#jake gyllenhaal low quality

[irenic-raccoon]

Made this lil Donnie edit not long ago

[sziconsz]

!! ¥홼◟ꕤ🐣𓈀 𝗇𝖤𝗐 ᘞ𖣠𝘀𝗍 ! ‹3 ✹ⵑ🐢 ᳵៈ ᎗ ★/❀⼃ ㍌*𝗸𝗶𝘀𝘀* 📃𝖼𝗋𝖾𝖽!𝗍𝗌 ॽ! 🌻 . . ᦾ࣭🥨★̶̲.🏡𖦆 ぬ🛠 ⵓⵓ 𝗅𝕚𝗄𝕖 🍪𝗿 𝗋𝕖.!𝖻𝕝𝗈𝕘ᐝ ㄖ𖥵 🥤ඖ

[rookie-critic]

Rookie-Critic's Film Review Weekend Wrap-Up - Week of 4/24-4/30/2023

Fast & Furious Presents: Hobbs & Shaw (2019, dir. David Leitch) This was a good off-shoot for the F&F series. The Rock & Jason Statham feel comfortable as the titular duo and have excellent on-screen chemistry, and the action feels clean and exciting, which is no surprise considering the film was directed by John Wick-veteran David Leitch, who fits the franchise like a glove. I really enjoyed all of the climactic fight scenes with Hobbs' family in Samoa. Honestly, the more Cliff Curtis can be in major feature films, the better. Idris Elba and Vanessa Kirby also make for great additions to the growing franchise. It never really blew my mind like some of the mainline Fast films have, but I don't think it was really trying to. Sometimes a movie is just good, dumb, clean fun, and that's perfectly alright with me. I just hate that this film (along with a multitude of other behind-the-scenes reasons) means that we probably won't be seeing Luke Hobbs in any of the remaining Fast movies.

Score: 7/10

Currently available to rent/purchase on digital (iTunes, Amazon, Vudu, etc.) and on 4K, Blu-ray & DVD through Universal Studios.

F9: The Fast Saga (2021, dir. Justin Lin) After the wholly disappointing and, frankly, upsetting misstep that was The Fate of the Furious, I was curious to see if F9 would continue the downward trend, or if it would step its game up to bring some of the franchise's former glory back. When in doubt, trust in Justin Lin, who comes swooping back into the franchise for the first time since Fast & Furious 6 to save the day, with fan favorite character Han Lue in tow. This is biggest, wildest fast film yet, and I mean that as a compliment. That's not to say that it's the best (that honor is still held by Fast Five), but it does return a lot of the wonder and sincerity that Five, Six, and (to a lesser extent) Seven had. Not to mention that it is the first film in the franchise to incorporate Sean, Twinkie, and Earl from Tokyo Drift into the family in a major way since Tokyo Drift (if you don't count a tiny cameo from Lucas Black's Sean in Furious 7). Nothing about F9 feels as baseline or low-effort as the stuff in Fate did. Even the introduction of a mysterious third Toretto sibling that, for some reason, we hadn't heard about for the past eight films feels out of place or shoehorned in. Needless to say, where Fate of the Furious had me wondering if the franchise was receding in quality, F9 has me just as pumped to go see Fast X in May as I was after watching Fast Five.

Score: 8/10

Currently streaming on HBO Max.

Guy Ritchie's The Covenant (2023, dir. Guy Ritchie) I went into this with a lot of apprehension. I was not a huge fan of the last Guy Ritchie film that tried to take a more serious approach to its tone (2021's Wrath of Man). It had a lot of grandstanding machismo bullshit that I hate to see in modern filmmaking. However, Ritchie really surprised me with The Covenant. He has Jake Gyllenhaal acting at the top of his game here with an equally impressive turn from Dar Salim as Ahmed the interpreter. While the story is fiction, it highlights a huge problem in the aftermath of the War on Terror: thousands of Afghani interpreters were hired by the U.S. military and promised special immigration visas for their service; a promise that turned out to be hollow. It sends its message without grandstanding and is critical of the U.S. military without putting itself on a soapbox. The film does tend to get overly self-indulgent during big sweeping climactic scenes and in certain emotional ones, as well. It's the one thing about the film that feels out of place, but even in spite of that, The Covenant is an excellent film and proof that Ritchie is capable of making a more serious-minded, message-oriented film than the humorous heist or caper films he's known for.

Score: 8/10

Currently only in theaters.

Chevalier (2023, dir. Stephen Williams) I'll just say up front that my bias might show a little in my scoring of this one. I have never been the biggest fan of 16-1800's period pieces. I'm not sure what it is, but something about them has just never gelled with me. That being said, there's nothing really wrong with Chevalier. In fact, it is, in my opinion, much better than the average film of this sensibility. The acting is fantastic and it sheds light on an oft-overlook but quintessentially influential figure in both classical music and the French revolution. The music is a huge plus in the film's favor, of course, and the costumes are, as is the case with most film's set in this era, masterfully crafted. I think my biggest qualm with the film is that it stops right as the French revolution is getting started and then tells the audience that Chevalier went on to be a great leader during the Revolution. Maybe it's just me, but I think that sounds interesting enough to make it's own film about. This almost makes me wonder (and I don't ever really feel this way about films) if this would have been better suited as an 6-8 episode miniseries as opposed to a film. We still could have focused a 2-3 episodes on Chevalier's childhood and young adulthood in France's pre-Revolution music scene, but then dedicated an entire half of the show to his accomplishments during the Revolution. Regardless, I don't want that to take away from the fact the Chevalier was quite good, and definitely worth the ticket price. I just think more could have been done with the wealth of untold history that exists within the lifetime of this figure.

Score: 7/10

Currently only in theaters.

Polite Society (2023, dir. Nida Manzoor) This movie absolutely ruled. It gave me all of the frenetic energy of the best Edgar Wright films while also giving me the genre-bending and jaw-dropping off-the-wall attitude of something like Everything, Everywhere, All at Once. This was a film that wasn't afraid to go for it in every way, shape, and form. From campy-but-well-choreographed fight sequences, to plot twist that twist so hard they'll make your head spin, to an unabashed approach to a female-empowerment narrative. Not to mention a story that is very uniquely Indian that touches on the nature of arranged marriages and classicism. Polite Society had everything that I look for in a film, and is a very early contender for the best of 2023 list. I'll save some of my more in-depth thoughts on stuff like the acting, writing, and cinematography for this week's full-length, but just know that if anything I've mentioned above sounds even remotely interesting, make this a priority watch (I don't want to say definitively that this is the best of the weekend's new movies because I haven't seen Are You There, God? It's Me, Margaret yet, and I hear that is pretty amazing, as well).

Score: 10/10

Currently only in theaters.

A Good Man (2014, dir. Keoni Waxman) Yikes. Just... yikes. Friday movie nights with my college friends can get pretty wild sometimes. I've never seen a Steven Seagal film before, and maybe this wasn't the best one to start with (or, inversely, maybe it's the best one to start with). Seagal is clearly past his prime here (or, again, maybe in his prime, depending on your perspective), and looks like he's constantly on the verge of passing out. His words come out slurred and mumbled like he's on his deathbed, and his "action" in the film is cut around so heavily you really never see him actually do anything. The story is non-existent and the writing contains some of the most unintentionally hilarious one-liners I have ever heard in my entire life (I'm partial to the one where Seagal utters the baffling sentence "Well, I'm sorry to hear that, because now I'll snatch every motherfucker birthday." No, there's no typo there, that is verbatim what he says. My meme review is that this is great. Real "The Room" caliber stuff, here. My actual review is that obviously Seagal is a lunatic that is just self-funding whatever production he can fart out in an afternoon at this point. Honestly, if you want some quality takes on this, visit the Letterbox'd page.

Score: 1/10

Currently streaming for free with ads on Redbox. Tzi Ma should be above stuff like this.

Sisu (2023, dir. Jalmari Helander) I really wanted to love Sisu. I'm as much a fan of mindless action movies as the next guy, but the truth is I thought it was just ok. It delivers on exactly what it promised everyone in the trailers, one-man army kills the crap out of some Nazis for 91 minutes, and there's absolutely nothing wrong with that. There are a handful of really fun set pieces and lots of entertaining gore for fans of that kind of thing, but it just felt incredibly hollow. There are no characters in Sisu, only templates of archetypes that things happen to. No one learns anything, there's no journey to be had, merely an avatar quickly making his way through bodies to get to a destination. I'm not implying that every single movie needs to have some grand, elaborate story with deep and complex characters and rich subtext or anything like that, but I would have liked at least some substance to this. There are still things to enjoy in Sisu, and from what I've read I'm a slight outlier in not thinking this is incredible, but it just didn't connect with me. However, don't let that stop you from seeing this in the theater. The cinematography and style alone are worth the big screen experience.

Score: 6/10

Currently only in theaters.

[alienidentities-f22a]

Fan Work Analysis Blog post

After scouring through the endless masses of fan edits, the fan video that stood out to me the most is “Michael & Alex | Their Cosmic Love Story.” Aside from the length of the video, the overall project is incredibly impressive due to the careful selection of filters and songs to create an alluring ambiance. Each clip is carefully selected to span their entire relationship through all of their peaks and hardships to illustrate the complexity and depth of their love. Dissecting the clips in this video, I will primarily be focusing on the masterful song choice and the quality of the visual effects and transitions.

To begin, the creator of this fan video assigned each season of the show to a song by Taylor Swift that encapsulates the status of their relationship. For season one, the creator used “The State of Grace (Acoustic Version)” by Taylor Swift. As the first song on Red, the creator recaps the beginning of Alex and Michael’s relationship with a slower, more romantic acoustic version that allows their chemistry to shine. "The State of Grace" is about a romantic relationship because, prior to their breakup, Taylor Swift dated actor Jake Gyllenhaal for many months. Ultimately, the song's subject is to describe the initial feelings of falling in love for the first time, which is the case for Alex and Michael.

Taylor Swift wished to convey to her listeners the experience of falling in love by discussing the several paths that love may go. As we are all aware, love may be wonderful or harmful, and Alex and Michael's relationship exemplifies this because of their unwavering happiness while together and wishful longing while apart. The lyrics like “This is a state of grace, this is the worthwhile fight, Love is a ruthless game, Unless you play it good and right,” exemplify how their love is able to withstand so many roadblocks, especially Alex’s father, and make them feel even more connected afterward.

The lyric match of “pierce the room like a cannonball” when Jesse Manes caught Alex and Michael having sex, who then smashed Michael’s hand with a hammer indicates how perfect the song choice is for this relationship. Combined with the softer colors in the scenes, it is clear that Michael and Alex’s experiences of falling in love were undoubtedly positive and fulfilling.

For the second season, Taylor Swift’s “Champagne Problems” echoes over the intimate moments between Alex and Michael to illustrate their relationship’s depth. In the beginning, the creator inserts clips of Alex and Michael while apart with the failed proposal, playing “I dropped your hand while dancing” in the background. This lyric match is perfect because it properly conveys the feelings of isolation, loneliness, and rejection, creating a more somber atmosphere.

Once Alex and Michael begin to mend their relationship, Michael begins to push away because he feels unworthy of Alex’s love, which correlates with the lyrics of “leaving him out there standing.” Towards the end of the song, too, it talks about Taylor’s ex-boyfriend moving on a finding someone else, which creates a feeling of longing to rekindle past feelings.

The lyrics “tapestry that I shred” aligns with the scenes of Alex talking to Forrest and trying to move on from Michael, which is a perfect match. Later, Michael says, “it’s a sad story, me and Alex” and then proceeds to show the pictures of Alex and Forrest kissing. Indeed, the lyrics, the clips, and the narrative all fit harmoniously to span the highs and lows of their relationship.

For the last part of the video, the creator uses Taylor Swift’s “Willow” and “Message in a Bottle” to capture the complexity of Alex and Michael’s relationship. Especially with Alex’s involvement in Deep Sky, the video and audio correlate with the “more that you say, the less I know” because Michael does not really know about Alex’s work. Later, the song asks to “show me the places where the others gave you scars,” which relates to their relationship because of their collective past trauma.

Throughout the video, the creator talks about the difficulty of “tough conversations with people who love us,” corresponding to the “scars” that Taylor writes about in her songs. Again, the song choice perfectly captures the complexity of Alex and Michael’s relationship through their hardships and highlights, making it perhaps the best video made about Roswell, New Mexico.

[jakegyllenopsd]

[theabsurdistcryptid]

SPIDER-MAN FAR FROM HOME WAS FUCKING AMAZING OH MY GOD

-SPOILERS-

- holy fuckING shIT jk Simmons back as J. Jonah Jameson????!!

- the scene where Spider-Man picks up pieces of scrap metal and it resembles mjolnir and cap’s sheild

- THE SHITTY IN MEMORIAM HIGH SCHOOL THING!! The Getty images of the candles and the super low quality picture of vision

- THE BLIP. “My wife faked getting blipped so she could leave”

- witches

- mj and peter were SO fucking cute

- MYSTERIO REVEALD PETER’S FACE AND NAME TO THE WORLD AND NOW BLAMED FOR THE ATTACK HOW CAN THEY JUST END IT LIKE THAT??

- peter using the hologram to create his suit and reminding happy of tony stark. I wanted to cry! Also “I love Led Zeppelin!”

- Jake Gyllenhaal was so good as mysterio

- THE ILLUSION SEQUENCE WAS INSANE. That was the most comic booky thing marvel has ever done it was so beautiful. Like it was literally ripped from the pages of an old comic. Ugh.

- ZOMBIE IRON MAN that was so sad and scary. Poor peter :-(

- ned and his girlfriend “babe”

- aunt May and happy.

- Spidey using his “peter tingles” and going HAM on those drones in the dark. I said THAT’S MY BABY

There’s so much more that I could say but it was SO GOOD. I’m so happy.

[wonderfulworldofmichaelford]

Michael After Midnight - Alita: Battle Angel

Many have tried and failed to turn manga into live-action film, and by most accounts every single attempt ever made has sucked ass. Frankly I wouldn’t know, because none of them have interested me all that much to seek them out and watch, but if they live up to the quality of the delightful classic Dragonball Evolution, I’m pretty sure I’m not missing all that much. So obviously Alita: Battle Angel had a lot going against it, because not only was it a manga adaptation, it spent decades in development hell because James Cameron was waiting for technology to catch up to his vision for the film, a problem he had with a certain other film of his, one that involves giant blue cat people. But hey, that movie was made, technology matched his vision… but now he was busy with sequels, so he passes the directing torch to none other than Robert Rodriguez, who you may know for some of his gritty Tarantino-style low budget kickass action films or perhaps for his corny CGI-filled kids films. Not that he’s a minus in this movie’s check box, but when you have the man who brought us The Adventures of Sharkboy and Lavagirl it’s okay to worry a little. But just a little, because that movie is hilarious.

So this movie had a lot going up against it, much like the titular character. And also like the titular character, the movie managed to overcome the odds by doing one thing: kicking a whole lot of ass. Alita has some of the most gracious, stylish, thrilling action sequences in any film I’ve ever seen. This comment is all the more meaningful when 2019 alone has films such as John Wick: Chapter 3 and Endgame, films that also push the envelope in terms of cinematic action, and while they certainly excel in their action, Alita’s contributions should not be diminished. It’s simply stunning to watch Alita move and flow through the battles she finds herself in, stabbing, jabbing, cutting, and kicking her way through the enemy cyborgs. It’s like a live-action adaptation of Metal Gear Rising at points, though sadly Alita does not murder a ridiculously buff senator, though she does kick Jackie Earle Haley’s ass quite a few times, so that may make up for it.

The aesthetic of the film is wonderful too. We have a gritty, gorgeous cyberpunk future with all sorts of sick cyborg designs, brutal robot death sports, cyborg bounty hunters all with cool designs… this is such an intriguing and interesting world, and it definitely sucks you in, which is sadly more than can be said for the story. The story is pretty much a hurricane of cliches and plot beats that you’ve seen in a billion other movies just like this, with lines you’ve probably heard in dozens of other films, a rushed romance you’ve seen pulled off better elsewhere, and even some horrendously corny bits like Alita’s bar speech. That last one is especially painful; imagine the bar scene from Far From Home except Rosa Salazar does not have the same sort of charisma Jake Gyllenhaal does to pull off something so horrendously awkward.

But, on that note, Salazar does have her own brand of charisma, and she really owns the role of Alita. She spends half the film wide-eyed, innocent, and adorable, and the other half as the most badass cyberpunk woman you will ever see. In a way, this combination of awkward, innocent, idealistic pretty girl and hardcore motherfucker just makes the Metal Gear Rising comparison all the more apt – Alita is Raiden, in spirit anyway. She also reminds me a lot of Diana, AKA Wonder Woman, and that’s definitely the sort of comparison you want me making for you.

The rest of the cast is great too, with Christoph Waltz and Jackie Earle Haley turning in the usual fantastic performance one can expect from them, but we also have Ed Norton popping in for some brief scenes to be utterly creepy, Mahershala Ali proving that he is the only man worthy of inheriting the leather jacket from Wesley Snipes to play Blade, Ed Skrein hamming it up as another slimy bastard, and Jennifer Connelly getting overshadowed a bit but still managing to be a solid performer. We also get a bit part from the Lawnmower Man himself, Jeff Fahey, who here plays a cyborg bounty hunter with a pack of robot dogs; he’s in one scene, but boy does he make an impression. Frankly, Keean Johnson’s white bread love interest is the only weak link in the cast here, and even he is perfectly serviceable, if bland and generic.

This movie may be cliché and even a bit corny at times, but is that really a bad thing when it gives you action as good as this and actors giving earnest, respectful performances and not trying to ham it up for the sake of making things cheesy? I can respect a film that adapts something that pretty much invented the cliches and not trying to wink at the audience the whole time. This is a really great film, a solid action movie anyone can get behind, and even if the story isn’t some groundbreaking masterpiece that will move you to tears, it serves its purpose at delivering some wonderful performances, stunning visuals, and badass fights.

The film ends with a pretty blatant sequel hook, but honestly? It deserves it. Give this film a sequel, and let’s see some more kickass action (and hopefully a more polished story for that action to taker place in).

[popwasabi]

“Spider-man: Far From Home” Review: Spidey’s Euro Trip Keeps MCU Hype Alive

Directed by Jon Watts

Starring: Tom Holland, Zendaya, Jake Gyllenhaal, Samuel L. Jackson, and Jacob Batalon

Considering “Spider-man: Far From Home” had the unenviable task of following up perhaps the greatest blockbuster/finale of all-time in “Avengers: Endgame” it’s shocking how great this film is from start to finish.

It has no right to be as endlessly entertaining without feeling like an afterthought in the wake of “Endgame’s” glorious finale yet here I am shocked at how much I loved this movie.

(Yeah own that shit, Spidey.)

It’s more than just a fun Spider-man romp, it’s genuinely a well-executed and engrossing superhero flick that will suck you in with its charm, thrills, and teenage rom-com joy.

“Spider-man: Far From Home” takes place not long after the events of “Endgame” as an inverse of the snap has occurred throughout Earth known as simply “the blip” where everyone who was snapped has suddenly come back into existence exactly as they were while those who weren’t snapped aged normally. Conveniently of course Peter Parker’s classmates, including his crush MJ, were snapped and subsequently blipped back and now they find themselves on a field trip to Europe where Peter hopes he can tell the girl he loves how he’s feeling. Of course things are never that simple as creatures known as The Elementals are wreaking havoc on planet and when a super powered man from another dimension named Quentin Beck shows up to stop them, Peter joins forces to help save the world once again.

“Spider-man: Homecoming” was a decent rebirth for the webslinger back in 2017, especially in the wake of the wretched “Amazing” series but even though elements of Peter Parker and Spider-man were there in Tom Holland’s portrayal I never felt he truly became either of them. He was a little too prone to quips, pop culture references and frankly had more in common with Miles Morales Spidey right down his fat Asian American best friend (which is a bit problematic). This isn’t to say “Homecoming” was a bad movie, in fact its easily a top 10 for the MCU, but it still felt like a Spidey flick that was just a bit off.

In “Far From Home” we finally, in my mind at least, get to see Holland really become your friendly neighborhood Spider-man but more importantly Peter Parker. Holland is more believably awkward in this film but nonetheless earnest and sincere, not reducing his lines to simple catchy one-liners but showing off more of the character’s personal emotional range. We even see more of the tech savy side that made the character one of the brightest young minds in the comic book. 

Peter becomes less of a joke machine in this film, understandably given that his surrogate father figure in Stark has died, and we get to see how this teenager grows into these huge shoes left behind. Its obviously a lot to live up to and the film plays off these emotions of the character well but though he doesn’t go as far as saving the universe he still has a hugely satisfying arc by the end of the film.

(I mean it’s a lot of pressure to live up to the mantle of a billionaire, playboy, philanthropist who just saved the universe.)

This is all happening of course while Peter is just trying to be a kid understandably and get closer to the girl he likes only complicating the teenage angst and often comedic emotions that are playing out in the story. The film balances all this perfectly though as it juggles being both a cute teen rom-com, a Spidey flick and a worthy follow-up to “Endgame” all in one.

It’s kind of nuts how well all these elements work in harmony with one another but the film is just plain delightful, exciting and even tense all the way through.

It’s the pitch perfect cast that gels all these elements together in symphonic tune. Zendaya and Jacob Batalon return and play their parts exquisitely between MJ and Ned respectively. Batalon does a a great job again playing Peter’s best friend delivering some of the film’s most humorous moments and their onscreen dynamic is a ton of fun to watch. There’s undeniable chemistry though between Zendaya and Holland who’s pairing will remind you of plenty of your favorite John Hughes movies. The two help make the whimsical teen rom-com element of the story function at pitch perfect frequency as the “will they, won’t they” dynamic between MJ and Peter is both cute and plenty of times equally hilarious. It might be the most believable teen romance depicted in a major blockbuster to date right down to the awkwardness and dry humored dialogue.

(OTP! OTP! OTP! #ImTrash)

It’s Jake Gyllenhaal’s turn as Quentin Beck aka Mysterio who (SPOILER, if you’ve been living under a rock) continues the new upward trend of quality MCU villains. Gyllenhaal’s Beck is charismatic as hell as the spurned ex-Stark Industries engineer looking to take revenge on the legacy of the late Iron Man. The way his character manipulates Peter, playing on his insecurities and emotions, is at times tense to watch in the best way. It’s nice to have a villain in these films that isn’t just a dark mirror of the hero and Gyllenhaal’s Mysterio, even with low bar set by older films in the franchise, goes above and beyond in this role.

The action is of course fun as always is still very much enjoyable here. The finale is definitely in the top tier of the MCU. The way Mysterio uses his illusion tech in the movie to fight Peter is probably the most imaginative this series has gotten when it comes to these big hero vs villain fights. Holland and Gyllenhaal do great here and viewers will likely enjoy every minute of their exchanges.

(Daaaaww, he isn’t so bad.)

There are no major criticisms I have here, other than perhaps the film still recycles a bunch of old ideas and themes from previous movies but the movie still finds a way to keep it mostly refreshing and the new setting for Spidey certainly helps as well. It’s a Spider-man film at the end of the day though and your enjoyment will probably be gauged on how much you care about seeing another movie starring the webslinger or if the MCU’s franchise fatigue has set in for you yet. Though after “Endgame” I was certainly expecting this movie to be merely just a fun but forgettable in the shadow of “Endgame” but much like this film’s hero it rises to the challenge and helps fill the big shoes left behind.

There’s a joy and energy that’s palpable in the script and the cast playing it out from start to finish that’ll be hard for even the most burnt out movie-goer to ignore. It’s a popcorn flick that rises well above the average and that should be more than enough for most viewers.

After “Endgame” it was hard to imagine how this series could possibly continue without feeling stale but somehow even just two months after its release it still feels like the MCU has plenty of stories left and energy to tell them too.

So amazingly the MCU still has a pulse even after its Iron hearted God father passed on and there is no reason for fans to believe, yet, that this series will run out of ways to entertain us anytime soon.

Not that will stop Disney from churning these films out until the end of time of course...huhah...

 VERDICT:

4.5 out of 5

Keep making dad proud, Spidey

[irenic-raccoon]

Donnie Darko edit, anyone?

[mensajeroseis]

saints-row-2 replied to your post “yall seen the pictures of Jake gyllenhaal as Mysterio ???”

DROP THE LINK

DROP THE FUCKING LINK

THEYRE LOW QUALITY BUT IT DOESN’T CHANGE HOW HANDSOME HE STILL IS

[daddysfavouriteboytoy]

Wayne O’Pry

Name: Wayne O’Pry Age: 32 Birthday: 7th of September Gender: Male Sexuality: closet Pansexual Species: Human Ethnic: Irish Appearance: (Face-claim: Jake Gyllenhaal)

Clothing: Wayne prefers to wear comfortable clothes which are more often than not either modern or timeless. Height: 1,92 m Weight: 80,9 kg Personality: Wayne is an excellent manager of day-to-day tasks and routine maintenance, enjoying making sure that those who are close to him are well cared for, especially his kids. Since he’s alone with his children his sense of responsibility and duty increased a lot and he even grew quite overprotective of them. At the same time, he’s warm-hearted, affectionate, complimentary, loving and tends to put the needs of others over his own. Wayne values relationships and his family over economically success, as well as appreciating stability and security very highly, which makes him extremely loyal and trustworthy as relative, partner and friend. These qualities come together to make him social, comfortable and well-liked. Wayne has a strong need to “belong”, and has no problem with small talk or following social cues in order to help him take an active role in the community. These strengths are related to a main weakness: His preoccupation with social status and influence, which affects many decisions he makes, potentially limiting his open-mindedness at times. The man may also sometimes push his own beliefs too hard in an effort to establish them as mainstream. It can be especially challenging to change these tendencies because Wayne is so conflict-averse. He can become very defensive and hurt if someone, especially a person close to him, criticizes his habits, beliefs or traditions. Whenever Wayne is down he needs positive reinforcement to feel good about himself again, he needs to hear and see a great deal of appreciation and if he doesn’t get it, Wayne is known for inconspicuously compliment-fishing. On other side, Wayne sometimes tries to establish his value with doting attention, especially his children or close friends, something that can quickly overwhelm those who don’t need it, making it ultimately unwelcome. Furthermore, the man often neglects his own needs in the process. Therefore, it is quite easy to take advantage of Wayne. Relationships: Stella O’Pry – mother; 59 years old; English professor; married; alive Timothy O’Pry – father; 65 years old; retired; married; alive Jessica Peterson – younger sister; 29 years old; kindergarten teacher; married; alive Dustin Alex Peterson – brother-in-law; 35 years old; trucker; married; alive Jeannie O’Pry – wife; 30 years old; nurse; married; deceased Dean O’Pry – son; 6 years old; student; single; alive Ebony Jeannie O’Pry – daughter; 11 months old; -; single; alive Likes: his kids, taking care of people, compliments, AC/DC, hard rock, Guns ‘n Roses, watching football, reading to his kids, black and white movies, going to the beach Dislikes: loneliness, strangers talking to/about his kids, the taste of strong alcohol, having to be nice to rude clients, people thinking he’s bad at parenting because he’s a man/people telling he needs a wife for his kids, leaving his kids alone even when it’s only for a few minutes, cactuses, talking about his past wife, tattoos, the singles women of his son’s friends flirting with him (throwing themselves at him) Hobbies: drawing, painting, surfing, kick boxing, reading to his kids, playing badminton, playing cards with his son, taking walks in the nearby park with his children Occupation: Graphic Designer Position: Switch, mostly tops Virgin: No Turn-ons: a bit of roleplaying, hickeys, lingerie, pet names, blowjobs, public teasing Turn-offs: orgasm denial, choking, threesomes, degrading, daddy kink, acting childish Other:

owns two Holland lop, a brown one called Lucy and a white one called Sammy

is a vegetarian but still cooks meals with meat for his children

has always painkillers and band-aids with him whenever he goes out

is prone to easily get headaches when the weather changes

basically lives off coffee

Backstory: Wayne had a normal childhood, his parents showered him in love whenever they could and paid for everything he ever wanted, after all, he was their only child. That was until three years later his mother was pregnant again. Even though his parents couldn’t spend as much time with him as before, the boy was still just as excited to get a younger sibling as his parents were. To be honest, getting a sibling was the young boy’s secret but at the same time biggest wish come true. Although all the other kids in kindergarten seemed to always complain about their younger brothers and sisters, Wayne always thought they were exaggerating. He imagined, having someone to play with, tease, protected and most importantly blame all the silly things he did on, very nice and enjoyable. Not that his parents weren’t great playmates, they were just so boring sometimes with all their work and chores. A few months later it was finally the day his father and he visited his mother in the hospital and got to finally see the new baby. Not to lie, Wayne was a bit disappointed that his sibling was a girl, however, the euphoria was too much and kept him from sulking over the baby being a girl. At first, it was nothing like the young boy imagined it to have a sibling, as soon as his mother and sister came home, the baby was crying the whole time and kept the whole family awake during the night. To the family’s dismay, this didn’t change till Jessica was eventually around three and got her own room. During the next few years, the young girl grew a lot quieter while Wayne used his change to drag her along on each of his adventures in the neighbours’ gardens or the small nearby woods. The two kids often came back home with dirty clothes and scratched faces from running into twigs on their way through the “witches’ forest”, how the two kids liked to call it. Unfortunately, their fun soon had to stop because Wayne had to go to middle school and during those years he had to study a lot more than throughout his elementary school years. The normally so energetic boy began to spend more time in his room, doing homework, studying and sometimes drawing to pass the time when he was not in the mood for schoolwork. The thoughts of exploring the forest with his sister vanished and were replaced by the worries to live up to his parents’ new expectations of him. His best friend and school were the only reasons why he even left the house anymore. However, the boy who was once his closest friend had to move away when their first year of high school started. It seemed like Wayne was about to fall into a low-level depression. This was until he met Jeannie, the geeky but cute girl which sat next to him during the Mathematics, Physic and English lessons. At first, they only ever talked whenever one of them needed to borrow a pen or a piece of paper but soon they realized, they actually had a lot in common. Soon the two began spending more and more time together and Jeannie managed to get Wayne out of the house and introduced him to all of his friends and new opportunities. Once again, Wayne hung out with other people and pushed school a bit aside, of course still studying but just not as much anymore. At the same time, thanks to his new friends, Wayne found his passion for digital art and already decided to become a graphic designer during his sophomore year of high school. Also, a bit of a romance started to develop between Jeannie and Wayne throughout their last few high school years. Even though it took not quite a year and a half and a lot of help from his friends, the blonde boy eventually asked his crush out, who immediately accepted and told him, it took long enough to make the first move. After high school, Wayne went off to college where he wanted to study for his, still, dream job, graphic designer while Jeannie started working at her sister’s boutique in their hometown, being six hours away from each other. Neither his girlfriend nor he broke things off after their senior year, the two young adults had a long-distance relationship in which one of them always visited the other when they had time for a few days. Obviously, it was complicated for the both of them but they surprisingly managed to keep a steady relationship, at least, until Jeannie got pregnant after her boyfriend’s last visit. Even though Wayne didn’t graduate from college at that time, the young man was certain, he had learned enough to find a job, he moved back to his hometown in which his girlfriend was waiting for him. The two moved in together and Wayne began working for the town’s newspaper-agency as a photographer. The birth was not as bad as Wayne and Jeannie thought it would be, their baby boy was breathing and even though his girlfriend was exhausted, she was okay as well. A month later, the baby and the two young parents were at home, Jeannie cared for their son and decided to be a stay-at-home-mother while Wayne’s dad, who worked as an author since he retired, managed to get his son a few clients needing someone, who could design them a good-looking book cover. Slowly but surely Wayne made enough money to quit his old job and started his new self-employed career as a graphic designer. Life was good and everything went fine, so Wayne proposed to Jeannie, obviously, she said yes. The wedding was soon because the couple didn’t want to waste any more time, after all, they didn’t get any younger and both were sure to be soulmates. The event was big with all their friends, family and relatives were invited. At the same everything was beautifully decorated in white and light-blue. The night was just as exciting as the day and Jeannie got pregnant again. The pregnancy was fine until the birth, the baby’s head was too big and the child was stuck. Jeannie needed to have a C-section. This was where it went wrong, some of the surgical tools weren’t as sterile as they should be and Jeannie got a dangerous infection. At first, nobody noticed anything and the couple was just happy to see the beautiful face of their daughter. Unfortunately, the mother got a fever not too long after the operation, at first doctors thought it was only something harmless and gave her some drugs to calm the fever down. However, nothing seemed to work and while the baby was ready to leave the hospital with his father, the mother still had to stay because her conditions only seemed to worsen. Jeannie died not too long after on the infection, which was only found out when it was already too late. Wayne decided against suing the hospital, it wouldn’t make his wife come back from the dead and at least they managed to save his daughter during the birth. Since this tragic day, Wayne had to care for his children alone, only his sister-in-law is sometimes taking care of the kids whenever he has a longer meeting with a client.

Starter

[jakegyllenopsd]

[xornwaswrong-blog]

Bootlegs!

I would love to trade, but I can gift if you're new to the bootleg world. I did not film any of these. Please don't try to "trade" YouTube videos with me. Also, respect NFT dates. If I forgot to include one, please message me nicely and I'll put it up. Feel free to ask whatever questions you need to ask.

Abbreviations I use: OBC = Original Broadway Cast OOBC = Original Off Broadway Cast OBRC = Original Broadway Revival Cast NFT = Not For Trade

3 Musketeers with Aaron Tveit

9 to 5 OBC

13 OBC

1776 (1997 Cast)

21 Chump Street

25th Annual Puntnam County Spelling Bee OBC

A Christmas Story OBC

A Gentleman's Guide to Love and Murder OBC

Aida with Idina Menzel

A New Brain Original Cast

A New Brain Jonathan Groff

Annie Get Your Gun Bernadette Peters

Annie Get Your Gun Megan Hilty

Aladdin OBC

Altar Boyz

Annie OBRC

Anyone Can Whistle Patti Lupone, Michael Cerveris and Audra McDonald (Ravina production)

Anyone Can Whistle Donna Murphy, Raul Esparza and Sutton Foster (Encores Production)

Anything Goes with Stephanie J. Block

American Idiot Broadway

American Psycho OBC

Anastasia Hartford

Anastasia OBC (NFT until Nov. 1)

Avenue Q OBC 

Bandstand OBC

Bare the Musical Off Broadway

Bat Boy Kerry Butler

Beauty and the Beast OBC

Blood Brothers 1989 Proshot

Bloody Bloody Andrew Jackson Broadway

Book of Mormon OBC

Book of Mormon Nic Rouleau Ben Platt

Book of Mormon London Gavin Creel

Book of Mormon Workshop

Bridges of Madison County OBC

Bright Star Closing Night

Bring It On OBC

Cabaret 1987 (Joel Grey)

Cabaret (Raul Esparza)

Cabaret (Emma Stone)

Cabaret 2014 OBRC

Camelot Richard Burton and Christine Ebersole

Carousel 1994 (Audra McDonald)

Carousel Live from Lincoln Center (Kelli O’Hara, Jessie Mueller)

Carousel (Steven Pasquale Laura Osnes)

Carrie (Off-Broadway)

Catch Me If You Can OBC

Charlie and the Chocolate Factory Broadway

Chess in Concert

Chicago OBRC (Ann Reinking, Bebe Newirth)

The Color Purple OBC

The Color Purple OBRC

The Color Purple with Heather Headley

Come From Away OBC

Company in Washington DC (John Barrowman, Alice Ripley)

Company Raul Esparza Proshot 

Curious Incident of the Dog in the Nighttime OBC

Dear Evan Hansen OBC

Debbie Does Dallas Sherie Rene Scott

Dirty Rotten Scoundrels OBC

Dogfight OOBC

The Drowsy Chaperone with Bob Saget

Evita OBC (Patti Lupone)

Evita Tour (Raul Esparza)

End of the Rainbow with Tracie Bennet

Falsettos OBC

Falsettos Mandy Patinkin

Falsettos OBRC (2 angles and the proshot rip)

The Frogs Nathan Lane

Fun Home OBC

Funny Thing Happened On The Way To The Forum (Nathan Lane revival)

Grey Gardens OBC

Groundhog Day OBC

Guys and Dolls 2009 Revival

Gypsy with Tyne Daly

Gypsy Bette Midler movie

Gypsy with Patti Lupone

Gypsy London proshot

Hairspray OBC

Hairspray Aaron Tveit

Hairspray Andrew Rannells

Hamilton OBC

Hamilton OCC

Hamilton Javier Munoz u/s

Hamilton Javier Munoz & Lexi Lawson u/s

Hamilton Act 1 Andrew Rannells

Hand to God

Harry Potter and the Cursed Child

Heathers (understudy Heather Chandler and JD)

Heathers Full OC (bad angle, bad filming, only Act 1)

Hedwig and the Angry Inch Off Broadway proshot, JCM

Hedwig and the Angry Inch Andrew Rannells

Hedwig and the Angry Inch Darren Criss

Hedwig and the Angry Inch Jason Cameron Mitchel (Crate Show)

Hedwig and the Angry Inch Taye Diggs

Hedwig and the Angry Inch Lena Hall as Hedwig

Hello Dolly Bette Midler OBRC

Hello Dolly Donna Murphy (NFT until October)

Honeymoon In Vegas

How To Succeed... Daniel Radcliffe

If/Then Jackie Burns

In The Heights OBC

In The Heights Krysta Rodriguez

Into The Woods 2002 OBC Off-Broadway

Into The Woods Regent’s Park

Into The Woods (Amy Adams, Donna Murphy)

Into the Woods (Heather Headley, Rob McClure)

InTransit Broadway

Jersey Boys with Andrew Rannells

Jesus Christ Superstar Arena Tour proshot

The King and I Donna Murphy

Kinky Boots OBC

Kinky Boots Brendon Urie (starts at Sex is in the Heel)

Kiss Me Kate Rachel York proshot

La Cage aux Folles OBRC

Lady Day at Emerson's Bar and Grill

The Last Five Years Betsy Wolfe Adam Kantor

The Last Five Years Katie Rose Clarke Adam Halpin

Legally Blonde OBC (proshot)

Les Miserables (Sutton Foster as Eponine)

Les Miserables (Drew Sarich as Valjean)

Les Miserables (Lea Salonga as Fantine)

Les Miserables (Kerry Ellis as Fantine)

Les Miserables 2011

Les Miserables Dallas

Les Miserables 2014 OBRC

Les Miserables 10th Anniversary Concert (proshot)

Lightning Thief Concert

A Little Night Music Bernadette Peters

Little Shop of Horrors Florida Tryouts (Alice Ripley, Hunter Foster, Billy Porter)

Little Shop of Horrors OBC

Love Never Dies

Matilda w/Lesli Margarita

Memphis OBC (proshot)

Merrily We Roll Along Raul Esparza

Merrily We Roll Along 2013

Miss Saigon Lea Salonga Will Chase

Miss Saigon London Revival (Proshot)

Miss Saigon London Revival (bootleg)

Miss Saigon Broadway Revival

The Music Man (Robert Sean Leonard and Rebecca Luker)

The Mystery of Edwin Drood (Revival Cast)

Natasha Pierre and the Great Comet of 1812 OBC (two of them, one from December)

Natasha Pierre and the Great Comet of 1812 Scott Sangland

Newsies OBC

Newsies Jeremy Jordan Kara Lindsay (proshot)

Next To Normal OOBC

Next To Normal OBC

Next To Normal OBC (Matinee, VOBs)

Next To Normal 2nd Broadway Preview

Next To Normal Alice Ripley, Jennifer Damiano, & Brian D'Arcy James' Final Performance

Next To Normal Jessica Phillips & Kyle Dean Massey

On Your Feet OBC 10/17/15

Once OBC

Once with Arthur Darville

Once Upon A Mattress OBRC (Sarah Jessica Parker)

Pacific Overtures OBC (proshot)

Pajama Game Kelli O'Hara Harry Connick Jr.

Parade in Concert (Jeremy Jordan and Laura Benanti)

Parade 2009 LA Production

Passion Patti Lupone 2005 (Lincoln Center)

Pippin Toronto (proshot)

Pippin 2013 OBRC

Pippin with Kyle Dean Massey and Ciara Rene

Phantom of the Opera 25th Anniversary (proshot)

Phantom of the Opera Norm Lewis and Sierra Bogress

The Pirate Queen OBC

The Prom World Premiere

The Producers OBC

Ragtime OBC

Reefer Madness OOBC (Kristen Bell)

Rent OBC Opening Night

Rent 10th Anniversary Reunion Concert

Rent Closing Cast with Renee Elise Goldsberry (proshot)

Rent Hollywood Bowl

The Robber Bridegroom (Steven Pasquale)

Rocky OBC (Andy Karl)

Rocky Horror Show OBC (Daphne Rubin-Vega and Joan Jett) [yes, that Joan Jett]

Scarlet Pimpernel 

School of Rock OBC

Scotsboro Boys OBC

Secret Garden Concert

Seussical (Rosie O’Donnel)

Side Show OBC

Sister Act OBC

Shuffle Along OBC

Something Rotten OBC

Something Rotten Rob McClure

South Pacific Kelli O’Hara (bootleg)

SpongeBob Musical Chicago Tryout

Spring Awakening Krysta Rodriguez (PM me for details on the understudies)

Spring Awakening Deaf West

Streetcar Named Desire John C. Reilly and Natasha Richardson

Sunday in the Park with George OBRC (Jake Gyllenhaal & Annaleigh Ashford)

Sweeney Todd OBC

Sweeney Todd Angela Lansbury proshot

Sweeney Todd 2012 (Imelda Staunton Michael Ball, very low quality, but it exists)

Sweeney Todd Concert (Emma Thompson, Christian Borle)

tick... tick... BOOM OOBC

[title of show]

Thoroughly Modern Millie OBC

Urinetown OBC

Vanya and Sonia and Masha and Spike OBC

Violet OBRC (Sutton Foster)

Waitress OBC

Waitress Sara Barellies

War Paint OCC

War Paint Broadway previews

We Will Rock You (Kerry Ellis)

The Wedding Singer OBC

West Side Story with Karen Olivo OBRC

Wicked OBC previews

Wicked Kristin Chenoweth’s Last

Wicked Shoshana Bean, Jennifer Laura Thompson, and Joey McIntyre

Wicked Idina’s “Last performance” Joey McIntyre’s last performance (Shoshana Bean, Jennifer Laura Thompson, and Joey McIntyre)

Wicked Julia Murney Broadway

Wicked Victoria Matlock

Wicked Megan Hilty's Last Broadway Show

Wicked Eden Espinosa's Last Broadway Show

Wicked Eden Espinosa and Megan Hilty LA

Wicked Stephanie J. Block and Analeigh Ashford

Wicked Willemijn Verkaik and Katie Rose Clarke

Wicked Mandy Gonzalez and Andy Karl

Wicked Rachel Tucker and Kara Lindsay

Wicked Laurel Harris and Kara Lindsay

Wicked Kerry Ellis

Wicked Jackie Burns (no fly)

Wicked Jackie Burns 2010

Wicked Donna Vivino tour

Wicked Donna Vivino and Ali Mauzey

Wicked Kara Lindsay

Wonderful Town Donna Murphy

Xanadu OBC

You’re A Good Man Charlie Brown Revival

I haven't watched all of these yet, so I may have some cast details slightly wrong (understudies and the like). Please PM me for trading. Be sure to follow me.

Wants:

Avenue Q with Rob McClure

Any Carousel I don't have

Evita with Eden Espinosa (ready to kill to get this)

Last Five Years with Samantha Barks

Any Last Five Years I don’t have

Les Mis in general

Natasha Pierre and the Great Comet of 1812 w/ Oak and/or Ingrid Michaelson

Any Natasha Pierre.... I don’t have

Next to Normal Marin Mazzie

Any Rent that I don't have (especially if it's with Sherie Rene Scott)

She Loves Me (not the 2016 livestream)

Sunset Boulevard in general

Wicked with Susie Mathers

Wicked Jennifer DiNoia and Kara Lindsay

Wicked in general

And generally anything I don't have

[ramajmedia]

Jack Nicholson's 10 Most Iconic Roles, Ranked | ScreenRant

There are lots of people in the film and television world that can be considered A-listers at this point, but clearly Jack Nicholson is one of the last of the true Hollywood superstars. Nicholson's superstardom has been well earned; his acting abilities are truly unparalleled and his body of work is the kind of resume that every actor and actress on earth could look at and be green with envy.

RELATED: Jake Gyllenhaal's 10 Most Iconic Roles, Ranked

Nicholson's career is far from over (despite the fact that it has already spanned decades), but there is a reason why he's still one of the most lauded and beloved actors in the world. His film performances are unlike anyone else's and the variety and acting range that he has displayed is truly one of a kind. It's hard to narrow down which movies made Jack Nicholson into the icon that he is, but we've taken a shot at ranking his most memorable performances ever (so far).

10 President James Dale/Art Land - Mars Attacks!

Tim Burton's campy homage to classic alien invasion films is entertaining and memorable enough in its own right, but Jack Nicholson's dual presence throughout the film definitely takes it over the top. Nicholson's most prominent role in the film is as James Dale, the U.S. President who is unlucky enough to be presiding over the country during an alien invasion.

Nicholson's other role in the film is as Art Land, a sleazy Las Vegas resident who is planning on opening his own casino, which happens to have an alien theme. Unsurprisingly, Jack kills it in both roles.

9 Garrett Breedlove - Terms Of Endearment

Terms of Endearment is often unfairly regarded as a "chick flick," as the main plot line of the movie is the decades-long relationship between a woman named Aurora and her daughter Emma. These women certainly aren't the Gilmore Girls, however.

RELATED: Winona Ryder's 10 Most Iconic Roles: Ranked

Jack Nicholson plays a retired astronaut named Garrett Breedlove in the film, and Breedlove's romance with Aurora is a significant factor throughout. Watching Nicholson go toe-to-toe with Shirley MacLaine (who plays Aurora) is an adventure in its own right. It would appear that the Academy of Motion Picture Arts and Sciences agreed on that, since both scored acting Oscars for their parts in the film.

8 Jimmy Hoffa - Hoffa

Jack Nicholson is easily one of the most iconic and easily identifiable actors who ever lived, and he's a brilliant actor who brings his own personal touch to every role he plays. So, it's sometimes easy to forget that when Nicholson wants to transform himself to the point where he's nearly unrecognizable, he can do that too.

Jack played the titular role of Jimmy Hoffa in Hoffa, and in his quest to play the man, Nicholson was outfitted with some pretty conspicuous prosthetics. It's one thing to put in a good acting performance while essentially playing yourself, but killing it when your face is literally covered in rubber is a whole different animal.

7 The Joker - Batman

Heath Ledger's performance as the Joker in The Dark Knight basically redefined how the world saw the Joker as a character, but Jack Nicholson's performance as the Joker in Tim Burton's Batman is no joke either. Tim Burton's version of Batman was clearly inspired by more old school Batman comics, and Jack Nicholson's performance in the film certainly reflects that.

Nicholson's acting in Batman is extremely flamboyant while still being threatening, and much like with Hoffa, Nicholson deserves credit for serving up an award worthy performance in the film when his actual face is pretty much entirely obscured by cartoonish paint.

6 Colonel Nathan Jessup - A Few Good Men

Jack Nicholson's performance in A Few Good Men has earned its spot on this list all on it's own. The fact that it features not only one of Jack Nicholson's most iconic moments ever committed to film, but one of the most iconic film scenes in history, period, means that its presence on this list is an absolute necessity.

RELATED: Seth Rogen's 10 Most Iconic Roles Ranked

This Rob Reiner-directed film is a memorable and riveting movie, and Jack's role as Colonel Nathan R. Jessup, a morally questionable high-ranking officer in the United States Marine Corps, is undeniably one of his best. We can all handle that truth.

5 Melvin Udall - As Good As It Gets

All great actors have some particular skill or talent that sets them apart from the pack. When it comes to Jack Nicholson, it seems like his ability to make unappealing characters appealing is his acting superpower. Melvin Udall is one such character.

Udall is a best-selling romance novelist who is obsessive compulsive and ironically seems to loathe nearly every person that he comes into contact with. He begrudgingly comes out of his shell as he falls for a waitress, after he is unwillingly conscripted into caring for his injured neighbor's dog. Nicholson won an Academy Award for this performance, and it was well deserved.

4 Jake Gittes - Chinatown

If you're ever looking for a noir mystery film that definitely gives you some wild payoff to the intrigue it creates, then Chinatown might be just the ticket. In the movie, Jack Nicholson plays J.J. "Jake" Gittes, an investigator who is looking into the shenanigans going on at the Los Angeles Department of Water and Power.

RELATED: Harrison Ford's 10 Most Badass Roles, Ranked

It doesn't exactly sound like the material that your average crime thriller is made of, but this bizarre mystery unfolds into a crime thriller classic. In any typical noir film, Nicholson's character would be somewhat uninteresting, but, unsurprisingly, Jack brings some exceptional flavor to the role.

3 Frank Costello - The Departed

With most actors, it seems that they reach a certain peak and that's as good as they ever do, but with Jack Nicholson it seems like he just keeps hitting different peaks as his career develops further. One of his most iconic roles of all time is also one of his most recent, as Frank Costello in the Martin Scorsese thriller The Departed.

The Departed is one of the most exciting movies to come out in the last decade or so by itself, but Nicholson's performance as the head crime boss in Boston is one of his most memorable roles to date.

2 Randle McMurphy - One Flew Over The Cuckoo's Nest

Milos Forman's One Flew Over The Cuckoo's Nest is one of the most memorable and moving films in history, touching on issues we rarely seen faced head-on in theaters. Jack Nicholson's performance as the lead character, Randle McMurphy, brings the message of the film home with the weight it deserves.

McMurphy begins his journey as a man who thinks he's gamed the system by avoiding prison, but his relationships with those he meets in his new environment --particularly his antagonistic relationship with one of the greatest villains of all time, Nurse Ratched-- take his story further; to a darker place than anyone could have ever expected.

1 Jack Torrance - The Shining

Horror movies typically get a bad rap for being low quality and poorly produced, but no-one would ever level that criticism against The Shining. Stanley Kubrick's interpretation of the Stephen King novel is one of the greatest movies ever made, and Jack Nicholson's performance as Jack Torrance is one of the most iconic performances in horror, as well as in film in general.

Torrance's descent into madness is terrifying, and Nicholson brings that descent to life so believably that it's genuinely unsettling. Many of Nicholson's performance choices were so incredible that those who haven't even seen The Shining will still be familiar with those particular scenes.

NEXT: The Best Performances In Stephen King Adaptions, Ranked

source https://screenrant.com/jack-nicholson-greatest-most-memorable-roles-ranked/

[thehandmaidstalehulu]

"This is going to sound wanky," says Max Minghella over the phone from Los Angeles, "but I really love stories about women. If you go to my Netflix, the sections that they recommend are ‘Thrillers with a Strong Female Lead,' ‘Comedies With a Strong Female Lead,'" he continues. "I find women more interesting to watch on a lot of levels, and I like the idea of being involved with something I would watch." We are discussing Hulu's adaptation of The Handmaid's Tale, which, aside from the odd short, marks Minghella's first project as an actor since Into the Forest (2015). "I took a couple years off acting and was mostly producing for those years," he explains. "I found I wasn't very good at it—it's not a skill set that I possess." It was, in part, the quality of The Handmaid's Tale that lured the 31-year-old North London native back in front of the camera. Based on Margaret Atwood's alarmingly prescient 1985 novel, the 10-part series takes place in a fictional future America, a totalitarian patriarchy in which every individual is relegated to a specific role. Offred, the show's narrator played by Elisabeth Moss, is a handmaid—a walking womb assigned to an elite commander and his wife who are unable to have children. Minghella's character, Nick, is a driver, another low-status member of Offred's commander's household. Or at least, that's what he claims to be. He might be a spy for a group of rebels or, worse yet, a double agent reporting on the commander and his associates. "I feel like he's true to the Nick in the book, but at the same time, he's investigated and looked at more thoroughly," Minghella notes. "It's Lizzy Moss's show, 100-percent, but we all have very, very interesting arcs. They gave me a lot of weight and some juicy stuff. I felt like it was one of the more challenging acting things I've gotten to do."

EMMA BROWN: I read that you wanted to be a music video director when you were a teenager. MAX MINGHELLA: That's 1000-percent true. I think I still want to be a music director as a grown man. BROWN: You sort of are now, aren't you? MINGHELLA: I've done one music video. I don't know if that makes me a music video director, but it's a medium that I love. I'm obsessed with the power of music and image together. There's also something about music videos that are incredibly glamorous—there's a fetishistic aesthetic to them that you don't really see in movies in the same way. You get away with indulging imagery, and there's something very melodramatic about them, which I love. I think a lot of people love music videos, but I think the business model for them is probably quite complicated at this point. When I grew up, there were music videos on television all day and now I have to go on Vevo. [laughs] It's a different time. But I feel like there's a bit of a resurgence, which is nice—those Kendrick Lamar videos are great. BROWN: I also read that you decided you wanted to act after you saw This Is Our Youth in London. Was that the production at the Garrick? Who did you see it with? MINGHELLA: Yes, it was. I saw every cast. That was the most significant passage of my youth, no pun intended. I think there were four casts in total, and they were all incredibly patient with my fandom. I sort of stalked that play, I would say. Between the ages of 15 and 17 I lived in that theater. I went to as many shows a week as I could. It definitely shaped me as a person, for better or worse. I really became religious about it. I'm still quite religious about it. They just did it again on Broadway and it was a very emotional experience for me to see it again. I don't think there's any piece of writing that I've engaged with more heavily than that. There's something quite nostalgic for me hearing any of those words. BROWN: I remember the production at the Garrick. I was very excited because I was about 14 and Freddie Prinze Jr. was in it at one point. MINGHELLA: Oh, I remember. Freddie Prinze, Chris Klein... BROWN: Hayden Christensen, Jake Gyllenhaal. Have you met Kenneth Lonergan? MINGHELLA: I have. He's had to endure lots of letters and coat-pulling. [laughs] BROWN: I know that you're working on your first feature as a director, Teen Spirit. When did you decide that you wanted to try directing films? MINGHELLA: It's something I've wanted to do for a really long time, to be honest, and have swung at a couple of times. I probably wasn't ready in lots of different ways. This movie that I'm about to make feels like the most personal and in my taste of anything I've tried to take a shot at. I'm excited that this is going to be the one that I'm getting to make. BROWN: You wrote the script as well. Was it easier to write after already having written a film, The 9th Life of Louis Drax [2015]? MINGHELLA: No, this is still really fucking difficult. I've been working on it on-and-off for eight years and if you read the script, you would find that very embarrassing. [laughs] It's quite a tricky thing to pull off, and I don't feel like I've gotten there yet. I hope I will magically before we start shooting principal photography. I think there are some really exciting elements to it, and I've been very, very blessed with the people who have come on-board to help me make it, so I'm going to rest on their wisdom and talent and hope it carries us through. It's going to be an interesting adventure.

BROWN: Was there a moment where you felt, "It's not done, but I'm ready to show it to people and start the process of making it?" MINGHELLA: Never! But you also have to remember that if you don't do that at some point, nothing will ever happen. But, like any writer, it's kind of awful having to let other people read it. I don't take pleasure in that at all. I'd love for no one to read the script and just show them the movie, but unfortunately that's not how it works. BROWN: Who was your first reader, the first person you gave the script to? MINGHELLA: I work with Jamie Bell, who is a rock in my life. He's a great friend and a very patient support, and I don't think this movie would have gotten to this stage without him being a soundboard and putting up with all my neuroses. He was probably the first person to read it and was a massive influence in shaping the story. BROWN: Did he give you good critical feedback? MINGHELLA: Completely. He's been intrinsic to the creative process on this film in particular. I've tried to woo him for other things to help me on, but I think this was the only one he had any interest in. [laughs] But it's been very helpful and I definitely rely on that. I'm an only child and so I over-rely on my friends to lend their support. BROWN: Are most of your friends in the film industry? MINGHELLA: I wish the answer was no, but it's probably yes. BROWN: I know you grew up in North London but went to Columbia. What made want to attend university in the States? MINGHELLA: That was genuinely born from not finishing [high] school. I didn't finish college [either], but at the time, I hadn't finished school in England, so I didn't have the qualifications to go to university in England unless I went back to school. I was 21 at that point, so it would have been slightly eccentric. The most logical way to continue my education was to do it in America and just take the SATs. BROWN: What made you want to go to university at all? MINGHELLA: Honestly, probably the guilt of having very academic parents. I think they were slightly ashamed. I've always been a terrible student, but they really hoped that I would be better, and I kind of hoped for them. It was, in retrospect, an apology, probably, for being a high school dropout and becoming an actor young and naively. But I'm so grateful for the experience—whatever motive I had to go, it definitely was a great thing. I made key relationships in that time. It also rescued me from a lot of bad career decisions. BROWN: Did your parents have grand dreams of you being a doctor? MINGHELLA: I don't think so. They were fine with me pursuing the things I like; I think they were hoping that I'd be a more well-rounded person, which makes total sense. But I've only ever been interested in one thing, and at a certain point, I gave up trying to be interested in other things. We just have to accept who we are and I'm a film nerd, for better or worse. BROWN: So you took a break and tried producing and screenwriting. What made you want to return to acting? MINGHELLA: I wasn't anticipating it at all. It was a script [The Handmaid's Tale] that was sent to me by a lot of people I trusted. In my life, I've made a lot of decisions on my own and have ignored wisdom from other people, and I wanted to change that. When they unanimously felt like this was a good idea, I read it quite seriously and I understood why they were excited about it. It all felt quite organic. I didn't have to force myself to be excited about it; it was something that I really thought had a lot to say. In the [first] script, my character, Nick, had maybe one or two lines of dialogue. It was a very small piece of the ensemble. But I was very taken by the writing and I just wanted to be a part of something that felt very substantial and worthwhile, and it turned out that there was more to do with the character as well, which was nice. But ultimately it was about respect and the people involved, who were all very esteemed. I was very grateful that it was something they were willing to give me a shot at. I thought it was really quite a special piece of material. It proved to be even more special once we started making it, so I felt very clever by Episode Five. I was like, "I knew this was going to be good." [laughs] BROWN: Do you remember your first time on set? MINGHELLA: I remember the first thing I did as an actor. I was an extra in Sense and Sensibility [1995], and I got cut from the movie. [laughs] I think I got cut quite a few times as an extra, but that was the most memorable first experience I had because I was very young and excited to do my first part. I was a beggar or something. BROWN: Did you over-act? MINGHELLA: I probably wasn't very good. I probably found some way to fuck it up. I remember when I started acting officially I was unbelievably green. My first audition tapes were just horrendous. I think the first audition I ever did officially was for Pirates of the Caribbean [2003] and the casting director sent the tape to my parents without a note, just to say, "Maybe he's not cut out for this and you should try and talk him out of it." I definitely learned on the job. BROWN: I always wonder, as a young actor, how you balance taking parts that you believe in with getting exposure and doing roles that will lead to other roles. MINGHELLA: Well, I've been absolutely shit at the latter, as you can probably tell from my CV. I've never been good at strategy. But I'm not remiss about it. I've never taken a job as an actor that I wasn't 100-percent sure I wanted to do. I've never had to think about whether or not I wanted to do something, and there have always been a lot of factors to that. I don't think I'm an actor who's driven by character, to be honest. I don't think I'm like, "Oh, I'm not sure about this story, but I love this role." That's never been my process. You look at the quality of the script, the quality of the filmmaker, and then the actors you're going to be spending time with. Increasingly as I've gotten older, I'm much more interested in what the reality of the shoot is going to be versus what the result of the shoot might be. I'm so bad at guessing what's going to be good and what's going to be bad—there doesn't seem to be any correlation between things that are within your control. At this point, I just go, "Will this be fun to make? Will I like going to work? Will I be excited to go to work?" BROWN: Has being behind the camera—as a producer and when you directed the music video—made you more nervous as an actor? MINGHELLA: No, not more nervous. One thing it's been great for is stripping away a lot of my ego. When you have to cast movies from a producer's standpoint—when you've been on the other side of casting sessions—you just get a completely different perspective on what that process is of getting a job for an actor. You realize how completely impersonal it is. If anything, I think it's made me a lot less sensitive. So much of this is logic and business, and it's got nothing to do with whether people are good or not. Unfortunately, I think that's one of the last things that gets factored in when you're assembling a cast.

[bizarre-alien]

Just got back from watching Spiderman and my GOD he is amazing... Me and my sister nicknamed him Peanut because he is an adorable little peanut! Also, Jake Gyllenhaal is fine as hell... And sorry for the low quality picture. That's it! 😆😜 . . #spidermanfarfromhome #Spiderman https://www.instagram.com/p/Bzyh8OnpX5S/?igshid=a0exdn64pfby