#marc hyman

[vintagewarhol]

[for-whom-the-bell-tolled]

Some Of The Hockey Players That I Am Emotionally Attached To, And The Nicknames I Have For Them:

1. Zombie Boy (Jason Zucker)— I too am a Jew who is always injured. Plus he has a nice beard and kind eyes.

2. L’Chyman (Zach Hyman)— my 2nd favorite Jewish hockey player, he does a lot of charity work for different Jewish foundations. He is my short handed goal king.

3. Squidney (Sidney Crosby)— oh captain, my captain. I love that during the offseason he vanishes off the face of the earth, emerging once or twice to publicly hang out with Nathan MacKinnon and shoot a Tim Horton’s commercial. Goals, as the kids say, for I am an introvert.

4. Geno Machino (Evgeni Malkin)— do yourself a favor and look up that promo where he and Sid went to houses to drum up hype for the season and he says “oh, hi” to a cat. I rest my case.

5. EGod/ERod (Evan Rodrigues)— every time he doesn’t score his shoulders slump. Very hard worker. Small but hits people. What’s not to love?

6. Hi, Nin! (Danton Heinen)— my cat’s name is ninja and every time he walks into the room I am in I say “Danton!” He also makes a funny concentration face when he is shooting.

7. Campy (Adrian Kempe)— my mom’s favorite player. She decided that she was a Kings fan when the Pens were going through a losing slump and randomly chose Kempe to be her favorite player. When I said “why are you a kings fan?” she responded “Campy (how she thought it was pronounced for some reason) hits the puck so hard it bounces out of the net.”

8. Flower (Marc-André Fleury)— I feel like this one doesn’t require an explanation.

9. Rusty Razor (Bryan Rust)— he has been my favorite Penguin since forever.

[rookie-critic]

A Man Called Otto (2022, dir. Marc Forster) - review by Rookie-Critic

TW: suicide

A Man Called Otto had its moments, but tended to be a little too sickly sweet for its own good (when it wasn't being way darker than advertised). I'll admit that I was on the side saying that I wasn't sure I could believe Tom Hanks as a grumpy old man, but for all of the film's faults, the believability of Hanks' Otto Anderson is not one of them. As much as we as an internet collective have corralled Hanks into the role of "America's Dad," and as much as Hollywood has begun to cast Hanks for roles that genuinely don't suit him (excuse me while I glare at Baz Luhrmann), we tend to forget that Hanks is a phenomenal actor that got as famous as he is now for being consistently great, not just in his more typecast-aligning roles like Big and Sleepless in Seattle, but also for movies like Road to Perdition and Philadelphia. Also, let's be honest, we all love him as Woody in Toy Story, and he's basically playing a giant buzzkill (pun absolutely intended) for a majority of the first film in that franchise. I actually found most of the film's cast to be quite endearing, especially Mariana Treviño, who practically steals the film from Hanks, which in and of itself is an impressive feat. As I've said in previous reviews, I love when we get to see fairly unknown actors play big roles in movies alongside the legacy names. The big name draws in the crowd and then they get to see this new (or new to the average moviegoer, anyway) face thrive. I hope to see Treviño in bigger and better things in the future because she was a delight in this.

The biggest detriment to the film is that it really tends to get caught up in itself a lot. I'm actually quite a sucker for sentiment in a film and get swept up very easily in a movie's emotional manipulation if I'm even remotely enjoying it, and I'm not ashamed to admit that I did shed some tears while watching A Man Called Otto, but there were moments that, had they been dialed back about 75%, would have been so much more effective. There are multiple montages set to the most over-the-top, Josh Groban-esque music (which I'm seeing now was mostly written by Hanks' wife, singer and fellow actor Rita Wilson) that absolutely kill the emotional momentum of the film. It is so unbelievably heavy-handed and saccharine that I think I was audibly groaning by the third time it happened. I really can't stress how hilariously atrocious these sequences are. There's also quite a few scenes of these incredibly out of touch depictions of the younger generation that seem to be plaguing a decent handful of films in the recent months, including one sequence involving a train station that is laughably obtuse, and the way the young people in that scene behave ends up being beneficial to Otto later in the film anyway, so I'm not really sure what the commentary is supposed to be, and I don't think the film does either. I find it odd that these sequences are even in the movie for how amazingly progressive a lot of the film seems to be.

Lastly, I'd like to talk about something I mentioned at the beginning of this review about the film being way darker than advertised. I would also like to take this moment to issue a trigger warning (TW: suicide) for those that might have PTSD or anxiety about this topic. This film presents itself in its advertising as a wholesome family drama where a young, friendly family melts the heart of the neighborhood grump. What this movie is really about is a suicidal man learning to find his reason for living again. I won't divulge the details of why for people who don't want those plot spoilers, but I feel it is heavily important to know going into this film that suicide is a heavily felt presence throughout the entirety of the film, and I think I counted five suicide attempts that are shown on screen (it could be six, but I remember at least five). I'm not against the depiction of suicide or suicidal thoughts in film, I think it's an incredibly important topic to discuss openly and without shame or judgment, but I also think that it is paramount for a piece of media to clearly state when it is going to depict something as potentially traumatizing (or re-traumatizing) as that on screen. When the first attempt happens, the film is barely 15 minutes into its runtime, and I was so jarred by it that I almost thought I had somehow walked into the wrong theater, that this had to be some other grumpy Tom Hanks movie and not the fun-loving, cheery looking one whose trailer got "The End of the Line" by The Traveling Wilburys stuck in my head for weeks. I don't know if I can hold a fault of the trailer against the film itself, but I was quite angry with the film's marketing for not giving some kind of indication of what the film and its tone actually were.

I'm having a hard time thinking of what score to give A Man Called Otto, because for all of the things that were objectively bad about the film, I did find myself getting emotional on more than one occasion. The film's sentimentality gets in its own way a lot, but when it's able to find a good balance between heart and drama it really sings, so I'd say there's a little more to like about it on the whole.

Score: 6/10.

Currently only in theaters.

[jewishbookworld]

Admi­ral Hyman Rick­over: Engi­neer of Power by Marc Wort­man

Admi­ral Hyman Rick­over: Engi­neer of Power by Marc Wort­man

Known as the “Father of the Nuclear Navy,” Admiral Hyman George Rickover (1899–1986) remains an almost mythical figure in the United States Navy. A brilliant engineer with a ferocious will and combative personality, he oversaw the invention of the world’s first practical nuclear power reactor. As important as the transition from sail to steam, his development of nuclear-propelled submarines and…

[ghoulishceleste]

HELLO??? HOW DID I NOT KNOW THERE IS AN ORIGINAL SCRIPT DRAFT AVAILABLE FOR OSMOSIS JONES??? AND ITS GOT BETTER WRITING AND DEVELOPMENT SINCE IT WAS MEANT TO BE AN ADULT FILM????

bruhhh they didn’t let them cook 😭 this movie deserves a remake

(btw if you want to access the script its available by typing osmosis jones script marc hyman!)

[stoogeaohlic-11]

Johnny Ramone(John Cummings), Joey Ramone (Jeffrey Hyman), Marky Ramone (Marc Bell), Dee Dee Ramone (Douglas Colvin), and driver Rodney Bingenheimer (club owner and DJ) punk group The Ramones rides in a vintage Cadillac in in Los Angeles, CA in 1979 (Photo by Richard Creamer Michael Ochs Archives/Getty Images)

[robosexxxual]

did you guys know a draft for the osmosis jones script from 1998 was found?

originally i was gonna infodump about it in the tags but there’s a lot of interesting changes i’m just gonna detail here:

first off, if you wanna read it for yourself, it’s uploaded by Marc Hyman on archive dot org. you’re welcome.

this was so early in development that this was from when the movie was still meant for an older audience, and as such, this script has more adult humour and language than the final movie. ozzy says bitch

drix is named cipro and thrax is named we-khan.

in general, the live action parts are drastically different, both in how it’s executed and the actual plot. the live action parts are cut down and are much less prominent and distracting than they were in the final product [in that aspect i kinda prefer the original script lol]. the basic premise is the same, in that frank is an unhealthy slob and a dangerous virus enters his body; but frank’s wife is still alive, and shane doesn’t exist. instead of the chicken wing festival being the main climax, it’s he and his wife going on a vacation to hawaii.

the mayor and the police chief are the same person.

this is kind of interesting; in this version, ozzy’s “track record” is vastly different than how it was in the movie. ozzy used to have a different partner [before drix/cipro] named reggie, who died trying to chase after thrax/we-khan. ozzy feels a lot of guilt over this because he feels he should have done something. 

there were many, many different changes, but these were the major ones i noticed. it was like a fever dream. but i kinda liked it, and i’m really glad it’s released! i know many people - including myself - have been wanting to see what early versions of the movie looked like when it was aimed at teens/adults.

[popentertainment-moviereviews]

A MAN CALLED OTTO (2023)

Starring Tom Hanks, Mariana Treviño, Rachel Keller, Manuel Garcia-Rulfo, Truman Hanks, Cameron Britton, Mike Birbiglia, Mack Bayda, Juanita Jennings, Peter Lawson Jones, Christiana Montoya, Alessandra Perez, Max Pavel, Kailey Hyman, Josephine Valentina Clark, John Higgins, Tony Bingham, Lily Kozub, Julian Manjerico and Bodhi Wilson.

Screenplay by  David Magee.

Directed by Marc Forster.

Distributed by Sony Pictures Releasing. 126 minutes. Rated PG-13.

Hollywood has a long history of taking popular foreign films and moving them to the States, often oversimplifying and somewhat homogenizing them in the name of “Americanization.”

The main character has a different first name in Tom Hanks’ version of Hannes Holm’s 2015 comedy-drama A Man Called Ove – which itself was based on Fredrik Backman’s 2012 best-selling novel. And while A Man Called Otto is not as good as the earlier film, it’s not all that far behind.

Yes, A Man Called Otto has a huge sentimental streak (so did the original and the novel), and yes, sometimes the plotting is a bit overly convenient. And while sometimes sentimentality is off-putting in a film when it starts to feel manipulative – it often is for me – sometimes it just depends on whether you buy in to the characters and situations.

A Man Called Otto worked for me.

It is an interesting piece of casting, choosing the famously affable Tom Hanks to play an angry curmudgeon, the kind of guy who you would tend to try to avoid – which would suit him just fine. Hanks mostly pulls it off pretty well, although you do sort of tend to see a little playful tinkle in the actor’s eyes when he is saying and doing things that are particularly anti-social. (Rolf Lassgård felt a bit more naturally grounded in the same part for the 2015 film, but that is possibly because he doesn’t carry Hanks’ pop cultural baggage, at least not in the US.)

Despite its tendency towards a bit of sappiness, it does revolve around a very serious, very dark concept. In fact, before seeing Otto, I wondered if they would downplay or erase this thread, and to the filmmakers’ credit, they did not blink on the subject. Otto is an aging widower who has decided to kill himself to reunite in the afterlife with his late beloved wife, the only person in the world that – as the film puts it – brought color to his life.

It's not easy to make a comedy about suicide.

The running gag – if you can really have a running gag about attempting suicide – is that Otto is always interrupted in the middle of the act by the petty realities and annoyances of life.

As the film begins, Otto’s life is nothing but a series of petty realities and annoyances.

Otto is a very basic, rules-following, hard-working and grumpy man. His wife had died six months earlier. He has recently been sort of forced to retire – it’s okay, he never liked the job anyway – but now he has little to occupy his time. He keeps a watch on his little prefab neighborhood, reminding his neighbors of rules and transgressions like cleaning up after their dog, not using the street as a through street, correctly sorting recyclables and parking their bikes in the proper place.

The only thing he has which would be considered a social life is regularly visiting his wife in the cemetery and getting into arguments with retail employees who want to charge him for six feet of rope when he only needs five. (The fact that the difference is only $0.33 doesn’t matter – it’s the principle of the thing.) He also spends much of his time remembering his past – Hanks’ son Truman plays young Otto in these regular flashbacks – with his beloved Sonya (Rachel Keller).

His life changes when a Mexican family moves in across the street, particularly the vivacious and hugely pregnant mother of two named Marisol – played by Mariana Treviño in a star-making performance in which she goes head-to-head with Hanks and always comes out shining. He also feels a grudging liking for her two adorable young daughters. (He thinks the dad is an idiot, though.)

Marisol pulls Otto out of his cocoon and a series of inconveniences – a stray cat, an old friend and rival possibly being forced out of their home, driving lessons, the strained family life of the local paper deliverer (a transgender former student of Sonya’s) all delay his plans for death.

Will Otto actually find a new reason to live?

As I said before, A Man Called Otto is occasionally manipulative and can be a tiny bit sappy. And yet I bought in to it. If you are willing to give yourself in to Otto’s world, then A Man Called Otto has much to offer.

Jay S. Jacobs

Copyright ©2023 PopEntertainment.com. All rights reserved. Posted: January 6, 2023.

[christophe76460]

Le plan de Daniel est un guide co-écrit par Rick Warren - Daniel Amen - Marc Hyman qui se présente comme un guide de développement personnel proposant un voyage de 40 jours vers une meilleure santé.

Le but de ce livre est de découvrir ce qui est présenté comme étant les fondements pour retrouver la vitalité dans tous les domaines de votre vie. Il présente ainsi "cinq piliers du Plan Daniel" qui sont la foi, l’alimentation, la forme physique, la concentration et les amis.

Ceux qui aiment les méthodes vont encore tomber dans le panneau de ces gourous du bien-être à la sauce chrétienne ! 😡

A quand les 40 jours avec le Coach JESUS ou un livre des 100 recettes du Messie ou encore comment booster sa libido par la méditation des psaumes....? Au secours !!!

[sadakathaber]

Tom Hanks'li "Hayata Röveşata Çeken Adam" vizyona giriyor

Marc Forster’in yönetmen koltuğunda oturduğu “Hayata Röveşata Çeken Adam” filminde Tom Hanks, Rachel Keller, Manuel Garcia Rulfo ile Kailey Hyman başrolleri paylaşıyor. Türkiye’deki sinema salonlarında bu hafta 7 film sinemaseverlerle buluşacak. Siddharth Anand’in yönetmenliğini yaptığı, Shah Rukh Khan, Deepika Padukone, John Abraham’ın başrollerini paylaştığı “Pathaan”, aksiyon ve gerilim…

[jerimystoltzcreations]

June 11, 2022 Creative Multiverse presents: Junetoon Day 11 (virus) Osmosis Jones is a 2001 American live-action/animated action comedy film written by Marc Hyman. Combining live-action sequences directed by the Farrelly brothers and animation directed by Piet Kroon and Tom Sito, the film stars the voices of Chris Rock, Laurence Fishburne, David Hyde Pierce, Brandy Norwood, and William Shatner alongside Molly Shannon, Chris Elliott, and Bill Murray in live-action roles. It follows the title character, an anthropomorphic white blood cell, as he teams up with a cold pill to protect his unhealthy human host from a deadly virus. #CreativeMultiverse #Junetoon #junetoon2022 #OsmosisJones #art #artwork #Animated #artistofinstagram #artist #artistforhire #Custom #create #drawing #drawingaday #draweveryday #illustration #pencil #sketch #ink #colordrawing #Sketchcard #fabercastell #copic #twitchstreamer #cartoon https://www.instagram.com/p/CfAksb7MMRM/?igshid=NGJjMDIxMWI=

[jewishbookworld]

The 75 books posted on JewishBookWorld.org in August 2022

The 75 books posted on JewishBookWorld.org in August 2022

Here is the list of the 75 books that I posted on JewishBookWorld.org in August 2022. The image contains some of the covers. The bold links take you to the book’s page on Amazon; the “on this site” links to the book’s page on this site. #antisemitism: Coming of Age during the Resurgence of Hate by Samantha A. Vinokor-Meinrath (on this site) Admi­ral Hyman Rick­over: Engi­neer of Power by Marc…

[maybe-just-whelmed]

Endless Cartoon intro’s: 3/♾

Ozzy & Drix

2002

1 | 2 | 4 | 5

[adamwatchesmovies]

Show Dogs (2018)

As I sat in the theater watching Show Dogs – a film no grown man has any business seeing by himself – all alone, all I could do to keep my sanity whole was yell at the screen. Even so, I felt my mind fraying at the seams. What is Will Arnett doing in this blend of Miss Congeniality and Turner and Hooch? 

While investigating a group of smugglers who have kidnapped a baby panda, police dog Max (voiced by Chris “Ludacris” Bridges) clashes with FBI Agent Frank (Arnett). After the thief gets away, they infiltrate a dog show together for a second chance at nabbing the criminal.

I understand this film is made for children. The littlest children, the kind that even the most irresponsible of parents wouldn’t dare bring to Deadpool 2. Even so, this is stupid stuff. Throughout Show Dogs, I kept trying to understand this world's “rules”. Can dogs talk to humans? They can jump on their hind legs and dance, use their paws to activate numerically-locked doors, Max is sent on a police sting by himself and at one point takes a date ziplining in L.A. so they MUST be able to speak, and yet, we’re explicitly told they cannot. At one point, Max barks to his partner frantically, hoping the human understands which car to follow. All logic is fruitless. It’s like Vietnam. There are no rules. I mean why bother, right? The only ones watching are brainless children who will laugh at a dog farting underwater.

It’s what I call a “peanut butter mouth movie”, basically, a picture in which a bunch of animals are put in front of the camera, their mouths are moved up and down, and then they're given "personalities" by actors too embarrassed to show their faces, but not enough to say “no” to the paycheck. I wonder if the kids watching this embarrassment will notice just how fake those dog paws or that baby panda are. You can see the actor’s fingers disappear where the fur begins! I didn’t think they could manage it, but they actually made a scene where a dog swings through the air on a rope and grabs a cage with its legs more believable than an animal that actually exists.

No matter how strong your willpower to be, Show Dogs will manage to find a way to grind it down to nothing. I’ve never thought of watching a movie as work; it unfolds regardless of what the audience is doing. Then, I saw “Show Dogs”. The jokes are the kind you’d overhear in a school cafeteria by the kids who aren’t very bright and think a dog’s rear end is the pinnacle of comedy. Even if that sounds like someone you know, and for some reason, you feel obliged to take them to this film, don’t. That’s what we have $5 bargain bins for. (Theatrical version on the big screen, May 20, 2018)

[willstafford]

Still Holding Up

HAIRSPRAY Grand Theatre, Wolverhampton, Tuesday 19th October, 2021 Based on the 1988 film by self-proclaimed Pope of Trash, John Waters, this exuberant musical is doing the rounds again.  Admittedly, the source material is Waters’s most mainstream movie, but writers Mark O’Donnell and Thomas Meehan retain much of the flavour of the original, especially the outlandish cast of characters.  I’ve…