks Jones is on the way towards a nervous breakdown. Hawke visits Larry, who is in quarantine for the time being. Hawke asks Larry why he beat the man so badly and Larry says that the person was a fool who isn’t appreciating that they’re alive and protected from the madness going on outside. He says that people who don’t appreciate the opportunity don’t deserve to be treated well. Hawke smiles and says “I completely agree.” Day 19 Jason and Lisa have grown close and spend a quiet, intimate moment in a secluded corner of the station. Larry has been released from isolation and is on good behavior, he and Hawke seem to be policing the station, cracking down on unruly behavior. In one instance when there is a disagreement Hawke coldly stares down the two enlisted men and gets them to back down. When he speaks about suggestions for rules, some men start to pay attention. Day 21 A fight breaks out in the recreation room between a handful of people and it takes many others to bring it under control. With the atmosphere as it is, a group of four enlisted men say that they’ve had enough and try to force their way outside. George rushes to get Jones and finds him praying. Jones is slow to respond but eventually George convinces him to try to stop things. At the recreation room, Jones tries to persuade the four men, who all have sidearms, that it is still too dangerous outside. He says in a week they should be able to venture outside safely, but the men say they’ll shoot their way out if they have to. This prompts several others to get their guns ready and the situation threatens to go haywire. George and Jason plead with the men to not endanger the whole station, taking over for Jones who is timid in the face of the challenge. Things are at a tipping point when Hawke, Larry, and two other men appear with guns and fire, shooting all four deserters. George demands from Hawke an explanation. Hawke says “they were deserting and would have killed all of us to get out. Only one way to be sure that didn’t happen.” George looks to Jones for support but Jones seems to have gone catatonic. He tells Jason and another man to take Jones back to his quarters. As they do that, George looks at Hawke and is struck by the coldness in the man’s eyes. After the bodies are very briefly disposed of outside, George meets with Kyra, who has assumed command as she’s technically senior to George in the chain of command. The two talk about the last few days and Kyra admits that she is fearful for how things will turn out. George says he will be by her side to back her up. The two then lean in for a kiss which progresses into a fairly explicit sex scene. Day 22 As the acting commander, Kyra makes it a rule to collect everyone’s weapons and to store them in the small armory, which has only two keys. She keeps one for herself and gives the other to George. Only the officers and a couple NCOs, such as Jason, are allowed to keep their sidearms. Sensing things aren’t quite right; George seeks out Hawke and tries to talk with him, saying he is a little nervous about Hawke. Hawke assures George that he’s fine, just a little tensed up from stress. George isn’t fully convinced, but Hawke reverts back to his old self and warmly reminisces with George. He also says that he’s noticed how George and Kyra have interacted and congratulates him on getting it in. His concerns alleviated, George lets the matter go. Day 24 The radiation sensors monitoring the exterior of the station fail, the backup generators automatically cutting power to them as a way of conserving power. Lisa reports to Kyra that the last readings showed a steady presence of fallout in the air, enough to give someone a lethal dose if they’re outside for a sustained period of time. But the computer model’s latest projections show that it would be safe to go out in a week, though they won’t be sure of that now. Kyra assembles the personnel to tell them this and a noticeable air of panic runs through many of them. Kyra assures them that unless something unexpected happens it will be safe to leave in a little over a week. Larry interjects and says that going outside to check would be a fool’s errand, since it could still be a death trap and they wouldn’t know it until they get sick. George points out that eventually the stored food will run out and they’d have to leave anyways. After that meeting George is approached by Jason, who tells him that Jones is showing more erratic behavior and he may soon pose a threat to his own safety. George goes to check on Jones and finds that he has ripped pages out of the Bible and has pasted them to the walls of his room and he is rambling about the end times. George tries to calm him down. Jones says that they have been forsaken by God and buried alive. George, calmly, says that he thinks that when terrible events happen, God wants them to pull together with their fellow humans, not to fall apart. Jones says that the lucky ones were those who died in the war, since a wasteland awaits the survivors and the chaos will be a fertile ground for their demons to get the better of them all. Jones grows angry and attacks George, saying that the demons are in their very own midst. George fends off Jones and has him locked in the room. Shaken, George goes to think in private where Jason finds him. George says that Jones has gone mad, but he can’t help but think there is some truth to what he said. Jason says that they just have to keep doing the right thing. George sighs and replies that that is easier said than done. Day 27 Hawke meets with Larry and a handful of other people. Hawke tells them that the world outside is clearly in a state of chaos. The men and women nod in agreement. Hawke says that in such a time, only the strong will survive and those who are the strongest and the best organized will be in charge. Again, the people nod. Hawke says that they must do what they can to ensure that they as military survivors are the strongest people in this area, but that means they cannot leave until they are the most ready they can be. There could still be lethal radiation out there and leaving too soon will kill them all. They can only leave when the time is right. Once they do that, then they can take this remote part of the world and rule it like kings. It’s madness clearly, but in the stress of the situation people buy into it. One of them asks about the others and Larry, after getting a nod from Hawke, says “It’s about making us the most ready. Some of them will just be burdens. And there’s only one thing to do with burdens: toss them aside.” Everyone nods in agreement. Hawke goes to the door to Jones’ room and with a key he procured, enters. Jones is now living in misery but he perks up when Hawke enters. “So, you came” he says to Hawke, who squats by him. “I tried to warn them, but they don’t listen” Jones continues, “and now it is too late.” Hawke, amused, asks him what he tried to warn the people about. “That there are demons in our midst” Jones says “and that you are one of them.” Hawke chuckles and then says “You know Colonel, you may be right about that. But in the land of sheep, the wolf is king.” Hawke then lunges forward and grabs Jones by the neck, strangling him to death. He makes it look like Jones hung himself and leaves the room. Day 28 Lisa is sitting in the secondary control room, doing the usual scan of radio frequencies, when for the first time, she picks up something other than static. It is a cycling transmission from Saskatchewan that indicates that it is a command-and-relief center for civilians. Lisa is overcome with joy at finding that there are people alive out there. She brings the news to Kyra, who is happy since it means that they can begin steps to leave the station. Since it’s just a cycling loop, there’s no way to contact the people there but it’s a good sign nonetheless. The good cheer is disrupted though by an enlisted man, who says that he found Jones dead, apparently by suicide. The news of Jones’ death is saddening for the men and women, though some are brought out of it by the news of the transmission. Larry however discounts the transmission. It’s on a loop, so whoever set it up could be dead, and even if they aren’t, chances are they’re overwhelmed by the people who came before the fallout reached them. Kyra agrees that that may be the case, but it gives them further reason to begin exploring outside in a few days. Larry and proclaims that they cannot leave until they are strong and ready, with a plan in their minds and the guns from the armory in their hands. Kyra says that no one is taking anything from the armory. George tries to reason with him but Larry suddenly lashes out and begins pummeling George. It takes Jason and three others to pull Larry off and by then George is fairly beaten up in the face and ribs, so Kyra has him taken to a private room. Larry is locked up. George is recovering but is told by Kyra that he will have to stay in bed for at least a day since he likely has some rib fractures. George tries to smile through his bruised face and jokingly says “you should see the other guy,” to which Kyra replies “I did, he won the fight.” George laughs and winces from the pain. Kyra kisses him and tells him to rest. Jason is doing some inventory when Hawke talks to him, saying that the place is a powder keg. Jason agrees but says once the people get outside and try to help rebuild, the bad atmosphere will disperse. Hawke points out that they shouldn’t try something like that until they have a plan and are ready to take a leading role. Jason asks what a “leading role” means and Hawke is about to tell him but then says “never mind, just some thought I had.” Hawke tells Jason to keep up the work and departs, Jason looking after him curiously. Hawke then goes to meet with his several followers. They are down about Larry’s episode but Hawke tells them that Larry did it on his orders. They ask him why and Hawke replies “because now one of the keys to the armory is ready for the taking.” Day 29 Jason and Lisa are sharing an intimate moment, naked but covered by a blanket. They talk about their plans once they get out of the station and how hard it may be to start a new life in such a changed world. Feeling totally bonded, they start to have sex. George stirs as someone enters his room. It is Hawke. Hawke asks how George is doing and George says it’ll probably be a day before he can get up. Hawke says that’s good and brings in two enlisted men, who hold George down. George tries to cry out but Hawke covers his mouth. “Relax” Hawke tells him. “I’m doing you a favor. Now you won’t be in the crossfire.” He injects George with a sedative, knocking him out. Hawke grabs the armory key from around George’s neck. As he holds it, Hawke says to George “you’ll thank me when this is over.” Hawke and the two men then go to the armory and unlock it with the key. Inside they take a number of automatic weapons. “Be careful. We go on my mark” Hawke says. Kyra is in the secondary control room looking at some data. The weather as of late has been conducive for flushing the radiation out of the air and some of the ground, which means they may be able to leave safely earlier. Hawke with two men, all armed, go to the room where Larry is being held. The guard says that Larry is to be locked up until further notice. Hawke says that things are different now and shoots the guard dead, the film showing quick reaction shots of people hearing the noise. Hawke gets the door open and tosses a weapon to Larry. Kyra, hearing the noise, ventures into the main area and sees Hawke with several others enter the room with weapons. A couple MPs take out their weapons but Hawke’s men gun them down. Hawke tells his men to find everyone and bring them into the recreation room. Hawke then points his pistol at Kyra and tells her to toss him her sidearm. Kyra, with no other option, does so. Hawke smiles and tells her that now it’s his orders that get followed. Jason and Lisa, dressed in a hurry, try to find out what the commotion is and see around a corner Larry giving orders to two men to search the station, all three with guns. Jason realizes that some sort of coup is going on. Larry and the two men see Jason and Lisa. Jason considers trying to outdraw them but Lisa urges him to not be brave, since he can’t get all three in time. Jason relents and kicks his gun to Larry, who says Jason was smart and then whacks him with the butt of his gun, knocking Jason out. Everyone who isn’t one of Hawke’s supporters, about a dozen in all, is herded into the recreation room. Hawke has a chat with Kyra in a private room. She asks about George and Hawke says that George won’t come to any harm. Kyra on the other hand is in trouble if she isn’t careful. She asks why he is doing this and Hawke says that chances are it would take months, years likely, for the countries hit to recover. While those governments are trying to hold onto the non-devastated regions, the rest of their countries are left to fend for themselves. Hawke says that a focused and well-armed group could dominate a large area of land, but they have to wait as long as possible to organize, let the fallout subside, and let society tear itself apart even more. Plus, who knows how much radiation is really out there, so it’s better to not just commit suicide. Kyra says that Hawke has gone insane. Hawke laughs and says he simply has adjusted to the reality they now live in. He says that Kyra is intelligent, which will be an asset for a rebuilding new order, and it would be better for her if she would just help him in his new work. Kyra asks what will happen if she refuses. Hawke says then she’ll have to be killed. “I thought about some other things of course, but then I would have to kill George, which I would rather not do.” He tells her to consider what he has said, for both her and George’s sake. George wakes up and, grimacing, hobbles to his feet and looks out of his room. He sees a man patrolling with a gun and ducks back inside. He mutters a couple curses to himself. Hawke arrives in the recreation room with Kyra and throws her into the middle where everyone else has been dumped. Hawke says that things are being run differently now. Hawke says that Kyra’s plan to gloriously lead them outside in a couple days is foolhardy, since there could be lethal radiation out there still and it would be suicide. He says that people have two choices: to join him or to die. To make a point, he has a man grab Lisa and says she’ll die to prove how serious he is and to conserve supplies. As Lisa begs Hawke to not do this, Jason acts, suddenly jumping behind Larry and grabbing his pistol and holding Larry hostage. Hawke smiles and says Jason miscalculated how much he values any man. Hawke then shoots Larry in the chest, the bullet passing through and wounding Jason. Jason no longer has a hostage. Hawke tells Jason that now he will die, the question is only if he’ll see Lisa die first. Jason, trembling, looks at Lisa and says he loves her before turning his gun on Hawke, who shoots him. “Not what I originally planned, but the point is still made” Hawke says as Lisa is dumped back into the group. “You have 12 hours to decide” Hawke says before leaving. Day 30 Kyra comforts a grieving Lisa. She tells Lisa that Jason did it to save her life. Lisa asks what they should do now. Kyra whispers that Lisa should join the others, otherwise Jason’s death is in vain. But Kyra will refuse to, since Hawke is now the opposite of everything she believes in. Lisa ponders this and says she doesn’t know if she could live in a world led by men like Hawke. “When men like him are in charge, it is women like us who suffer the most.” George struggles to his feet, but is feeling well enough to move on his own. He pokes his head out of his room and a guard sees him. “Oh, so now you’re up” the guard says, walking over to him. Grabbing his arm, the guard tells him that the boss wants to see him. George is taken to Hawke. Hawke is pleased to see George and, the madness trickling through, briefly explains his plan to George and says that with the people who have died, the rations will last them at least a few days more, which will give them more time to prepare. George asks what makes Hawke so sure that there is even a world to take advantage of, since additional nuclear strikes could have happened. Hawke replies “All the more reason to stay in here until we are absolutely ready.” George says that the food will run out at some point, so what will Hawke do, eat the bodies? Hawke, after a few seconds, says “I’ve considered all possibilities.” George sighs. “I’m with you” he tells Hawke, who is pleased. Hawke and George enter the recreation room and George spies Kyra. Hawke asks the captives if they’ve decided. None of them make a sound, but Kyra gets to her feet and tells Hawke that she won’t join him and he should just kill her now. Hawke smiles and hands a spare pistol to George. “This one is yours” Hawke tells him. George realizes that Hawke is testing him, but to be sure he points his gun at a wall and pulls the trigger. Only a click is heard. “Can’t shoot her without real bullets” George says. Hawke chuckles and motions for a guard to give George a real gun. As the guard walks over, Lisa screams in rage and tackles the guard, pummeling him with her fists. Hawke sighs and shoots Lisa, but in the distraction Kyra had moved and surprised another guard, wresting the gun from him and shooting him dead. In the whole fracas the guard who Lisa attacked had dropped his gun and George picks it up, pointing it at Hawke, who has his gun pointed at Kyra, with her pointing her gun at him. Everyone else is frozen in a trance almost. “I thought you might be playing along” Hawke said, “but I hoped you would see things my way.” “You’ve broken away from everything we’ve stood for” George says, “I’d never join you.” Hawke laughs. “You may get me” he says, “but I’ll get your woman first.” George looks at Kyra and she gives him a slight nod. “Say when” Hawke says. Silence goes by for several seconds as the three people stare one another down, until finally all three fire almost simultaneously. Kyra and George’s bullets tear into Hawke’s chest and he falls dead, while Hawke’s bullet is off-target, hitting Kyra only in the right shoulder. George immediately goes to check on Kyra and she says the bullet went through, she’ll make it. She kisses him and George helps her to her feet. They look at everyone else, none of them moving a muscle. “We’re going topside” Kyra says. “Any of you who want to rejoin the world, you’re welcome to come with us.” After a few seconds, someone says “but there’s nothing up there. It’s safer down here.” George looks at the carnage in the room, disbelief on his face. “If all of you want to stay down here, you’re welcome to this mausoleum.” He and Kyra then shuffle out of room, everyone else still frozen. Eventually one of them gets up and looks at the dead bodies. “Now the food will last longer” he says, and everyone else nods and mumbles in assent. George does some first aid on Kyra, stitching up her shoulder wound and bandaging it. They walk to the entrance to the surface level and pass through, both looking over their shoulders to see if anyone is coming after them to kill them, or to leave with them. There is no one. They get to the surface level and grab a set of car keys from George’s locker. Holding Kyra close, George guides her towards his vehicle, which is parked in the motor pool. Amazingly the car starts. Without saying a word they into the outside world and see a blue, sunny sky. The landscape is somewhat barren, with a lot of vegetation killed off. At the gatehouse George goes inside to get the gate mechanically opened. After that he returns to the car and the two drive down the driveway away from DA7. As they do, they pass by the corpses of a number of civilians, most likely the sickest of those who came earlier in the film seeking help. George and Kyra look at one another, Kyra giving George an affirmative and hopeful nod of assurance, and they hold hands as their continues down the road, driving into whatever lies beyond. Edited April 18, 2020 by 4815162342 5 Link to comment Share on other sites More sharing options...
Ethan Hunt Posted April 11, 2020 Share Posted April 11, 2020 (edited) Tower of Babylon Studio: Hunt Productions Director: Denis Villeneuve Cinematographer: Roger Deakins Composer: Grégoire Hetzel Genre: Epic Rating: PG-13 Runtime: 100 minutes Production Budget: 300M Release Date: November 17th- 485 theaters (IMAX only) November 22nd- 4005 theaters Cast: Osamah Sami- Hillalum Plot: (Italics are narration by Hillalum) https://docs.google.com/document/d/1PKAbdVqQtlT34zNQ_uK0flO1ZlrrlC0EL4-GHf6sfEg/edit?usp=sharing Edited April 11, 2020 by Ethan Hunt 4 Link to comment Share on other sites More sharing options...
cannastop Posted April 11, 2020 Share Posted April 11, 2020 (edited) COLUMBINE Director: Sam Mendes Studio: Cannastop productions Genre: Drama Release Date: September 15 Y7 Theater Count: 3500 theaters Runtime: 2 hours MPAA Rating; R Production Budget: $20 million Major Cast: Colin Ford as Eric Ansel Elgort as Dylan Tyler Posey as Brooks Hailey Steinfeld as Rachel Shailene Woodley as Devon Saoirse Ronan as Mollie Logan Shroyer as Craig Plot/script:https://docs.google.com/document/d/1K8S9R7SRfrmINZUVMMMyM0Qywp5QaI30RBAZ77_0Ic8/edit?usp=sharing Edited April 12, 2020 by cannastop 3 Link to comment Share on other sites More sharing options...
cannastop Posted April 12, 2020 Share Posted April 12, 2020 (edited) Title: Lena and the Featherweights Director: Matthew Humphreys, Tanner Johnson (directors from Ducktales 2017) Genre: Animation, adventure Release Date: August 4th, year 7 Major Cast: Kimiko Glenn as Lena also starring: Saoirse Ronan Daisy Ridley Tom Holland As the three Featherweights. Theater Count: 3,800 MPA Rating: PG Runtime: 80 minutes Production Budget: $75 million Animation done by Ken Duncan's studio, who also did Mary Poppins Returns' animation. Done in 2D animation. Plot Summary: Lena from Ducktales 2017 gets her own movie, telling the story of how she got her sweater! The movie begins with her appearing in Paris, near Gare Du Nord. She goes into a hostel and meets a rock band there, called The Featherweights. She becomes friends with them and accompanies them on gigs, and she gets her striped grey sweater. Lena finds out more about the band, lead by a charismatic male duck and two female ducks. She bonds with each member of the 3 duck band, but hopes to keep her own secrets to herself. She is a bit suspicious of the band leader until she has a breakthrough with him, At the movie's climax, she gets to play guitar in the band, after talking the band's leader out of his unconsciously sexist ways. She then has to leave, fleeing authorities, leaving behind only memories. Edited April 13, 2020 by cannastop 3 Link to comment Share on other sites More sharing options...
4815162342 Posted April 12, 2020 Share Posted April 12, 2020 (edited) Notorious Genre: Romantic Drama/Thriller Cast: Oscar Isaac (Peter Hernandez), Golshifteh Farahani (Soraya Tazir), Payman Maadi (Faraz Javadi), Sarah Shahi (Lizzie Hetami), Fares Fares (Kemal), Navid Negahban (Ishmael), with Sandra Oh (Deputy Director Ryu), and Shohreh Aghdashloo (Nhadra Javadi) Directed By: Karyn Kusama Original Score by: Nicholas Britell Release Date: November 17, Year 7 Theater Count: 3416 Theaters Budget: $60 million Running Time: 132 Minutes MPAA Rating: R for strong language, sensuality, and some violence Premise: The Alfred Hitchcock post-World War II romantic thriller is reframed for the 21st Century War on Terror. Plot Summary: See google doc link https://docs.google.com/document/d/1UaOPuM4bJlxmdzeWRq2XvuumkMSRVuASlAvDLj40RQE/edit?usp=sharing Edited April 18, 2020 by 4815162342 2 1 Link to comment Share on other sites More sharing options...
SLAM! Posted April 13, 2020 Share Posted April 13, 2020 (edited) Tongues Studio: New Journey Pictures Classics Director: Pablo Larrain Genre: Drama Release Dates: - August 18th (Limited: 4 Theaters) - August 25th (Limited: 215 Theaters) - September 1st (Wide: 1,575) MPAA Rating: PG-13 for Language and Thematic Elements Runtime: 1 hr 24 min Budget: $7.75M Major Cast in Order of Appearance Gina Rodriguez as Liliana Max Thieriot as Shane Steven Maier as Ben Jimmy Smits as Joaquim Patricia Reyes Spindola as Catalina Dascha Polanco as Sandra Brenda Song as Molly Remy Hii as Earl Direction: Somewhat artistic. Spoiler 42 Advanced issues found ▲ 15 0 Advanced issue found ▲ Spoiler Liliana (Gina Rodriguez) stands inside a subway train. She is surrounded by a diverse cluster of people. She reads news in the Spanish language on her smartphone. Shane (Max Thieriot), who had been staring out the window, finds himself peering over her shoulder and notices that the words on her smartphone are in Spanish. He asks her how long she’s known the Spanish language. (He asks this question in Spanish.) Liliana is caught off guard by Shane’s fluency, and the two strike up a conversation. Moments later, the train reaches Liliana’s stop. Shane ponders out loud if they’ll see each other again. Liliana tells him she’d like that. She exits the train and walks to the nearest staircase; the camera remains in the train and keep its lens on the girl as the train starts to leave. Shane walks into a sparsely-decorated apartment. His glasses-clad roommate Ben (Steven Maier), who is languishing on the couch reading Great Expectations, greets Shane despondently. Shane walks into the bathroom, washes his face, and peers into the mirror—his cheeks are flushing red. He walks into his bedroom, past a wall filled with posters advertising He-Man, Green Arrow, and Bleach. He scans it to find a cross necklace dangling from the top of a drawer. He lays the cross necklace in his palm, examines it, and closes his fingers around it. In a much more organized apartment, Liliana adjusts the collar of her waitress uniform. Via facetime, she speaks in Spanish with her father, Joaquim (Jimmy Smits), and her mother, Catalina (Patricia Reyes Spindola) by means of video messaging. Liliana tells them that she met a nice guy on the bus. Joaquim asks her if the guy knows Spanish. Liliana says yes. He asks if he’s Latino. Liliana says he’s white, which surprises the parents. Catalina half-jokingly advises her to worry about paying the last of her student loans before dating anyone. Liliana reminds him that she’s almost finished. Her parents, of course, knows that already; Joaquim commends her for working two jobs to pay it, and he assures that it’ll feel very good to be free from the debt. Cut to Liliana waiting tables at a mexican restaurant. She takes orders with poise and confidence. She walks into the kitchen and hangs an order up for the chefs. Her coworker and good friend, Sandra (Dascha Polanco), tells her the number of her next table—Sandra is barely able to contain a smile. The camera tracks Liliana as she walks across the restaurant to get to the table. She freezes for a moment, gathering her bearings before completing the journey to the table. It’s Shane. He sits alone. He seems captivated by the menu in his hand. After a moment, he notices Liliana and gives her a deer-in-the-headlights look. They talk for a minute. Shane pulls out the restaurant’s business card—she had dropped it on the train. Liliana takes the order and goes back to the kitchen, where Sandra is giggling—she knew who it was by the description Liliana had given her. Liliana is a pool of red cheeks and nervous sweat. Sandra asks her why she’s interested in a guy who’s a few years younger than him. Liliana doesn’t know if she’s interested in him yet. We cut to the food being ready. Sandra ushers Liliana out with the food. Liliana gives the food to Shane, and they have a brief discussion. Shane is a linguist; he’s good with languages. Liliana is a theater actress and a waitress. Shane gives Liliana the cross necklace; she gleefully puts it on, and Shane smiles. Cut to Liliana entering her apartment. Molly (Brenda Song), Liliana’s roommate, is having a conversation in English with her boyfriend, Earl (Remy Hii), on the living room couch. Molly waves hello. Liliana waves back. Liliana goes into her room and collapses onto the bed. She pulls out her iPhone; it’s revealed that Liliana and Shane have exchanged numbers. Liliana calls him and invites him to go for a walk in Central Park. At the end of the conversation, we cut back to Shane, who shuts his flip-phone with a loud snap. He pats himself on the back. Cut to Liliana attending a Catholic church with mostly Hispanic attendees. The choir sings. She enjoys the service. We cut to Central Park. Liliana and Shane walk together through the park. They talk in Spanish. They get to know each other. When they come across a vendor selling “authentic German bratwursts,” Shane walks up and greets the vendor in German. Liliana is amazed by Shane’s fluency in German. Shane buys two bratwursts and gives one to Liliana. Liliana asks him how he knows German as well as Spanish and English. Shane states that God has gifted him the ability to speak in tongues. Liliana is extremely confused by this, asserting that speaking in tongues is something different from being fluent in a variety of languages. Shane is convinced that the gift of fluency and the gift of tongues are one and the same. Liliana believes that Shane is wrong, but she chooses to let it slide. In Shane’s apartment, Shane and Ben have a conversation about Liliana. Ben believes that Shane is doing something wrong by pursuing Liliana in the specific way he’s pursuing her. Shane discredits Ben because he’s an atheist. We cut to the restaurant. Liliana talks about the bratwurst incident with Sandra. Sandra admits she’s at a loss because she’s “not very religious,” but she points out the fact that both Shane and Liliana are Christian, which “must amount to something.” Liliana smiles. Cut to Liliana during a rehearsal for an avant-garde theater production. This small production persists of a diverse pool of actors. The director calls them to their places. The actors go to opening set and perform a beautifully-choreographed scene. The director tells them “good work” when they finish. When Liliana leaves the rehearsal, she calls Shane and asks if he wants to swing by her apartment for a visit. Shane visits Liliana’s apartment. Molly and Earl are sitting on the living room couch. Shane walks up to them and greets them in fluent Mandarin Chinese. Molly and Earl do not understand the Chinese language. This confuses Shane. Liliana introduces Shane and states that he is a linguist. “Well, at least he’s not a racist,” Earl says under his breath. Shane looks around the apartment. It’s a nicer apartment than his own apartment. He takes in that fact as if he’s confused by it. Liliana crosses her arms and asks him if everything’s okay. Shane tells her he’s okay. Shane and Liliana sit outside an ice cream parlor. Shane is eating Neapolitan ice cream, while Liliana is eating mocha chocolate chip ice cream. Liliana asks Shane why he had such a strange reaction to her apartment. Shane admits that he thought she would have lived in a much cheaper apartment. He tells her statistics pertaining to the amount of Hispanic-Americans who are lower-class. Liliana laughs and tells him that while it’s sweet of him to worry about her, she’s been working hard to earn nice things, she’s been willing live a minimalist lifestyle any way she can, and she’s relying on God to help her. That’s the way she lives, and she’s content. Shane tells her that he understands. The thing is, he doesn’t actually understand. He goes home to his apartment, crying to Ben about how he thought he was in a position to save Liliana from a life of extreme poverty. Ben tells him that there’s no point in trying to save people when there isn’t a need, and that if he’s a Christian, he should focus his attention on more important matters. Shane goes to his room and slams the door behind him. Liliana works in the restaurant once again. Joaquim and Catalina walk in and surprise her; they understand that Liliana’s play is going to be shown soon, so they thought they’d come by to see the see the show and spends some days in New York. Liliana is delighted by this. She goes back into the kitchen and tells the good news to Sandra. Sandra cannot attend the show, but she wishes she could come to see it. Liliana is sitting on the couch with Molly, talking about how they never have time to talk. Suddenly, Liliana’s phone rings. It’s Shane. Shane spills his emotions over the phone, saying that he loved her, and that he knew she loved him, but he doesn’t ever want to see her again because she didn’t turn out to be the person he thought she was going to be. He hangs up. Liliana feels a multitude of emotions at once. Having overheard the message, Molly says, “Holy crap.” Cut to Shane walking down a sidewalk. The sidewalk teems with people of all races and ethnicities. He freaks out and walks past more and more people. There’s a lot of people on the sidewalk—too many for comfort. Pretty soon, he starts pushing people to the side. He almost walks into the street, but a friendly person pulls him back just as an oncoming car is about to hit him. The red hand turns to the white figure, and the people begin crossing the street, but Shane stands alone, catching his breath, experiencing an epiphany. Shane walks into his apartment and sees Ben languishing on the couch, reading a book. Shane takes his book and throws it onto the floor. Ben stands up and asks him if he’s crazy. Shane says he doesn’t know. Ben chastises Shane, telling him that he has no idea how to interact with other human beings in a meaningful way. Shane retorts that he should be able to interact with others because he can “speak in tongues” with people. Ben tells Shane he’s being an idiot—he understands other language, but he doesn’t speak in tongues. Shane stomps his foot on the ground and yells a monologue about how he thought his life would have a positive impact on people of all races and ethnicities. Ben tells him that just because he understands their language doesn’t mean he actually knows how to connect with them. Shane asks him why Liliana connected with him. Ben clues him in, saying that it sure as heck wasn’t the language thing—and it certainly wasn’t because he saved her in any way. Ben angrily picks up his book from the floor and continues reading. Shane takes in the words. We cut to the night of the show. It takes place in a black box auditorium. Joaquim and Catalina sit in the auditorium and talk to each other about the names in the playbill. They point out names to each other, names of people who they know have worked with Liliana before. Shadows drape over Liliana as she stands alone backstage. People buzz around her, making preparations for the start of the show. The director tells them to get in position. The director also tells them to break a leg. Liliana walks toward the front of the stage just as the black curtain is parting. Liliana looks into the audience. The first person she sees is Shane. The image amplifies her pain, and she proceeds to tell an abstract monologue about human connection. While she gives the monologue, she moves around the stage gracefully, tears streaming down her face. The ensemble twirls ribbons and streamers behind her. The handheld camera stays locked onto her as the scene flows beautifully. She disappears into the ensemble, and the rest of the play continues. The show ends. Liliana greets her parents and thanks them for coming. Shane comes up to them and greets the parents in English rather than Spanish. He shakes their hands. The parents are delighted to meet him. Something distracts the parents, so Shane gets the chance to tell Liliana that he’s sorry for the way he acted. He tells her he has mental issues, and he knows it doesn't excuse his actions. He’s been wrong about many things, not just the tongues thing. Liliana takes off the cross necklace and gives it back to Shane. They promise each other they’ll be friends. Liliana and her parents walk outside of the theater. They walk onto the sidewalk and disappear into the crowd. The moving camera tracks the crowd. Cut to black. Edited September 11, 2023 by SLAM! 4 Link to comment Share on other sites More sharing options...
YM! Posted April 13, 2020 Share Posted April 13, 2020 (edited) Father II - The Resurrection Studio: Infinite Studios Release Date: 4/7/Y7 Genre: Horror/Thriller/Action Director: Anna Foersted Rating: R Budget: $15M Theater Count: 3,666 Runtime: 100 minutes Previous Film: Father (Y3): $40,189,306 / $59,900,134 Cast: Dakota Fanning as Sister Mackie Unknown as Father Kirk O’Reilly Ellen Burstyn as Mother Teresa Keith David as the voice of Zuhj Plot: We open in 1935 where we see the same demonic priest from the first film has found numerous priests runs into the forest as we see a group of teens partying in the woods, engaging in sinful fun; drinking, smoking and a bit of premarital sex. The demon priest shifts from its human form, into a more canine and skeleton like monster and decides attack the teens in a spree as a young girl manages to avoid the wrath but is backed into a tree. Thankfully, the demon priest is stopped by a young Mother Teresa, who tracking the demon as she splashes holy water on the priest stinging it, as the nun grabs a bible as we see her speak verses causing the demon to hault and sputter. The nun sends the demon seemingly sends back to hell before the demon makes an ominous warning he’ll return to his roots when she dies and will gain power in which the world has never seen, and gives Teresa. We then cut to April 2019 in a small town in Massachusetts, New England as we see Sister Mackie, an aspiring nun who wants to become a priest but boasts more tolerable ideals as she joins her fellow nuns in congregation as we see the old school Father Kirk O’Reilly give sermon on a Sunday. The church isn’t the most attended but the people there are happy and joyful until O’Reilly spouts on about sin and warning of hell, chastising the LGBT community, pro-choicers and some minorities which causes the audience to zone out and leave. After sermon, as Sister Mackie and Father Kirk O’Reilly discuss the low number of churchgoers as Mackie states that perhaps they can shift traditions such as being more acceptable as O’Reilly refuses as those ideals as the Bible is law as the two argue, until Mackie decides to quit. We then see O’Reilly stays at the church, open a worn out bible, praying that someone will show him the way to get others to believe as the candle lights dim as we see what seems to be a demon but turns out to be the ghost of a colonial priest, the same as the first one. The colonial priest tells him to keep his beliefs and assure O’Reilly with his help, they’ll usher a new age of Christianity. O’Reilly is unsure but the other priest tells him about faith saying he has a great place in the afterlife, inspiring O’Reilly to agree. Unfortunately, the priest turns out to be the same demon and lunges at O’Reilly as we cut to the next day. We then cut to next Sunday as Sister Mackie prepares to move to another church as she decides to visit her old church to see a more tolerant O’Reilly who decides to become more open minded as more people join, who offers her the job back. Mackie is hesitant but is happy for the priest’s change. O’Reilly then decides to invite her to an outing at a fair which she agrees to. At the fair, O’Reilly has gotten the whole town to come out as he earns back the respect of Mackie and townspeople, as he does a surprising miracle by stopping a Ferris wheel from crashing due to a negligent and high operator. Mackie decides to stay as O’Reilly is delighted as the operator is fired by the boss of the fair. We then cut to the night, as we learn that the operator was an abusive husband as well. O’Reilly stops him from beating his wife by entering, as he warns the operator about hell as the operator refuses as O’Reilly shifts into a demon to torment and kill him. The wife thanks O’Reilly as O’Reilly pukes red slime on her, dazing her. We then see over the course leading up to Good Friday, as O’Reilly does more miracles as he earns nationwide fame and more tourism to the town while at night killing off sinners such as KKK members and criminals. O’Reilly also begins swaying people to commit some sins, using subtle manipulation like encouraging a husband to cheat on his wife, as the husband doubts his wife is being faithful by reminding him an eye for an eye, or children to steal, which Mackie notices but the priest also starting to create a new form of radicalized form of Christianity more focused on purification of the non believers. Mackie decides to investigate that night as she finds O’Reilly helping some alter boys, as the scene plays out almost like O’Reilly would molest them as he then proceeds to consume and gruesomely kill, exposing his demonic nature. Mackie attempts to run but is heard by O’Reilly as he chases her in his demon skeleton dog form, but Mackie finds herself trapped in a closet. O’Reilly was about to open the door only to find nothing, as Mackie finds herself outside as she narrowly escapes O’Reilly as she manages to get out of the church. Naturally, Mackie sends the police to look into this as she heads to bed as the police head to the church. The police naturally swarm inside as O’Reilly is seen reanimating the alter boys as demons. The police naturally shoot but are eaten alive by the alter boys as O’Reilly hypnotizes the lead officer to join his cult. The next morning, the Saturday before Easter Mackie decides to watch the news only to her horror see that O’Reilly is still alive and brainwashed the police. Mackie considers fleeing but is visited by the ghost of Mother Teresa, who reveals to have saved her last night as Teresa explains that she and the demon are actually sworn enemies and she failed to kill it years ago, as she decides to help Mackie. Mackie then goes back to the church feigning her unawareness as she collects holy water as advised by Mother Teresa as studying the Bible to repeat the verses Mother Teresa knew. Mackie then storms the church fighting off the demonic nuns, police officers and alter boys using holy water and sharpened stake like crosses to kill them as Mother Teresa confronts Zuhj/O’Reilly. The two brawl in their astral forms as Mackie steps in. Zuhj/O’Reilly fires a pulse about to hit Mackie but Teresa sacrifices herself as Zuhj/O’Reilly absorbs him. Mackie asks Zuhj why he is doing this as Zuhj explains that like Mackie states the old way of religion is dying and perverse and that he’s finishing the job, while trying to rebuild it to his own image. Zuhj also explains that her methods helped and that his grand plan was as he was slowly infecting the townsfolk and that on Easter, due to all the sins and converts he’s made he’ll have enough power to brainwash the people once they drink the body and blood of Christ into his army. Mackie calls him out on using the ideals for evil as Zuhj explains he’s done many things as explains he played on both the best and worst of humanity. Mackie fights Zuhj but is outmatched and down to her last bit of holy water, as she runs to the top of the building. Zuhj corners her as he goes in for the kill. Mackie sprays the holy water into Zuhj’s eye stunning him as she reveals she lured him as she begins the incantations as Zuhj is drained. The demon falls to his death and is impaled by the giant cross on the building. Mackie then delivers the Easter sermon as everything seems good but it is revealed later that night, Zuhj controls her as he reveals he did infect Mackie too but subtly and banishes her to Hell as he takes over her body. Edited April 26, 2020 by YourMother the Edgelord 3 1 Link to comment Share on other sites More sharing options...
SLAM! Posted April 14, 2020 Share Posted April 14, 2020 (edited) Carver Studio: New Journey Pictures Classics Director: Lee Daniels Genre: Historical Biopic Release Date: February 17th Theater Count: 2,438 MPAA Rating: PG for Thematic Elements Runtime: 2 hr 5 min Budget: $15 Million Original Song: "I Will Not Be Moved" by Andra Day Cast Jonathan Majors as George Washington Carver and Unknowns in the Other Roles The film, for all intents and purposes, is an informative and effectively executed biopic of the American agriculturalist George Washington Carver. The film begins with him going to a college campus and being denied entry. Even though they had previously accepted his application, they choose to deny him because of his race. Carver goes back home, which is basically a farmhouse, and he asks God what to do. We cut to a flashback of when he was 10. He experiences growing pains and decides to place faith in God and Jesus. After the flashback, he decides that he should help the world through tenacious application of science and his fascination with a legume we all know and love: the peanut. He conducts botanical experiments from home and attends an art college, where he excels in drawing illustrations of his botanical samples. He becomes the first black student ever admitted to Iowa State and is persuaded to stay there and seek out his Master's. He experiences failures, but finds within himself the perseverance to never give up. He didn't actually invent peanut butter, and the film doesn't pretend to say that he did, but Carver was successful in bringing attention to ways the legume known as 'peanut' could be consumed by humans. He wins awards for his work, making his family, friends, and colleagues proud. When he dies due to falling down a staircase in his 70s, many people attend his funeral. He is remembered as a steward of God, nature, and science. Edited September 11, 2023 by SLAM! 1 Link to comment Share on other sites More sharing options...
Blankments Posted April 16, 2020 Share Posted April 16, 2020 (edited) Birdwing Director: Nathan Greno and Byron Howard Genre: CGI Animation/Fantasy/Musical Release Date: November 22 Major (Voice) Cast: Matthew James Thomas as Prince Ardwin “Birdwing” Jeremy Pope as Prince William Stephanie Hsu as Lady MacKenzie Christopher Jackson as King Rafe Ali Stroker as Queen Rose Amber Gray as the Swan Brad Garrett as Charles the Marksman Stephen Merchant as Sir Marcus Charleston Betty Buckley as the Enchantress With Eric Andre as the Rat And Kristen Wiig as the Horse Theater Count: 3,965 MPAA Rating: PG for thematic elements, action/violence, and some crude humor. Runtime: 106 min Production Budget: $160 million Music by: Alan Menken Songs by: Alan Menken and Glenn Slater Additional Formats: 3D and Dolby Soundtrack: 1. Right Where I Belong………….........Matthew James Thomas, Jeremy Pope, Stephanie Hsu, Chorus 2. Right Where I Belong (Reprise)...Matthew James Thomas 3. Us Plus You………………………............Jeremy Pope, Stephanie Hsu, Matthew James Thomas 4. Tougher Love……..……………….........Christopher Jackson, Ali Stroker 5. A Quest to Nowhere…………….......Matthew James Thomas, Stephanie Hsu, Jeremy Pope ft. Eric Andre and Kristen Wiig 6. Things Could Always Be Worse...Eric Andre, Kristen Wiig, Matthew James Thomas 7. Take Flight……………………..........…...Amber Gray, Matthew James Thomas 8. Tougher Love (Reprise).................Christopher Jackson 9. Take Flight (Reprise)........................Ali Stroker 10. Found Who I Am……………….…...Kim Petras Plot Summary: A prince cursed with his right arm being a giant bird wing leaves home with his friends after discovering the King plans to cut off his wing in order to remove his “disability.” His quest? To find just where he belongs. Inspired by the book by Rafe Martin. Plot: https://docs.google.com/document/d/1caP1dsewVmguXivH2kPq0Tgxmj_CK-wWi8SSMQVaMUQ/edit?usp=sharing Special thanks to @YourMother the Edgelord and @Spaghetti. Edited April 18, 2020 by Blankments 7 Link to comment Share on other sites More sharing options...
SLAM! Posted April 16, 2020 Share Posted April 16, 2020 (edited) YANG Studio: New Journey Pictures Director: Duncan Jones Genre: Mystery/Thriller Release Date: June 9th, Y7 (one week of IMAX) Theater Count: 3,480 MPAA Rating: PG-13 for Language and Violence Runtime: 1 hr 54 Min Budget: $75 Million Composer: Austin Wintory (an esoteric symphonic score) Cast Naomi Scott as Miriam Ahmed Jon Boyega as Darius Chapman Jessica Henwick as Barbara Nguyen Alfie Allen as Pierre Juno Temple as Gloria Viveik Kalra as Rashid Ahmed Golshifteh Farahani as Jael Meera Ganatra as The Mother with Sandhil Ramamurthy as Mitesh and Gwendolinie Christie as Mackenzie Robinson Synopsis: A young British photographer travels to India to take set photos for a nature show and discovers that something is amiss. Previous Series Gross: Yin - $92,814,391/$212,877,044 (Special Thanks to @Rorschach for pre-reading.) Spoiler 114 Advanced issues found ▲ 23 Spoiler The opening credits are paired with lo-fi footage from a video camera. In an Indian jungle, the cameraman captures Mackenzie Robinson (Gwendoline Christie), a British celebrity zoologist, as she interacts with peacocks. An Indian-ethnic man named Mitesh (Sandhil Ramamurthy) is seen with a backpack full of equipment, following Mackenzie closely as she feeds peacocks, pets them, and poses with them for the camera. The jittery scientist Gloria (Juno Temple) assesses samples of items given to her by field biologists. The glasses-clad Pierre (Alfie Allen) sits behind the wheel of a jeep, utilizing razor-sharp focus to write notes in a journal. Darius (John Boyega) carries a large load of wood down a path as two peahens follow him playfully. Mackenzie Robinson looks around at the activities of the humans and the peacocks, feeling proud of herself. The score’s motif introduces the idea that something might be wrong. London. Miriam Ahmed (Naomi Scott) hurries down the stairs of an apartment building. She opens her mailbox and sifts through the letters. Not one to waste any time, she finds the letter she’s been seeking and tears it open. She reads its contents and becomes overjoyed. She runs into her family’s apartment, where her mother (Meera Ganatra) is cooking and her brother Rashid Ahmed (Viveik Kalra) is sitting at the table reading an automobile magazine. She tells them the good news: she’s been hired as a still photographer for Mackenzie Robinson’s nature television show, which is currently filming in India. Her mother congratulates her while Rashid drinks orange juice with a bitter glare. Miriam is excited for this job because she’s a huge fan of Mackenzie’s show. Mackenzie Robinson, after all, is the “modern Jane Goodall,” as she says. Rashid rubs his shaved head—he’s very much into the skinhead culture—and rebukes Miriam. Rashid: Aren’t we Pakistani? You’re going to India, just like that? Miriam: Rashid. I’m representing Britain. And maybe going in peace would do some good. Rashid: Hmph. You’re sweeping history under the rug. Just like everyone else. Miriam: Why can’t you be happy for me for once? Mother: Enough. Both of you. You seek your interests, I allow it, and you act like this. Rashid leans back in his chair, sipping orange juice. Miriam storms to her room. A few days later, Miriam and her free-spirited cousin, Jael (Golshifteh Farahani), meet for lunch at a diner, seated at an outdoor table, eating turkey sandwiches. Jael asks her if she’s ready for her flight tomorrow. Miriam is ready. She asks Jael if she’ll watch over Rashid. She will. Miriam confesses to Jael that she’s scared about going to India; she’s not sure if she’s doing the right thing. Rashid’s criticism is valid, too. Jael assures her that it’s good she’s going to India—she’s going to take pictures for Mackenzie’s television show, so she’s going for the pure reason of following her passion. Plus, it’s the final season, so it’s her last chance. Miriam smiles. Rashid wakes her up at 4 in the morning on the day of her flight. “Please get out of my room,” she responds. We cut forward in time as Miriam, wearing an arts college sweatshirt, shuffles through the apartment, making sure she has everything she needs. She steps out to the stairwell to walk down the stairs—and begins to lose her balance at the top of the steps. Rashid catches her by the hoodie of her sweatshirt just in the nick of time. Miriam turns and thanks him, but Rashid, for some reason, is speechless. Miriam trots down the steps as if he had said the typical “you’re welcome” or “no problem,” asking him to double check if she’d left her journal on her desk. Cut back to Rashid, who stares down the stairwell with a stunned expression. Cut to the airport terminal, where Miriam is seen off by her mother and Jael. Rashid has decided to stay in the mother’s car—we see two shots of him alone with his arms crossed. Fidgeting. Restless. Cut back to Miriam, who says her goodbyes and walks toward her boarding area, her cheeks red with innocence. We’re given a disconcerting montage of shots that chronicle her journey by plane from London to India. She boards, the plane takes off, she examines her camera on the plane, and the leaves of Indian trees sway as the plane prepares its landing. Cut to an upside-down shot of a bus traveling down a road, which tilts to a right-side up shot as it treks onward. Cut to the bus stop as a myriad of people step off, including a wide-eyed Miriam. She looks at sees Pierre, who on the driver’s seat of a jeep holding a sign that says “Mackenzie Robinson Nature Show Employees.” Pierre drives the jeep deeper into the Indian jungle. Four new employees (including Miriam) ride with him in the passenger and back seats. Pierre briefs the new recruits: they’ll be staying in a traditional Indian village, where huts and tents are built for employees of all kinds. Pierre reminds them that they all signed a non-disclosure form, and that the operations are hidden deep in the jungle, because they’re engaging in scientific activities that must remain top secret for the time being. Pierre doesn’t even know the full details. One of the recruits tells Pierre that he looks more like an accountant or mathematician than someone who would drive a jeep through a jungle. Pierre tells them never to judge a book by its cover. Miriam looks off and smiles. They arrive at the base of operations. The total amount of people (scientists, film people, and other people) ranges from 50-100. Miriam sees a few people walking around with strange body-covering suits (cross between Hazmat suit and soldier uniform) and a strange type of gun (imagine the suit and gun however you wish). Miriam chooses to shrug it off. Pierre leads them to where they’ll each be staying. Miriam will be sleeping and keeping her things in a hut—one that she’ll be sharing with another young woman. Miriam walks in and sets her things down. Some time passes, and her ‘roommate,’ a young Asian-American woman (Jessica Henwick), walks in and sees her. ???: You must be rooming with me. Miriam: Yes! I’m sorry. I’m Miriam. I’m a still photographer. ???: Barbara Nguyen. Zoologist. Nice to meet you. Miriam: Is that an American accent? Barbara confirms she’s American. Miriam looks down—she swears she’s heard her name before, but she’s doesn’t remember how. Barbara tells her not to worry about it. They walk outside, and Miriam freezes. Her favorite TV celebrity, Mackenzie Robinson, is thirty feet away. Gloria runs up to her with a clipboard to talk to her. Mitesh stands very close to Mackenzie—as if he’s guarding her. Miriam runs up to the group (despite Barbara’s cautioning), and Mackenzie takes notice. Mackenzie: Ah! And who might you be? Miriam: Hi! I’m sorry. I mean, I’m Miriam. Mackenzie: Miriam! You must be the photographer! We are delighted to have you! Gloria mumbles ‘Mary’ under her breath. Mitesh attempts to step in front of Mackenzie, but the zoologist gently nudges him aside. Mackenzie: Now, now, Mitesh, that won’t be necessary. Anyway, Miriam, I must say! I was enamored by your portfolio! You’ll be very useful here! Darius emerges from between two huts. He watches them from afar before sauntering away. Mackenzie assures Miriam that even though her first day of filming is tomorrow, she can take as many pictures as she wants. “Ta-ta,” she says as she leaves. Gloria begins to mumble the English nursery rhyme “Mary, Mary, Quite Contrary”—Miriam is weirded out, so she leaves. Miriam and Barbara get ready for the night. Miriam asks Barbara what her job is. Barbara tell her she records information about the wild animals that the scientists study. Barbara: A whole crew of people were here to make preparations a month before I got here. The nature of these preparations are top secret… Miriam: And this is relevant because? Barbara: I roomed with the photographer who came before you. Mackenzie told us she went home for a family emergency. I think she disappeared. Either way, that’s why you’re here. Miriam: She probably just went home. Mackenzie wouldn’t lie to us. Barbara breathes in and out. Barbara: It’s a hunch. There’s something off about these peacocks. I don’t know what it is. Miriam attempts to call Jael (for a casual chat), but there’s no signal. Miriam: Urgh! I can’t call anyone! Darius: There’s no signal here. You should have known better. Miriam and Barbara pause. Cut to Darius, who’s standing outside the hut, smoking a cigarette while listening in. Miriam walks out and crosses her arms. Miriam: Eavesdropping, much? Darius: Does it bother you that I’m eavesdropping? Miriam: Yes. It does, in fact. Barbara walks out of the hut. Barbara: Miriam, Darius. Darius, Miriam. Darius: (to Barbara) Could I talk to her alone for a bit? Barbara smirks and walks back into the hut. Miriam: So. Darius. What makes you think it’s okay to stalk people? Darius: You know Bear Grylls? I’m him if he were camera shy. Miriam: That’s not an answer. Darius: I’m saying I’m a survivor, and that survivors adapt to certain climates, and that I’ve learned to adapt to this one. Miriam: This is a work place, not a climate. Darius stoops down and puts out his cigarette on the orange ground. Darius: What did you say your name was again? Miriam: Miriam. Darius: You’re naïve, Miriam. Miriam: What do you mean? Darius: You should know what you’re signing up for beforehand. Miriam: I’m-I’m a photographer, that’s all I’m— Darius: Are you sure that’s all you’re here for? Miriam ponders this. Darius puts the smoked cigarette in his front pocket and looks at Miriam. Darius: I’d be careful if I were you. I know the true intentions of these people. It’s not pretty. Darius walks off. Miriam watches him in confusion. Miriam: Of all the new recruits, why would you choose to warn me? Darius doesn’t look back. He waves her off. Darius: I have a crush on you. There. Band-aid’s ripped off. Miriam scoffs. She grins and enters the hut. Miriam’s first day of filming goes well. Mackenzie instructs the scientists to hide in the bushes that border a dirt path—they’ve left bamboo shoots out on the path for a peacock to grab. The team is within one wall of forest, and a male peacock emerges from the other. Miriam shimmies through the trees and bushes to collect snapshots of the slowly encroaching bird. *snap*—a photograph appears onscreen. *snap*—another photographer. *snap*—yet another. The bird makes it to the bamboo shoots and scuttles to them, examining them with his beak. Mackenzie: How do you do? The bird perks up with a large bamboo shoot in his mouth. Mackenzie is sneaking over to the bird, staring at him with an expression mixing together determination, continence, and madness. Mackenzie: It’s okay. You can trust me. The bird backs away. Mackenzie: You must already know who I am. The bird flees, gliding down the path before darting into the bushes. Mackenzie turns to the camera. Mackenzie: Did you get that? The film crew and scientists emerge from the underbrush. Mitesh marches to Mackenzie, brushing off the dirt on her clothes. Within the bushes, Miriam asks Barbara about the occurrence. Barbara, quickly jotting down notes in a journal, says there was something strange about the peacock’s movements—as if it had been thinking critically. Miriam: I’m trailing it. Barbara: Miriam, wait- The film crew and scientists are too busy to notice Miriam crossing the dirt path to the other side of the jungle. Miriam follows her instinct as she tries to find the peacock; she notices a small trail of leaves scrunched by feet and follows it. The scrunched leaves lead her to a bush; she parts the bush with her arms and gasps—there’s a nest resting in a divot in the ground, and the peacock and his peahen are feeding their chicks with the bamboo shoot. The birds notice Miriam’s presence; the peahen shields the chicks while the peacock displays his tail feathers. Miriam doesn’t move at first—she just stands still. Examining the birds, she senses strange emotions emanating from them. Fear. Exhaustion. Defeat. She backs away, raises her camera, and snaps a photo. The snap of the camera bridges the scene to a shot of Gloria in a lab tent, preparing vials of liquid substances one by one. She repeats “Mary, Mary, Quite Contrary” over and over again as she indulges in her job. Miriam and Barbara talk about their findings over dinner in a mess hall when Mackenzie announces (via intercom) that a special event is happening at a bonfire later that night. Miriam and Barbara exchange glances. As the two women get up to go, Darius walks by; he whispers to Miriam, “Bring your camera.” Cut to the bonfire. Employees cluster together at a distance from the fire, creating a makeshift audience. Pierre stands some distance away from the crowd; he speaks into a walkie-talkie and walks away. Mackenzie appears in front of the fire and gives a speech. She tells them she’s been blessed with a long career. She’s been all over the world, filming interactions with various animals for her nature show. She tells them that she’s hired an entirely new on-the-ground team for her final season—not a single person at this sight has worked on the show in the past—and she has something very special planned for this final season—and for the last few episodes in particular. Mackenzie: And now, ladies and gentlemen. I proudly present a sneak peek of what’s to come. Mackenzie walks to the side. The employees wait with baited breath. Suddenly, out from the foliage in the background, male peacocks emerge. Flutes and bassoons flutter as the peacocks take their positions around the bonfire. With somber elegance, they dance. Miriam has her hands on the camera, but is too enamored to take photos. Barbara has a hand clasped over her mouth. Mackenzie stands proudly while Mitesh stands beside her—Mitesh is weeping. Gloria watches from a plastic window in her tent—she flashes a mischievous grin. Darius covers his right eye with his right hand and smokes a cigarette with his left—the left eye displays grief. The peacocks raise their tails, displaying their beautiful designs. Mitesh leans to Mackenzie’s ear, telling her she needs to run. Miriam begins taking photos while people run away behind her. Suddenly, Tigers leap out of the underbrush and attack the peacocks. Not one peacock makes it out alive. More employees run away in fear, but some are either transfixed or standing in shock. One tiger snatches a peacock with its jaws, but falls into the bonfire, burning both itself and the peacock to death. More and more employees run away, but Miriam is so in shock that she’s taking pictures. The tigers, bloodthirsty, turn their attention toward the crowd, and people are mauled as well. One tiger swipes at Darius, but he dodges it by stepping back. Darius takes his cigarette and singes the tiger’s forehead—it backs away in pain and runs back into the forest. A young woman around Miriam’s age isn’t so lucky; the woman and the tiger stare into each other’s eyes, and the tiger leaps onto her. Cut to Miriam as the tiger mauls the woman to death. Miriam wants nothing more than to look away, but she cannot. We zoom in on her as she becomes more and more horrified by what she sees. The young woman screams the name ‘Sarah’ many times, and then she never screams again. Cut to Barbara as she enters the hut. Barbara: Miriam. Miriam sits in her bunk. Curled into a ball. Dazed. Petrified. Barbara sits in the opposite bunk. Barbara: They’re not allowing anyone to leave. Miriam sinks into herself. Barbara approaches her. Barbara: I think I know what’s going on. But I need your help to investigate. Miriam: How could I? Barbara clutches her camera. Barbara: You are the eye, Miriam. You are the visual record. Miriam: But what about Mackenzie? We wouldn’t— Barbara: You must embrace the truth, no matter how ugly. Are you willing to seek the truth? Miriam nods. Miriam: Okay. I’ll help you. Darius, leaning against the outside of the hut, hears Miriam’s words, smiles, and walks off. Cut back to Rashid in a car repair shop, giving a customer’s car an oil change. His boss walks by and thanks him for coming to work even though he didn’t have to. His phone; he takes off his gloves and picks it up. It’s Jael, who offers to take him to the zoo when he’s off from work. Cut to the zoo, where they walk through indoor corridors and look at the imprisoned animals. Jael walks off, saying that her favorite animal is around the corner. Rashid barely notices. He stares into the glass and watches as a tiger on the other side crawls toward him. Rashid tenses up, and he hurries around the corner. Jael sees him from faraway and asks if he’s all right. Rashid has no response. Cut to Pierre, who drives the jeep through a jungle path with Mitesh in the passenger seat. They have a conversation about the past night’s bonfire incident. Mitesh: Mackenzie has her trust in you. I could tell you the plan if you wanted to hear it. Pierre: I prefer not to know. I don’t ask questions. I take orders. Whatever happens, happens. Pierre drives the jeep toward a village in a field. Its huts sit close to the jungle, and its people go about their quiet practices. The head of the village notices Mitesh as he hops out of the jeep. Mitesh engages in an antagonistic conversation with the head of the village. Mitesh tells that it is his village’s time to be raped and pillaged, and that there’s nothing to be done about it. The man notices Pierre, who watches with disinterest. The man criticizes Mitesh for giving his allegiance to selfish and greedy people. Mitesh tells the man that if he had experienced the benefits of the land of the selfish and greedy, he would copy their ways as well. Mitesh him that while it’s nothing personal, and that the fate of the villagers saddens him, the man should be glad that he and his villagers have been given a higher purpose on Earth than twiddling their thumbs in huts. The man scowls. Mitesh calmly walks back to the jeep, and the camera keeps its lens on him as hazmat soldiers appear from the underbrush and run past him, shooting at the villagers with their strange guns. Mitesh hops into the jeep, and Pierre drives off, shaking off his curiosity. Pierre drives Mitesh back to the base of operations. Mitesh hops out of the vehicle and walks into Mackenzie’s hut. They speak to one another under the cover of shadows. Mackenzie: Are you glad that’s the last village? Mitesh: I never cared about the villages. Mackenzie: Ah? Mitesh: The only one I care about is you. Mackenzie: Thank you, Mitesh. You are the harbinger of manifest destinies. Mitesh: So it seems. They kiss. We cut to a lake. Pierre looks down. The jeep’s keys are in his hand. Pierre: Last chance to run away, Pierre. Going once. Going twice. He tosses the keys into the lake and walks away. Cut to Miriam as she takes pictures during another film shoot. A female peacock embraces Mackenzie; she cradles the bird and speaks to it. Miriam takes pictures of this. She turns around and freezes—Mitesh is standing right behind her, staring her in the face. Miriam hurries away. She walks into Gloria’s tent. Gloria asks her what’s she doing in the lab. Miriam is simply here to print photographs from the wireless printer, which is inexplicably located in Gloria’s lab. (Consolidation, perhaps.) Gloria: Okay, Mary. As you wish. Miriam doesn’t bother to correct her. She walks to the printer, inserts the SD card from the camera, and selects the pictures she wants to print. She turns around and gasps—Gloria is standing in her direction, staring directly at her. The photos finish printing; she grabs the pictures, steps back to the exit, and looks back at Gloria—she’s still staring at her. In their hut, Miriam places the photos on the ground for Barbara to see. Miriam: Well. Here they are. Barbara shoots Miriam a look that screams “I know something you don’t.” She doesn’t notice. Barbara: Great. Let’s get started. We cut to a medium shot of the two women sitting “crisscross-applesauce,” looking over the photographs. Barbara: You know, my father was an investigator. Miriam: Really? Barbara: Yes. I got my zeal for the truth from him. Miriam: I see. Miriam pours herself into the examination. Barbara slowly tilts her head up. Barbara: They’re human. Miriam: Huh? Miriam looks up from the photographs. Barbara hangs her head, embarrassed by the truth. Barbara: I think the peacocks are human. Cut to Miriam, who is stunned for a moment. She lets out a chuckle before melting into laughter. She laughs heartily while Barbara stares with a dead-serious expression. Miriam: I’m sorry… That’s… That’s just dandy… Miriam’s laughter fades. She absorbs the tone. Barbara leans in. Barbara: I’ve seen this happen before. When I was a girl. Miriam cringes. She looks around to see if anyone is eavesdropping. She leans in. Miriam: What is your evidence? Barbara shows Miriam the photo the peacock family that she took on her first day of filming. Barbara: A real peacock would have hissed. A real peahen would have fled the nest. Miriam: But how would they be human? Aren’t they peacocks? Barbara: That’s what we need to figure out. Cut to Darius, who has been eavesdropping outside (because of course he is). He steps away from the hut, leans against another hut, and contemplates. Cut to a flashback where Darius puts on a helmet and joins other hazmat soldiers in a raid against a village. The strange guns shoot vials—once airborne, each vial opens up, exposing a syringe. The villagers are struck by the needles, sealing their fate. The hazmat soldiers rush in, take syringes, and insert them into anyone they might have missed. A slow-motion shot dollies out from posturing soldiers as peacocks emerge from huts and flounder in confusion and frenzy, discovering what they are. Cut to a slightly slow-motion scene where Darius storms into Mackenzie’s tent and demands to be dismissed from the squad of soldiers. The sound effects and dialogue are hushed (not muted, just hushed)—but we see they’re having an argument. Mackenzie’s eyes are enlarged by rage and pride. Darius pleads with her tearfully—we see he’s had a change of heart. Cut back to Darius in present time and regular speed as he storms into Gloria’s tent. Gloria, startled, shouts at him to leave. Darius pushes Gloria to the ground and walks to a rack where vials are stored. He takes exactly one vial and stores it in his jacket pocket; then he throws the rack down, and many of the vials break, their contents spilling to the floor. Gloria screams at the top of her lungs, backing away from the liquid in fear. Darius takes a swiss army knife and slices a hole into the tent so he doesn’t have to exit through the front entrance. In one shot, we follow Darius as he sneaks away from the crime scene. He steps out of the hole and walks to the alley—he watches as employees run to the tent’s front entrance. He sneaks across the alley and takes cover behind a hut. He sneaks to the next alley between huts, and he encounters a man in a fishing hat who had the idea to search the back of the huts for a culprit. The fishing hat man immediately suspects him, so Darius punches him the face, knocking him out. Darius then drags the man behind the hut; he takes off his own jacket and puts on the man’s fishing hat. He almost walks away but then walks back to the jacket, retrieving the vial he forgot. He stores it in his front pocket and walks casually, looking around nervously for anyone who might have seen him. He finds the hut he recognizes as Barbara’s and walks around it, crouching low to the ground so he may not be seen. He pauses as more employees run toward the tent before slipping into the hut. Match cut to Darius entering the hut, alarming Miriam and Barbara. Barbara asks Darius if he’s okay. Darius holds up a finger and turns to Miriam—he tells her that ‘something has happened at Gloria’s tent,’ insisting that Miriam should run to see what’s going on. Miriam nods and exits the hut. Barbara asks him what’s going on—he side-eyes her. Cut to Miriam as she fast-walks toward the commotion. She asks a person running by what happened—“someone destroyed vital science equipment,” the person says as they run away. Miriam walks into the tent and sees a few people crowded around Gloria, who is in panic mode trying to search for salvageable vials. Miriam looks at the wreckage with empathy in her eyes. Gloria sees Miriam and begins to grumble “Mary, Mary, Quite Contrary”—her tone shifts to something more angry and violent every time she repeats the refrain. Miriam becomes teary-eyed as the people around Gloria try to calm her down. Gloria begins to screams the rhyme, and Miriam becomes overwhelms and walks out of the tent. Miriam walks outside and catches her breath. Mackenzie approaches her; she places her arm across Miriam’s shoulders and leads her along. Mackenzie: It’s good to see you, Miriam! Miriam: Mackenzie! I was just— Mackenzie: Can I tell you a secret? Just between you and me? Miriam: A secret? Mackenzie: Yes, yes! It’s on my mind, and I if don’t tell someone, I’ll forget! Miriam: Okay… Mackenzie: Humans are constantly obsessing over what the next ‘frontier’ is. It’s America one day, it’s Antarctica the next day, it’s space the day after that… A lot of people think it’s technological advancement. You’re on the same page, right? Miriam: Uh-huh. Mackenzie: I disagree with all of those, Miriam. We’re not going to other planets, we’re not solving overpopulation… We won’t save ourselves no matter how hard we try. Do you agree? Miriam: Okay. I mean, yeah! Mackenzie: I think our final frontier is nature. Think about it! By going against nature, we destroy ourselves, but if we put ourselves aside and lend ourselves to nature, we can save nature, and by saving nature, we can therefore save ourselves! Miriam: What? Mackenzie: Think of it this way. Where would you rather spend your lifetime? In a cold, cramped city with all manners of filth and grime? Or would you rather live where there’s a forest, or a mountain, or hills, or even a jungle such as this one? Miriam hesitates. Mackenzie: Well, Miriam? Miriam faces her. Miriam: With all do respect, I think that’s subjective. Many people prefer the city—myself included—but that doesn’t mean they don’t care about nature. Mackenzie looks at her as if she’s crazy. She shakes the expression off of her face and chuckles. Mackenzie: I suppose that’s true. Though I’ll never understand that way of thinking, not for the life of me. Mackenzie walks off—then she turns toward Miriam. Mackenzie: By the by, Miriam. Do you, by chance, know the whereabouts of Darius Chapman? I’d like to have a word with him. Miriam stares at her with a deer-in-the-headlights look. She swallows. Miriam: He was wearing a fishing hat. Maybe he’s headed to the lake. Mackenzie smiles toothily. Mackenzie: Ah. Much obliged. Mackenzie walks away—for real this time. Miriam turns to walk away, and after a few steps, she slides her fingers across her tongue and wipes them on her shirt—as if discarding her lies. She walks into the hut and finds Barbara sitting on one of the beds, hunched forward in solace. Miriam asks her where Darius is. Barbara casts a stone-faced glare. Then she turns to a wooden laundry basket in the corner. Barbara: You can come out now. Something from inside the laundry basket pushes up against the lid. The lid falls to the floor. Miriam holds a hand over her mouth. Darius, now a peacock, emerges from the basket. Barbara: He told me he was better off as a peacock than as a human. Miriam puts the pieces together in her head—Darius had been the one to destroy the equipment. Barbara: They’re using these vials to turn people from the surrounding villages into peacocks. Barbara hands Miriam the used vial. Miriam examines it—its syringe is exposed, and all of its liquid has been drained. Miriam remembers these were the vials Gloria was trying to salvage. Darius now stands before Miriam, his neck craned down in shame. Miriam kneels down and tells him that he has nothing to be ashamed of. Miriam gently pets him. Barbara: Now we know what we’re up against. Miriam stares down at Darius in silence. We cut to a sequence in which Miriam and Barbara grab their laundry basket by the handles and carry it through the base. People think they’re just doing laundry, so nobody notices. They stop before the jungle gets too deep, and they let Darius out of the basket. They tell Darius goodbye, and Darius walks deeper into the jungle. Miriam, crying, tells Barbara that she wants to go home, but Barbara tells her that there is no going home, and that they have to face what comes, find the truth, and find a way out. Darius looks back as Miriam cries in Barbara’s arms; not wishing to linger, he sprints into the jungle. Cut to the kitchen table in the family apartment. The mother sets out kebabs for Rashid, Jael, and herself. They eat. No one talks for a while. Jael asks Rashid how his mechanic apprenticeship is going. Rashid says that it’s fine and quietly consumes spoonful after spoonful of rice. The mother asks him what’s wrong with him. Rashid slams his utensils down and admits that he misses Miriam. Jael and the mother exchange glances. Jael tries to cheer him up, telling him she’s coming back soon—it doesn’t work. The mother chastises him, telling him that he needs to get over it, and that he needs to patient. Rashid jolts to his feet, screams that they have no idea what Miriam is going through, and storms out. At nighttime, Miriam and Barbara walk inside their hut. Barbara: Sit down. I need to show you something. Miriam nervously sits crisscross-applesauce on the ground. Barbara grabs her duffel-bag and sits with Miriam. Miriam massages her knees in unease as Barbara unzips a hidden compartment. Barbara: Do you know how to shoot a gun, Miriam? Miriam’s eyes grow wide. From the bag, Barbara pulls out a magnum pistol. Barbara: This is a Smith & Wesson .50-caliber magnum pistol. Here’s how you load it. Miriam stares, dumbfounded, while Barbara shows her how to load the gun. Barbara: When you want to shoot, turn the safety off. Always remember to turn the safety back on when you’re done using it. Miriam: Why are you showing me this? Barbara: Better to have it and not need it than need it and not have it. Miriam: Well, yeah, but that doesn’t mean we’ll need it. Barbara: You’ve seen the soldiers, right? Miriam: I’ve noticed them. Barbara: Dammit, Miriam—who did you think those soldiers were here for? Me and you? Miriam: But— Barbara: They’re turning people into animals, Miriam. Miriam: I know that! And I would never have accepted this job if I knew what I know now! But you can’t just shoot people! A sudden surge of rage rushes through Barbara. She leans in, genuine and frightened. Barbara: I’d rather die than become an animal. Miriam lets the words sink in. She stands to her feet. Miriam: I’m going for a walk. Barbara: Fine then. Miriam walks out of the hut. She walks out and holds her hands to the sides of her heads. We cut to a close up of her. She tells herself to be strong. She spends a sizeable moment telling herself to be strong. She tries to beat it into herself knocking her fist against her head. Pierre: Miriam, right? Miriam clasps her hands over her mouth (so she doesn’t scream). She whips toward the direction of the voice. Pierre is drenched in shadow, leaning against the wall of a hut. Pierre: You told her he was headed to the lake. Miriam musters up the courage to walk toward him. Pierre saunters toward her. Miriam: I remember you. You were driving that jeep. And I was there, in the passenger seat, enjoying the breeze because I thought you were a good person. And here I am, shouting at you for hiding in shadows like everyone else. Pierre punches her in the face, knocking her out. He places a black bag over her head and drags her into the shadow. Cut to the dawn breaking over the horizon. Over an intercom, Mackenzie announces that filming has wrapped—a little earlier than planned. Mackenzie is giving the employees a day to rest—tomorrow morning, they will meet in front of the bonfire to “discuss plans for the future.” During the intercom, we see Barbara sitting on her bed, staring down at the ground. We also see Mitesh shaking hands and drinking alcohol with hazmat soldiers. Finally, we see Gloria, still inside her tent (which has been cleaned up). She’s still able to make vials—and she’s elated by that fact. She stoops down to a metal suitcase under a desk and opens it. She sifts through small bits of foam (placed in as a diversion), uncovering an extensive cache of vials with orange liquid instead of blue-green liquid. Gloria smiles wickedly. Cut to the inside of a tent as Miriam wakes up on the floor of a tent. She has a black eye. Pierre tells her not to leave the tent—soldiers are surrounding the tent with orders to shoot her on sight with real bullets if she leaves. Miriam stands up and looks around—the tent looks clean, and the bed is made. Pierre: I’ve been ordered to keep you here for the next 24 hours. Miriam sits on the bed. She says nothing. Pierre: I’m sorry about the black eye. I’m sure it’ll heal soon. Still, she says nothing. Pierre puts his hands on his hips. Pierre: You can help yourself to anything you want in the mini-fridge. There’s water. Fruit. All sorts of things. She looks up at him in contempt. Pierre: Please don’t look at me like that. I’m a good person. I’m trying to be a good person. I’ve thought about the things you said to me. I really have. I know I have my loyalties. I know I follow orders. But I’m a good person. I promise. Miriam looks down at the ground. Pierre clenches his teeth. He walks over to a desk, grabs his journal, and throws it to her. Pierre: Solve your mystery. It’ll keep you occupied. He walks out. Miriam looks through the journal. She flips through the pages and becomes more and more frightened after seeing each page. She reads select excerpts aloud. Miriam: “The still photographer, Sarah, disappeared today.” She flips more pages. Miriam: “I noticed a group of people casting lots today. I don’t remember the name of the woman who…” She flips another page. Miriam: “Tigers attacked us yesterday night. I’m still shaken up about it. It’s curious, though. The woman who received the lot was the only one out of that group to be…” She drops the journal, grabs her head, and explodes into a mental breakdown. Outside of the tent, hazmat soldiers stand there, guarding the tent, doing nothing to help the woman inside. In her hut, Barbara loads the magnum pistol. She stares up with conviction in her eyes. We cut to a flashback where Barbara and Darius skip stones at the lake. Barbara: Thank you for telling me that. Darius: Thank you for listening. Barbara: I wish you’d tell me why you defected. You’re telling me they’re up to something bad, but you’re not going into specifics. Darius: I’d prefer not to say. It’s safer for you not to know. Barbara: I can defend myself. Darius: I’m sure you can. Tell you what. If you’re curious enough, you can figure it out. It’ll be obvious. Barbara: I can’t do anything until she arrives, though. Darius: Who’s ‘she?’ Barbara: You’ll know her when you see her. She’s the one who’ll get it all going. Darius: You think she’ll be a damsel in distress? Barbara: I dunno. Maybe. Barbara bursts out of the hut. She storms to Mackenzie’s hut with her gun in her hand. Barbara: Don’t worry, Miriam. I’ll finish what we started. We cut to the inside of Mackenzie’s hut. There’s a karaoke machine, and Mackenzie is singing “You Spin Me Round (Like a Record)” with Mitesh while Gloria claps along in the background. Barbara walks inside and casts a quizzical (yet humorless) glare. Mitesh, buzzed from the alcohol, goes for the high note, and Mackenzie encourages him. Suddenly, Barbara shoots the karaoke machine, destroying it. Gloria screams. The three villains turn toward Barbara, who has her magnum pistol raised. Silence fills the air. Mackenzie: How embarrassing! You caught us— Barbara: Shut up. Don’t say a word. Mackenzie chuckles. Mackenzie: Barbara, is it? You’re just a girl! You wouldn’t shoot— Barbara aims at Mitesh and shoots his thumb off. He falls to his knees. Gloria screams. Mackenzie: Mitesh! Barbara: Worry about yourself. Mackenzie smiles. She gazes into Barbara’s eyes. Mackenzie: Why, exactly, would you have me killed? Barbara: I know you’re up to something, and if there’s even a small chance killing you would prevent what’s coming, I have to take it! Mackenzie: Ah. You must have figured it out. Barbara: Yes. The peacocks you’ve been filming this whole time are human beings. Mackenzie steps closer to the gun. Mackenzie: I take it you wouldn’t want to be an animal. Barbara: Of course not! It’s wrong! Mackenzie: Ah, but it is why you exist. It is your manifest destiny. Mitesh rushes to Barbara and disarms her. He grabs her wrist and hands the gun to Mackenzie, who points it at her. Gloria steps toward Barbara with a closed vial in her hand. Mackenzie: You gave it a valiant effort. But alas! There is no thwarting the inevitable! Barbara struggles, but it’s no use. Gloria steps to her, opens the vial, and smiles wickedly. Cut to a montage where Miriam waits inside the tent. She drinks water from the fridge. She paces around. She makes a mess of the place, sweeping everything off the desks, throwing off the bedsheets, and whatnot. She stands amid the carnage, breathing heavily. She goes back to the mini-fridge and pulls out an orange. The orange reminds her of Rashid, and she falls to her knees and cries. We cut forward in time to the next day. Miriam is sleeping soundly when Pierre storms in and tells her to wake up—it’s time for the bonfire ceremony. Pierre and a group of hazmat soldiers lead Miriam to the bonfire, where all of the employees are standing as an audience for Mackenzie. Mackenzie is standing in front of the raging bonfire. Mitesh stands on her right, Gloria stands on her left, and a row of hazmat soldiers stand besdie her. Mackenzie, facing the fire, turns to Miriam and smiles. Mackenzie: Miriam! How was your time alone? Everyone turns to Miriam. Miriam notices this and becomes concerned. Miriam: Why did you kidnap me? Mackenzie: You were oh so close to finding it out, Miriam. We didn’t want to give the surprise away so soon. Miriam: I did find out. I know you’re turning the villagers into peacocks. Some of the employees talk to each other. Mackenzie smiles. Mackenzie: Yes. That is correct. The crowd gasps. Miriam glares at Mackenzie. Mackenzie: But that’s not all, Miriam! Watch closely! Mackenzie pulls out a vial gun and aims it at Mitesh. She fires. The syringe lodges itself into Mitesh’s shoulder, and orange liquid seeps into his body. He moans in pain. Miriam stands aghast as Mitesh begins a painful transformation. But he doesn’t transform into a peacock. He transforms into a tiger. Mackenzie laughs maniacally as Mitesh falls to the ground, flailing as the transformation takes hold. Mackenzie addresses all of the employees. Mackenzie: Nature is the new frontier, my friends! Take a vial! Become a tiger! Join us as we conquer the jungle! One by one, audience members walk toward Gloria, who is handing out orange-liquid vials from her metal suitcase. Miriam is appalled by this. Pierre walks to the suitcase as well, telling Miriam she should join them as he walks. Miriam: But… The villagers! The villagers are the peacocks! Mackenzie: The villagers were lesser men, Miriam. A conqueror must have something to conquer! Join us, Miriam! We can tear them apart and rule as queens of the jungle! Miriam: You’re evil! All of you are evil! Mackenzie: Come, Miriam! It is our manifest destiny! Miriam makes a decision. She backs away. Miriam: I refuse, Mackenzie! I can’t do this! Mackenzie smiles. One of the soldiers readies their gun. Mackenzie: If you won’t be the predator… Then you must be the prey! The soldier fires at Miriam. A syringe of blue-green liquid lodges into Miriam’s shoulder. The liquid invades her before she can pull it out. Mackenzie: I am the queen of the predators! You are the lowly mistress of the prey! Miriam sprints away in tears. The camera sweeps across the land as it follows Miriam through the jungle. She runs deep into the jungle, and then she starts to transform into a white-feathered peahen. It is a much faster and painless transformation—even graceful, perhaps—but it is horrifying all the same. She falls down a steep hill and tumbles all the way down, her human clothing scattering across the hill. The transformation is complete—she is now the bird of prey. She stands up, looks at herself, and cranes her neck in sadness. She walks aimlessly through the jungle, and we cut to the eyes of birds that watch her from the bushes and vegetation. She continues walking, but a familiar voice stops her. “Miriam.” The voice belongs to Darius. She perks up. Darius stands before her with his tail feathers displayed. Darius: Speak to me. We can understand each other. Miriam rushes to him, crashing to the ground in despair. Miriam: I’m sorry… I’m so sorry… Darius: There’s nothing to apologize for. Miriam: No! I’ve been foolish! Darius: Miriam. There was no way to prevent this. They made sure of that. Darius helps Miriam up to her feet. Miriam: They’re coming for us, Darius. They’re coming as tigers. Darius: Then we’ll just have to survive. They push their heads together and hold each other close. Cut back to London. A bartender pours beer into a mug. He hands the mug to Rashid, who hesitates before drinking. He stares down in silence as a trio of rambunctious thugs walk inside. One of them sees Rashid sitting at the bar and smirks. They takes their seats at the bar and order drinks—and the one who smirked at Rashid sits next to him. Thug #1: Shouldn’t you be praying? You’re supposed to pray five times a day. Rashid says nothing. He drinks. Thug #2: I bet the Paki shouldn’t be drinking beer to begin with! Rashid stares down in silence. The thugs laugh at him. The bartender saunters to the commotion. Bartender: Funny choice picking on a customer when I haven’t made your drinks yet. Rashid phone rings. He pulls it out and reads that Jael is coming to pick him up. He puts the phone away, places money on the counter for the bartender (telling him to keep the change), and walk away. Thug #3: Turning turban, I see. Rashid: Consider yourselves lucky, actually. Thug #1: Huh? Rashid: If you’d have kept up, things would’ve been ugly. He walks out of the bar. Jael has her car parked right in front, and Rashid gets in. Jael sees the thugs walk outside as well. Jael: Who are they? Rashid: Just drive. Jael drives away, leaving the thugs behind. We cut to the outside of an apartment building. Jael is parked next to the curb. Jael tells Rashid that he shouldn’t be drinking. Rashid says he knows this. Jael: You’ve been like this ever since— Rashid: No. Stop. I don’t want to talk about it. They sit in silence for a moment. Rashid sits for a moment. Emotion wells up inside him, and he begins crying. Rashid: She’s not supposed to be in India. She’s supposed to be in London. Jael looks at him in empathy as he cries. Jael reaches out and grabs onto his hand. Then she freezes. She’s realizing something. It’s amazing, the thing she realized. Rashid looks up at Jael. Jael looks at Rashid. They’re both elated by the epiphany they share. Jael smiles. Jael: I know what we need to do. Rashid wipes away his own tears. Rashid: Tell me. We cut back to the jungle. Rows of bamboo poles stick out from the ground. We cut to a creek with many tributaries; a flock of peacocks and peahens are at the creek, drinking their fill of water in silence. Miriam is separated from Darius, but she’s keeping her eye on him. Rustling is heard from the distance; the peacocks perk up in unison. Darius: Miriam. Come over to me. The birds sneak around nervously and quietly. It might be what they think it is… Darius: Miriam. Behind Miriam, we see a tiger leap onto a peacock and devour it. The birds all realize that they’re being hunted again. More and more tigers leap out from thickets, and a game of survival is thrust upon the birds. The birds hurry away, preparing to fly away. The tigers leap onto more birds, killing them viciously. Some tigers have climbed onto the trees, and they land on peacocks even as they fly into the air. Darius suggests to Miriam that they fly into a cave. They find a large cave and hurry inside, hoping to avoid the carnage outside. They land and take cover in a deeper lever of the cave just as a tiger darts in. The tiger has Pierre’s voice. It sniffs in the air and crawls forward. Pierre: Things could’ve been different, Miriam. Miriam and Darius exchange nervous glances. Pierre: You could’ve been standing with us. Instead, you’re below us. A pity. Darius flies above the rock and attacks Pierre. Miriam yells for Darius as the animals engage in a life-or-death struggle. Every time Pierre swipes his paw, Darius dodges swiftly. Finally, Pierre pounces on him. He tears the bird apart as Miriam watches. Miriam backs away in fear and distress. Pierre crawls to her with blood dripping from his jaws. Pierre: You’d be happy for me, Miriam. I don’t have to follow orders anymore. Suddenly, a second tiger leaps over Miriam and ambushes Pierre. The two tigers engage in a fierce battle; the second tiger gives Pierre fatal injuries, and he’s forced to stumble out of the cave. The tiger turns back to Miriam and stands on the upper level of the cave. It stares at the bird in awe. Barbara: Miriam! Miriam: Barbara! We see a diagonal high-angle shot; the woman stare at each other as the rays of the sun cascade into the cave. They’re both speechless. Suddenly, Barbara turns to the entrance—she senses the coming presence of three tigers. Barbara: You need to go deeper. Miriam: What? Barbara: There’s a crevasse small enough for you to fit through. You’ll be safe. Miriam: What about you? Barbara: Don’t worry about me. Go. Miriam scuttles off. Barbara turns to the entrance and stands her ground as three tigers block it—the oppressive light of the sun borders these animals. Hurriedly, Miriam slips through the cracks in the rocks. She loses her footing and stumbles down a rocky cliff—this time she catches her fall and glides down incline. The light from the entrance disappears, but Miriam’s white feathers remain visible against the black screen. She lands and runs forward before collapsing on the ground. Her eyes adjust to the darkness—she’s in a long, rocky corridor with no discernable way out. A beam of light from above creates a make-shift stage-light, and darkness surrounds this circle of light. Miriam collapses to the ground and catches her breath. She looks forward and sees Jael walk out from the darkness in a beautiful middle-eastern dress. Miriam is amazed to see her cousin. Rashid walks out from the darkness and stands beside Jael with a tank of gasoline in his hand. Jael and Rashid stare her. Their eyes say it all—they’re glad to see her, and they miss her. Then, like ghosts, a crowd of peacocks and peahens come out from the darkness and form a large circle around the characters. The peacocks—a countless number of them—notice Miriam and crane their necks as if they’re bowing to her. Miriam is overwhelmed by this. A final figure begins to emerge from the dark. Miriam looks on, attempting to discern who it is. “Coming through! Thank you!” The peacocks and peahens shuffle around, making a path for the figure. The figure has just enough room to walk between Jael and Rashid—and it’s by that point that viewers will know who he is. The man (Daniel Henney in makeup that makes him look fifteen years older) stands at a distance and claps his hands together. Martin Nguyen: You must be Miriam. Miriam looks up at the man. Miriam: Who… Who are you? The man lets out internal laughter. He scratches his head. Martin Nguyen: You know Barbara, right? I’m her father. Martin Nguyen. Miriam stands up. He looks at the man, astounded. Martin Nguyen: You must have a lot of questions. I don’t blame you. I actually had a similar experience to this, if you’d believe it! Memories, right? Miriam takes a step toward him. Miriam: What is all of this? Why is my family here? What’s happened to me? The man looks up and ponders for a moment. Martin Nguyen: I’ve spent a long time talking with Barbara about it. I’ve been able to help other people through similar instances. And you know what I think it is? I think it’s the narrative of your heart. It’s the story that exists within you. Does that make any sense? Miriam blinks. Miriam: No. It doesn’t. The man laughs. He steps closer and kneels down, so he can view her face to face. Martin Nguyen: Think of it this way, Miriam. How do you want this story to end? If you were the writer, and you had the power to end this story however you wish, what would you do? Miriam looks down for a moment. Then she looks up at Martin. Miriam: I’d defeat the tigers. That’s what I’d do. The surrounding birds chirp with glee. Martin stands up and walks back. Miriam looks around at all the peacocks and peahens; joy fills her heart. Jael and Rashid walk up and stand over her. Jael: I’d say they regard you as queen, Miriam. Rashid: Brace yourself… Rashid pours gasoline onto Miriam. Miriam, shocked and repulsed, shakes her body. Jael chuckles softly at this. Martin comes up between them and lights a cigarette lighter. Martin Nguyen: You know, Miriam? You and Barb should be friends. Martin tosses the lighter at Miriam, who promptly combusts in flames. The flame levitates into the air and grows bigger in size. Jael, Rashid, and Martin stare in awe and amazement. We cut to the outside of the cave. The flame bursts out of the cave, scattering the rocks and causing a landslide. The flame unfolds to reveal a giant phoenix—Miriam has becomes a giant phoenix. She emits a piercing cry. We cut to the three tigers from before. They’re prowling through the jungle, and they turn toward the sound of the cry. Mitesh: What was that? Gloria: …Mackenzie? The lead tiger, Mackenzie, backs away in fear. We cut to what she sees. The phoenix is flying through the jungle, incinerating everything she touches. Mackenzie: We need to go now! The tigers sprint away as the flame chases after them. Gloria trips over a tree root, and the flame engulfs her as she screams. Mackenzie and Mitesh continue to run. Mitesh, whose lacks a finger because Barbara shot his thumb off when he was a human, struggles to keep up with Mackenzie! Mackenzie: Run faster! Mitesh: I can’t, Mackenzie! Mackenzie: …I never loved you. Mitesh: What?! Mackenzie: I never loved you! Mackenzie swipes at Mitesh. The pain slows him down, and the flames engulf him. Mackenzie runs much faster, and for a moment, she manages to outrun the flames. But a flock of peacocks and peahens ambush her, and she crashes to the ground. She looks up at the fire—she can’t get up in time to run away. Mackenzie: No! I was supposed to rule! I was supposed- The flames sweep across. She is burned alive. A huge swath of the jungle is now covered in flames. Trees and bamboo poles crash to the ground. Ashes and embers and smoke are all flying in the wind. Miriam flies above her flames; she does a back-flip in the air. She cries out not once, but twice. She loses consciousness and falls to the ground. The body morphs into a ball of flame, and the flame dissipates, revealing the white-feathered peahen underneath. The peahen free-falls down to the jungle—she doesn’t bother to scream or cry. She falls closer and closer to the jungle’s flames. Suddenly, Miriam wakes up in her human form. The camera dollies out to reveal that she’s lying on a hospital bed. Darius walks in. He’s dressed as a nurse—no; he is a nurse. Darius: Good morning, Miriam Ahmed. Miriam looks over to him. Miriam: Where am I? Darius looks at her. Darius: You just woke up from a coma. Darius walks out of the room. Miriam lays back down on the bed. Miriam: Yeah… That makes sense… We cut to Jael and Miriam’s mother as they sit in the hospital room and wait for her to be checked out. Mother: I’m glad you’re back, Miriam. Miriam: …Where’s Rashid? Jael: He had to keep working, but his shift ended a few minutes ago, so he’s coming. A hospital employee comes back with a phone number. Employee: I found her phone number. Miriam: Thank you. Jael hands Miriam a smartphone, and Miriam begins to dial in the number. A familiar sound makes her perk up: the Mackenzie Robinson Nature Show is on television. Miriam turns to her mother. Miriam: Can you change the channel? Thank you. Jael and the mother exchange glances. Jael: It’s a long story. Miriam dials the number and puts the phone to her ear. Barbara picks up. Miriam: Hello. Barbara: Hi. Who is this? Miriam: It’s Miriam. Barbara: …Really? Miriam: Yes. Barbara: Where are you? Are you all right? Miriam: I’m in London. People are saying I woke up from a coma. Barbara: Yeah… My father was in a coma, too. Miriam: It’s funny, Barbara. Right before I woke up, I saw your father. And he told me we should be friends. A pause. Barbara: You know, Miriam? Me and my father find ourselves in other people’s dreams pretty often. But out of everyone we’ve helped, you are the only one to contact us after waking up. Miriam: Wait a minute. Were you there? I mean… In my dream… Was that actually you. Barbara: Yeah! It was! Miriam: How is that possible? Barbara: I’m still trying to figure it out… But I think I have a theory. I think human beings find themselves in a dream state… And whether they realize it or not, whether they remember the dream or not, there’s multiple people interacting together in the same dream state. And you were the one in the coma. So it was your narrative, Miriam. It was the narrative of your heart. I mean… That’s what my father calls it. Miriam wipes tears from her eyes. Miriam: That’s the most beautiful thing I’ve ever heard. The score swells. Miriam, Jael and the mother walk out of the hospital room in a slow motion sequence. Miriam walks down the long corridor, and the people in the corridor are all familiar to her. She looks to the right—Pierre mops the floor as a janitor. She looks to the left—Gloria holds a brown clipboard, writing down notes about a vaccine. She looks to the right again—Mitesh wears a T-shirt displaying support for Boris Johnson as he scans a billboard on the wall. She perks up—Darius walks past her in his nurse uniform, and he doesn’t know why, but he can’t keep his eyes off of her. Even as it cuts back to Miriam, Darius is looking back at her in genuine interest as Miriam’s cheeks blush. We cut to the end of the corridor—Rashid stands there with a bouquet of orange flowers in his hand. He drops the bouquet and runs to her. We snap out of slow motion as the siblings embrace one another. Jael and the mother stand happily as they watch in the distance. Rashid pulls himself out of the hug. He’s crying. Rashid: I pushed you down the stairs by accident… Miriam: What? Rashid: I saw you in that village, Miriam. I’m so sorry. Miriam: I’m awake, Rashid! It’s okay! Rashid: Please forgive me! Miriam: You’re my brother! Of course I forgive you! Cut to the side of the siblings as they hold each other tight. The image dissolves to an image of dead peacocks piled on top of one another. Fade to black. Then God said, “Let us make mankind in our image, in our likeness, so that they may rule over the fish in the sea and the birds in the sky, over the livestock and all the wild animals, and over all the creatures that moved along the ground.” So God created mankind in his own image, in the image of God he created them; male and female he created them. God blessed them and said to them, “Be fruitful and increase in number; fill the earth and subdue it. Rule over the fish in the sea and the birds in the sky and over every living creature that moves on the ground. - Genesis 1: 26-28 No animals were harmed in the making of this film. Edited September 22, 2023 by SLAM! 6 1 Link to comment Share on other sites More sharing options...
SLAM! Posted April 17, 2020 Share Posted April 17, 2020 (edited) Cruis'n USA Studio: New Journey Pictures Director: Sebastian Schipper Genre: Sports Release Date: May 19th Theater Count: 3,500 MPAA Rating: PG-13 for Sensuality and Thematic Elements Runtime: 1 hr 58 min Budget: $60 Million Cast Kristen Stewart as Jessie O'Shea Jackson Jr. as Craig Adrien Brody as Phillip Laia Costa as Samantha Frank Grillo as Gus Ki Hong Lee as Kim and Patrick Wilson as The Announcer Cruis'n USA is a simplistic racing film shot with film cameras rather than digital cameras. It looks like the cars came right out of the video game--very colorful cars. The racers are Jessie (determined and clever), Craig (strong and boisterous), Phillip (pretentious and has a mustache), Samantha (a drifter who races for fun), Gus (wheres a bandana as a hat and possesses an ego), and Kim (the silent/stoic type). The Announcer is one of the best sportscasters you'll ever hear. They race through New York City, the great lakes, grassy plains in Oklahoma, the Arizona desert landscape, and San Francisco. The film's main story-line is Jessie's quest to win the cross-country Grand Prix so she can pay off her college loans and her family's debts; Phillip is the main antagonist, but only because he's such a good racer. Jessie wins the final race in a photo finish against Phillip. The film is style-driven with a lot of checkered-flag shots, a lot of 'punchy' editing, and many shots of the landscapes where the races are taking place. It's more 'chill and vibe' than 'oh my gosh who's gonna win,' if you know what I mean. Edited April 17, 2020 by SLAM! 3 Link to comment Share on other sites More sharing options...
Blankments Posted April 19, 2020 Share Posted April 19, 2020 (edited) Broadway Selects: Burn This Director: Michael Mayer and Lorenzo Thione Genre: Filmed Play Release Date: February 3 Major Cast: Adam Driver as Pale Keri Russell as Anna David Furr as Burton Brandon Uranowitz as Larry Theater Count: 2,238 MPAA Rating: R for language and some sexual content. Runtime: 133 min Production Budget: $0.5 million Plot: When a mysterious death brings together two unlikely strangers, their explosive connection sparks a chemistry too fiery to ignore. A filmed version of the Broadway revival that took place in spring 2019. Plot Summary: The play opens just after the death and funeral of Robbie, Anna and Larry’s roommate. The action takes place in the roommates’ loft, and as the play begins Anna is huddled on the sofa smoking, a drink in her hand. Burton arrives at the loft and is admitted. In the conversation that follows, the audience learns that Robbie and his partner, both of whom were gay, were killed recently in a boating accident. Anna was unable to reach Burton, who was out of town, and he has come to the apartment upon returning to New York and hearing the news. When Larry enters with groceries, the audience learns even more about the events of the past few days. The audience also learns about the nature of Anna and Burton’s relationship. Although he is supposed to be her boyfriend, he could not be reached by phone when she needed him, and his initial interaction with Anna seems distant. Both Larry and Anna take turns describing Robbie’s funeral and his family’s reaction to his death. The audience learns that Robbie and Anna worked closely together and that she had recently changed careers from dancer to choreographer. Robbie was an integral part of Anna’s new career, and his dancing was also a part of her choreography work. Thus, she has not only lost a friend and roommate, she has lost an artistic partner. Anna tells Burton that Robbie’s family, none of whom had never seen him dance, did not acknowledge that he was gay. Instead, they assigned Anna the role of Robbie’s girlfriend and treated her as his grieving widow. Both Larry and Anna are upset at this treatment by Robbie’s family, and the dialogue serves an important purpose of establishing this family’s background before the arrival of Pale, Robbie’s older brother. Anna, Larry, and Burton also talk about Burton’s recent trip, the purpose of which was to help him find sources and inspiration for his next screenplay. Burton makes a great deal of money for the sale of his scripts, but apparently feels no great loss at their sale and would just as soon not know how Hollywood uses his material. A pounding on the door; it is the middle of the night. Pale, enters the loft; he is loud and obnoxious. His speech makes little sense to Anna and is filled with obscenities. It is revealed that Pale is twelve years older than Robbie and that it has been a month since the funeral. Pale creates so much noise that Larry is awakened but returns to bed. The conversation between Pale and Anna is confrontational and unpleasant. At times neither seems to be listening to the other person and the speech becomes almost a monologue. As he has been speaking, Pale has also been undressing. When he breaks down, Anna tries to comfort him. Pale lies down on the sofa; his conversation is peppered with sexual innuendo, and the lights fade. When the stage lights come back up in a few moments, it is morning. The conversation between Anna and Larry reveals that Pale slept in Anna’s bed. Anna states that Pale was like a bird with a broken wing that needed healing. Pale is anxious to leave and almost bolts from the loft, but first he tells Anna that he has a wife and children. Two months later, New Year’s Eve. Anna and Burton are together. They are discussing their recent work when Larry returns early from a trip, interrupting what was obviously planned intimacy between Anna and Burton. The three begin talking and Burton tells a story about an anonymous quasi-homosexual experience he once had during a snow storm. The conversation ends when Larry opens the door and a very drunk Pale falls into the room. Pale is as rude as he was during his first visit to the loft, and a confrontation erupts between Pale and Burton, which escalates into a fight. Anna throws Burton out; she would like to throw Pale out, but he is too drunk. Anna and Larry leave the stage as each goes to bed; a sleeping Pale is left lying to the side of the stage. But before the lights fade, the audience sees Pale walking toward Anna’s bedroom. When the lights come back up, Larry is preparing coffee. Pale emerges and begins making tea, and finally Anna comes out of her bedroom. Anna states that she and Pale are like apples and oranges that do not belong together. Pale makes an effort to convince her that they do belong together, but she is determined to have him leave. Anna reveals that she is frightened of a serious emotional commitment. The scene ends with Pale leaving the loft and Anna leaving to be alone. Burton and Larry are alone on stage. Burton appears dejected and is holding his new script. It has been a month since the confrontation on New Year’s Eve. Larry reveals that Anna has been working on a new dance, but that she has not seen Pale. Burton says that he has never had to deal with loss before; he had a privileged childhood and has always had what he wants. Burton cannot understand why Anna has thrown Pale out and then created a dance about him. Burton leaves his new screenplay with Larry to read and then leaves. The stage fades to black and when the lights come up in a few moments it is night and Pale is waiting as Anna enters and turns on the lights. Pale reveals that Larry invited him to see Anna’s new dance and that Larry gave Pale a key and a note asking him to come to the loft. Larry also gave Anna a note asking her to meet Larry there. Both Anna and Pale understand that Larry has set them up, and although Anna says that she does not want this, the play ends with the burning of Larry’s notes and Anna and Pale’s embrace. Edited April 26, 2020 by Blankments 5 Link to comment Share on other sites More sharing options...
Blankments Posted April 19, 2020 Share Posted April 19, 2020 (edited) Broadway Selects: Beetlejuice Director: Alex Timbers and Michael John Warren Genre: Filmed Musical Release Date: October 13 Major Cast: Alex Brightman as Beetlejuice Sophia Anne Caruso as Lydia Kerry Butler as Barbara Rob McClure as Adam Adam Dannheisser as Charles Leslie Kritzer as Delia Jill Abramovitz as Maxine Dean/Juno/Neighbor Kelvin Moon Loh as Otho/Mover/Neighbor Danny Rutigliano as Maxie Dean/Priest/Neighbor Dana Steingold as Girl Scout Theater Count: 2,821 MPAA Rating: PG-13 for language, suggestive content and some crude humor. Runtime: 137 min Production Budget: $0.5 million Plot: A musical adaptation of the Tim Burton film. Filmed from the opening weeks of it on Broadway in spring 2019. Plot Summary: A group of people at a graveyard mourn the passing of Emily Deetz. Emily's daughter, Lydia, reflects on the death of her mother and her own inability to be noticed by her father, Charles ("Prologue: Invisible"). A millennia old demon named Beetlejuice appears and mocks the idea of living life to the fullest, as it will all be worthless once death comes ("The Whole "Being Dead" Thing"). Beetlejuice then tells the audience how as a demon, he is invisible to all living beings unless he gets a living person to say his name three times, and reveals that he has come up with a plan to accomplish this. Beetlejuice then introduces Adam and Barbara Maitland. They are a normal married couple who desperately want to start a family, but are not emotionally ready and project their insecurities onto their hobbies. As Adam and Barbara reason to themselves why they're not ready for a child, they fall to their deaths through unstable floorboards in their home ("Ready, Set, Not Yet"). The Handbook for the Recently Deceased falls from the sky, but Beetlejuice burns it, wanting the newly deceased Maitlands to haunt their house and get a living person to say his name three times, which will allow him to be seen by all living beings. When Barbara and Adam awaken from their fatal fall and realize that they are dead, Beetlejuice reveals himself to the couple and offers to help them adjust to the Afterlife ("The Whole "Being Dead" Thing, Pt. 2"). Beetlejuice reveals to the Maitlands that the Deetzes have bought their house. He tells them that in order to remain in their house alone, they will have to scare the Deetzes away, and the Maitlands accept his help ("The Whole "Being Dead" Thing, Pt. 3"). While moving in, Charles reveals to Lydia that he wants to start a gated community, using the house as a flagship model home, and is having a dinner party with some business friends. Lydia expresses her desire for her mother to return, mentioning the fact that nobody seems to care that she's gone. Praying for her mother to send a sign that she's still there, Lydia vows to make her father acknowledge the fact that tragedy struck their family ("Dead Mom"). In the attic, Beetlejuice is trying to teach the Maitlands how to be scary. Despite his best attempts, Barbara and Adam are not scary at all ("Fright of Their Lives"). Beetlejuice becomes frustrated with the couple and abandons them, and they vow to scare the Deetz family away themselves ("Ready Set (Reprise)"). Meanwhile, Delia, a woman who Charles hired to be Lydia's life coach and is secretly his lover, tells Lydia how everything happens for a reason, but fails to get her in a positive state of mind ("No Reason"). After their session, Lydia meets the Maitlands as they are roaming the house trying to scare the Deetzes. Lydia wants to leave the house just as much as the Maitlands want her family out, so she tries to convince her dad that the house is haunted only to find out that he and Delia are engaged. Feeling as if Charles is just trying to replace her mother, Lydia flees to the roof, where a depressed Beetlejuice laments that he will never be seen ("Invisible (Reprise)"). Beetlejuice becomes ecstatic when he realizes Lydia can see him and tries to convince her not to kill herself, with the intention of getting her to free him from his curse. Lydia teases Beetlejuice, but does not say his name. The Maitlands come to check on Lydia only to be possessed by Beetlejuice into saying positive things about him to further convince Lydia. Upon learning about possession and that any ghost can do it, regardless of skill, Lydia decides not to work with Beetlejuice and instead work with the Maitlands to ruin Charles' dinner party ("Say My Name"). At the dinner party, Barbara and Adam possess Charles, Delia, and their guests ("Day-O (The Banana Boat Song)"). However, instead of being scared, the investors see the ghosts as a selling point, making them more interested in Charles' project. Feeling desperate, Lydia resorts to summoning Beetlejuice. Now visible to the living and able to affect the world around him, he forces the Maitlands to the attic before throwing Charles, Delia and the investors out of the house, much to Lydia's joy. A Girl Scout named Skye explains to the audience how she has a heart condition where anything shocking could stop her heart but nevertheless is excited to be a Girl Scout. She rings the doorbell of the Deetzes' house to be greeted by Lydia, who invites her inside ("Girl Scout"). Beetlejuice appears and frightens the poor girl into leaving the house. He summons more versions of himself to help Lydia scare every visitor that comes into the house ("That Beautiful Sound"). Beetlejuice tells Lydia that now that she lives and works among the dead, she should also follow their rules, and gives her a copy of the Handbook for the Recently Deceased. However, because she is not dead, Lydia can't open it. Lydia realizes the book could help her reunite with her mother, and runs to the attic for Barbara and Adam's help. Feeling once again alone and betrayed, Beetlejuice talks with his clones about how although he can be seen, he wants to leave the house to finally connect with people. He decides he must trick Lydia into marrying him, which will allow him to roam free in the living world. In the attic, Barbara and Adam help Lydia open the Handbook, when they realize they should have gone straight to the Netherworld instead of remaining in their house. Adam opens the door to the Netherworld, but Barbara shuts it and the Handbook, afraid of leaving the house. Lydia berates them because she hoped to use the book to summon her dead mother. She exits the attic in disappointment and anger. Barbara realizes that all of their fear has held the Maitlands back, and she and Adam decide to become bolder and better ("Barbara 2.0"). Delia, Charles, and Delia's guru, Otho, re-enter the house to rescue Lydia, bringing a box that can supposedly trap souls. Beetlejuice tricks Lydia by telling her that reading a passage from the book will resurrect her mother, but instead she unknowingly begins an exorcism of Barbara and is forced to agree to marry Beetlejuice to stop it ("The Whole "Being Dead" Thing, Pt. 4"). Beetlejuice stops the exorcism and opens a door to the Netherworld to send the Maitlands away for good, but Lydia jumps through the door, with Charles following. Enraged that his plan has failed again, he decides to kill everyone instead ("Good Old Fashioned Wedding"). Lydia and Charles enter the Netherworld to be greeted by Miss Argentina, who along with other Netherworld residents, urges her to return to the living world ("What I Know Now"). They then meet Juno, director of Netherworld Customs and Processing, who soon finds out they are still alive. Lydia runs from Juno, and frantically searches for her mother in the Netherworld, but is unable to find her. Charles finds Lydia in distress and joins her ("Home"). Lydia and Charles return to the house where Beetlejuice is preparing to kill everyone. Lydia plans to trick Beetlejuice by marrying him, as Charles, Delia, and the Maitlands get him ready ("Creepy Old Guy"). The wedding brings Beetlejuice to life, allowing Lydia to stab him and kill him again, making him "Recently Deceased". Lydia and the Maitlands try to send him back to the Netherworld, but Juno appears, reveals herself as Beetlejuice's mother, and tries to take Lydia back with her. Beetlejuice stands up to Juno, having learned to appreciate life in his brief experience. Juno pretends to be moved by Beetlejuice's speech and throws him out of the house. The Maitlands, Charles, and Delia refuse to let Juno take Lydia. Beetlejuice then crashes through the wall riding a sandworm, which then eats Juno. Beetlejuice then says his last goodbyes to everyone before leaving. The Deetzes and Maitlands rejoice in their victory and agree to share the house as they clean up and repair the damages done to it. Lydia accepts that although her mother is gone, there is still so much left to enjoy in life ("Jump in the Line"). Edited April 19, 2020 by Blankments 5 Link to comment Share on other sites More sharing options...
Blankments Posted April 20, 2020 Share Posted April 20, 2020 (edited) Dear Evan Hansen Director: Darnell Martin Genre: Musical Drama Release Date: June 23 Major Cast: Lucas Hedges as Evan Hansen Zendaya as Zoe Murphy Rachel Bay Jones as Cynthia Murphy Brian d’Arcy James as Larry Murphy Justice Smith as Connor Murphy Auli'i Cravahlo as Alana Beck Alex Wolff as Jared Kleinman With Amy Adams as Heidi Hansen Theater Count: 3,791 MPAA Rating: PG-13 for language, suggestive material and some thematic content. Runtime: 144 minutes Production Budget: $50 million Music by: Joseph Trapanese Songs by: Benj Pasek and Justin Paul. Additional Formats: Dolby Soundtrack: 1. Anybody Have a Map?...............................Amy Adams, Rachel Bay Jones 2. Waving Through a Window………………..Lucas Hedges 3. Waving Through a Window (Reprise)...Lucas Hedges 4. For Forever…………………………….........…….Lucas Hedges 5. Sincerely, Me…………………………….............Justice Smith, Lucas Hedges, Alex Wolff 6. Requiem………………………………..........……..Zendaya, Rachel Bay Jones, Brian D’arcy James 7. If I Could Tell Her……………………......……..Lucas Hedges, Zendaya 8. Disappear…………………………………............Justice Smith, Lucas Hedges, Auli’i Cravahlo, Alex Wolff, Brian D’arcy James, Rachel Bay Jones, Zendaya 9. You Will Be Found………………………..........Lucas Hedges, Auli’i Cravahlo, Alex Wolff, Zendaya, Company 10. I Wish………………...……………………............Auli’i Cravahlo 11. Sincerely, Me (Reprise).............................Justice Smith, Alex Wolff 12. To Break in a Glove………………….....…….Brian D’arcy James, Lucas Hedges 13. Only Us……………………………………............Zendaya, Lucas Hedges 14. Good for You…........…………………………...Amy Adams, Auli’i Cravahlo, Alex Wolff 15. Words Fail……………...........……….…………..Lucas Hedges 16. So Big/So Small…………….........…………...Amy Adams 17. Finale……………………………………................Lucas Hedges, Cast 18. I Wish (End Credits Version)....................Ben Platt Plot Summary: Evan Hansen, an introverted high school student with social anxiety, is mistaken for the best friend of a classmate who has just committed suicide. The family of the deceased, desperate to learn more about their lost son, takes him in, leaving Evan in an impossible position. Based on the hit Broadway musical. IMPORTANT NOTE: More than ever with one of my musicals, clicking the links and listening to the songs is a necessity here. There are dialogue breaks in a decent chunk of the songs, all of which will be kept in-tact for this movie, that develop character and plot points. YouTube timestamps will be used too. Plot: https://docs.google.com/document/d/1QI11SzCqSzdYnvm4LzYPEf4hBk_heCTpokh1LRWB73Y/edit?usp=sharing Special thanks to @Spaghetti. Edited April 20, 2020 by Blankments 5 Link to comment Share on other sites More sharing options...
MCKillswitch123 Posted April 20, 2020 Share Posted April 20, 2020 ADAM & CINDY Director: Rich Correll Studio: Phoenix Fire Entertainment Genre: Dramedy Release Date: June 2 Y7 Theater Count: 3213 Runtime: 1h47 MPAA Rating; PG, for thematic elements Production Budget: $7 million Original Song: "Love Wins" by Martina McBride, an upbeat guitar-only song about, well, how love always wins. All profits of the song go to the Humane Society of the United States. Cast: - Billy Crystal as Adam - Toni Collette as Cindy - Unknowns Plot: Adam (voiced by Billy Crystal) is a stray terrier that sees with his eyes the cruel abandonment of Cindy (voiced by Toni Collette), a poodle. The two quickly bond and start heading together into adventure. The movie follows their highs and lows together. They end up moving to an abandoned house, and fight to stay there just to be able to say they have a home, but they get in trouble again and are forced to leave. Eventually, they get rescued and are finally adopted, together, by a loving, welcoming family. In the end, the little girl daughter of the couple that abandoned Cindy at the beginning of the movie recognizes Cindy as she's being walked by her new family, and, after the parents admit to the new family that they abandoned their pet and try to justify themselves, the new family berates them in public. A big argument breaks out and the woman of the new family ends up dumping her soda on the old family parents. The little girl, ignoring the mess, still hugs Cindy goodbye one last time, and leaves with her scandalized parents. Adam and the new family comfort Cindy and they tell her she will live the rest of her days happy. Special thanks to @4815162342 4 Link to comment Share on other sites More sharing options...
4815162342 Posted April 21, 2020 Share Posted April 21, 2020 (edited) The Layover Genre: Romantic Comedy Cast: Alison Brie (Jennifer), Domhnall Gleeson (Dan) Directed By: Claire Scanlon Release Date: October 13, Year 7 Theater Count: 3247 Theaters Budget: $30 Million Running Time: 102 Minutes MPAA Rating: PG-13 for brief strong language, sexual references Plot Summary: Jennifer is a gung-ho go-get-em advertising executive who is shepherded a new media campaign for her company, that requires her to fly from New York City to Los Angeles to meet with reps from a cable network. Irish expat Dan is a struggling independent journalist from Seattle who is looking for the big break that will turn his cynical, satirical blog from just another internet voice into something special, and he's flying to Atlanta to try and scoop a big interview with an aspiring political candidate there. Both of their flights have layovers in Chicago O'Hare Airport, and get into the airport just before a freak and sudden Great Lake Blizzard hits, shutting down all air travel until the following day. The two run into one another racing for one of the last rideshares out of the airport before roads are closed, and after some bickering agree to split the cab, and they chat and argue all the way downtown to their hotels. Over the course of the evening, a series of comedic mishaps, both personal and professional, from hotel water pipes bursting to freak restaurant fires, continually cause them to bump into one another across the city, and each time they continue to get into comedic and exasperated arguments with one another, until finally they get exhausted and decide to just ride out the rest of the blizzard together, since they'd just keep running into one another anyway. They spend the rest of the night walking the snowy streets of Chicago, talking and bonding, getting to know one another, and having fun goofing off in the snow and getting into additional mishaps, as they both decompress from their stressful lives and find joy and laughter in one another's company. Eventually they spend the night together in a hotel, and share a ride back to O'Hare the following day, where they thank each other for a memorable night, and go their separate ways to their flights. Jen's meeting in LA goes well, with her managing to navigate the extreme douchery of the LA media personalities, using some of the suggestions offered by Dan in how to deal with professional assholes. Dan's interview in Atlanta is also a success, as he melds his confrontational, cynical style with more substantive and meaningful queries, relying on Jen's advice to not just go for the gotcha, but to dig into what lies underneath to get at the real appeal to people. Both catch a flight home, which happen to both again have a layover in Chicago, and they bump into one another getting coffee in the terminal. They catch up on what happened, and as time goes by they both comment they're both going to miss their flights. They instead stay where they are, and keep on talking and laughing as the camera zooms out and fades to black. Edited April 21, 2020 by 4815162342 3 Link to comment Share on other sites More sharing options...
