#Curtis Bannister

[nofatclips]

A Friend Named Paul by Varsity from the album Parallel Person - Directors: Mark Pallman & Amanda Speva

[mantaypeli]

Black Panther: Wakanda Forever

Black Panther: Wakanda Forever

★★★☆☆ Un poderoso retrato del dolor y el duelo arruinado por la necesidad de encajar en las películas de superhéroes. Wakanda Forever es una buena película y podríamos llegar a decir que vuelve a ser magistral —por momentos— si nos olvidásemos de su última media hora. Esa es la parte del metraje en la que más flojea y lo hace, precisamente, por la obligación de seguir ligada a un universo…

[chilloutmovielounge]

Watch Academy Award Movie Collection

Click Here to Watch Movie For Free

“Black Panther: Wakanda Forever” received five Oscar nominations: Best Supporting Actress, Best Costume Design, Best Original Song, Best Makeup and Hair Styling, and Best Visual Effects.

The sequel to Black Panther (2018)

Released: 2022-11-03

Genre Adventure, Action, Science Fiction

Casts: Letitia Wright, Winston Duke, Martin Freeman, Lupita Nyong'o, Tenoch Huerta, Angela Bassett, Danai Gurira, Florence Kasumba, Dominique Thorne, Michaela Coel, Mabel Cadena, Danny Sapani, Isaach De Bankolé, Gigi Bermingham, Tejon Wright, Dorothy Steel, Alex Livinalli, Josué Maychi, Shiquita James, Curtis Bannister, Jarrell Pyro Johnson, Babatunde Oyewo, Adam Freeman, Marlon Hayes, María Mercedes Coroy, Richard Schiff, Zach Andrews, Manuel Chavez

Duration: 161m

Country: United States of America

Production: Marvel Studios, Kevin Feige Productions

[darkmeatuniverse]

[writemarcus]

A 200-Year-Old German Opera Speaks to 21st Century America

Heartbeat Opera stages Beethoven’s “Fidelio” at the Met Museum with a social message of the moment

ELI JACOBSON| 29 JAN 2022 | 10:05

Heartbeat Opera put itself on the map in Spring 2018 with a radical reworking of Beethoven’s 1805 opera “Fidelio.” The New York Times, Wall Street Journal and New Yorker raved about the production, which returns in February for three performances.

The only opera Beethoven wrote (in several versions), “Fidelio” is a story about Leonore, a heroic Spanish noblewoman, who dons male clothing to infiltrate the prison where her husband Florestan, a political prisoner, is brutally incarcerated by the tyrannical governor Pizarro. “Fidelio” gained resonance in the 20th century in the wake of the Nazi era anti-Semitism and World War II.

Director/Co-Librettist and Artistic Director of Heartbeat Opera Ethan Heard reconceived the piece for modern day America layering in issues of racism, Black Lives Matter, police brutality and sexual identity into a 200 year-old story. Cut down to 90 minutes and updated to the present, Stan (Florestan) is now a radical black activist and refugee who is arrested and disappears into the prison system. His wife Leah (Leonore) infiltrates the prison to search for her missing husband. The governor Pizarro becomes a white supremacist warden.

Also participating are 100 incarcerated singers and 70 volunteers from six prison choirs across the Midwest who perform the moving “Prisoner’s Chorus” via multimedia video.

Straus News spoke to Ethan Heard and bass/activist Derrell Acon (who sang “Roc” or Rocco, the prison warden in 2018 and repeats the role in 2022) about “Fidelio,” Black Lives Matter, music and the responsibility of artists to the community.

You last performed this show in spring 2018 and are bringing it back four years later. Why did you feel the need to revive it so soon?

Heard: “Fidelio” is one of Heartbeat’s most celebrated productions. Our original production sold out its six-performance run. The Met Museum reached out to ask if they could present it, and our managers at Opus 3 Artists thought it would be a great production to tour. We were planning on remounting the show in 2020, the 250th anniversary of Beethoven’s birth, but the pandemic forced us to postpone. Now, in the midst of our country’s ongoing racial reckoning, this story feels even more urgent.

You have made changes to the libretto you created in 2018 in collaboration with Marcus Scott to better reflect current America. What changes did you feel the need to make?

Heard: We are sharpening language that different characters use to describe protest and violence against Black bodies. We want Marcy [Marzelline] to be less naive and experience more of an awakening. We gave Pizarro white supremacist language that resonates with the Jan. 6 insurrection.

“Fidelio” is a singspiel or opera with spoken dialogue. The sung sections are performed in the original German while the dialogue is heavily rewritten and revised in contemporary English. Was there ever a question of whether to translate the sung portions of Beethoven’s score into English as well to bring it closer to the audience?

Heard: Yes, we have considered performing the whole opera in English, but we love the German, and we think it’s powerful to hear the German up next to the English. Personally, I like the juxtaposition. I like that the audience experiences these intimate, contemporary American dialogues and then hears these grand German arias. That said, our English supertitles have been updated and adapted to match our production and interpretation.

Obviously racially-oriented police brutality and violence towards African-Americans has existed for decades – or centuries – in this country. What is new are cellphone cameras that record the brutal acts which can be shown to the public and in the courtroom and on social media which amplifies Black Lives Matter to the American people. Your “Fidelio” production uses multimedia. How does the multimedia work in the production and how does it link with BLM and cellphones and social media?

Acon: Absolutely. The murder of George Floyd is a chilling example of how cellphones and social media have become crucial in contemporary activism. Exacerbated by the lockdown of the pandemic, this was an instance when we had no choice but to sit, watch, and absorb this small glimpse into the terror of institutional brutality on Black and Brown communities around the country.

Heard: *Spoiler alert!* Instead of pulling out a pistol as in the original opera, Leah uses her cellphone as her weapon against Pizarro. That is her way of throwing him off guard and documenting his corruption.

In this production, “Roc” (Rocco) is a black man who is working for whites in a prison which incarcerates a majority of black men. This production adds the race issue to Beethoven and Sonnleithner’s original story about political oppression, injustice and cruelty. What do you think about the issue of African-Americans working within a biased and racist society and the ways they survive and navigate the system?

Acon: I think it’s awful and deeply nuanced. Roc, like so many Black people in America, does not have the social agency/access to have a real impact on systemic racism and oppression. We did not create these institutions and cannot be expected to dismantle them. He tries to live by his own set of values, which he then passes along to his daughter. He turns a blind eye to the more atrocious aspects of his “duties” in order to survive and retain what little power he has. The victory of our story is the opportunity that this particular set of events affords him to do more.

Heard: Roc reminds me that we are all complicit with our carceral justice system unless we are actively resisting it.

Anything you want to say about your role as activist and artist?

Acon: My role as an activist sits at the center of everything I do - including my career as an artist. I firmly hold that artists must always work to be even more courageous, even more honest. The world depends on it.

Heard: This project challenges me not only to be a better stage director, but also to be a better producer, community-builder, communicator, and human being. It also reminds me every day what great art can do: speak truth to power, illuminate injustice, inspire empathy, and radiate love.

Heartbeat Opera will perform “Fidelio” at the Grace Rainey Rogers Auditorium at The Met Fifth Avenue on February 10, February 12, and February 13, 2022.

More information and tickets are available here: https://engage.metmuseum.org/events/metlivearts/fy21-22/beethoven-s-fidelio/

and here: https://www.heartbeatopera.org/comingup

[brokehorrorfan]

Reminiscence will be released on 4K Ultra HD, Blu-ray, and DVD on November 9 via Warner Bros. The 2021 science fiction action thriller will also be available on Digital beginning October 1.

Westworld co-creator Lisa Joy makes her feature debut as writer and director. Hugh Jackman stars with Rebecca Ferguson, Thandiwe Newton, Cliff Curtis, Marina de Tavira, and Daniel Wu.

Read on for the special features, trailer, and synopsis.

Special features:

You're Going on a Journey featurette

The Sunken Coast featurette

Crafting a Memory featurette

Reminiscence: A Family Reunion featurette

Save My Love featurette

Nick Bannister (Hugh Jackman), a private investigator of the mind, navigates the darkly alluring world of the past by helping his clients access lost memories. Living on the fringes of the sunken Miami coast, his life is forever changed when he takes on a new client, Mae (Rebecca Ferguson). A simple matter of lost and found becomes a dangerous obsession. As Bannister fights to find the truth about Mae's disappearance, he uncovers a violent conspiracy, and must ultimately answer the question: how far would you go to hold on to the ones you love?

Pre-order Reminiscence.

[themosleyreview]

The Mosley Review: Reminiscence

It seems to be a continuing trend nowadays to have a neo noir murder mystery that has a foot in the sci fi realm. Tech noir films like the Blade Runner series or even Minority Report are great examples, but their more heightened sci fi mysteries. I like the type of films that have those same elements, but are stripped down to something more simple and comfortable to digest. This film does that well and doesn't venture out of its own bubble to try and dazzle with overly complicated action sequences or visual effects. I found that refreshing and even though one of the action scenes was very stiff, the main focus was the storytelling and that's really rare. I liked the simple setting of the world and the many great visuals that aided the story in many great ways. There was a great deal of intimacy amongst the set pieces and the characters themselves that made this film compelling to watch. Without this cast, I think this would've been dead in the water to be honest.

Hugh Jackman leads this mystery as the charismatic and troubled protagonist Nick Bannister. I liked that he wasn't a hero, but more of a simple man trying to make his way in a sinking city. I loved his determination to find the truth and you truly feel his agony as his heart breaks when the truth starts to unravel around him. Thandiwe Newton was excellent as his partner Emily "Watts" Sanders. She has just as many demons as Nick since they're both war veterans and I liked that she didn't shy away from that. There is a bond between them and their chemistry is really great. Rebecca Ferguson stuns once again as the elusive love interest Mae. She was the very definition of a classic femme fatale. The sexual energy between her and Nick was so palpable and the love they share was genuine. Even though her story is a little cliche, it was still entertaining and well performed. Daniel Wu was smooth and fun as the villainous crime lord Saint Joe and I liked that he wasn't too over the top. Cliff Curtis is always fantastic and he brings his most sinister skills to the character of Cyrus Boothe. He was a key in the mystery and I loved the reveals that happen with him.

The score Ramin Djawadi was haunting, electric, soothing and superb all around. I loved his play on the typical noir thematic score with the use of more bass tones and warm tones in the more sensual moments. The weakest parts for me were the action scenes themselves. The shootout was very stiff and you see where the director tried to add some flair, but it was weak. The fight scene toward the end was fun though. The tone of the film was consistent throughout, but it felt flat at times and was on the cusp of something truly amazing. Visually the film was stunning and I loved the device that was used to watch people's memories. Writer and Director Lisa Joy has made a really fun noir detective story that has a great design, but lacks the polish for it to be as memorable. I still recommend this for a great matinee screening. The film is currently in theaters and streaming on HBO Max. Let me know what you thought of the film or my review in the comments below. Thanks for reading!

[pubtheatres1]

CRITIC CHOICE OF BEST SHOWS 2018

Our most experienced reviewers choose their favourite shows of 2018 Heather Jeffery Top of my tree this year is the premiere of Margaret Cavendish’s THE UNNATURAL TRAGEDY at WHITE BEAR, 350 years after it was written. At a time when women were banned from the theatre profession, the Aristocratic Cavendish had much to say on behalf of women. It’s perfect #metoo material, so nothing changes! This cleverly written, and bitingly satirical play was superbly directed by Graham Watts. Bravo White Bear for championing older theatre makers and new writers. I would also like to mention JACK STUDIO THEATRE, who had such an excellent year with many productions gaining outstanding critical acclaim and some shows selling out their entire run. I was fortunate to see two shows this year, their in-house Christmas show CINDERELLA and a re-imagining of Bram Stoker’s DRACULA adapted by Ross McGregor for ARROWS AND TRAPS. Whenever I’m at the Jack I am always impressed with their technical capabilities and the number of creatives involved in the success of their shows. It really is the complete theatrical experience. Siân Rowland Without doubt my favourite Pub Theatre show this year was THE WHITE ROSE from ARROWS AND TRAPS at the always impressive JACK STUDIO, Brockley. The heart-breaking story of Sophie Scholl the young German resistance fighter who was executed at the hands of the Nazis in 1945 was written and directed by Ross McGregor and the story moved smoothly between Sophie’s interrogation and the story of how she became involved in the push back against creeping nazism. The script was deft and assured, acting superb and movement from Roman Berry was exquisite. A well-deserved five stars from me. The FINBROUGH has once again come up trumps with some brilliant revivals like CYRIL’S SUCCESS and JEANNIE as well as new and international writing like vibrant Welsh play Exodus by Rachael Boulton and A FUNNY THING HAPPENED ON THE WAY TO THE GYNECOLOGICLA ONGOLOGY UNIT at Memorial Sloan-Kettering Cancer Center of New York by Halley Feiffer. As always, the ambition and can-do attitude of London’s wide array of pub theatres is always inspiring and embodies the real spirit of theatre. Gynaecological Mike Swain I have seen some excellent shows this year. Louise Coulthard's COCKAMAMY at THE HOPE was a moving portrayal of the battle with dementia while AN HONOURABLE MAN, by Michael McManus at WHITE BEAR THEATRE was an important and powerful political play for our time. But the stand out show of the year for me was GRACIE at the FINBOROUGH, written by Joan McLeod. Carla Langley delivers a one-woman tour-de-force, as Gracie, a young girl living in a polygamous religious community on the Canadian border. With nothing but a staging block for support, Langley has the audience hanging on her every word in this fascinating and compellingly human drama. David Weir Three (and a half) shows stood out for me this year, with no particular linking theme or style, just strong stories beautifully told in ways that made me think about them for weeks after the shows. The year ended on a high-quality note with NICE WORK IF YOU CAN GET IT at UPSTAIRS AT THE GATEHOUSE in Highgate, a perfectly realised and nicely disguised modern mash-up of some of George and Ira Gershwin’s greatest hits in a PG Wodehouse/Guy Bolton-inspired story of bootleggers, fake butlers and love eventually requited. Also hitting the right note, was the joyful musical of the 25th ANNUAL PUTNAM COUNTY SPELLING BEE at the DRAYTON ARMS in Kensington, a tale of competitive, insecure schoolkids, from which I’d defy anyone to walk out at the end without a grin plastered all over their face. CRUMPLE ZONE at the KING’S HEAD in Islington brought pathos, laughter and real depth in a story about the labours and losses of love, which happened to be largely about gay men in an unfashionable part of New York City but achieved universality. And, sneakily, I’ll add one half of a not-entirely successful double bill at THE HOPE, also in Islington – EMPTY BEDS saw three sisters travel to the bedside of their sick brother and was the single most emotionally intense and fully achieved piece of work I saw on the fringe in 2018, beautifully written with real knowledge of how much three people who love each other can fray each other’s nerves and acted with remarkable conviction. Andy Curtis The best play I saw in 2018 was at the beginning of the year. The revival of Steven Berkoff’s EAST by ATTICIST Productions, at the KING’S HEAD THEATRE left a strong impression on me. Directed by Jessica Lazar, this battering ram of a play was astonishing in its verbal dexterity and physicality. A superb cast gave their all – the only option with a Berkoff script – and the production long stayed in the memory. Lazar was excellent at bringing out the contemporary resonances whilst staying faithful to the script. She repeated the trick with a revival of Mart Crowley’s FOR REASONS THAT REMAIN UNCLEAR later in the year, and will be back at the King’s Head directing a revival of David Grieg’s OUTLYING ISLANDS in the new year. Annie Power MEDICINE at The HOPE Theatre & WHO PUT BELLA IN THE WYCH ELM? at The OLD RED LION Much like Meryl Streep’s dilemma in ‘Sophie’s Choice’, I couldn’t decide between these two shows. Both were exceptional, gut-wrenching and memorable. All the elements were aligned perfectly: incisive and tautly written; beautifully acted and imaginatively staged. At frequent intervals I still mention WHO PUT BELLA IN THE WYCH ELM? in conversation, so powerful and chilling was its impact. While the rawness of emotion and biting humour of MEDICINE has led me to dwell on it many times. So, don’t make me choose, I can’t do it. Richard Braine Goodness, it’s been terribly hard choosing the best of 2018. The standard within London Pub Theatres has been incredibly high. Special mention should go to the FINBOROUGH’s remarkable revival of Irwin Shaw’s BURY THE DEAD. The director Rafaella Marcus gave us an urgent and impassioned production that will live long in the memory. But it is to two pieces, presented at the same venue, the BROCKLEY JACK, that most of the plaudits must go. Firstly, Ross McGregor’s remarkable staging of DRACULA by Bram Stoker. Some would regard yet another production of Dracula ‘as overkill’ (sic). Yet McGregor brought enormous vitality to the piece as well as humour and great insight. All round it was a pretty impressive piece of work. McGregor is a young man destined for a stellar career in the theatre. And secondly to the current Artistic director of the Brockley Jack, Kate Bannister, and her production of KES. This was simply a joy. Everything about the piece had been given enormous weight and sensitivity. The stagecraft, acting and production values were second to none. Amongst many wonderful things she gave us two actors who were able to conjure up an ‘imaginary’ bird that was totally convincing. The night I was in a young boy in front of me shouted at one of the actors: ‘Don’t kill Kes. Please don’t kill him. What’s he done to you?’ That to me is what great theatre should all be about.

[reminiscence-2021-cely-film]

Sledujte Reminiscence (2021) celý film online HD zadarmo cz dabing

Sledujte Reminiscence 2021 online cz | Reminiscence celý film cz online | Reminiscence Online Film Zadarma | Reminiscence film online dabing cz Videa bez registrace.

Sledování celý film Reminiscence je v současné době film, po kterém žádají různé skupiny. Ať už mladí nebo staří, sledování filmů během pandemie je nutností k vyplnění nudy, protože musíme zůstat doma. To je důvod, proč musíme hledejte důvěryhodné weby a poskytujte online streamování zdarma. Pokud hledáte stránky popsané výše, můžete kliknout na níže uvedený odkaz:

Filmy Reminiscence zdarma HD

Sledujte klikněte zde ▶️ https://t.co/QuWx7E9N8F?amp=1

Je to velmi snadné, stačí kliknout na výše uvedený odkaz a přejdete přímo na web, kde můžete zdarma sledovat filmy Reminiscence. Pokud jste zaneprázdněni, můžete si film také stáhnout a sledovat ho doma.

Následuje řada informací o filmu Reminiscence od Synopse, Hrají, Datum vydání a dalších

Reminiscence je americký sci-fi thriller z roku 2021, který napsal a režíroval Lisa Joy ve svém celovečerním režijním debutu. Ve filmu hrají Hugh Jackman, Rebecca Ferguson, Thandiwe Newton, Cliff Curtis, Marina de Tavira a Daniel Wu a sleduje muže, který pomocí stroje, který dokáže vidět vzpomínky lidí, zkusí najít svou chybějící lásku. Joy také produkuje po boku svého manžela a kreativního partnera Jonathana Nolana.

Romantický / Sci-Fi / Thriller USA, 2021, 116 min

Režie : Lisa Joy scénáře : Lisa Joy Kamera : Paul Cameron Hudba : Ramin Djawadi

1. Synopse

Nick Bannister (Hugh Jackman), pomáhá svým klientům odemknout ztracené vzpomínky a vést je napříč temně svůdným světem minulosti. Jeho život se však navždy změní poté, co přijme novou klientku jménem Mae (Rebecca Ferguson). Z běžné práce se rázem stává nebezpečná posedlost a Bannister během hledání pravdy o zmizení Mae odhaluje šílené věci, přičemž musí čelit otázce: Kam až je člověk ochoten zajít kvůli těm, které miluje?

2.Hrají

Hugh Jackman jako Nick Bannister Rebecca Ferguson jako Mae Thandiwe Newton jako Emily „Watts“ Sanders Cliff Curtis jako Cyrus Boothe Marina de Tavira jako Tamara Sylvan Daniel Wu jako svatý Joe Mojean Aria jako Sebastian Sylvan Brett Cullen jako Walter Sylvan Natalie Martinez jako Avery Castillo Angela Sarafyan jako Elsa Carine Javier Molina jako Hank Sam Medina jako Falks Norio Nishimura jako Harris Roxton Garcia jako Freddie Nico Parker jako Zoe

3. Datum vydání Reminiscence

Premiéra v ČR Reminiscence dorazil do našich kin 19. srpna 2021, přičemž o den později byl dostupný i na streamovací službě odkaz výše.

Kvalitní sledování celý film Reminiscence a jak se na to dívat

Jaká kvalita videa je k dispozici v tomto filmu Reminiscence?

Nejlepší kvalita streamovaného videa při sledování filmů je nejdůležitější. Chcete -li získat pohodlí při sledování filmů a získat čistou kvalitu zvuku. existuje několik kvalit, které poskytujeme, počínaje kvalitou 4K Ultra Hd, HD 1080p, HD 720p, HD 420p a nakonec poskytujeme také kvalitu Mp4. Tyto možnosti vám usnadní výběr nejlepší požadované kvality videa.

Proč byste se měli dívat na nejnovější film Reminiscence?

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V současné době je k dispozici mnoho stránek, kde je možné sledovat celé filmy online. Můžeme snadno sledovat filmy, které se nám líbí. Filmy Reminiscence můžete sledovat kdykoli odkudkoli, včetně České republiky. Na našich stránkách Všechny filmy mají české, slovenské, anglické titulky a další jazyky. Sledujte filmy zdarma zdarma Guy online na našem webu. Pokud se zaregistrujete hned, získáte první dny zdarma videa a filmy Reminiscence, které si můžete přehrát, kdykoli budete online. Sledujte filmy Reminiscence z online nabídky nebo streamujte na chytré televizi, počítači, Macu, mobilu, tabletu a androidu.

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Náš web nabízí celou řadu filmů, nejnovější i staré. Film můžete sledovat snadno a zdarma bez registrace. Pokud jste zmatení z filmů, které jsou právě sledovány, stačí se podívat po oblíbených filmech na našem webu. Nabízíme mnoho filmů různých žánrů od akce, komedie, sci-fi, hororů, kreslených filmů, dramat, televizních filmových seriálů a dalších. Zde je důvod, proč byste měli sledovat filmy na našem webu:

1. Filmy se vždy aktualizují, pokud existují nové filmy, které jsou lyrické. 2. Na našich stránkách jsou také k dispozici nové a staré filmy. 3. V kvalitě filmu HD si můžete také vybrat jiné. 4. K dispozici v češtině a slovenštině i v dalších zemích. 5. Dobrá kvalita obrazu a čistý zvuk. 6. Lze sledovat streamování nebo si jej stáhnout. 7. Lze sledovat na telefonech Android, PC, Mac, Iphone, tabletech a chytrých televizorech. 8. Snadné a bez registrace. 9. Lze sledovat zdarma.

To jsou některé z výhod, pokud sledujete naše stránky. Stačí kliknout na výše uvedený odkaz. Naštěstí sledováním našich stránek můžete být s našimi službami pobaveni a spokojeni.

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Děkujeme vám za sledování na našich stránkách. Budeme mít všechny zájemce o zasílání novinek nebo informací o letošních filmových událostech a o tom, jak sledovat vaše oblíbené filmy. Naštěstí můžeme být vaším nejlepším partnerem při hledání vašich oblíbených doporučení filmů. Děkujeme za sledování dnešního videa. Doufám, že se vám video, které sdílím, bude líbit. a uvolněte nudu během současné pandemie. Pokud se vám líbí obsah, který sdílíme, dejte nám palec nahoru a ukažte nám, že se vám to líbí, nebo se podělte o to, co dělá, se svými přáteli. Hezký den děkuji.

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[thejacksmit]

First Take: Reminiscence - a poor man’s Memento

SYNOPSIS: Nick Bannister, a private investigator of the mind, navigates the alluring world of the past when his life is changed by new client Mae. A simple case becomes an obsession after she disappears and he fights to learn the truth about her.

Having opened in cinemas last week, there has been a distinct lack of high concept sci-fi since before the restart *last year*- and now we have a film which attempts to satisfy that strand of cinemagoer. Sadly Reminiscence falls incredibly short of what the trailers made it out to be.

Co-creator of HBO’s Westworld, Lisa Joy makes her feature directorial debut, as well as writing the film, and having now seen this 1 hour 56 minute movie, I can see why people are having issues with it - some aspects of the plot work well in feature form, but others suit the more episodic nature of a limited TV series, and while Joy’s script isn’t at fault, it feels like this was merely a contractual obligation to get Westworld back on air. It’s shot very well by Paul Cameron, and Ramin Djwadi’s score is a Ronseal job - it does what it says on the tin.

Performance wise, Hugh Jackman and Thandiwe Newton continue to do what they do best, Rebecca Ferguson is used relatively well, but the writing lets her character down a bit, and the supporting cast is filled out by Cliff Curtis, Daniel Wu and Marina de Tavira, but sadly the main issue of the film is the 12a certificate. There are moments which push the film in to 15 territory, and I am genuinely surprised that the BBFC allowed this through based on the general tone of the film.

THE VERDICT

Reminiscence has a lot of untapped potential with a plot like that, but the general consensus amongst the internal TheJackSmit team is that it would have worked better as an episodic TV series - it’s what Lisa Joy is known for after all.

RATING: 3/5

[writemarcus]

Review: Beethoven Returns for the Age of Black Lives Matter

Heartbeat Opera’s powerful take on “Fidelio,” as an indictment of mass incarceration, has been revived and revised for a post-2020 world.

By Joshua Barone

Feb. 14, 2022, 12:41 p.m. ET 

Fidelio

NYT Critic's Pick

From left, Curtis Bannister, Kelly Griffin and Derrell Acon in Heartbeat Opera’s adaptation of Beethoven’s “Fidelio” at the Metropolitan Museum of Art, ahead of a tour that continues through this month.Credit...Julieta Cervantes for The New York Times

Beethoven’s only opera, “Fidelio,” is hardly a fixed text. He wrote several possible overtures for it and reworked the score substantially over the course of a decade. But its meaning never changed: the heroism to be found in devotion, love and freedom in the face of injustice.

In 2018, the daring and imaginative Heartbeat Opera — an enterprise that, while small and still young, has already contributed more to opera’s vitality than most major American companies — took the malleable history of “Fidelio” one step further, adapting the work as a moving indictment of mass incarceration.

That production has now been revised for a revival that opened at the Grace Rainey Rogers Auditorium at the Metropolitan Museum of Art last weekend, ahead of a tour that continues through the end of the month. Already inspired by the Black Lives Matter movement, this “Fidelio” is now permeated with it, and the adaptation is even more powerful.

Bannister, left, as Stan, an imprisoned Black Lives Matter activist, and Griffin as Leah, his wife, who plots to free him.Credit...Julieta Cervantes for The New York Times

In Beethoven’s original singspiel — a music theater form in which sung numbers are set up by spoken scenes — a woman named Leonore disguises herself as a man, Fidelio, to infiltrate the prison where her husband, Florestan, is being held for political reasons. She aims to free him from execution while exposing the crimes of his captor, Pizarro.

Ethan Heard, a founder of Heartbeat, adapted “Fidelio” for the company and collaborated with the playwright Marcus Scott on the new book. Their revision tells the story of a Black Lives Matter activist named Stan — sung by Curtis Bannister, a tenor of impressive stamina — who has been imprisoned for nearly a year, and whose wife, Leah, given an affectingly agonized lower range by the soprano Kelly Griffin, is at a breaking point as she struggles to free him.

She gets a job as a guard at the prison; her strategy to reach Stan in solitary confinement (much as in Beethoven’s original) is to ingratiate herself with a senior guard (here Roc, sung with both charm and dramatic complexity by the bass-baritone Derrell Acon) and court his daughter (here Marcy, smooth-voiced yet strong in the soprano Victoria Lawal’s portrayal). In this telling, there is no need for the cross-dressing: Marcy and Leah are both queer. And, crucially, all of these characters are Black, a fact that looms before guiding the awakenings of Marcy and her father as they face their complicity in a racist system that, Leah says, is designed to punish “people whose only mistake was being poor and Black.”

Corey McKern, who plays a Trump-like Pizarro, with Acon, a senior prison guard.Credit...Julieta Cervantes for The New York Times

The spoken text is in English throughout, while the arias remain in their original German — a testament to the timelessness of Beethoven, though the production’s surtitles take some liberties with the translation. (As an excuse for briefly letting the prisoners out into the sun, Roc sings that it’s the king’s name day, but the titles say that it’s Martin Luther King Jr. Day.)

Radically transformed, too, is the score, arranged by Daniel Schlosberg for two pianos, two horns, two cellos and percussion, with the multitasking (and nearly scene-stealing) Schlosberg onstage, conducting from the keyboard. Expressive cellos reveal the characters’ thoughts, and the horns add an aura of muscularity and honor. The most substantial interventions are in the percussion, with drum hits deployed to dramatic effect and a whiplike slap adding terror to Pizarro’s murder-plotting “Ha, welch’ ein Augenblick.”

The soprano Victoria Lawal as Marcy, who awakens to her complicity in a racist system of mass incarceration.Credit...Julieta Cervantes for The New York Times

Not all the changes from 2018 were necessary, or wise. Starting with the venue: This production originated in a black box space at Baruch Performing Arts Center, which fit the chamber scale of the music and emphasized the cinder-block claustrophobia of Reid Thompson’s set. At the Met, the show floats on an expansive stage and struggles with poor acoustics.

And the text has lost some of its grace, with pandering references to the Jan. 6, 2021, insurrection and President Donald J. Trump’s infamous call for the Proud Boys to “stand back and stand by.” A casualty of these lapses is the baritone Corey McKern’s Pizarro, who is something of a Trump stand-in, a caricature among nuanced, human characters.

You could almost forgive that at “O welche Lust,” the famous prisoners’ chorus, still the emotional high point of the production and now a coup de théâtre. For the stirring number, Leah unlocks a chest — a metaphor for the prison gates — to release a white screen, on which a video is projected, featuring 100 incarcerated singers and 70 volunteers from six prison ensembles. The camera often lingers on individual faces, to an effect not unlike that of Barry Jenkins’s filmmaking, the way his sustained close-ups invite intimacy and, above all, sympathy.

A hundred incarcerated singers and 70 volunteers from six prison ensembles, recorded and projected onstage, sing the famous prisoners’ chorus “O welche Lust.”Credit...Julieta Cervantes for The New York Times

For curious audience members, Heartbeat has shared letters from some of the participants. They range from endearing — Michael “Black” Powell II’s “German was hard!!” — to profound, such as this from Douglass Elliott: “Most of us are victims of our circumstances who when faced with adversities chose the wrong direction with our actions. This choir makes us feel that ‘normal’ feeling for a short time every week. We are accepted as humans, not looked at as numbers.”

Beethoven’s triumphant finale could have been an insult to the contemporary reality Heartbeat’s production aims to conjure. So after Stan is freed and Pizarro defeated, Leah awakes at the same desk where, in the opening, she has had a frustrating phone call with a lawyer. This twist, that it was all a dream, is of course a tired trope, but what follows isn’t.

After a moment of despair — her happiness felt so real — she stands, steps to a spotlight at center stage and holds up her phone, assuming the pose of her husband’s activism, with which the production began. An ambivalent closing scene, it is an honest reflection of our time: of the mixed successes of Black Lives Matter, yes, and of the only possible way forward.

Fidelio

Performed at the Grace Rainey Rogers Auditorium, Manhattan, and touring through Feb. 27; heartbeatopera.org.

Joshua Barone is the assistant performing arts editor on the Culture Desk and a contributing classical music critic. @joshbarone • Facebook

[witcherfan]

August 23rd 2021 Today I watched on HBO Max

it is in the movie theaters and you can stream it through Sept 19th. It was really really really really good. I liked it a lot.

[tctmp]

Mystery  Romance  Sci-Fi

[aion-rsa]

Reminiscence Review: Hugh Jackman’s New Sci-fi Movie from Westworld Creator

https://ift.tt/2W7NC80

Reminiscence opens on a striking image of a half-submerged Miami, with buildings rising out of the deepest part of the water like tombstones in a flooded graveyard, while the less inundated areas are filled with people splashing through knee-high water on foot or cruising blithely down streets in boats like they’re vacationing in Venice.

It’s a haunting visual metaphor for the movie’s thematic preoccupation with memory, and how human beings desperately cling to the memories that comfort them even as time works its slow, steady entropy on our lives and places. Both those recollections and those buildings will eventually vanish one day, leaving behind nothing but the waves.

Nick Bannister (Hugh Jackman) plies his trade in those memories. In this not-too-distant future, where climate change and a war of indeterminate origin have wrecked a large portion of the planet for most of us, a technology has been developed in which people’s memories can be accessed from their brains and recorded. Those memories can be used for things like criminal investigations, but most clients come to Bannister’s lab — housed in an abandoned bank — to relive precious moments from their lives.

Into Bannister’s place one day comes Mae (Rebecca Ferguson), a beautiful, enigmatic lounge singer whose picture would no doubt be in any dictionary next to the words “femme fatale.” She’s ostensibly there to retrace her memories of the past day and find out where she left her house keys, but it isn’t too long before Bannister is intoxicated by her and the two begin a torrid affair — which abruptly ends with Mae’s disappearance.

Despite the disapproval of his faithful sole employee Emily “Watts” Sanders (Thandiwe Newton) — who is perhaps a little in love herself with her boss — Nick begins a dangerous journey to find Mae, probing both his own memories of their time together and a shadowy network of drug dealers, corrupt cops, and amoral oligarchs.

Reminiscence is the feature directorial debut of Lisa Joy, co-creator and executive producer of HBO’s Westworld (with her husband, Jonathan Nolan) and the upcoming video game adaptation Fallout. Like Westworld, not to mention a number of the films directed by her brother-in-law Christopher Nolan, Reminiscence combines several genres — in this case, dystopian science fiction with film noir — but never quite successfully meshes the two.

Read more

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Joy certainly has a great eye for visuals: she and director of photography Paul Cameron (also from Westworld), along with production designer Howard Cummings, have crafted an alternately beautiful, eerie, and harrowing vision of a very plausible near future in which the coastline is rapidly disappearing and pushing one’s way through water is an everyday aspect of life (the sinking cityscapes are reminiscent — no pun intended — of those in Steven Spielberg’s A.I.: Artificial Intelligence, but are explored in more detail here).

Wealthy real estate barons (who live in a walled-off enclave, of course) seem to be mostly in charge, with the rest of the population getting by on a subsistence level, and the gradual accumulation of details about life — like the fact that no one goes out during the day because it’s too damn hot — paint a picture of a society that is clearly going through a slow-motion collapse.

All that interesting information, however, is not used particularly well by Joy’s original screenplay, which focuses primarily on the noirish quest by Jackman’s Bannister to find his lost love. The actor’s gravelly voice-over, which kicks off the film with a heap of aphorisms and exposition and reappears intermittently throughout, hints that Joy is still struggling with the clunky writing that has done a lot of damage to Westworld (and, strangely, seems to be a thing that the Nolan boys wrestle with as well).

So even though the film is always visually interesting, it moves rather slowly and at times comes across as inert, with the familiar beats of the story lacking any kind of real momentum. The shifts between “reality” and the characters’ accessed memories can be jarring and confusing as well, and the plot — which carries echoes of noir touchstones like Chinatown and Out of the Past — seems ultimately inconsequential, with a number of minor characters gaining importance so late in the game that the viewer doesn’t get a chance to connect or empathize with them (or even be clear on who they are).

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The cast is uniformly fine, with Jackman doing his usual effective mix of vulnerability, determination, and raw anger, letting his natural charisma fill in the rest. Even though Ferguson is suitably sultry as the mysterious Mae, one never really feels the spark that’s supposed to crackle between them. Perhaps the best performance comes from the always excellent Newton, who brings a matter-of-fact practicality to the role of Watts while also imbuing her with genuine emotional depth.

With such a good cast (which also includes a nice villainous turn from Cliff Curtis), great visuals, and the intriguing possibilities of the world she’s built, it’s a shame that Joy’s script never really adds up to much more than what Bannister calls in his voiceover “a series of moments.” Credit to Joy as well for ending the movie on a low-key note instead of with the usual fire and explosions, but for a movie about memory and its powerful hold on us, Reminiscence never finds a way to lodge itself in one’s mind.

Reminiscence opens in theaters and premieres on HBO Max this Friday (August 20).

The post Reminiscence Review: Hugh Jackman’s New Sci-fi Movie from Westworld Creator appeared first on Den of Geek.

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[kwebtv]

The Haunted Hathaways - Nickelodeon  -  7/13/203  -  3/5/2015

Sitcom (45 episodes)

Running Time:  30 minutes

Stars:

Amber Montana as Taylor Hathaway

Curtis Harris as Miles Preston

Benjamin "Lil' P-Nut" Flores Jr. as Louie Preston

Breanna Yde as Francesca “Frankie” Hathaway

Ginifer King as Michelle Hathaway

Chico Benymon as Ray Preston

Brec Bassinger as Emma 

Juliette Angelo as Meadow 

JT Neal as Scott Tomlinson 

Kayla Maisonet as Lilly 

Artie O'Daly as Clay Bannister

Ava Cantrell as Penelope Pritchard 

Kim Yarbrough as Madame Lebeuf 

Fred Stoller as Mr. Dobson