#dr. max bergman

[elvismentions]

Hawaii Five-0 S05EP21

[deanwasalwaysbi]

23 Republican Senators & 124 Congressmen signed an amicus brief to the Supreme Court asking for a 50 state ban on mifepristone, a drug safer than tylenol that is standard treatment for abortion & miscarriages, "due to safety concerns". The brief DARES to argue that banning the life saving drug would save women from 'reproductive control'. (x) These 147 people would rather have women die of sepsis than let women control their own bodies. If your representatives are on this list, call them and tell their office you will be voting against them in the next election because they asked SCOTUS to throw the US medical drug system into chaos at the cost of American lives.

United States Senate

Lead Senator: Cindy Hyde-Smith (MS) John Barrasso (WY) Mike Braun (IN) Katie Britt (AL) Ted Budd (NC) Bill Cassidy (LA) Kevin Cramer (ND) Mike Crapo (ID) Ted Cruz (TX) Steve Daines (MT) Josh Hawley (MO) John Hoeven (ND) James Lankford (OK) Mike Lee (UT) Cynthia Lummis (WY) Roger Marshall (KS) Markwayne Mullin (OK) James Risch (ID) Marco Rubio (FL) Rich Scott (FL) John Thune (SD) Tommy Tuberville (AL) Roger Wicker (MS)

United States House of Representatives

Lead Representative: August Pfluger (TX–11) Robert Aderholt (AL–04) Mark Alford (MO–04) Rick Allen (GA–12) Jodey Arrington (TX–19) Brian Babin (TX–36) Troy Balderson (OH–12) Jim Banks (IN–03) Aaron Bean (FL–04) Cliff Bentz (OR–02) Jack Bergman (MI–01) Andy Biggs (AZ–05) Gus Bilirakis (FL–12) Dan Bishop (NC–08) Lauren Boebert (CO–03) Mike Bost (IL–12) Josh Brecheen (OK–02) Ken Buck (CO–04) Tim Burchett (TN–02) Michael Burgess, M.D. (TX–26) Eric Burlison (MO–07) Kat Cammack (FL–03) Mike Carey (OH–15) Jerry Carl (AL–01) Earl L. “Buddy” Carter (GA–01) John Carter (TX–31) Ben Cline (VA–06) Michael Cloud (TX–27) Andrew Clyde (GA–09) Mike Collins (GA–10) Elijah Crane (AZ–02) Eric A. “Rick” Crawford (AR–01) John Curtis (UT–03) Warren Davidson (OH–08) Monica De La Cruz (TX–15) Jeff Duncan (SC–03) Jake Ellzey (TX–06) Ron Estes (KS–04) Mike Ezell (MS–04) Pat Fallon (TX–04) Randy Feenstra (IA–04) Brad Finstad (MN–01) Michelle Fischbach (MN–07) Scott Fitzgerald (WI–05) Mike Flood (NE–01) Virginia Foxx (NC–05) Scott Franklin (FL–18) Russell Fry (SC–07) Russ Fulcher (ID–01) Tony Gonzales (TX–23) Bob Good (VA–05) Paul Gosar (AZ–09) Garret Graves (LA–06) Mark Green (TN–07) Marjorie Taylor Greene (GA–14) H. Morgan Griffith (VA–09) Glenn Grothman (WI–06) Michael Guest (MS–03) Harriet Hageman (WY) Andy Harris, M.D. (MD–01) Diana Harshbarger (TN–01) Kevin Hern (OK–01) Clay Higgins (LA–03) Ashley Hinson (IA–02) Erin Houchin (IN–02) Richard Hudson (NC–09) Bill Huizenga (MI–04) Bill Johnson (OH–06) Mike Johnson (LA–04) Jim Jordan (OH–04) Mike Kelly (PA–16) Trent Kelly (MS–01) Doug LaMalfa (CA–01) Doug Lamborn (CO–05) Nicholas Langworthy (NY–23) Jake LaTurner (KS–02) Debbie Lesko (AZ–08) Barry Loudermilk (GA–11) Blaine Luetkemeyer (MO–03) Tracey Mann (KS–01) Lisa McClain (MI–09) Dr. Rich McCormick (GA–06) Patrick McHenry (NC–10) Carol Miller (WV–01) Mary Miller (IL–15) Max Miller (OH–07) Cory Mills (FL–07) John Moolenar (MI–02) Alex X. Mooney (WV–02) Barry Moore (AL–02) Blake Moore (UT–01) Gregory F. Murphy, M.D. (NC–03) Troy Nehls (TX–22) Ralph Norman (SC–05) Andy Ogles (TN–05) Gary Palmer (AL–06) Bill Posey (FL–08) Guy Reschenthaler (PA–14) Mike Rogers (AL–03) John Rose (TN–06) Matthew Rosendale, Sr. (MT–02) David Rouzer (NC–07) Steve Scalise (LA–01) Keith Self (TX–03) Pete Sessions (TX–17) Adrian Smith (NE–03) Christopher H. Smith (NJ–04) Lloyd Smucker (PA–11) Pete Stauber (MN–08) Elise Stefanik (NY–21) Dale Strong (AL–05) Claudia Tenney (NY–24) Glenn Thompson (PA–15) William Timmons, IV (SC–04) Beth Van Duyne (TX–24) Tim Walberg (MI–05) Michael Waltz (FL–05) Randy Weber, Sr. (TX–14) Daniel Webster (FL–11) Brad R. Wenstrup, D.P.M. (OH–02) Bruce Westerman (AR–04) Roger Williams (TX–25) Joe Wilson (SC–02) Rudy Yakym (IN–02)

If your representatives are on this list, call them and tell their office you will be voting against them in the next election because they asked SCOTUS to throw the US medical drug system into chaos at the cost of American lives.

Help to patients who have to cross state lines to get medical care by donating to your local abortion fund here. (x)

[emphasisonthehomo]

📓

You know how I said I didn't think there was anything to a death industry au? I've been thinking about it a lot, and there is something there. Most of this has been in my drafts for a couple days, while I think thinky thoughts on it. Just gotta take it out of the admin side, to make it more generally interesting tbh. Because what I do is actually pretty boring unless you've got strong administrative opinions.

~

Danny as a licensed embalmer/mortician/whatever (idk how it works in Hawai’i or Jersey) that works at a family owned joint. The pay is pretty good and the hours are flexible, because they don’t care when he works as long as the decedent is ready to go in time for services.

He doesn't generally meet with families. Unless someone has specifically requested to dress their loved one. Then he does help people out with that, because putting clothes on dead (ha) weight can actually be very difficult if you don't know what you're doing.

(Steve has no idea, but Danny is actually the guy that prepped John McGarrett for burial. It was closed casket, short graveside service, so no embalming necessary. But Danny was still the one who made sure that John was in uniform, with all requisite medals and ribbons in the correct place, before he went to the cemetery.)

Danny knows Max because every once and a while he picks up a deceased after the medical examiner is finished w/ the autopsy or whatever. They have a lot of Professional Respect for each other, from being on different sides of the Works With Dead Bodies Industry.

(“Dr. Bergman, why is it whenever I pickup a case from you, it’s always the worst? Look at this guy. The family wants open casket, and I’m gonna have to pull a miracle out of my ass.”

The body in question is at the marbling stage of decomp, and smells like it. The cosmetizing Danny’s gonna have to do to make the guy normal colored is astronomical. That’s not even getting into the state of the head. The spouse is gonna have to provide a hat for sure. He hopes the director can talk her into closing the casket for services.

“He was shot in the temple Mr. Williams. Besides, you’ll be able to manage that.”

“...Yeah. Probably,” Because Danny is Very Good at what he does, and the guy isn’t actually the absolute worst he’s ever seen. There's not even any insect activity, which is shocking.)

Anyways, one day Danny comes into work and there’s a body in his fridge that was not there yesterday when he left. He knows who he’s supposed to have in his care, and this person? Not one of them. When he gets a closer look, there’s a huge gaping wound in the chest and oh shit. Okay. Yeah. Fuck, he’s gotta call 911.

Anyways, Five-0 gets called in, because a dead body appeared over night in a locked room with no sign of break in.

(“Mr. Williams, it’s interesting to see you at your place of work, instead of my own.”

“Yeah. I gotta be honest, I don’t think I like it Dr. Bergman.”)

Danny’s in scrubs and PPE, and he smells like chemicals and death, and it’s tragic because that Commander is uh. Nice to look at. Danny’s seen him a few times in passing, when he’s been by the medical examiners to do a removal. If he didn't look like a horror movie, Danny would be tempted to flirt. Don't get him wrong, he still does, but he's not as blatant about it as he would be if they bumped into each other at a bar or something.

Anyways, what happens from there is just, the weirdest slowest courtship imaginable. Because now it seems almost every time Danny comes by to pick someone up, Commander McGarrett is there. And they exchange hellos and small talk. And it’s a coincidence, it’s gotta be.

Steve meanwhile has been flirting with the idea of uh. Letting those Gay Thoughts catch up with him, since he's gone to the reserves. Mr. Williams is attractive, with a fire cracker personality and Steve's just. Curious. You know. Wants to get to know him. But Steve's also never navigated the awkward terrain of trying to find out if a man is into other men. So Steve mostly just 'happens' to be at the medical examiners during the pickup window for funeral homes to come by.

Also Danny's trans. Just assume he's trans unless stated otherwise, in anything I write. I've decided that's a hill I'm gonna die on.

[motionpicturelover]

Films I've watched in 2023.

(This list will be continously updated. For last year's list, see this post.)

Click on the title to see the post.

1 - 99

January:

🎬 "Duet for One" (1986) - Andrei Konchalovsky

🎬 "The Shout" (1978) - Jerzy Skolimowski

🎬 A Day in the Death of Joe Egg (1972) - Peter Medak

🎬 "Separate Tables" (1983) - John Schlesinger

🎬 "Much Ado About Nothing" (2019) - Kenny Leon (stage dir.)/David Thorn (TV dir.)

🎬 "Høyfeber" (1965) - Jon Lennart Mjøen

🎬 "Who's Afraid of Virginia Woolf" (1966) - Mike Nichols

🎬 "Royal Flash" (1975) - Richard Lester

🎬 "Oliver's Travels" (1995) - Giles Foster

🎬 "Dr. M" (1990) - Claude Chabrol

February:

🎬 "Tim Vine Live" (2004)

🎬 "Rett i lomma" (1998) - Runar Borge

🎬 "Underveis" (1968) - Knut M. Hansson

🎬 "Karl" (1962) - Knut Thomassen

🎬 "The Show Must Go Home" (1984)

🎬 "Twigs" (1978) - Toralv Maurstad

🎬 "Det evige spørsmål" (1962) - Per Bronken

🎬 "Dannede mennesker" (1967) - Kirsten Sørlie

🎬 "Tango" (1967) - Per Bronken

🎬 "Bokhandlaren som slutade bada" (1969) - Jarl Kulle

🎬 "Kom tilbake lille Sheba" (1966) - Jan Bull

🎬 "Geografi og kjærlighet" (1973) - Tore Breda Thoresen

🎬 "Den skallete sangerinnen" (1967) - Arne Thomas Olsen

🎬 "Eyes Wide Shut" (1999) - Stanley Kubrick

🎬 "Liv og død" (1980) - Wam&Vennerød

March:

🎬 "I slik en natt" (1958) - Sigval Maartman-Moe

🎬 "Brødrene Dal og Spektralsteinene" (1982)

🎬 "Ung flukt" (1960) - Edith Carlmar

🎬 "Klokker i måneskinn" (1964) - Kåre Bergstrøm

🎬 "Brent jord" (1969) - Knut Andersen

🎬 "Hjemme hos oss" sesong 1 (1979)

🎬 "Falne engler" (1966) - Magne Bleness

🎬 "Hjemme hos oss" sesong 2 (1980)

🎬 "Peer Gynt" (2006) - Bentein Baardson

🎬 "Lily Savage Live and Outrageous" (1995)

April:

🎬 "Papirfuglen" (1984) - Anja Breien

🎬 "Vellykket liv for 3" (1971) - Kirsten Sørlie

🎬 "Muppet Treasure Island" (1996) - Brian Henson

🎬 "Skulle det dukke opp flere lik er det bare å ringe..." (1970) - Knut Bowhim

🎬 "The Avengers" (2012) - Joss Whedon

🎬 "Jag är nyfiken – en film i gult" (1968) - Vilgot Sjöman

🎬 "Peer Gynt" (2019) - Erik Ulfsby

🎬 "Svarte penger, hvite løgner" (2004) - Jarl Emsell Larsen

🎬 "Kodenavn Hunter" season 1 (2007) - Jarl Emsell Larsen

🎬 "Salmer fra kjøkkenet" (2003) - Bent Hamer

May:

🎬 "Kjærlighetens kjøtere" (1995) - Hans Petter Moland

🎬 "The Adventures of Priscilla Queen of the Desert" (1995) - Stephan Elliott

🎬 "Fysikerne" (1988) - Per Bronken

🎬 "Serial Mom" (1994) - John Waters

🎬 "Jeppe på Berget" (1984) - Magne Bleness

🎬 "Looney Tunes: Back in Action" (2003) - Joe Dante

🎬 "It's Love I'm After" (1937) - Archie Mayo

🎬 "Robin Hood: Men in Tights" (1994) - Mel Brooks

🎬 My Cousin Vinny (1992) - Jonathan Lynn

🎬 "Hip Hip Hurra!" (1987) - Kjell Grede

🎬 "Fribillett til Soria Moria" (1984) - Kirsten Sørlie

🎬 "Tolv edsvorne menn" (1981) - Tore Breda Thoresen

🎬 "En annen historie" (1984) - Carl Jørgen Kiønig

June:

🎬 "Herman" (1990) - Erik Gustavson

🎬 "WandaVision" (2021)

🎬 "The Cheap Detective" (1978) - Robert Moore

🎬 "Buddy Buddy" (1981) - Billy Wilder

🎬 "Am I Crazy? My journey to determine if my memories are true (2022 revision)" (2022)

🎬 "Mothers and Molestation: A film about child abuse"

🎬 "Mysteriet Herr Link" (2019) - Chris Butler

🎬 "The Sunshine Boys" (1996) - John Erman

🎬 "Åpen Framtid" (1983) - Svend Wam

July:

🎬 "En passion" (1969) - Ingmar Bergman

🎬 "But I'm a Cheerleader" (1999) - Jamie Babbit

🎬 "Charlies tante" (1995) - Runar Borge

🎬 "Drømmeslottet" (1986) - Wam&Vennerød

🎬 "Adjø solidaritet" (1985) - Wam&Vennerød

🎬 "Small Time Crooks" (2000) - Woody Allen

🎬 "In & Out" (1997) - Frank Oz

🎬 "Mad Max" (1979) - George Miller

🎬 "Presumed Innocent" (1990) - Alan J. Pakula

🎬 "The Addams Family" (1991) - Barry Sonnenfeld

🎬 "Addams Family Values" (1993) - Barry Sonnenfeld

🎬 "Valley of the Dolls" (1967) - Mark Robson

August:

🎬 "Bryllupsfesten" (1989) - Wam&Vennerød

🎬 "Sirkulæret" (1972) - Gerhard Knoop

🎬 "Lille Eyolf" (1983) - Eli Ryg

🎬 "Rosmersholm" (2000) - Terje Mærli

🎬 "Hvem vet –?" (1972) - Sølve Kern

🎬 "Rivalen" (1970) - Hans Dahlin

September:

🎬 Ocean's Eight (2018) - Gary Ross

🎬 "Seks personer søker en forfatter" (1992) - Pål Løkkeberg

🎬 "Over the Garden Wall" (2014)

🎬 "The Country Girl" (1954) - George Seaton

🎬 "Fantastic Mr. Fox" (2009) - Wes Anderson

🎬 "Ofelaš" / "Veiviseren" (1987) - Nils Gaup

🎬 "Salto, salmiakk og kaffe" (2004) - Mona H. Juel

🎬 "Les 12 Travaux d'Astérix" (1976) - Renée Goscinny, Albert Uderzo

🎬 "Av måneskinn gror det ingenting" (1987) - Arild Brinchmann

October:

🎬 "Blind gudinne" (1997) - Carl Jørgen Kiønig

🎬 "Frøken Rosita" (1969) - Per Bronken

🎬 "Tre søstre" (1973) - Sverre Udnæs

🎬 "Alltid noe trist og deprimerende" (1970) - Egil Kolstø

🎬 "Svigerdottera" (1975) - Terje Mærli

[h50fics]

Untethered

by jawnslulluby21

When 28 year old Dr. Steve McGarrett, a best selling author whose nom de plume is Marcus Edmonds, applies to be a Sponsor for a freed prisoner of the RedTide, he ends up with an 18 year old Carrier who has never known kindness. A story of overcoming the odds and falling in love at the same time, this is set in an AU.

Words: 6374, Chapters: 1/?, Language: English

Fandoms: Hawaii Five-0 (2010)

Rating: Mature

Warnings: Graphic Depictions Of Violence, Rape/Non-Con

Categories: M/M

Characters: Steve McGarrett, Danny "Danno" Williams, Kono Kalakaua, Chin Ho Kelly, Charlie Fong, Max Bergman, Lou Grover, Original Characters

Relationships: Steve McGarrett/Danny "Danno" Williams

Additional Tags: Male Homosexuality, AU Fantasy, Danny "Danno" Williams Whump

via AO3 works tagged 'Steve McGarrett/Danny "Danno" Williams' https://ift.tt/tRz9HqX

[timelesstimesgoneby]

EPISODE SEASON 1 DISC 1 S01E01 WHAT? AND GET OUT OF SHOW BUSINESS S01E02 THE SOUND OF MONEY S01E03 WHATEVER HAPPENED TO THE OLD SONGS S01E04 SEE HERE, PRIVATE PARTRIDGE S01E05 WHEN MOTHER GETS MARRIED S01E06 LOVE AT FIRST SLIGHT S01E07 DANNY AND THE MOB S01E08 BUT THE MEMORY LINGERS ON S01E09 DID YOU HEAR THE ONE ABOUT DANNY PARTRIDGE S01E10 GO DIRECTLY TO JAIL S01E11 THIS IS MY SONG S01E12 MY SON, THE FEMINIST DISC 2 S01E13 STAR QUALITY S01E14 RED WOODLOE STORY S01E15 MOM DROPS OUT S01E16 OLD SCRAPMOUTH S01E17 WHY DID THE MUSIC STOP? S01E18 THE SOUL CLUB S01E19 TO PLAY OR NOT TO PLAY S01E20 THEY SHOOT MANAGERS, DON'T THEY? S01E21 A PARTRIDGE UP A PEAR TREE S01E22 ROAD SONG S01E23 NOT WITH MY SISTER, YOU DON'T S01E24 A PARTRIDGE BY ANY OTHER NAME S01E21 A KNIGHT IN SHINING ARMOR SEASON 2 DISC 3 S02E01 DORA, DORA, DORA S02E02 IN 25 WORDS OR LESS S02E03 A MAN CALLED SNAKE S02E04 THE UNDERGRADUATE S02E05 ANATOMY OF A TONSIL S02E06 WHATEVER HAPPENED TO MOBY DICK S02E07 DR. JEKYLL & MR. PARTRIDGE S02E08 DAYS OF ACNE AND ROSES S02E09 A TALE OF TWO HAMSTERS S02E10 FORTY YEAR ITCH S02E11 1 CAN GET IT FOR YOU RETAIL S02E12 GUESS WHO'S COMING TO DRIVE? DISC 4 S02E13 DON'T BRING YOUR GUNS TO TOWN, SANTA S02E14 WHERE DO MERMAIDS GO S02E15 HOME IS WHERE THE HEART WAS S02E16 FELLINI, BERGMAN AND PARTRIDGE S02E17 WAITING FOR BOLERO S02E18 1 AM A CURIOUS PARTRIDGE S02E19 MY HEART BELONGS TO A TWO CAR GARAGE S02E20 HELLILIP S02E21 PROMISE HER ANYTHING BUT GIVE HER A PUNCH S02E22 PARTRIDGE PAPERS S02E23 ALL'S WAR, IN LOVE AND FAIRS S02E24 WHO IS MAX LEDBETTER, & WHY IS HE SAYING S02E25 ALL THOSE HORRIBLE THINGS SEASON 3 DISC 5 S03E01 THIS MALE CHAUVINIST PIGGY WENT TO MARKET S03E02 M IS FOR THE MANY THINGS S03E03 PRINCESS & THE PARTRIDGE S03E04 EACH DAWN I DIET S03E05 A PENNY FOR HIS THOUGHTS S03E06 YOU'RE ONLY YOUNG TWICE S03E07 THE MODFATHER S03E08 A LIKELY CANDIDATE S03E09 SWISS FAMILY PARTRIDGE S03E10 AIN'T LOVETH GRAND S03E11 WHATEVER HAPPENED TO KEITH PARTRIDGE S03E12 NAG, NAG, NAG DISC 6 S03E13 FOR SALE BY OWNER S03E14 ASPIRIN AT SEVEN, DINNER AT EIGHT S03E15 FOR WHOM THE BELL TOLLS S03E16 TRIAL OF PARTRIDGE ONE S03E17 I LEFT MY HEART IN CINCINNATI S03E18 THE ELEVEN YEAR ITCH S03E19 BEDKNOBS AND DRUMSTICKS S03E20 EVERYTHING YOU WANTED TO KNOW ABOUT SEX S03E21 BUT COULDN'T PRONOUNCE S03E22 FORGIVE US OUR DEBITS S03E23 PARTRIDGE CONNECTION S03E24 SELLING OF THE PARTRIDGE S03E25 DIARY OF A MAD MILLIONAIRE S03E26 ME AND MY SHADOW SEASON 4 DISC 7 S04E01 HATE THY NEIGHBOR S04E02 NONE BUT THE LONELY S04E03 BEETHOVEN, BRAHMS AND PARTRIDGE S04E04 THE STRIKE OUT KING S04E05 REUBEN KINCAID LIVES S04E06 DOUBLE TROUBLE S04E07 THE LAST OF HOWARD S04E08 THE DIPLOMAT S04E09 HEARTBREAK KEITH S04E10 A DAY OF HONESTY S04E11 AL IN THE FAMILY DISC 8 S04E12 MAID IN SAN PUEBLO S04E13 ART FOR MOM'S SAKE S04E14 TWO FOR THE SHOW S04E15 DANNY DROPS OUT S04E16 QUEEN FOR A MINUTE S04E17 DANNY CONVERTS S04E18 MISS PARTRIDGE, TEACHER S04E19 KEITH AND LAURIEBELLE S04E20 MORNING BECOMES ELECTRIC S04E21 PIN IT ON DANNY S04E22 (S.O.S.)

[wellfuckthisshitagain]

Masi Oka > 《Dr. Max Bergman》acts in Death Note as Detective Sasaki !!!

[urfaveisautistic]

Your fave is autistic: Dr. Max Bergman from Hawaii Five-O

[thebryanandsilvergarbage]

The 2021 Silver Garbage Award Nominees

FOR IMMEDIATE RELEASE July 12, 2021

WORST COMEDY SERIES: Call Me Kat (FOX) Call Your Mother (ABC) Connecting (NBC/Peacock) The Crew (Netflix) Dad, Stop Embarrassing Me! (Netflix)

WORST DRAMA SERIES: Clarice (CBS) Debris (NBC) Filthy Rich (FOX) neXt (FOX) Selena: The Series (Netflix) WORST SPECIAL CLASS PROGRAM: The 78th Annual Golden Globe Awards (NBC) Boss Level (Hulu) Love In The Time of Corona (Freeform) Mariah Carey’s Magical Christmas Special (Apple TV+) A Recipe for Seduction (Lifetime) WORST REALITY PROGRAM: The Big Shot with Bethenny (HBO Max) Double Shot at Love (MTV) Jersey Shore: Family Vacation (MTV) Keeping Up With The Kardashians (E!) The Pack (Amazon Prime) WORST NEW SERIES: The Big Shot with Bethenny (HBO Max) Clarice (CBS) Dad, Stop Embarrassing Me! (Netflix) Filthy Rich (FOX) neXt (FOX) WORST REBOOT/SPIN-OFF: The Big Shot with Bethenny (HBO Max) - Part rip-off of “The Apprentice”, part spin-off of “Bethenny” Franchise Call Me Kat (Fox) - Americanized Reboot of the British Series of the Same Name Clarice (CBS) - Reboot of the 1991 Film The Silence of the Lambs Filthy Rich (FOX) - Americanized Reboot of the New Zealand Series of the Same Name Punky Brewster (Peacock) - Spin-Off and Sequel of the Original 1980s TV Series WORST ACTOR IN A COMEDY SERIES: Diedrich Bader - American Housewife (ABC) Eddie Cibrian - Country Comfort (Netflix) Jamie Foxx - Dad, Stop Embarrassing Me! (Netflix) Kevin James - The Crew (Netflix) Thomas Middleditch - B Positive (CBS) WORST ACTRESS IN A COMEDY SERIES: Mayim Bialik - Call Me Kat (FOX) Soleil Moon Frye - Punky Brewster (Peacock) Katharine McPhee - Country Comfort (Netflix) Katy Mixon - American Housewife (ABC) Kyra Sedgwick - Call Your Mother (ABC) WORST SUPPORTING ACTOR IN A COMEDY SERIES: David Alan Grier - Dad, Stop Embarrassing Me! (Netflix) Don Johnson - Kenan (NBC) Leslie Jordan - Call Me Kat (Fox) Dean Norris - The United States of Al (CBS) Freddie Prinze Jr. - Punky Brewster (Peacock) WORST SUPPORTING ACTRESS IN A COMEDY SERIES: Porscha Coleman - Dad, Stop Embarrassing Me! (Netflix) Holly Hunter - Mr. Mayor (NBC) Swoosie Kurtz - Call Me Kat (Fox) Kimrie Lewis - Kenan (NBC) Kyla Pratt - Call Me Kat (Fox) WORST GUEST PERFORMER IN A COMEDY SERIES: Mark Paul Gosselaar - Saved By The Bell (Peacock) Andie McDowell - Mr. Mayor (NBC) Natalie Morales - Mr. Mayor (NBC) Elon Musk - Saturday Night Live (NBC) Morgan Wallen - Saturday Night Live (NBC)

WORST COMEDY SERIES WRITING: Call Your Mother (ABC) Connecting (NBC/Peacock) The Crew (Netflix) Country Comfort (Netflix) Dad, Stop Embarrassing Me! (Netflix)

WORST COMEDY SERIES DIRECTING: Call Me Kat (Fox) Connecting (NBC/Peacock) Country Comfort (Netflix) Dad, Stop Embarrassing Me! (Netflix) The United States of Al (CBS)

WORST LEAD ACTOR IN A DRAMA SERIES: Ricardo Chavira - Selena: The Series (Netflix) Gerald McRaney - Filthy Rich (FOX) Jay Rodriguez - Magnum P.I. (CBS) John Slattery - neXt (FOX) Jonathan Tucker - Debris (NBC) WORST LEAD ACTRESS IN A DRAMA SERIES: Jessica Brown Findlay - Brave New World (Peacock) Rebecca Breeds - Clarice (CBS) Kim Cattrall - Filthy Rich (FOX) Queen Latifah - The Equalizer (CBS) Christian Serratos - Selena: The Series (Netflix) WORST SUPPORTING ACTOR IN A DRAMA SERIES: Corey Cott - Filthy Rich (FOX) Steve Harris - Filthy Rich (FOX) Chris Noth - The Equalizer (CBS) Scroobius Pip - Debris (NBC) Jesse Posey - Selena: The Series (Netflix) WORST SUPPORTING ACTRESS IN A DRAMA SERIES: Aubrey Dollar - Filthy Rich (FOX) Jennifer Ferrin - The Equalizer (CBS) Denise Richards - The Bold and the Beautiful (CBS) Perdita Weeks - Magnum P.I. (CBS) Diamond White - The Bold and the Beautiful (CBS) WORST GUEST PERFORMER IN A DRAMA SERIES: Juliette Lewis - Filthy Rich (FOX) John McConnell - Filthy Rich (FOX) Demi Moore - Brave New World (Peacock) Jen Richards - Clarice (CBS) Alanna Ubach - Filthy Rich (FOX) WORST DRAMA SERIES WRITING: Clarice (CBS) Filthy Rich (FOX) NCIS: Los Angeles (CBS) neXt (FOX) Selena: The Series (Netflix) WORST DRAMA SERIES DIRECTING: Clarice (CBS) Debris (NBC) Filthy Rich (FOX) NCIS: New Orleans (CBS) neXt (FOX) WORST SPECIAL CLASS LEAD ACTOR: Frank Grillo - Boss Level (Hulu) Ken Jennings - The Chase (ABC) & Jeopardy (Syndicated) Mario Lopez - A Recipe for Seduction (Lifetime) Dr. Mehmet Oz - The Dr. Oz Show (Syndicated) & Jeopardy (Syndicated) Pauly D & Vinny - A Double Shot at Love & Jersey Shore: Family Vacation (MTV) WORST SPECIAL CLASS LEAD ACTRESS: Justene Alpert - A Recipe for Seduction (Lifetime) Mariah Carey - Mariah Carey’s Magical Christmas Special (Apple TV+) Tina Fey - The 78th Annual Golden Globe Awards (NBC) Bethenny Frankel - The Big Shot with Bethenny (HBO Max) Amy Poehler - The 78th Annual Golden Globe Awards (NBC) WORST SPECIAL CLASS SUPPORTING ACTOR: Mel Gibson - Boss Level (Hulu) Brendan Gleeson - The Comey Rule (Showtime) Aaron Rodgers - Jeopardy (Syndicated) Christian Slater - Dirty John: The Betty Broderick Story (Netflix) Snoop Dogg - Mariah Carey’s Magical Christmas Special (Apple TV+) WORST SPECIAL CLASS SUPPORTING ACTRESS: Carole Baskin - Dancing with the Stars (ABC) Caitlyn Jenner - Keeping Up With The Kardashians (E!) Naomi Judd - V.C. Andrews’ Ruby (Lifetime) Meghan McCain - The View (ABC) Sharon Osbourne - The 47th Annual Daytime Emmys and The Talk (CBS) WORST SPECIAL CLASS WRITING: Boss Level (Hulu) The 78th Annual Golden Globe Awards (NBC) Mariah Carey’s Magical Christmas Special (Apple TV+) A Recipe for Seduction (Lifetime) There’s No “I” in Threesome (HBO Max) WORST SPECIAL CLASS DIRECTING: The Binge (Hulu) The 78th Annual Golden Globe Awards (NBC) Mariah Carey’s Magical Christmas Special (Apple TV+) NFL Honors (CBS) A Recipe for Seduction (Lifetime)

WORST SCREEN DUO: Any Two Actors, Devices, or Zoom Screens - Connecting (NBC) Freddie Highmore & Paige Spara - The Good Doctor (ABC) Any Two (or More) Kardashians - Keeping Up With The Kardashians (E!) Adhir Kalyan & Parker Young - The United States of Al (CBS) Peter Bergman & Courtney Hope - The Young and the Restless (CBS)

WORST PERFORMANCE BY A CAST: Connecting (NBC) Dad, Stop Embarrassing Me (Netflix) Filthy Rich (FOX) Jersey Shore: Family Vacation (MTV) Keeping Up With The Kardashians (E!)

[elvismentions]

- The King is dead. Again. C'mon, man, somebody had to say it.

Hawaii Five-0 S05EP21

[miguelmarias]

Spellbound (Alfred Hitchcock, 1945)

Sólo por ser la primera de las tres que hizo Ingrid Bergman, Spellbound (1945) sería una película importante en la filmografía de Hitchcock, ya que esta actriz, sublime con Rossellini, McCarey, Cukor, Renoir o Curtiz, es —al menos, para mí— la que mejor y con más intensidad y belleza ha encarnado a la heroína típica hitchcockiana: aparentemente fría, formal, seria y hasta puritana, pero fácilmente turbable y conmovible, capaz de enamorarse violenta y alocadamente, con la más apasionada y vibrante entrega; mucho más que la excesivamente controlada e inexpresiva Grace Kelly, más incluso que la joven Joan Fontaine de Rebecca (1940) y Suspicion (1941) —pese a los asombrosos resultados que obtuvo Hitchcock de ella, y que sólo Max Ophüls fue capaz de igualar, en su obra maestra Carta a una desconocida (Letter from an Unknown Woman, 1948).

No es raro, pues, que el encuentro de Hitchcock y la actriz sueca se tradujese en una de las más hermosas historias de amor que rodó  aquel, junto con Notorious (1946, también con Ingrid Bergman), Vertigo (1958), North by Northwest (1959) y esa especie de versión  invertida y corregida de Recuerda que es Marnie (1964).

Es una lástima que Spellbound, película imprescindible para conocer a Hitchcock y que vale la pena ver una y otra vez, que cuenta con varias de las escenas más sublimes y emocionantes de toda su carrera, sea una obra no plenamente lograda, que deja insatisfecho. No se trata, simplemente, de que sea imperfecta —lo son casi todas las mejores películas—, ni de que haya una excesiva diferencia de nivel entre unas escenas y otras, sino de que Hitchcock, probablemente por falta de confianza en sí mismo, quizá por interferencias o imposiciones de Selznick, recurrió —sin mucha convicción, y dándoles mayor importancia narrativa de la debida— a varias apoyaturas artificiales que le obligan, por respeto a la lógica y a la continuidad, a desviarse excesivamente de la historia fundamental que cuenta la película, en sí muy simple y lineal, complicándola innecesariamente con una trama policíaca de escaso interés, unas explicaciones psicoanalíticas muy esquemáticas y unas escenas oníricas que tienen cierta gracia pero que son las más feas visualmente que ha  filmado Hitchcock nunca (sin duda gracias a la colaboración de nuestro «genial» compatriota Salvador Dalí, cuyo sentido de las formas y del espacio no puede ser más opuesto al del autor de Vertigo).

Recuerda es esencialmente —y debiera haber sido exclusivamente— la historia de un flechazo, de un repentino y arrebatador enamoramiento, del establecimiento de unas relaciones afectivas dificultadas por una serie de obstáculos externos e internos, que aquí son la «falsa culpabilidad» del supuesto Dr. Edwardes, en realidad John Ballantine, piloto amnésico (Gregory Peck) del que se sospecha que ha asesinado y suplantado al verdadero director del sanatorio mental, y que es perseguido por la policía, por un lado, y el «complejo de culpabilidad» que padece desde su infancia, por otro, y que bien pudieran haber sido otros, o al menos ocupar un lugar menos destacado de la película, ya que no son sino «McGuffins» que, por una vez, se le han ido de las manos a Hitchcock, cobrando un relieve y una extensión que rompen el equilibrio del film. Servidumbre —que otras veces permite enriquecer la obra— de la reputación de Hitchcock como autor de thrillers, agravada por una inconveniente sumisión a la moda «psicológica» imperante en Hollywood entre 1944 y 1950, que convierte en importantes las fastidiosas escenas explicativas de las que Hitchcock habitualmente prescinde (o que despacha irónicamente y a toda velocidad), y que aquí, en cambio, se dilatan reiterativamente, en escenas verbosas que, pese a Michael Chekov y al humor que Hitchcock trata de insuflarles, vienen a interrumpir inoportunamente el relato que verdaderamente importa e interesa; tan sólo cuando es la propia Dra. Constance Peterson (Ingrid Bergman) la que explica a su amado las causas de su mal resultan soportables tales escenas, ya que, más que escuchar sus palabras vemos en sus ojos la preocupación, el amor, el afán de vencer las barreras que la separan del enfermo (que también la oye sin escucharla, escéptico pero prendado de ella, y a veces no puede contener su impaciencia y —demostrando buen juicio y salud mental considerable— se permite insinuar que prefiere seguir hablando de ella, o de ellos dos y su futuro, que del Dr. Murchison, el auténtico Edwardes o sus traumas bélicos e infantiles).

Con todo, y aunque pueda lamentarse que a una película le sobre o le falte algo, lo más práctico es siempre atender no a lo que pudo o debió ser, sino a lo que es, y Spellbound es, a pesar de sus defectos, una película llena de escenas admirables, con una de las mejores interpretaciones de Ingrid Bergman, con ideas poéticas y surrealistas tan arriesgadas como logradas (las puertas que se abren, mientras suenan los violines de Miklós Rózsa). Tan sólo por tres escenas —el encuentro de Ingrid Bergman y Gregory Peck en el comedor, su paseo por la colina, y la visita nocturna que culmina con el beso que hace abrirse todas las puertas— Recuerda sería una película inolvidable, y más valiosa que las obras completas de muchos cineastas consagrados en las «Historias del Cine».

Miguel Marías

Revista “Dirigido por” nº 75, agosto-septiembre 1980

[elcinelateleymickyandonie]

Ingrid Thulin.

Filmografía

- Jørund Smed (1948) - Niña

- Havets son (1949) - Gudrun

- Kärleken segrar (1949) - Margit Dahlman

- Hjärter Knekt (1950) - Gunvor Ranterud

- När kärleken kom till byn (1950) - Agneta

- Leva på 'Hoppet' (1951, Director: Göran Gentele ) - Yvonne

- Möte med livet (1952) - Viola

- Kalle Karlsson från Jularbo (1952) - Elsa

- En skärgårdsnatt (1953) - Ingrid

- Göingehövdingen (1953) - Anna Ryding

- I rök och dans (1954) - Mujer en el pajar (sin acreditar)

- Två sköna juveler (1954) - Lilly Fridh

- Danssalongen (1955) - Cecilia

- Hoppsan! (1955) - Malou Hjorthage

- Intriga extranjera (1956, Director: Sheldon Reynolds ) (con Robert Mitchum ) - Brita

- Det händer i natt (1957) - Lily

- Smultronstället / Wild Strawberries (1957, Director: Ingmar Bergman ) (con Victor Sjöström ) - Marianne Borg

- Nära livet / Brink of Life (1958, Director: Ingmar Bergman ) - Cecilia Ellius

- Ansiktet / El mago (1958, Director: Ingmar Bergman ) - Manda Vogler

- Domaren (1960, Director: Alf Sjöberg ) - Brita Randel

Cuatro jinetes del Apocalipsis (1962, Director: Vincente Minnelli ) (con Glenn Ford ) - Marguerite Laurier

- Agostino (1962, Director: Mauro Bolognini ) - La madre de Agostino

- Nattvardsgästerna / Winter Light (1962, Director: Ingmar Bergman ) (con Gunnar - Björnstrand , Max von Sydow y Gunnel Lindblom ) - Märta Lundberg

- Tystnaden / The Silence (1963, Director: Ingmar Bergman ) (con Gunnel Lindblom ) - Ester

- Sekstet (1963) - Elaine

- Die Lady (1964) - Nadine

- Regreso de las cenizas (1965, Director: J. Lee Thompson ) (con Maximilian Schell , Samantha Eggar ) - Dr. Michele 'Mischa' Wolf

- La guerre est finie (1966, Director: Alain - Resnais ) (con Yves Montand ) - Marianne

- Juegos nocturnos (1966) - Irene

- Domani non siamo più qui (1967) - Gioia

- Vargtimmen / La hora del lobo (1968, Director: Ingmar Bergman ) (con Max von Sydow ) - Veronica Vogler

- Calda e ... infedele (1968) - Camila

- Badarna (1968) - Cocinero

- Adelaida (1968) - Elisabeth Hermann

- OK Yevtushenko (1968) - Chica Nando

- Riten / The Rite (1969, telefilm, director: - Ingmar Bergman ) (con Ingmar Bergman y Gunnar Björnstrand ) - Thea Winkelmann

- La caduta degli dei (1969, Director:Luchino.

-La corta notte delle bambole di vetro (1971, Director: Aldo Lado ) (con Jean Sorel , Mario Adorf , Barbara Bach - Jessica

- NP il segreto (1971) - esposa de NP

Viskningar och rop / Gritos y susurros (1972, Director: Ingmar Bergman ) (con Liv Ullmann , Harriet Andersson ) - Karin

- La sainte famille (1973) - Maria

- En handfull kärlek (1974, Director: Vilgot Sjöman ) - Inez Crona

- Monismanien 1995 (1975) - Personundersökare

- La Cage [ fr ] (1975, Director: Pierre Granier-Deferre ) (con Lino Ventura ) - Hélène

- Salon Kitty (1976, Director: Tinto Brass ) (con Helmut Berger ) - Kitty Kellermann

- L'Agnese va a morire (1976) - Agnese

- The Cassandra Crossing (1976, Director: George Pan Cosmatos ) (con Sophia Loren , Richard Harris , Burt Lancaster ) - Dr. Elena Stradner

- En och en (1978) - Ylva

- It Rained All Night the Day I Left (1980) Papel secundario

- Efter repetitionen / After the Rehearsal (1984, Telefilm, Director: Ingmar Bergman ) (con Erland Josephson )

- Il Giorno prima (1987, Director: Giuliano - Montaldo ) (con Ben Gazzara , Burt Lancaster , Kate Nelligan ) - Sra. Havemeyer

- Orn (1987)

- La casa de las sonrisas (1991) - Adelina (papel final de la película).

Créditos: Tomado de Wikipedia

https://en.wikipedia.org/wiki/Ingrid_Thulin

#HONDURASQUEDATEENCASA

#ELCINELATELEYMICKYANDONIE

[woolleyluciscayde]

Dr Max Bergman deserves the world, send tweet

[arecomicsevengood]

Watching Movies In Self-Isolation, Part Two

L’Assassin Habite Au Rue 21 (1942), dir. Henri-Georges Clouzot. Clouzot is better known for directing The Wages Of Fear (the movie William Friedkin remade as Sorcerer) and Diabolique, but this is the first movie he directed. It’s a pretty effective comedy, as well as an Agatha Christie style murder-mystery thriller. It’s really cool to watch these things that feel like they are just “movies,” before a bunch of genre conventions got built up and put in place. This one’s also eighty minutes long, super-short. The premise of the movie is there’s a serial killer on the loose, leaving a business card on every dead body. A dude passes along to the police that he found a stash of the business cards in the attic of a boarding house, so the killer must live there. A police officer goes undercover as a priest moving into the boarding house to investigate the residents. His wife, an aspiring singer, has made a bet with him she can solve the crime first, and in doing so become a celebrity that will be hired to perform places, so she also moves into the boarding house, partly to annoy him. The stuff at the boarding house is basically the film’s second act, while the first and third act are more typical murder-mystery stuff, although the tone of comedy is maintained throughout, despite all the cold-blooded murders.

All These Women (1964), dir. Ingmar Bergman. Kind of dumb sex comedy directed by Ingmar Bergman, but with gorgeous Sven Nykvist cinematography, bright jewel-toned pastels, and sort of theatrical staging in spots seeming to foreshadow Parajanov’s The Color Of Pomegranates or eighties Greenaway stuff. About a critic who visits the palatial estate of a famous cellist to write a biography of him only to find a harem of women; the whole thing unfolding from the cellist’s funeral a few days later. The winking humor is both music-hall bawdy but in a way that feels self-aware or “meta” in the context of a sixties film.

The Touch (1971), dir. Ingmar Bergman. Bergman’s one of my favorites, many of his canonized classics resonate deeply with me, but he was also astonishingly prolific, with a bunch of movies of his blurring together in my mind, and even more that I didn’t know existed, like this English-language one, starring Elliott Gould. Gould’s another favorite of mine, being in a bunch of great movies in the sixties and seventies, but damn, he’s unlikable here. Unlikable characters “hit different” in older material because I’m not sure if you’re supposed to sympathize with them according to the sexist cultural attitudes of the day. Here he’s “the other man” Liv Ullman is cheating on Max Von Sydow (RIP) with, but he’s pretty emotionally abusive, just a shit to her, extremely demanding of her in a relationship he did nothing to earn, though it does feel like the movie is kind of treating him as a romantic lead.

The Anderson Tapes (1971), dir. Sidney Lumet. This is heist movie, starring Sean Connery as a dude fresh out of prison, planning to rob his girlfriend’s apartment building, costarring Christopher Walken in his first film role. It contains all the plot beats of a typical heist thing, all the satisfying “getting the gang together, planning things out in advance, chaotic elements interfere” stuff but also a totally superfluous bit of framing about like constant surveillance, video monitoring and audio tape. All this dystopian police-state stuff seems, implicitly, like it would make a crime impossible to execute, the criminals are monitored every step of the way, by assorted agencies. But then the punchline, after everyone’s arrested for reasons having nothing to do with that, is that all this recording is illegal and all the tapes should be erased as the high-profile nature of the case makes it likely the monitoring agencies will get caught. Sidney Lumet directs a good thriller, even though I don’t find Connery (or Dyan Cannon, who plays the girlfriend) particularly compelling.

The Testament Of Dr. Mabuse (1933), dir. Fritz Lang. I watched this years ago, after reading Matt Fraction praise it, particularly how skillful the transitions between scenes were, and I really enjoyed it, but didn’t remember much about it and was excited to rewatch it. It’s got a lot going for it: An exceedingly elaborate criminal plot whose only goal is to wreak chaos, low-level criminals caught up in something they’re morally unprepared to reckon with, a charismatic police detective interviewing a bunch of weirdos, Fritz Lang following up M by continuing to be a master of film and sound editing very early stitching it all together. The Mabuse character was previously the star of a silent film I haven’t watched, and here he’s mute, which is a clever choice I didn’t register until writing it out just now. He’s gone completely insane, but is nonetheless writing a journal filled with elaborate crime plots, and his psychologist is completely insane and following these directions, in a commentary on the rise of Nazism in Germany at the time.

House By The River (1950), dir. Fritz Lang. I watched this in the pre-Quarantine days, but it totally rules. Again, it feels sordid in part because of how old it is and my assumption you’re meant to identify on some level with the completely loathsome protagonist’s sexual desire and anger at getting turned down. It’s so creepy, he’s listening to the sound of his maid showering at one point. All the characters seem very fun to play, they’re all pretty cartoonish. This guy murder his maid, and then gets the idea that he should write a book about the murder when someone explains the idea of “writing what you know” to him, and he is then surprised when his wife reads the book and puts together that it’s a murder confession, saying something like “Really? I thought I disguised it pretty well.” The film functions as a dark comedy because every character is completely mortifying. Lang’s work becoming less ambitious and more reduced in budget during his time working in America is pretty sad but this movie feels legit deranged.

Midsommar (2019), Ari Aster. Heard good things about Hereditary, but haven’t watched it yet, having been put off by the plot summary of Aster’s preceding short film, about a kid who rapes his dad. This is like a longer version of The Wicker Man, basically, starring Florence Pugh, who I had heard was like the new actress everyone’s enamored with, but didn’t think was that compelling in this. A bunch of Americans go to a Swedish village, one of them (played by Chidi from The Good Place) has studied their anthropology extensively, but all are unprepared for the fact that their whole culture seems to revolve around human sacrifice and having sex with outsiders so they don’t become totally inbred. There’s a monstrously deformed, cognitively impaired child who’s been bred specifically so his abstract splashings of paint can be interpreted as culture-defining profound lore, which I took away as being comparable to the role Joe Biden plays within the death cult of the DNC.

Long Day’s Journey Into Night (2019), dir. Bi Gan. This got a lot of acclaim, but I am almost certain the main reason I watched it is because the director made a list of his favorite movies and included Masaaki Yuasa’s anime series Kemonozume on it. Does a sort of bisected narrative thing, where half of the movie is this sort of fragmented crime thing, a little hard to follow, and then you get the title card, and then the second half is this pretty dreamlike atmospheric piece done in a single shot, with a moving camera. I’m not the sort to jerk off over long shots, although I appreciate the large amount of technical pre-planning that goes into pulling them off. The second part is pretty compelling though, enveloping, I guess it was in 3-D at certain theatrical screenings? I’m a little unclear on how my fucked-up eyes can deal with 3-D these days and I was never that into it. The first half is easy to turn off and walk away from, the second half isn’t but I’m unsure on how much it amounts to beyond its atmosphere.

Black Sun (1964), dir. Koreyoshi Kurahara. This one’s about a Japanese Jazz fan and dirtbag squatter who meets a black American soldier who’s gone crazy and AWOL. He loves him because he loves Jazz and all Black people, but the soldier is pretty crazy and can’t understand him anyway. Jazz is, or was, huge in Japan and this is a cooler depiction of that fandom than you get in Murakami novels but it’s a fairly uncomfortable watch, I guess because the black dude seems so crazy it feels a little racist to an American audience? Maybe he wasn’t being directed that well because there would be a language barrier but it’s weird.

Honestly the thing to watch from sixties Japan on The Criterion Channel is Black Lizard (1962), dir. Umetsugu Inoue, which I watched shortly after Trump’s election in 2016, when all the Criterion stuff was still on Hulu, and it cheered me up considerably in those dark days. It feels a little like The Abominable Dr. Phibes, but with a couple musical numbers, and is about a master detective who thinks crime is super-cool and wishes there was a criminal who would challenge his intellect. Then the Black Lizard kidnaps someone. It’s a lot of fun, with a tone that feels close to camp but is so knowing and smart it feels more genuinely strange and precise. One of those things you get fairly often where the Japanese outsider’s take on American genre stuff gets what it’s about more deeply and so feels like it’s operating on a higher level. I really love this movie.

I had this larger point I wanted to make about just feeling repulsed by genre stuff that self-consciously attempts to mimic its canonical influences and that might not be all the way present in this post. Still, something that really should be implicit when talking about movies from the past is that they are not superhero movies, and how repulsed I am by that particular genre’s domination of cinema right now, and how much of cinema has a history of something far looser and more freewheeling in its ideas of how to make work that appealed to a broad audience, and how much weird formal playfulness can be understood intuitively by an audience without being offputting, and the sort of spirit of formal interrogation connects the films I like to the comics I like (as well as the books I like, and the visual art I like), this sense of doing something that can only be done within that medium even as certain other aspects translate.

[jmgiovine]

The Week’s Reviews:

The Seventh Seal (1958):

Ingmar Bergman’s achieves a complex and visually unique piece of cinema, with revolutionary filmmaking elements for the time, a great and original concept behind itself, and amazing narrative values complemented only thanks to an amazing cast, but particularly for the whole performance of Max Von Sydow, as well as the enigmatic Death, portrayed by Bengt Ekerot, becoming an essential movie for any goer.

The Color Out of Space (2019):

Richard Stanley manages to offer an interestingly enough visual identity, as well as the expected style of a modern Lovecraftian tale, and despite delivering some proper Nicolas Cage extravaganza, the film takes too long to accomplish and reach its sci-fi/horror intentions, and with the final deliverance it might shock with some interesting practical effects worthy of the genre, but the film, by the end of the day, doesn’t seem to go anywhere.

A Rainy Day in New York (2019):

Another classy flick delivered by the extravagant but-at-times-pretentious Woody Allen, this time, going back to the glorious location that portray his early filmography, not exactly with the same iconic display or progression as before, but the usual selection of attractive casting, leaded by the charming couple of  Timothée Chalamet and Elle Fanning, the could be received as enjoyable enough, judging by the director’s previous works, but at the same time lacks the natural profundity that promises with its plot.

The Invisible Man (2020):

While Blumhouse is not particularly known for delivering actual quality-productions, Leigh Whannell’s newest take on the already cliche concept offers a brand new modern take on this exhausted plot, with innovative and unique camera work, and a fresh but old-fashioned horror techniques and a genuinely haunting atmosphere out of the most basic takes, fulfilled with the great lead performance of Elisabeth Moss as a relatable and tormented stalked woman.

Upgrade (2018):

Director Leigh Whannell successfully manages to combine a good concept with a decent execution, and an overall selection of great stunts, creative action sequences that exploits the general idea behind this random sci-fi flick, and while the production remains in the decent side of the table, the film’s deliverance is fair enough to entertain and to engage, even considering the small amounts of script inconsistencies and familiar elements out of most revenge tales.

Sonic The Hedgehog (2020):

It keeps itself considerably self-aware of what it is, and with plenty of thoughtful videogame-reference values inside, this adaptation manages to preserve as entertaining, taking advantage over the likeness out of its main character, adding a perfectly-welcomed old school Jim Carrey as the beloved Dr. Robotnik, Sonic the Hedgehog falls into the same position as most human-like-CGI characters-meets-real-human, but the result is lighthearted and harmless than expected.

The Last Thing He Wanted (2020):

The presence of stars such as Ben Affleck and Willem Dafoe might be overall well received and normally enjoyable in this intriguing scoop-thriller, but Anne Hathaway offers the film’s true soul and energy towards her charm and solid performance display throughout the entire movie, regardless of how slow it progresses with Joan Didion’s overwhelming script, or Dee Rees’s conventional and roughly familiar direction that offers almost cero to no innovation inside a subject audiences could actually feel tiresome of.

[wellfuckthisshitagain]

They had a job and they did it. They did their best. They made the shows the best it could be. They all did an excellent performance.

I genuinely, genuinely appreciate every member of the cast and crew that helped made Hawaii Five O (2010) happen.

Thank you to all the members of the Cast and Crew of Hawaii Five-O (2010).

Alex O'loughlin as Commander, Lieutenant Commander, Navy SEAL, United States Navy Officer Steve Jack McGarrett

Scott Caan as Detective Sergeant Daniel "Danny" "Danno"Williams

Grace Park as Officer Kono Kalakaua

Daniel Dae Kim as Detective Lieutenant Chin Ho Kelly

Jorge Garcia as Special Consultant Jerry Ortega

Ian Anthony Dale as Officer, Investigator, Special Division of Organized Crime Adam Noshimuri

Taylor Wily as The Best Chef on the Island-Kamekona

Chi McBride as Captain Lou Grover

Meaghan Rath as Officer Tani Rey

Masi Oka as Dr. Max Bergman

Beulah Koale as Officer Junior Reigns

Dennis Chun as Sergeant Duke Lukela

Michelle Borth as Lieutenant Catherine Rollins

Katrina Law as Ex-Staff Sergeant Quinn Liu

Tellor Grubbs as Grace Williams

Kimberly Jonelle Balmilero as Dr. Noelani Cunha

Taryn Manning as Mary Ann McGarrett

Lauren German as Lori Weston

Terry O'Quinn as Commanding Officer Joe White

Brian Yang as Charlie Fong

Mark Dacascos as Wo Fat

James Caan as Tony Archer

Larisa Oleynik as Jenna Kaye

Michelle Hurd as Renee Grover

Andrew Lawrence as Eric Russo

Will Yun Lee as Sang Min