#source: that interview with Tom Hardy | Explore Tumblr posts and blogs

denimbex1986 · 4 months ago

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'Working as an actor for three decades, Andrew Scott is one of Ireland's premiere actors, having a variety of roles in movies and TV shows in that time. The Fleabag star got his acting career started by appearing in the stage play Brighton Beach Memoirs before securing his first film role in the 1995 Irish movie, Korea. After appearing in a diverse set of movies and shows through the 90s and 2000s, Andrew Scott's first big breakout role was in Sherlock, the 2010 BBC series based on the famous character.

After that, he added shows like Fleabag, Black Mirror, and His Dark Materials to his name, always bringing his best with every performance. On the film side, he appeared in Spectre, 1917, and All of Us Strangers. His most recent role was in Ripley, the Netflix adaptation of Patricia Highsmith's novel, The Talented Mr. Ripley. With Wake Up Dead Man, the third Knives Out movie in production, and Richard Linklater's Blue Moon, there is a lot to look forward to for Andrew Scott going forward.

10. His Dark Materials (2019-2022)

Andrew Scott as Colonel John Parry / Jopari

His Dark Materials is the three-season HBO adaptation of the trilogy of novels of the same name by Philip Pullman. It's a spectacular adaptation, telling the story of a young girl named Lyra who attempts to search for her missing friend before stumbling upon a kidnapping plot that relates to an invisible cosmic dust. It's an incredible fantasy series that brings the stunning source material to life in thrilling fashion, making it a must-watch in Andrew Scott's filmography.

While he might not be a main character in the series, Scott is particularly great as Colonel John Parry, a marine and explorer, and is also known as Dr. Stanislaus Grumman or Jopari in Lyra's world. The character is complex, and Scott navigates his story with nuance given the weighty themes that can be explored in the series.

9. Locke (2013)

Andrew Scott as Donal

Locke features one of the best performances of Tom Hardy's career, as it revolves around a man named Ivan Locke, a construction manager who drives around conducting a series of phone interviews. What makes Locke special is that Tom Hardy is the only character to appear on-screen, and everyone else (including Andrew Scott) only utilizes their voice during the various phone calls. It's an intimate film that feels more grand than it might let on, and its unique premise really lets it shine.

Scott was tasked with voicing Donal, Ivan Locke's work trainee who needs Locke to coach him through the preparation of a pour. It's not the most substantial role of his career, but Scott is quite great in it, and his conversation with Locke is engaging despite being a rather mundane thing to talk about. In fact, it's aspects like their mundane conversation that make Locke so appealing.

8. Ripley (2024)

Andrew Scott as Tom Ripley

Ripley is Netflix's fantastic attempt to adapt Patricia Highsmith's seminal mystery novel, making it the latest adaptation, while also being the first to be a TV series. Because of that, it works incredibly well, really using the extra time it has to flesh out the characters and explore the engaging mystery at hand to its full depth. Of course, it isn't a one-to-one adaptation, making a number of changes to better suit the medium it is presented in. Still, it's one of the best takes on the novel and one filled with some spectacular performances.

Both the star and a producer, Andrew Scott excels at playing the enigmatic man at the center of it all, Tom Ripley. It feels like his take on the character is the most monstrous, with him doing some truly insidious acts throughout the series. It's Scott at his best, and perhaps the greatest interpretation from a character standpoint of Tom Ripley.

7. Pride (2014)

Andrew Scott as Gethin Roberts

Pride is an effective historical dramedy about LGBTQ+ activists that helped raise money to help families affected by the British miners' strike of 1984. The film is hilarious while still highlighting the similarities and solidarity between various groups of people plagued with different issues. It's empathetic and touching, while being one of Andrew Scott's most underrated films, as it feels so real and vulnerable and equally powerful.

Scott is particularly amazing in the movie, playing Gethin Roberts. He is the partner of Jonathan Blake, the second person diagnosed with HIV in the UK, and was alienated from his village when he came out to them over a decade ago. It's a powerful performance that packs a dramatic punch that is tragic and beautiful. His performance graciously handles the subject material and is that much better for it.

6. 1917 (2019)

Andrew Scott as Lieutenant Leslie

1917 is a harrowing look at two British soldiers, and their mission to carry an important message to call off a doomed attack during World War I. Utterly breathtaking throughout, what really makes 1917 shine is the way it employs a one-shot technique throughout the whole film, blending any cuts made seamlessly to make it feel like it was all filmed in one massive take. It's incredibly impressive and mind-blowing from a technical standpoint, but it also can be bleak and heartbreaking at times, showing the horrors of the war at hand.

Andrew Scott doesn't have a massive role in the film, playing Lieutenant Leslie, a worn-down soldier who explains to the two soldiers how to cross no man's land. While it is a small part, Scott is perfect in his role, portraying a weary, exhausted soldier who embodies the bleak situation while giving out possibly life-saving advice in the process.

5. Black Mirror (2019)

Andrew Scott as Christopher Michael Gillhaney

Black Mirror is fantastic television, utilizing its anthology approach to tell horrific, sad, and sometimes hopeful stories revolving around near-future technology and humanity's relationships to it. While some episodes are much better than others, each one feels unique in its own way, with fantastic performances across the board from the plethora of actors that come on board. Over the course of its first six seasons and counting, the tales it weaves are often poignant, effective, and often terrifying.

Like most actors who sign up for Black Mirror, Andrew Scott only appears in one episode called "Smithereens", playing Christopher Michael Gillhaney, a rideshare driver that takes the intern of a social media company hostage. Scott was nominated for a Primetime Emmy for his performance as he was the true standout of the episode. It might not be the best Black Mirror episode ever, but Scott is phenomenal in it.

4. Band Of Brothers (2001)

Andrew Scott as Private John D. Hall

Created by Steven Spielberg and Tom Hanks, Band of Brothers is one of the most popular HBO shows of all time, and for good reason, since it is also one of the best. Telling the story of Easy Company from their beginnings at boot camp, through to the frontlines of Europe, and into the end of World War II. It's a masterpiece on every level, as it is exhilarating, gut-wrenching, and incredibly hopeful all at the same time.

Band of Brothers could easily take the top spot on any list, but given that Andrew Scott is only in one episode of the show, it doesn't have the same impact on his filmography as something like Sherlock. Still, Scott is magnificent as Private John D. Hall, supplying men of the Easy Company with TNT to thwart an attack, and is killed by a landmine in the process. Even though his role was brief, Scott made the most of it.

3. All Of Us Strangers (2023)

Andrew Scott as Adam

All of Us Strangers is a beautiful and tender fantasy romance film that explores grief through memories of the past. It follows the relationship between a screenwriter and his mysterious neighbor while he draws upon memories of his parents 30 years prior, as if nothing ever happened to them. While All of Us Strangers is bold and creative in its approach, it always chooses to focus on the characters in the middle of the narrative, handling them with grace and giving them depth and complexity.

All of Us Strangers features a pair of acting masterclasses with Andrew Scott and Paul Mescal. Scott in particular, is mesmerizing as the lonely screenwriter, Adam, who is drawn to Mescal's Harry. The narrative requires Scott to draw from a variety of emotions, and he does so with ease, making Adam an incredibly complex character who must navigate some life-changing situations.

2. Sherlock (2010-2017)

Andrew Scott as James Moriarty

At its best, Sherlock is a masterpiece, beautifully telling the story of the iconic character and the various mysteries he attempts to solve throughout the series. Benedict Cumberbatch is a revelation as Sherlock Holmes and the series is a wonderful, modern update to its source material. The chemistry between Sherlock Holmes and Martin Freeman's Watson was undeniable and one of the biggest reasons for how good the show truly is.

There is a lot to be said about Andrew Scott and his portrayal of Moriarty, the criminal mastermind and foil to Sherlock Holmes. He doesn't have a significant role until season 2, but he shines in every scene that he is in, portraying the character as dangerous and unpredictable, the perfect antagonist for Sherlock Holmes to face off against. He is one of the show's best characters, and Scott is a significant reason for that.

1. Fleabag (2019)

Andrew Scott as The Priest

It's hard to overstate just how amazing Fleabag is, and it is easy to see that it is the best Andrew Scott role that he has ever had. Starring Phoebe Waller-Bridge as "Fleabag", the series focuses on the free-spirited woman as she navigates life and love in London while trying her best to cope with a tragedy. What makes Fleabag so special is how witty and insightful it is, with fourth wall-breaking humor that provides running commentary to the audience while never overstaying its welcome.

Not appearing until season 2, Andrew Scott plays the priest, whom Fleabag ends up falling in love with. Scott is genuinely hilarious in the role, with a performance full of sarcasm, wit, and a lot of charm. It is easy to see why Fleabag fell for the character, and his performance is a big reason for that. Andrew Scott's priest is a special character in a very special show.'

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litmusblogs · 2 years ago

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Tom Hardy’s Bane Vest Dark Knight Rises:

Introduction of Dark Knight Rises Tom Hardy’s Bane Vest:

When Christopher Nolan’s “The Dark Knight Rises” hit theaters in 2012, audiences were captivated by Tom Hardy’s portrayal of the formidable and enigmatic villain, Bane. While Bane’s menacing mask and powerful presence left a lasting impression, it was his distinctive vest that became an iconic element of his character. In this blog, we delve into the significance and design of Tom Hardy’s Bane vest, exploring its origins, symbolism, and lasting impact.

Unveiling the Bane Vest: A Powerful Visual Statement

The first time we see Bane in “The Dark Knight Rises,” his imposing figure commands attention. The Bane vest plays a crucial role in establishing his character as a formidable adversary for Batman. Designed to emphasize Bane’s physicality and strength, the vest serves as a visual representation of his dominance and ruthlessness.

The Origins of the Bane Vest: Practicality Meets Symbolism

The design of the Bane vest draws inspiration from various sources. One notable influence is the military and tactical gear worn by special forces units. The vest’s utilitarian appearance aligns with Bane’s background as a mercenary and enhances his combat abilities. The incorporation of high-tech materials and modular attachments gives the vest a futuristic edge, reflecting Bane’s advanced arsenal.

Symbolism and Character Development

Beyond its functional aspects, the Bane vest carries significant symbolism. As Bane seeks to dismantle Gotham City’s corrupt system, the vest represents his rebellion against established order. Its rugged exterior reflects his harsh upbringing and the physical toll he has endured. The vest becomes a visual metaphor for Bane’s resilience, determination, and unwavering commitment to his cause.

The Practicality of the Bane Vest: Form Follows Function

While the Bane vest is undeniably stylish, it also serves a practical purpose. The vest’s numerous pockets and compartments allow Bane to carry an array of tools and weapons, ensuring he is always prepared for any situation. The modular design allows for customization, accommodating the needs of a versatile and resourceful adversary.

Impact on Pop Culture and Cosplay

The Bane vest’s striking appearance and its association with one of the most memorable villains in superhero cinema have made it an enduring icon in pop culture. Cosplayers around the world have been inspired by Bane’s formidable look, replicating the vest’s intricate details and accessories. The Bane vest continues to make appearances at conventions, Halloween parties, and fan events, demonstrating its lasting impact on costume design.

Behind the Scenes: The Making of the Bane Vest

Creating the Bane vest was no easy feat. The costume designers and prop masters meticulously crafted the vest to ensure it embodied the essence of Bane’s character. From the choice of materials to the integration of specialized features, every aspect of the vest’s creation was carefully considered. Interviews with the creative team shed light on the thought process and technical challenges involved in bringing Bane’s iconic vest to life.

Legacy and Influence

Even after the release of “The Dark Knight Rises,” the Bane vest’s influence extended beyond the film’s universe. Its impact on subsequent superhero and action films can be seen in the design of other characters’ costumes. The Bane vest set a new standard for villainous attire, pushing the boundaries of how antagonist costumes are conceived and executed.

Conclusion:

Tom Hardy’s Bane vest remains an indelible symbol of power, rebellion, and resilience. Its striking appearance, combined with the character’s compelling backstory, elevated Bane to the pantheon of iconic cinematic villains. The Bane vest’s influence on pop culture and costume design cannot be overstated, as it continues to inspire and captivate audiences long after its initial introduction.

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100gayicons · 3 years ago

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The Kray Brothers are not the type of people I typically include in these profiles. My focus is been primarily people who have made a contribution to Gay Rights or Gay History. The Kray brother fall into that latter category - Gay Gangsters.

The Krays owned a West End nightclub and were often photographed with celebrities, including Diana Dors and Judy Garland. Frank Sinatra once hired a security team from the Krays during a visit to London. They were also once photographer by David Bailey.

But their real source of income was an organized crime gang in London's East End during the 1950s and 1960s. They called it “the Firm”. This included armed robberies, arson, protection rackets, violent assaults, torture and murder.

According to reports by other gang members Ronnie Kray was openly gay, refusing to hide his orientation from either them or the police.

Laurie O'Leary who wrote a biography of Ronnie said:

“Ron discussed his homosexuality with very few people, but put simply it was a part of his nature he discovered, explored and enjoyed… It did not seem to conflict with his tough guy. Even if (gang members) objected, Ron just smiled at them and told them they didn't know what they were missing.”

John Pearson who interviewed both brothers, wrote that

“Ronnie Kray admitted that he and Reggie discovered they were both gay in their adolescence and would often have sex together, activity which continued into their later life.”

The secret became public when the Sunday Mirror reported that Ronnie Kray was in a sexual relationship with Lord Boothby, a UK Conservative Party politician. The twins threatened the reporters who wrote the story with physical harm. And Boothby threatened to sue. The newspaper backed down, fired its editor, printed an apology plus paid Boothby £40,000 in an out-of-court settlement. This discourage any other news outlet from pursuing the story.

But police continued investigating and were finally able to get evidence of three murders.

The Krays and 15 other members of the Firm were arrested in May 1968 with the plan to convince gang members to testify against the Krays. It eventually worked and the twins were convicted in 1969. Both were sentenced to life prison.

While in prison Ronnie was eventually certified insane (paranoid schizophrenia) and was transferred to Broadmoor Hospital for the rest of his sentence. He died in March 1995 from a heart attack.

Reggie died 5 years later from cancer (October 2000). He had been released 2 months earlier on compassionate grounds to spend his final time with his wife (who he married 3 years earlier while in prison).

After Reggie’s death, Bradley Allardyce a cell mate of his said to the press:

“I am openly admitting for the very first time that we had a sexual relationship."

Two films have been made about the Krays.

“The Krays” (1990) starring Gary and Martin Kemp (of the band Spandau Ballet).

Legend (2015 film) starring Tom Hardy as both twins.

#gay icons #Ronnie and Reggie Kray #organized crime #gay gangsters #Judy garland #Frank Sinatra #Tom Hardy #Martin Kemp #spandau ballet #murder and armed robbery

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brokehorrorfan · 3 years ago

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The Eurocrypt of Christopher Lee Collection 2 will be released on May 31 via Severin Films. Available to pre-order for $95, the seven-disc Blu-ray box features six films starring horror icon Christopher Lee plus more.

It includes 1959's Uncle Was a Vampire, 1962's The Secret of the Red Orchid, 1974's Dark Places, 1976's Dracula and Son (director's cut and US version), 1989's Murder Story, a CD featuring the Dracula and Son soundtrack, and a booklet by Lee biographer Jonathan Rigby.

A breakdown of the discs and 15+ hours of special features is below.

Disc 1: Uncle Was a Vampire (1959):

2K restoration from dupe negative

Alternate cut from Italian broadcast master

Alternate cut audio commentary by Christopher Lee biographer Jonathan Rigby and Hammer historian Kevin Lyons

Interview with European film scholar Dr. Pasquale Iannone

His Carpathian domicile bought by developers, Baron Roderico (Christopher Lee) flees to the ancestral castle owned by his impoverished nephew (Renato Rascel). But when the nephew sells this castle to luxury hoteliers, Uncle Prince of Darkness must withstand obnoxious tourists, bikini beauties and his own bloodsucking bellhop relative.

Disc 2: The Secret of the Red Orchid (1962):

2K restoration from dupe negative

Audio commentary by film historians Nathaniel Thompson and Troy Howarth

Audio commentary by film historians Kim Newman and Barry Forshaw

Trailer

As rival Chicago mobsters – led by Pretty Boy Steve (Klaus Kinski) – unleash a spree of extortion, machine gun mayhem and murder across England, Scotland Yard summons a cunning FBI agent (Christopher Lee) to end the escalating gang war.

Disc 3: Dark Places (1974)

4k restoration from internegative

Audio commentary by film historians Nathaniel Thompson and Troy Howarth

Interview with Christopher Lee biographer Jonathan Rigby

US teaser trailer

Brazilian TV spot

When the former administrator of an asylum (Robert Hardy) inherits the crumbling estate of an elderly inmate, he’ll unlock a nightmare of lust, larceny, insanity and several murders grisly enough to warrant an ‘X’ certification from the BBFC.

Disc 4 & 5: Dracula and Son – Director’s Cut (1976) & US Version (1979)

4K restoration from the original negative

Audio commentary by Christopher Lee biographer Jonathan Rigby and Hammer historian Kevin Lyons

Audio commentary by film historian Kat Ellinger

Interview with actor Bernard Menez

French TV interview with Christopher Lee

Audio interview with director Édouard Molinaro

Interview with author Claude Klotz

Interview with filmmaker Patrice Leconte on author Claude Klotz

German credit sequences

Trailer

TV spot

With angry villagers driving them away from their castle in Transylvania, Count Dracula (Christopher Lee) and his son Ferdinand (Bernard Ménez) head abroad. The Prince of Darkness ends up in London, where he becomes a horror movie star exploiting his vampire status. His son, meanwhile, is ashamed of his roots and ends up a night watchman in Paris, where he falls for a girl. Tensions arise when father and son are reunited and both take a liking to the same girl.

Disc 6: Murder Story (1989)

4K restoration from original negative

Audio commentary by writers/directors Eddie Arno and Markus Innocenti

Interview with producer Tom Reeve

Mask of Murder - 1988 film co-starring Christopher Lee (sourced from best existing master)

Trailer

Christopher Lee delivers a sly performance as a famous mystery novelist whose mentoring of an aspiring young writer (Alexis Denisof) will lead them both into an Amsterdam-based web of pornography, arson and a global conspiracy of cold-blooded murder.

Also included:

Dracula and Son soundtrack CD composed by Vladimir Cosma (Le Dîner de Cons)

100-page booklet written by Lee biographer Jonathan Rigby

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To celebrate the centennial of Sir Christopher Lee, Eurocrypt Collection 2 presents five of the most unexpected, underrated and underseen films of the iconic actor’s European career. Immediately following HORROR OF DRACULA, Lee reprised the role in the quirky 1959 Italian comedy UNCLE WAS A VAMPIRE. Lee speaks fluent German opposite Klaus Kinski for the crazed 1962 krimi SECRET OF THE RED ORCHID. In the 1974 UK psycho-thriller DARK PLACES, Lee toplines a cast that includes Joan Collins, Herbert Lom and Jane Birkin. Lee’s final performance as The Count in the 1976 French comedy DRACULA AND SON can at last be seen in its superior Director’s Cut, while the ultra-rare 1988 Dutch drama MURDER STORY brings Lee into the sex shoppes of Amsterdam. Each film has been remastered from original negative materials with over 15 total hours of trailers, commentaries, alternate cuts, vintage interviews and new featurettes, plus the DRACULA AND SON soundtrack and an all-new 100-page book by Lee biographer Jonathan Rigby.

#christopher lee #horror #70s horror #80s horror #60s horror #50s horror #severin films #dvd #gift #1950s horror #1960s horror #1970s horror #1980s horror #dracula #hammer films

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gcu-sovereign · 2 years ago

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WoG & (fan)casting in The Locked Tomb

I think I saw some interview with Tamsyn that she thought specifically of Taika Waititi when writing Jod. The TLT podcast that’s currently stomping through NtN has interviewed with Muir’s IRL information source on HEMA (Lissa Harris), who became the basis for Gideon, but obviously that’s not a casting.

At peak visual imagination, I’ve probably thought of a younger Emma Thompson for Mercymourn (late 90s with a David Bowie haircut),

The closest thing I can think of for Protestilaus is like, Tom Hardy or Nicholas Hoult in a parody of the production of a Hollywood power-fantasy body.

Much like with Worm for Our Lady of Escalation, it is nigh-impossible to cast Harrow or Gideon from known actors. I know some people would reach for Aubrey Plaza as the Reverend Daughter because of her past goth/alt presentations, but I think she’s too old for the role? Jenna Ortega is another obvious pick, and I definitely think she should be IN GtN, but Ok, she’s actually definitely young enough, FINE.

KJ Apa would be funny as Naberius. No notes there!

It would be unnecessarily on the nose to make Margot Robbie Alecto, so I say Gwendoline Christie. We know she can do menace from GoT and Sandman.

Also, to blow people’s minds: Christina Hendricks as Wake. Yes, it would probably irritate a certain mutual that she be underused in this way, but one of the central temptresses of the books is necessarily much less vital if you know what I mean.

The terrible teens are, more than Harrow or Gideon, necessarily obscure actors. Anyone that knows child actors feel free to weigh in.

Although, SPEAKING of child actors: Evanna Lynch (who you first met as Luna Lovegood) as Ianthe Tridentarius! You’re welcome!

#fancasting #the locked tomb #effortpost

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the-desolated-quill · 4 years ago

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Venom: Let There Be Carnage - Quill's Quickies (No Spoilers)

It's here! It's finally here!!!!

Long term followers are no doubt aware of how excited I was for this movie. The threat of COVID and the stress of studying from home really took its toll on me last year, hence the massive drop in blogs and reviews (sorry about that), and Let There Be Carnage was the one thing that was keeping me going. The countless delays didn't help matters of course, but I persevered, and now, at last, I made it. I suffered and struggled through numerous lockdowns, and now I finally get my reward.

Was it worth the wait? Absolutely!

Venom: Let There Be Carnage brings back Tom Hardy as the titular Venom and his walking disaster of a host/roommate/boyfriend Eddie Brock, who is trying to bolster his failing career by interviewing the notorious serial killer Cletus Kasady, played by Woody Harrelson, only for things to go tits up when Cletus gains his own symbiote called Carnage and teams up with the supervillainess known as Shriek, played by Naomie Harris.

Andy Serkis takes the director's chair this time around and he does an amazing job, giving the film a very grungy look as well as overseeing the seamless blend of CGI and practical effects. Tom Hardy, who gets a story credit this time around alongside his writing partner and friend Kelly Marcel who co-wrote the first movie, is clearly having a huge amount of fun playing both Eddie and Venom as we see their relationship develop growing pains. There are a lot of funny scenes between them as well as a few moments that were surprisingly emotional. A few people, including Serkis himself, have described this film as a love story between the two, which I initially dismissed as the kind of queerbaiting nonsense I've sadly grown accustomed to from Hollywood. Oh ye of little faith, my friends. Turns out they were one hundred percent telling the truth.

Contrary to what the dudebro fake Venom fans would have you believe (the same ones that think a comic book character created for twelve year olds should be an ultra violent mass murderer), the source material has always had a slight homoerotic undercurrent to it. A homoerotic undercurrent that the first Venom movie also possessed with the infamous She-Venom kiss, which Sony then leaned into when the Blu-Ray came out, advertising the film in the style of a romcom. Let There Be Carnage takes that ball and runs with it in glorious and unexpected directions. There is a genuine effort to queercode the relationship between Eddie and Venom, and the film explores that in a way that is humorous, but also emotionally sincere. As much as they fight and argue, there is also a real tenderness between the two of them, and the film even delves into Venom's emotional vulnerability and his desire to be loved by his host, which is an aspect of the character I feel is often overlooked in many adaptations.

There are two ways one could look at this movie. You can either view it as a queer romance between a man and his alien goo monster, or you could view it as a queer allegory for the dangers and emotional pressure of trying to remain in the closet and hide who you really are. While admittedly it's not the most sophisticated allegory in the world, for a studio tentpole blockbuster, it's a very bold creative choice.

This does have a knock-on effect however. While I absolutely love how the film explores Eddie and Venom's relationship, it does come at the cost of other key players in the film, most notably Carnage and Shriek. Both Woody Harrelson and Naomie Harris do exceptionally well in the roles and I adored their chemistry together, but the film focuses so much on Eddie and Venom to the point where the villains become something of an afterthought. Which is a shame because I do really like Carnage and Shriek in this movie (and for those wondering if the PG-13 rating holds the movie back in any way, don't worry. Cletus at one point breaks someone's legs with a hammer and while we don't see anything graphic, the sound of breaking bones made me squirm in my seat). I just wish we could have seen more of them. Another casualty is Stephen Graham's character Patrick Mulligan, who die-hard Venom fans will know also eventually becomes the host of a symbiote called Toxin in the comics. Again, great performance, but we barely get to spend any time with him or properly get to know him, which is a real pity. I get that Hardy, Marcel, and Serkis wanted this film to be a ninety minute thrill ride, which it certainly is, but another five or ten minutes of character exploration wouldn't have hurt.

People often ask me why I'm so attached to these Venom films, and why I'm prepared to cut them some slack unlike with films set in Disney's Marvel Cinematic Universe. Here's the simplest reason. The vast majority of MCU films are stupid, and yet expect you to take them seriously, even when the stories and characters are insultingly shallow and bad. Venom, on the other hand, knows how stupid it is and gleefully revels in it, allowing it to get away with things you could never do in an MCU or DC film. They're funny, campy, violent, and deliciously schlocky in the best way possible, made by people who not only clearly love the character and the source material, but also clearly understand exactly what kind of audience these films appeal to. If you liked the first film, you should definitely go and see this one, and I'm very much looking forward to seeing where Sony goes with Venom 3 and beyond.

#venom: let there be carnage #sony's spider-man universe #marvel #sony #review

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suotar · 4 years ago

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FINNEY13S RECOMMENDS: FILMS

I was asked about my favourite film genre a while back. As I came up with great films I decided to make a separate post about them. These aren't definitely ALL the great films I've seen. I just can't remember all of them! So maybe I'll update this post whenever I do :D

My personal Top 21 films are in red. Because I just CAN'T choose any less :D

SCIFI

Gattaga (Ethan Hawke, Jude Law) - Equillibrium (Christian Bale) - The Adjustement Bureau (Matt Damon) - Upgrade - Oxygen - Archive - Self/less (Ryan Reynolds, Ben Kingsley) - eXistenZ (Jude Law) - Repo Men (Jude Law) - The Signal - 12 Monkeys (Brad Pitt) - Prospect (Pedro Pascal) - Star Wars (3 first ones) - Star Trek: the motion picture (William Shatner, Leonard Nimoy) - Downsizing (Matt Damon) - The Martian (Matt Damon) - Dune (Kyle MacClachlan) - District 9 (Sharlto Copley) - Sunshine (Cillian Murphy, Chris Evans) - Primer - Moon - Snowpiercer (Chris Evans, Tilda Swindon) - Edge of Tomorrow (Tom Cruise) - Vice (Bruce Willis, Thomas Jane) - Looper (Bruce Willis, Joseph Gordon-Levitt) - Inception (Leonardo DiCaprio, Joseph Gordon-Levitt, Tom Hardy, Cillian Murphy) - Coherence - THX 1138 - The 5th Element (Bruce Willis) - Fahrenheit 451 (1966) - Source Code (Jake Gyllenhaal) - The Abyss (Ed Harris) - Arrival (Jeremy Renner, Amy Adams) - Ex Machina (Oscar Isaac, Alicia Vikander) - Brazil - Clockwork Orange - 2001: A space Odyssey

SCIFI/ODD

Repo Man (Emilio Estevez) - Predestination (Ethan Hawke) - Dark City (Kiefer Sutherland) - Under the Skin (Scarlett Johansson) - Open your Eyes (Tom Cruise, Penelope Cruz)

SCIFI/FANTASY

Coma (a Russian film) - Upside Down (Kirsten Dunst)

SCIFI/ACTION

The Matrix (Keanu Reeves, Laurence Fishburne) - Terminator & Terminator 2 (Arnold Schwarzenegger, Linda Hamilton) - Predator (Arnold Schwarzenegger) - Predator 2 (Danny Glover) - Boss Level (Mel Gibson, Frank Grillo) - Elysium (Matt Damon, Sharlto Copley) - Hardcore Henry (Sharlto Copley, Tim Roth) - Totall Recall (Arnold Schwarzenegger)

SCIFI/HORROR

Alien & Aliens (Sigorney Weaver) - Prometheus (Noomi Rapace, Michael Fassbender) - The Signs (Mel Gibson, Joaquin Phoenix. NOTE: pay attention to music ;) ) - Life (Ryan Reynolds, Jake Gyllenhaal) - The Thing (1982 version) - The Fly (Jeff Goldblum)

SCIFI/COMEDY

Idiocrazy - Galaxy Quest (Tim Allen, Sigourey Weaver, Alan Rickman)

ACTION

Lethal Weapon (Mel Gibson) - Kick-ass (Aaron Taylor-Johnson, Nicholas Cage) - Stretch (Chris Pine, Jessica Alba) - Fight Club (Brad Pitt, Edward Norton) - Unbreakable trilogy (Unbreakable, Split, Mr. Glass. Bruce Willis, Samuel L. Jackson, James McAvoy) - The Bourne trilogy (Matt Damon/Jeremy Renner) - Mission: Impossible (1st one from 1996) - Die Hard (Bruce Willis) - Lucky Number Slevin (Bruce Willis) - Red (Bruce Willis, Helen Mirren) - All Bonds with Sean Connery and Roger Moore - Smoking Aces (Ryan Reynolds, Chris Pine)

COMICBOOK FILMS

The Dark Knight (Christian Bale, Heath Ledger) - Deadpool (Ryan Reynolds) - The Crow (Brandon Lee) - Blade (1998 version) - Iron Man (Robert Downey Junior)

HORROR

The Shining (Jack Nicholson) - Saw (the first one) - Interview with the Vampire (Tom Cruise, Brad Pitt) - Bram Stoker's Dracula (Gary Oldman, Winona Ryder, Anthony Hopkins, Keanu Reeves) - The Martyrs (watch IF and only IF you want to lose your sanity. My hubs is the sanest person I've ever met and even he was disturbed) - The Machinist (Christian Bale) - Cube

HORROR/COMEDY

Shawn of the Dead

JUST PLAIN ODD FILMS THAT CAN'T BE PUT INTO A BOX (Almost guaranteed to make your head spin)

The Fountain (Hugh Jackman) - High-Rise (Tom Hiddleston, Luke Evans) - Black Swan (Natalie Portman) - Pi - Blue Velvet (Kyle MacLachlan) - The Congress - Edward Scissorhands (Johnny Depp) - Requiem for a dream (Jared Leto) - Mother! (Javier Bardem, Jennifer Lawrence)

DRAMA

Leon (Natalie Portman, Jean Reno) - Titanic (Leonardo DiCaprio, Kate Winslet) - Gambler (Mark Wahlberg) - Good Will Hunting (Matt Damon) - The Wrestler (Mickey Rourke) - 1492: Conquest of Paradise (Gerard Depardieu, Sigorney Weaver) - Only Lovers Left Alive (Tom Hiddleston, Tilda Swinton) - The Invitation (Michael Huisman) - Eternal sunshine of the spotless mind (Jim Carrey, Kate Winslet) - What's eating Gilbert Grape (Johnny Depp, Leonardo DiCaprio. Later makes the best performance of his life in this – THIS is the film he truly deserved and Oscar from) - Dangerous Liaisons (Glenn Close, John Malkovich, Michelle Pfeiffer, Uma Thurman, Keanu Reeves) - The Sixth Sense (Bruce WIllis)

COMEDY

Some like it hot (Marilyn Monroe) - Burn after reading (Brad Pitt) - Dogma (Matt Damon, Ben Affleck) - Wayne's World (Mike Myers)

OTHER

Moulin Rouge (Ewan McGregor, Nicole Kidman)

#finney13s recommends #films #my favourite films #not all of these are on top10 obvs but all are worth the watch #imo #Film rec

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rocknvaughn · 5 years ago

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New Colin Morgan Interview with Edge Media Network about Benjamin - UPDATED

I am reblogging this because, after the author was made aware of an error in the posting of his article (if anyone clicked through to read it on the site, there was a whole question and answer that was repeated), the error was corrected and another three questions and answers were added! I am correcting it here, but they were very interesting, so I suggest you read the full article again!

I shall post the link at the bottom, but I wanted to type it out so that non-English speakers could more easily translate it. (This article was listed in their “Gay News” section of the site, hence the focus on the gay roles.)

British Actor Colin Morgan: How the Queerly Idiosyncratic ‘Benjamin’ Spoke to Him

by Frank J. Avelia

In writer-director Simon Amstell’s sweet, idiosyncratic, semi-autobiographical comedy, “Benjamin,” Colin Morgan plays the titular character, an insecure filmmaker trying to resuscitate his waning career (at least it’s waning in his mind) after one major cine-indie success. Benjamin is also doing his best to navigate a new relationship with a young French musician (Phenix Brossard of “Departures”).

Thanks to the truly endearing, multifaceted talents of Morgan, Benjamin feels like an authentic creation--one that most audiences can empathize with. Sure, he’s peculiar, has a legion of self-esteem issues and an almost exasperating need for acceptance as well as an inconvenient talent to self-sabotage the good in his life. But who can’t relate to some or all of that?

“Benjamin” is one of the better queer-themed films to come out in recent years, in large part because it eschews emphasis on the queer nature of the story. Instead, the film is a fascinating character study with Morgan slowly revealing layers and unpacking Benjamin’s emotional baggage.

Morgan is a major talent who has been appearing across mediums in Britain for many years. His London theatre debut was in DBC Pierre’s satire, “Vernon God Little” (2007), followed by the stage adaptation of Pedro Almodovar’s “All About My Mother” (2007), opposite Diana Rigg. Numerous and eclectic stage work followed (right up until the Corona shutdown) including Pedro Miguel Rozo’s “Our Private Life” (2011), where he played a bipolar gay, Jez Butterworth’s dark comedy, “Mojo” (2013), Arthur Miller’s “All My Sons” opposite Sally Field (2019), and Caryl Churchill’s “A Number” (2020), to name a few.

His TV work includes, “Merlin” (playing the wizard himself), “Humans” and most recently, in a very memorable episode of “The Crown”. Onscreen he can be seen in “Testament of Youth”, “Legend” with Tom Hardy, “Snow White and the Huntsman” and Rupert Everett’s take on Oscar Wilde, “The Happy Prince.”

He’s played a host of gay roles in the past on stage, screen and TV.

EDGE recently interviewed the star of “Benjamin” about the new film and his career.

Why Benjamin?

EDGE: What drew you to this project and were you part of its development?

Colin Morgan: It’s always the strength of the script for me on any project and Simon’s script was just so well observed, he managed to combine humor and poignancy in delicate measure and when I first read it I found myself being both tickled and touched. Then reading it again and from “the actor” POV... I knew it would be a real challenge and uncharted territory for me to explore. I auditioned for Simon and we tried it in different ways and then when I was lucky enough for Simon to want me on board, we began to work through the script together, because it was clear that this was going to be a very close working relationship... it was important for the level of trust to be high.

EDGE: I appreciated that this was a queer love story where the character’s queerness wasn’t the main focus. Was that also part of the allure of the project?

CM: I think Benjamin’s sexuality is just quite naturally who he is and therefore that’s a given, we’re on his journey to find meaning and love and there’s certainly a freshness to what Simon has written in not making sexuality the main focus.

Great chemistry

EDGE: Can you speak a but about the process involved in working with Amstell on the character and his journey?

CM: Simon and me worked very closely over a period of weeks, at that time prior to shooting I was doing a theatre project not far from where he lived so I would go to him and rehearse and discuss through the whole script all afternoon before going to do the show that night, so that worked out well. It’s so personal to Simon, and to have had him as my guide and source throughout was fantastic because I could ask him all the questions and he could be the best barometer for the truth of the character; a rare opportunity for an actor and one that was so essential for building Benjamin. But ultimately Simon wanted Benjamin to emerge from somewhere inside me and he gave me so much freedom to do that also.

EDGE: You had great chemistry with Phenix Brossard. Did you get to rehearse?

CM: Phenix is fantastic, Simon and me did chemistry reads with a few different actors who were all very good but Phenix just had an extra something we felt Benjamin would be drawn to. We did a little bit of rehearsal together but because it was a relationship that was trying to find itself there was a lot of room for spontaneity and uncertainty between us, which is what the allure of a new relationship is all about, the excitement and fear.

Liberating process

EDGE: Did your process meld with Amstell’s?

CM: I’ve said this a lot before and it’s true, Simon is one of the best directors I’ve worked with. Everything he created before shooting and then maintained on set was special. We always did improvised versions of most scenes and always the scripted version too. It was such a creative and liberating process. That is exactly the way I love to work. And for a director to maintain that level of bravery, trust and experimental play throughout the whole shoot stands as one of the most rewarding shooting experiences I’ve had.

EDGE: When I spoke with Rupert Everett about “The Happy Prince,” he very proudly boasted about his ensemble. Can you speak about working with Rupert as he balanced wearing a number of creative hats?

CM: Again, this was an extremely rewarding project to work on and quite a similar relationship as with Simon in the respect that Rupert was the writer/director and Oscar Wilde is so personal to him. And then we also had many scenes together in front of the camera, so Rupert and me had a real 3D experience together. It was a long time in the making. I was on board, I think, two years before we actually got shooting so I had a lot of time to work with Rupert and rehearse. He really inspired me, watching him wear all the different creative hats, such a challenging and difficult job/jobs to achieve and he really excelled--plus we just got on very well.

Playing queer roles

EDGE: You haven’t shied away from playing queer roles. Do you think we’re moving closer to a time when a person’s sexual orientation is of little consequence to the stories being told, or should it always matter? Or perhaps we need to continue to evolve as a culture for it to matter less or not at all...

CM: That’s a hard question to answer, I think certainly the shift in people’s attitudes has changed considerably for the better compared to 40 years ago, but there will always be resistance to change and acceptance from individuals and groups whether it be sexuality, religion, race, gender--we’re seeing it every day.

Evolution is, of course, inevitable, but if we can learn from the past as we evolve that would be the ideal. Unfortunately, we rarely do learn, and history repeats itself.

EDGE: You were featured prominently in one of my favorite episodes of the “The Crown” (”Bubbikins”) as the fictional journo John Armstrong. Can you speak a bit about working on the show and with the great Jane Lapotaire?

CM: I had an exceptionally good time working on “The Crown.” Director Benjamin Caron, especially, was so prepared and creative, and made the whole experience so welcoming and inclusive. It was an incredibly happy set, with extremely talented people in every department, and I admired the ethos of the whole production and have no doubt that’s a huge ingredient to its success, along with Peter Morgan’s incredible writing.

I was also a fan of the show, and it was an honor to be part of the third season. And I can’t say enough amazing things about Jane Lapotaire. We talked a lot in between filming, and I relished every moment of that.

EDGE: You’ve done a ton of stage work. Do you have a favorite role you’ve played onstage?

CM: I’ve been so lucky with the theatre work I’ve done, to work with such special directors and work in wonderful theatres in London. I’ve worked at the Old Vic and The Young Vic twice each, and they’re always special to me. Ian Rickson is a liberating director, who I love. It’s hard to pick a favorite, because the roles have all been so different and presented different challenges, but, most recently, doing “A Number,” playing three different characters alongside Roger Allam and directed by Polly Findlay, was a really treasured experience, and I never tired of doing that show, every performance was challenging as it was.

Miss the rehearsal room

EDGE: You were doing “A Number” earlier this year. Did you finish your run before the lockdown/shutdown?

CM: Just about! We had our final performance, and then lockdown happened days later. I feel very sorry for the productions that didn’t get the sense of completion of finishing a run. I mean, finishing a full run leaves you in a kind of post-show void anyway, even though you know it’s coming, so to not know it’s coming and have it severed must be even more of a void.

Memories of performing just months ago seem like such an unattainable thing in this COVID world right now. I can’t tell you how much I’m hoping we get back to some semblance of live performance.

EDGE: What was it like to appear onstage opposite Dame Diana Rigg in “All About My Mother?”

CM: Well, I think “iconic” is an apt word for both the experience of working with Diana and the lady herself. In between scenes backstage we used to talk a lot and we got told off for talking too loudly, so Diana began to teach me sign language and we would spell out words to each other, maybe only getting a couple of sentences to each other before she was due on stage and I had to get into position for my next entrance-- we did a radio play together two years ago and she remembered, she said, “Do you remember A-E-I-O-U?” signing out the letters with her hands.

EDGE: None of us knows the future in terms of the pandemic and when we might return to making theatre. I’m a playwright myself and find it all supremely frustrating but I’m trying to remain hopeful! Where are you right now in terms of the standstill we are in and what the future might hold?

CM: Yes, I’m so worried for theatre. It’s a devastating blow. I’m sure as a playwright, you know that the creative spirit in individuals hasn’t been diminished by this virus. People are creating important art in this crisis but we need the platforms to present it and bring people to some light again out of this really scary period, but it needs to be safe and it’s a worrying time. The virtual theatre approach must be looked at I think. We need to experiment and find new paths at least for the time being. I’m involved in developing some things right now and how we can work on things in both an isolated and collaborative way. It’s entirely counterintuitive to what the family-feel and close bond of a group in a rehearsal room is like-- I miss the rehearsal room so much!-- but we can’t sit still, we must create and we must act.

What’s in a role?

EDGE: Looking back on the great success of “Merlin,” what are your takeaways from that experience?

CM: Some of the most treasured memories of my life will forever be connected to “Merlin,” the cast, crew, production, everyone! The invaluable training of being in front of a camera every day! The chance to inhabit a character and live with him for five seasons! There’s too much to list and words probably won’t do justice anyway, but I’m truly grateful for everything the show gave me.

EDGE: How do you select the roles you play?

CM: I guess they select me in a way. I can’t play a role unless it speaks to me and provokes me in some way, but ultimately it’s the characters that I have a fear about playing, not knowing how I’m going to enter into the process of living them, when I don’t have all the answers it’s a good indicator of a character I must play. If I have all the answers, there’s less scope for exploration and discovery which isn’t as interesting for me.

Link here

#colin morgan #interview #14 july 2020 #edgemedianetwork #benjamin #transcription

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leseternels-2021-film-complet · 4 years ago

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Genre: Science-Fiction, Action Sortie: 2021-09-30 Directeur: Robert Richardson, Andy Serkis, Tom Hardy, Tom Hardy, Marco Beltrami Etoiles: Tom Hardy, Woody Harrelson, Michelle Williams, Naomie Harris, Reid Scott

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Titre : Les Eternels

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Durée : 97m

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Sous-titre : français MÉDIA DE DIFFUSION

Les médias en continu sont des contenus multimédias qui sont constamment reçus et présentés à un utilisateur final tout en étant fournis par un fournisseur. Le verbe streamer fait référence au processus de livraison ou d'obtention de média de cette manière. [clarification nécessaire] Le streaming fait référence à la méthode de livraison du support, plutôt qu'au support lui-même. Distinguer la méthode de livraison des médias distribués s'applique spécifiquement aux réseaux de télécommunications, car la plupart des systèmes de livraison sont soit intrinsèquement en streaming (par exemple, radio, télévision, applications de streaming), soit intrinsèquement sans streaming (par exemple, livres, cassettes vidéo, CD audio). Le streaming de contenu sur Internet présente des défis. Par exemple, les utilisateurs dont la connexion Internet ne dispose pas d'une bande passante suffisante peuvent subir des arrêts, des décalages ou une mise en mémoire tampon lente du contenu. Et les utilisateurs qui ne disposent pas de systèmes matériels ou logiciels compatibles peuvent ne pas être en mesure de diffuser certains contenus.

La diffusion en direct est la diffusion de contenu Internet en temps réel, tout comme la télévision en direct diffuse du contenu sur les ondes via un signal de télévision. La diffusion en direct sur Internet nécessite une forme de média source (par exemple, une caméra vidéo, une interface audio, un logiciel de capture d'écran), un encodeur pour numériser le contenu, un éditeur multimédia et un réseau de diffusion de contenu pour distribuer et diffuser le contenu. La diffusion en direct n'a pas besoin d'être enregistrée au point d'origine, même si c'est souvent le cas.

Le streaming est une alternative au téléchargement de fichiers, un processus dans lequel l'utilisateur final obtient l'intégralité du fichier pour le contenu avant de le regarder ou de l'écouter. Grâce à la diffusion en continu, un utilisateur final peut utiliser son lecteur multimédia pour commencer à lire du contenu vidéo numérique ou audio numérique avant que l'intégralité du fichier n'ait été transmise. Le terme « média de diffusion en continu » peut s'appliquer à des médias autres que la vidéo et l'audio, tels que les sous-titres codés en direct, le téléscripteur et le texte en temps réel, qui sont tous considérés comme du « texte en continu ».

La musique d'ascenseur était l'une des premières musiques populaires disponibles en streaming ; de nos jours, la télévision sur Internet est une forme courante de média diffusé en continu. Certains services de streaming populaires incluent Netflix, Disney+, Hulu, Prime Video, le site Web de partage de vidéos YouTube et d'autres sites qui diffusent des films et des émissions de télévision ; Apple Music, YouTube Music et Spotify, qui diffusent de la musique ; et le site de diffusion en direct de jeux vidéo Twitch. DROITS D'AUTEUR

Le droit d'auteur est un type de propriété intellectuelle qui donne à son propriétaire le droit exclusif de faire des copies d'une œuvre créative, généralement pour une durée limitée. Le travail créatif peut être sous une forme littéraire, artistique, éducative ou musicale. Le droit d'auteur vise à protéger l'expression originale d'une idée sous la forme d'une œuvre créative, mais pas l'idée elle-même. Un droit d'auteur est soumis à des limitations fondées sur des considérations d'intérêt public, telles que la doctrine de l'utilisation équitable aux États-Unis.

Certaines juridictions exigent de « réparer » les œuvres protégées par le droit d'auteur sous une forme tangible. Il est souvent partagé entre plusieurs auteurs, dont chacun détient un ensemble de droits d'utilisation ou de licence de l'œuvre, et qui sont communément appelés titulaires de droits. [meilleure source nécessaire] Ces droits incluent fréquemment la reproduction, le contrôle des travaux dérivés, la distribution, l'exécution publique et les droits moraux tels que l'attribution.

Les droits d'auteur peuvent être accordés par le droit public et sont alors considérés comme des « droits territoriaux ». Cela signifie que les droits d'auteur accordés par la loi d'un certain État ne s'étendent pas au-delà du territoire de cette juridiction spécifique. Les droits d'auteur de ce type varient selon les pays ; de nombreux pays, et parfois un grand groupe de pays, ont conclu des accords avec d'autres pays sur les procédures applicables lorsque les travaux « franchissent » les frontières nationales ou que les droits nationaux sont incompatibles.

En règle générale, la durée de droit public d'un droit d'auteur expire 50 à 100 ans après le décès du créateur, selon la juridiction. Certains pays exigent certaines formalités de droit d'auteur pour établir le droit d'auteur, d'autres reconnaissent le droit d'auteur sur toute œuvre achevée, sans enregistrement formel. En général, beaucoup pensent que la longue durée du droit d'auteur garantit une meilleure protection des œuvres. Cependant, plusieurs chercheurs soutiennent que la durée plus longue n'améliore pas les revenus de l'auteur tout en entravant la créativité et la diversité culturelles. En revanche, une durée de droit d'auteur raccourcie peut augmenter les revenus des auteurs de leurs œuvres et améliorer la diversité culturelle et la créativité. FILMS ou FILM

Les films, ou films, sont un type de communication visuelle qui utilise des images animées et du son pour raconter des histoires ou enseigner quelque chose aux gens. La plupart des gens regardent (voir) des films comme un type de divertissement ou un moyen de s'amuser. Pour certaines personnes, les films amusants peuvent signifier des films qui les font rire, tandis que pour d'autres, cela peut signifier des films qui les font pleurer ou qui ont peur.

Il est largement admis que les droits d'auteur sont indispensables pour favoriser la diversité culturelle et la créativité. Cependant, Parc soutient que contrairement aux croyances dominantes, l'imitation et la copie ne restreignent pas la créativité ou la diversité culturelle, mais les soutiennent en fait davantage. Cet argument a été soutenu par de nombreux exemples tels que Millet et Van Gogh, Picasso, Manet et Monet, etc. La plupart des films sont faits pour pouvoir être projetés à l'écran dans les cinémas et à la maison. Après que les films soient projetés dans les cinémas pendant une période de quelques semaines ou mois, ils peuvent être commercialisés via plusieurs autres médias. Ils sont diffusés à la télévision payante ou à la télévision par câble, et vendus ou loués sur des disques DVD ou des cassettes vidéo, afin que les gens puissent regarder les films à la maison. Vous pouvez également télécharger ou diffuser des films. Des films plus anciens sont diffusés sur les chaînes de télévision.

Un caméscope ou une caméra vidéo prend des photos très rapidement, généralement à 24 ou 25 images (images) par seconde. Lorsqu'un projecteur de cinéma, un ordinateur ou un téléviseur montre les images à ce rythme, il semble que les choses montrées dans l'ensemble d'images bougent vraiment. Le son est soit enregistré en même temps, soit ajouté plus tard. Les sons d'un film comprennent généralement les sons des gens qui parlent (appelés dialogues), la musique (appelée « bande sonore ») et les effets sonores, les sons des activités qui se déroulent dans le film (comme l'ouverture de portes ou coups de feu). Au 20e siècle, l'appareil photo utilisait une pellicule photographique. Le produit est encore souvent appelé « film », même s'il n'y a généralement pas de film.

Un genre est un mot pour un type de film ou un style de film. Les films peuvent être fictifs (inventés) ou documentaires (montrant la « vraie vie »), ou un mélange des deux. Bien que des centaines de films soient réalisés chaque année, il y en a très peu qui ne suivent pas un petit nombre d'intrigues ou d'histoires. Certains films mélangent deux genres ou plus.

Les films d'action ont beaucoup d'effets passionnants comme des poursuites en voiture et des combats avec des armes à feu, impliquant des cascadeurs. Ils impliquent généralement des “bons” et des “méchants”, donc la guerre et le crime sont des sujets communs. Les films d'action nécessitent généralement très peu d'efforts à regarder, car l'intrigue est normalement simple. Par exemple, dans Die Hard, des terroristes prennent le contrôle d'un gratte-ciel et demandent une grosse rançon en échange du fait de ne pas tuer les otages. Un héros parvient en quelque sorte à sauver tout le monde. Les films d'action ne font généralement pas pleurer les gens, mais si le film d'action est aussi un drame, l'émotion sera impliquée. Les films d'aventure impliquent généralement un héros qui se lance dans une quête pour sauver le monde ou ses proches. Les films d'animation utilisent des images artificielles comme des dessins animés parlants pour raconter une histoire. Ces films étaient autrefois dessinés à la main, une image à la fois, mais sont maintenant réalisés sur des ordinateurs. Les films de copains impliquent 2 héros, l'un doit sauver l'autre, les deux doivent surmonter des obstacles. Les films de copains impliquent souvent de la comédie, mais il y a aussi une certaine émotion, en raison de l'amitié étroite entre les « copains ». Les comédies sont des films amusants sur des personnes stupides ou faisant des choses inhabituelles ou se trouvant dans des situations stupides ou inhabituelles qui font rire le public. Les documentaires sont des films qui parlent (ou prétendent être) de vraies personnes et de vrais événements. Ils sont presque toujours sérieux et peuvent impliquer des sujets fortement émotionnels, par exemple la cruauté. Les drames sont sérieux et concernent souvent des personnes qui tombent amoureuses ou qui doivent prendre une grande décision dans leur vie. Ils racontent des histoires sur les relations entre les gens. Ils suivent généralement une intrigue de base où un ou deux personnages principaux (chaque acteur joue un personnage) doivent « surmonter » (passer au-delà) un obstacle (ce qui les arrête) pour obtenir ce qu'ils veulent. Les tragédies sont toujours des drames et concernent des personnes en difficulté. Par exemple, un mari et une femme qui divorcent doivent chacun essayer de prouver à un tribunal qu'ils sont la meilleure personne pour s'occuper de leur enfant. Les émotions (sentiments) sont une grande partie du film et le public (les gens qui regardent le film) peut s'énerver et même pleurer. Les films noirs sont des drames policiers des années 40 sur le crime et la violence. Les films familiaux sont faits pour être bons pour toute la famille. Ils sont principalement conçus pour les enfants mais souvent divertissants pour les adultes. Disney est célèbre pour ses films familiaux. Les films d'horreur utilisent la peur pour exciter le public. La musique, l'éclairage et les décors (lieux créés par l'homme dans les studios de cinéma où le film est tourné) sont tous conçus pour ajouter au sentiment. Les comédies romantiques (Rom-Coms) sont généralement des histoires d'amour sur 2 personnes de mondes différents, qui doivent surmonter des obstacles pour être ensemble. Les Rom-Coms sont généralement légers, mais peuvent inclure une certaine émotion. Les films d'horreur comiques mélangent des motifs d'horreur et comiques dans leurs intrigues. Les films de ce genre utilisent parfois la comédie noire comme principale forme d'humour. Les films de science-fiction se déroulent dans le futur ou dans l'espace. Certains utilisent leur futur ou leur environnement extraterrestre pour poser des questions sur le sens de la vie ou sur la façon dont nous devrions penser à la vie. Les films de science-fiction utilisent souvent des effets spéciaux pour créer des images de mondes extraterrestres, de l'espace extra-atmosphérique, de créatures extraterrestres et de vaisseaux spatiaux. Les films fantastiques incluent des choses magiques et impossibles qu'aucun être humain réel ne peut faire. Les thrillers concernent généralement un mystère, un événement étrange ou un crime qui doit être résolu. Le public est tenu de deviner jusqu'aux dernières minutes, quand il y a généralement des « tourbillons » dans l'intrigue (surprises). Les films à suspense vous gardent sur le bord de votre siège. Ils ont généralement de multiples rebondissements qui confondent l'observateur. Les films occidentaux racontent des histoires de cow-boys dans l'ouest des États-Unis dans les années 1870 et 1880. Ce sont généralement des films d'action, mais avec des costumes historiques. Certains impliquent des Amérindiens. Tous les films qui se déroulent dans l'Ouest américain n'y sont pas tournés. Par exemple, les films occidentaux réalisés en Italie s'appellent des westerns spaghetti. Certains films peuvent également utiliser des intrigues occidentales même s'ils se déroulent dans d'autres lieux. Les Eternels FILM

Les premières émissions de télévision étaient des émissions expérimentales et sporadiques visibles uniquement à une très courte distance de la tour de diffusion à partir des années 1930. Des événements télévisés tels que les Jeux olympiques d'été de 1936 en Allemagne, le couronnement du roi George VI au Royaume-Uni en 19340 et la célèbre introduction de David Sarnoff à l'Exposition universelle de New York de 1939 aux États-Unis ont stimulé une croissance dans le milieu, mais la Seconde Guerre mondiale a mis un arrêt du développement jusqu'après la guerre. Le World MOVIE de 19440 a inspiré de nombreux Américains à acheter leur premier téléviseur, puis en 1948, la populaire émission de radio Texaco Star Theatre a fait le pas et est devenue la première émission de variétés télévisée hebdomadaire, valu à l'animateur Milton Berle le nom de « Mr Television » et démontrant le média était une forme de divertissement stable et moderne qui pouvait attirer les annonceurs. La première émission télévisée nationale en direct aux États-Unis a eu lieu le 4 septembre 1951 lorsque le discours du président Harry Truman à la Conférence du traité de paix japonais à San Francisco a été transmis par le câble transcontinental d'AT&T et le système de relais radio micro-ondes pour diffuser des stations sur les marchés locaux. La première diffusion nationale en couleur (le Tournament of Roses Parade de 1954) aux États-Unis a eu lieu le 1er janvier 1954. Au cours des dix années suivantes, la plupart des émissions du réseau et presque toutes les émissions locales ont continué à être en noir et blanc. Une transition de couleur a été annoncée pour l'automne 1965, au cours de laquelle plus de la moitié de toute la programmation du réseau aux heures de grande écoute serait diffusée en couleur. La première saison aux heures de grande écoute tout en couleurs est arrivée un an plus tard. En 19402, le dernier refuge parmi les émissions de jour du réseau a été converti en couleur, ce qui a donné lieu à la première saison de réseau entièrement en couleurs. Formats et genres

Voir aussi : Liste des genres § Formats et genres cinématographiques et télévisuels Les émissions de télévision sont plus variées que la plupart des autres formes de médias en raison de la grande variété de formats et de genres qui peuvent être présentés. Une émission peut être fictive (comme dans les comédies et les drames) ou non fictive (comme dans les documentaires, les actualités et la télé-réalité). Il peut être d'actualité (comme dans le cas d'un journal télévisé local et de certains films destinés à la télévision), ou historique (comme dans le cas de nombreux documentaires et films de fiction). Ils pourraient être principalement instructifs ou éducatifs, ou divertissants comme c'est le cas dans les comédies de situation et les jeux télévisés. [citation nécessaire] Un programme dramatique comporte généralement un ensemble d'acteurs jouant des personnages dans un cadre historique ou contemporain. Le programme suit leur vie et leurs aventures. Avant les années 1980, les émissions (à l'exception des feuilletons de type feuilleton) restaient généralement statiques sans arcs narratifs, et les personnages principaux et les prémisses changeaient peu. [citation nécessaire] Si des changements se produisaient dans la vie des personnages pendant l'épisode, c'était généralement annulé à la fin. Pour cette raison, les épisodes pouvaient être diffusés dans n'importe quel ordre. [citation nécessaire] Depuis les années 1980, de nombreux FILM présentent un changement progressif dans l'intrigue, les personnages ou les deux. Par exemple, Hill Street Blues et St. Elsewhere ont été deux des premiers films dramatiques télévisés américains aux heures de grande écoute à avoir ce type de structure dramatique,[4] [meilleure source nécessaire] tandis que le dernier MOVIE Babylon 5 illustre davantage cette structure en ce sens qu'il avait une histoire prédéterminée en cours d'exécution au cours de ses cinq saisons prévues. [citation nécessaire] Dans “DC1&”, il a été rapporté que la télévision devenait une composante plus importante des revenus des grandes entreprises médiatiques que le film.[5] Certains ont également noté l'amélioration de la qualité de certaines émissions de télévision. Dans “DC1&”, le réalisateur oscarisé Steven Soderbergh, commentant l'ambiguïté et la complexité du personnage et de la narration, a déclaré : “Je pense que ces qualités sont maintenant vues à la télévision et que les gens qui veulent voir des histoires de ce genre des qualités regardent la télévision. Merci pour tous et bon visionnage

Trouvez tous les films que vous pouvez diffuser en ligne, y compris ceux qui ont été projetés cette semaine. Si vous vous demandez ce que vous pouvez regarder sur ce site Web, sachez qu'il couvre des genres tels que le crime, la science, la fiction, l'action, la romance, le thriller, la comédie, le drame et le film d'animation. Merci beaucoup. Nous disons à tous ceux qui sont heureux de nous recevoir comme nouvelles ou informations sur le programme des films de cette année et sur la façon dont vous regardez vos films préférés. J'espère que nous pourrons devenir le meilleur partenaire pour vous dans la recherche de recommandations pour vos films préférés. C'est tout de nous, salutations! Merci d'avoir regardé la vidéo aujourd'hui. J'espère que vous apprécierez les vidéos que je partage. Donnez un coup de pouce, aimez ou partagez si vous appréciez ce que nous avons partagé afin que nous soyons plus excités. Saupoudrez un sourire joyeux pour que le monde revienne dans une variété de couleurs. Merci de votre visite, j'espère que vous apprécierez ce film Passez une bonne journée et bon visionnage

#Les Eternels #streaming vf #Les Eternels film complet en francais #vostfr #hd #2021

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agentnico · 5 years ago

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Scoob! (2020) Review

Simon Cowell has a cameo in this film as himself. A simple question of “why?” lingers for a while at the tip of my tongue, and then drops without receiving an adequate answer.

Plot: Scooby and the gang face their most challenging mystery ever: a plot to unleash the ghost dog Cerberus upon the world. As they race to stop this dogpocalypse, the gang discovers that Scooby has an epic destiny greater than anyone imagined.

I was never really the biggest fan of Scooby Doo. I watched some episodes, but I never really gravitated to that show and characters. There are also the two James Gunn directed live-action movies, that are ideal stoner viewing, but they speak for themselves really. Now Warner Bros. set out to make the first full feature length theatrical animated movie of Scooby Doo, only now not theatrical due to cinema closure and a virus outbreak currently in the midst. With the lack of other films being released I decided to give it a go. However, even with the minor experience I have from watching a couple of episodes of the classic series, you can tell this new movie is very different from the cartoon. It doesn't feel like Scooby Doo. There aren't any mysteries or haunted houses (minus in the movie’s opening). This is in fact a superhero movie straight and foremost, only featuring Scooby Doo characters. It’s like the writers thought “hey, ‘dem Marvel films are doing way big on the dollar dollar bill! We want some of that dollar dollar bill yo too!” so they did it. They made an animated superhero flick, and threw in Scooby Doo characters for good measure. Did it pan out well?

The biggest problem for me is that this is just a generic kids movie. It follows the same formula as all kids movies. Set-up a relationship with two characters, separates them and makes them reconcile, earn the power of friendship and save the day. On top of that, add a bunch of pop songs. The movie is afraid to take risks and shake things up. Because of that, it doesn't add anything new to the genre, it doesn't add anything new to the Scooby Doo characters and it's just forgettable. If I'm in a mood for Scooby Doo, I won't watch this. I will watch the original cartoon. If I'm in a mood for a 21st century kids movie, I won't watch this. I will just go watch The Lego Movie. My point is that this movie doesn't stand out in any way. Everything is not awesome here.

The movie also tries way too hard to be funny. I get that it is a kids movie and kids will laugh at basically anything on planet earth, but for a biased adult like me this becomes excruciatingly annoying. So many times a character would say a joke and turn to the audience as if saying “see, I did a funny!” when in fact nothing funny has been put forward to sustain this point. You can also tell that the voice cast is trying their upmost best to bring out some energy from a very lacklustre script. The likes of Zac Efron, Jason Isaacs, Ken Jeong and Mark Wahlberg are in no way terrible, they do their best to brighten up the uninspiring dialogue, but are left meandering with not much to work with. Frank Welker voices Scooby Doo, finding his inner Nick Nolte, and what is it lately with actors impersonating Nolte’s groggy voice in their performances? Very recently I watched the new Capone movie and Tom Hardy was on it with the Nick Nolte imitation. How peculiar. Also, what’s happened to Nick Nolte? It’s been ages since I’ve seen him in anything. Is he even alive? *considers Googling this only to realise he doesn’t really care that much* I also wonder why they didn’t just have Matthew Lillard reprise the role of Shaggy, as he has the voice down to a solid. He even expressed his interest multiple times in interviews and social media about wanting to voice the character in this movie. I understand the producers wanting to have bigger names voicing the characters in this feature so as to create interest from viewers who are not so acquainted with the source material, but it’s not like Will Forte who voices Shaggy in this new movie is that much bigger or recognisable of a celebrity than Matthew Lillard. Look, my motivations here clearly lie upon Lillard’s meme power, but that’s enough of a dynamic for me to complain about it!

All in all, Scoob! is perfectly digestible for young children and families, however if you’re seeking some proper Scooby Doo entertainment, I’d say look elsewhere, as this is just a generic animated kids flick featuring the over-saturated superhero genre.

Overall score: 4/10

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tabloidtoc · 5 years ago

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OK, June 8

Cover: Cher Turns 74 -- in hiding and in love

Page 1: Big Pic -- Kristin Chenoweth in a Winnie the Pooh onesie with boyfriend Josh Bryant and her dog Thunder

Page 2: Contents

Page 3: Contents

Page 4: Kristin Cavallari dating again -- she’s ready for romance just one month after her split from husband Jay Cutler

Page 6: Meghan Markle chronicled her time in the U.K. in a secret diary and the revelation has sent The Firm into a tailspin -- it’s confirmed everyone’s worst fears that Meghan has them over a barrel and could bring them down with the click of a finger

Page 7: After Jennifer Lopez’s daughter Emme wowed the crowd with a surprise appearance during the Super Bowl halftime show J.Lo’s ready to take on the full-time role of stage mom as the 12-year-old preps to release a bilingual children’s book of prayers, three years after her split from music producer Jack Antonoff it seems Lena Dunham is still nursing a broken heart so much so that’s it’s affecting her day-to-day life, after more than 15 years of friendship Ashton Kutcher and Dax Shepard are still thick as thieves

Page 8: Though it’s been two years since Tom Hardy wrapped up filming as the titular character in Capone which has just recently been released but the renowned Method actor still can’t get out of the notorious gangster’s mindset so much so that even his wife Charlotte Riley who is used to Tom’s extreme behavior during a film shoot is rattled by his demeanor and she’s telling him not to take any more weirdo roles because it affects their personal life, Jon Hamm is desperate to work intimately with January Jones again and the quickest path to that is through a Mad Men reunion -- Jon still feels deeply connected to January and in a lot of ways she’s the closest he’s had to a real-life spouse after the years they spent as an onscreen couple, The Bachelorette Hannah Brown is feeling the consequences of her actions after blurting out the N-word while singing along to DaBaby’s track Rockstar in an Instagram Live video and she apologized immediately but the backlash has been pretty brutal

Page 10: Red Hot on the Red Carpet -- silver gowns -- Diane Kruger, Reese Witherspoon, Janelle Monae

Page 11: Nina Kiri, Catherine Zeta-Jones

Page 12: Who Wore It Better? Betty Gilpin vs. Nina Dobrev ✅, Chiara Ferragni vs. Dakota Fanning ✅

Page 13: Kaia Gerber vs. Nicky Hilton Rothschild ✅

Page 14: News in Photos -- during her televised City of Lover Concert Taylor Swift unveiled a few personal photos from her trip to France last September

Page 15: Pierce Brosnan congratulated son Dylan for graduating from the USC School of Cinematic Arts, Vanessa Hudgens, Adriana Lima relaxing in Florida, Ariana Grande shows off her new butterfly tattoo in an Instagram selfie

Page 16: Lance Bass pointed out his platinum locks before dyeing them blue, Gwyneth Paltrow shared a snap of her and Chris Martin’s daughter Apple

Page 17: Adam Sandler on a bike, Kate Beckinsale brushes her cat Clive, Elizabeth Hurley and her dog Ava, Britney Spears

Page 18: Dean McDermott and son Beau playing golf, Sara Gilbert and estranged wife Linda Perry with son Rhodes at an L.A. park, Melissa Gorga played basketball with kids Antonia and Gino and Joey

Page 19: Drew Barrymore read to her Instagram followers to take part in the Save With Stories fund, Shawn Johnson East and daughter Drew, Pink and kids Jameson and Willow

Page 20: Color Theory -- these ladies brightened up their looks at home -- Elle Fanning, Lottie Moss

Page 21: Taraji P. Henson, Jennifer Love Hewitt

Page 22: Arnold Schwarzenegger on a bike, Brooke Burke filmed a new exercise routine for her fitness app, Devon Windsor is having way too much fun doing physical couples challenges with husband Jonathan Barbara

Page 23: Josh Hutcherson on a bike ride around the neighborhood, Nicole Scherzinger and her boyfriend Thom Evans demonstrated easy workouts you can do at home, Venus Williams on the tennis court in Palm Beach Gardens

Page 24: Inside My Home -- Kelly Clarkson’s modern mansion in L.A.’s ritzy Encino community is for sale for $9.9 million

Page 26: What went wrong between Brian Austin Green and Megan Fox

Page 27: Blake Shelton is worried history will repeat itself now that he and girlfriend Gwen Stefani have splashed out $13 million for a mansion in L.A. which is their first home together but Blake thought things were going great with ex-wife Miranda Lambert until they really started pooling their money and putting down roots then they started to fall apart with arguments and bad feelings, just weeks after Ashley Benson and Cara Delevingne ended their two-year relationship Ashley was spotted locking lips with rapper G-Eazy but an insider claims it’s more of a rebound than a full-fledged romance, Ariel Winter and her boyfriend Luke Benward are talking marriage just six months into their romance

Page 28: Scott Disick and his girlfriend of two years Sofia Richie are taking some time apart and the official line is that Sofia’s giving him space to work on his personal issues but everyone knows they were hanging by a thread before his rehab stint, Ryan Reynolds has kicked up his workout regimen while at home in Bedford during the quarantine and it’s all about maintaining his physique and being able to fit into his tight Deadpool gear at a moment’s notice and she’s trying to get wife Blake Lively to join him in his three-times-a-day workouts but she’s become much more relaxed about staying in shape since becoming a mom, Love Bites -- Jaime King and husband Kyle Newman split, Rooney Mara and Joaquin Phoenix expecting, Jamie Otis and Doug Hehner welcomed a son

Page 30: Cover Story -- Inside Cher’s Private World -- from ongoing health issues to her secret new romance sources tell all about Cher’s wild life

Page 34: Mary-Kate and Ashley Olsen’s unbreakable bond -- inside the Olsen twins special relationship and how Ashley is helping Mary-Kate move past her messy divorce

Page 36: Matthew Perry on the mend -- after a rough few weeks Matthew has started to get his life back in order

Page 38: Exes tackling quarantine together -- these former celeb couples have chosen to hunker down with each other. What could go wrong? -- Khloe Kardashian and Tristan Thompson, Naomi Watts and Liev Schreiber, Mario and Ramona Singer

Page 39: Tyler Cameron and Hannah Brown, Jesse Metcalfe and Cara Santana, Getting Some Space -- these still-coupled duos have socially distanced from each other -- Julianne Hough and Brooks Laich, Johnny McDaid and Courteney Cox, Emma Heming and Bruce Willis

Page 40: Interview -- Dua Lipa opens up about her new album and her life off stage

Page 42: Summer Stunners -- swimsuit models spill fitness and diet secrets that will have you beach-ready in no time -- Nina Agdal, Irina Shayk

Page 43: Emily Ratajkowski, Olivia Culpo

Page 46: Style Week -- Gabrielle Union recently unveiled her Spring/Summer 2020 NY&Co collection with a sizzling campaign shot in Miami’s Little Haiti

Page 48: Summersalt X Tanya Taylor swim collection, Katy Perry’s favorite headband

Page 50: Warm-weather must haves -- Emily Ratajkowski

Page 52: Beauty -- fast and east beauty boosters -- Kristen Bell, Ashley Graham

Page 54: Entertainment

Page 58: Buzz -- Sarah Jessica Parker commemorated her and Matthew Broderick’s 23rd wedding anniversary with an IG tribute

Page 60: Hollywood Heat Meter -- Ellie Goulding occasionally fasts for 40 hours, Jonah Hill is the actor who swears the most in his films, Ryan Seacrest’s droopy eye and slurred speech during the American Idol finale was from exhaustion, Mindy Kaling will be cowriting the Legally Blonde 3 script, Brad Pitt recorded a surprise message for Missouri State University grads, Kanye West’s former bodyguard Steve Stanulis revealed his time working for the rapper

Page 61: Sound Bites -- Chris Evans on why he caved and joined Instagram, Catherine Zeta-Jones on why her husband Michael Douglas doesn’t use TikTok, Ellie Kemper on shooting the Unbreakable Kimmie Schmidt special with Daniel Radcliffe, Ryan Reynolds on quarantining with his three daughters

Page 62: Horoscope -- Gemini Heidi Klum

Page 64: By the Numbers -- Denise Richards

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