O:9:"MagpieRSS":22:{s:6:"parser";i:0;s:12:"current_item";a:0:{}s:5:"items";a:10:{i:0;a:11:{s:5:"title";s:76:"‘A Quiet Place: Day One’ is the Official Title for Third Franchise Movie";s:4:"link";s:100:"https://debatepost.com/movies/a-quiet-place-day-one-is-the-official-title-for-third-franchise-movie/";s:2:"dc";a:1:{s:7:"creator";s:11:"David Lonit";}s:7:"pubdate";s:31:"Fri, 29 Apr 2022 00:34:16 +0000";s:8:"category";s:41:"MoviesdayfranchisemovieofficialQuiettitle";s:4:"guid";s:31:"https://debatepost.com/?p=63484";s:11:"description";s:659:"Jurassic World Dominion is stomping into theaters on June 10 and in the wake of this morning’s Official Trailer #2, a massive dino-sized image gallery has been shared by Universal. The images highlight both new characters and returning legacy icons, as well as a host of different dinosaurs that we’ll be meeting – some for ... Read more";s:7:"content";a:1:{s:7:"encoded";s:68402:"
Jurassic World Dominion is stomping into theaters on June 10 and in the wake of this morning’s Official Trailer #2, a massive dino-sized image gallery has been shared by Universal.
The images highlight both new characters and returning legacy icons, as well as a host of different dinosaurs that we’ll be meeting – some for the very first time – this summer.
Check out the full Jurassic World Dominion image gallery below!
This summer, experience the epic conclusion to the Jurassic era as two generations unite for the first time. Chris Pratt and Bryce Dallas Howard are joined by Oscar®-winner Laura Dern, Jeff Goldblum and Sam Neill in Jurassic World Dominion, a bold, timely and breathtaking new adventure that spans the globe.
From Jurassic World architect and director Colin Trevorrow, Dominion takes place four years after Isla Nublar has been destroyed. Dinosaurs now live—and hunt—alongside humans all over the world. This fragile balance will reshape the future and determine, once and for all, whether human beings are to remain the apex predators on a planet they now share with history’s most fearsome creatures.
Jurassic World Dominion, from Universal Pictures and Amblin Entertainment, propels the more than $5 billion franchise into daring, uncharted territory, featuring never-seen dinosaurs, breakneck action and astonishing new visual effects. The film features new cast members DeWanda Wise (She’s Gotta Have It), Emmy nominee Mamoudou Athie (Archive 81), Dichen Lachman (Agents of S.H.I.E.L.D.), Scott Haze (Minari) and Campbell Scott (The Amazing Spider-Man 2).
The film’s returning cast includes BD Wong as Dr. Henry Wu, Justice Smith as Franklin Webb, Daniella Pineda as Dr. Zia Rodriguez and Omar Sy as Barry Sembenè.
JURASSIC WORLD: DOMINION
JURASSIC WORLD DOMINION
JURASSIC WORLD DOMINION
JURASSIC WORLD DOMINION
JURASSIC WORLD DOMINION
JURASSIC WORLD DOMINION
JURASSIC WORLD DOMINION
(from left) Dr. Alan Grant (Sam Neill), Maisie Lockwood (Isabella Sermon) and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
BD Wong as Dr. Henry Wu in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
JURASSIC WORLD DOMINION
DeWanda Wise as Kayla Watts in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
Jeff Goldblum as Dr. Ian Malcolm in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
Mamoudou Athie as Ramsay Cole in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
Sam Neill as Dr. Alan Grant in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
(from left) A Giganotosaurus and T. Rex in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
(from left) A baby Nasutoceratops, Dr. Ellie Sattler (Laura Dern) and Dr. Alan Grant (Sam Neill) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
JURASSIC WORLD DOMINION
Claire (BRYCE DALLAS HOWARD) in JURASSIC WORLD DOMINON, directed by Colin Trevorrow
(from left) Kayla Watts (DeWanda Wise), Dr. Ellie Sattler (Laura Dern) and a Giganotosaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
Bryce Dallas Howard as Claire Dearing in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
We wish to thank the writer of this post for this incredible material
";}s:7:"summary";s:659:"Jurassic World Dominion is stomping into theaters on June 10 and in the wake of this morning’s Official Trailer #2, a massive dino-sized image gallery has been shared by Universal. The images highlight both new characters and returning legacy icons, as well as a host of different dinosaurs that we’ll be meeting – some for ... Read more";s:12:"atom_content";s:68402:"
Jurassic World Dominion is stomping into theaters on June 10 and in the wake of this morning’s Official Trailer #2, a massive dino-sized image gallery has been shared by Universal.
The images highlight both new characters and returning legacy icons, as well as a host of different dinosaurs that we’ll be meeting – some for the very first time – this summer.
Check out the full Jurassic World Dominion image gallery below!
This summer, experience the epic conclusion to the Jurassic era as two generations unite for the first time. Chris Pratt and Bryce Dallas Howard are joined by Oscar®-winner Laura Dern, Jeff Goldblum and Sam Neill in Jurassic World Dominion, a bold, timely and breathtaking new adventure that spans the globe.
From Jurassic World architect and director Colin Trevorrow, Dominion takes place four years after Isla Nublar has been destroyed. Dinosaurs now live—and hunt—alongside humans all over the world. This fragile balance will reshape the future and determine, once and for all, whether human beings are to remain the apex predators on a planet they now share with history’s most fearsome creatures.
Jurassic World Dominion, from Universal Pictures and Amblin Entertainment, propels the more than $5 billion franchise into daring, uncharted territory, featuring never-seen dinosaurs, breakneck action and astonishing new visual effects. The film features new cast members DeWanda Wise (She’s Gotta Have It), Emmy nominee Mamoudou Athie (Archive 81), Dichen Lachman (Agents of S.H.I.E.L.D.), Scott Haze (Minari) and Campbell Scott (The Amazing Spider-Man 2).
The film’s returning cast includes BD Wong as Dr. Henry Wu, Justice Smith as Franklin Webb, Daniella Pineda as Dr. Zia Rodriguez and Omar Sy as Barry Sembenè.
JURASSIC WORLD: DOMINION
JURASSIC WORLD DOMINION
JURASSIC WORLD DOMINION
JURASSIC WORLD DOMINION
JURASSIC WORLD DOMINION
JURASSIC WORLD DOMINION
JURASSIC WORLD DOMINION
(from left) Dr. Alan Grant (Sam Neill), Maisie Lockwood (Isabella Sermon) and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
BD Wong as Dr. Henry Wu in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
JURASSIC WORLD DOMINION
DeWanda Wise as Kayla Watts in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
Jeff Goldblum as Dr. Ian Malcolm in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
Mamoudou Athie as Ramsay Cole in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
Sam Neill as Dr. Alan Grant in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
(from left) A Giganotosaurus and T. Rex in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
(from left) A baby Nasutoceratops, Dr. Ellie Sattler (Laura Dern) and Dr. Alan Grant (Sam Neill) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
JURASSIC WORLD DOMINION
Claire (BRYCE DALLAS HOWARD) in JURASSIC WORLD DOMINON, directed by Colin Trevorrow
(from left) Kayla Watts (DeWanda Wise), Dr. Ellie Sattler (Laura Dern) and a Giganotosaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
Bryce Dallas Howard as Claire Dearing in Jurassic World Dominion, co-written and directed by Colin Trevorrow.
We wish to thank the writer of this post for this incredible material
";s:14:"date_timestamp";i:1651192456;}i:1;a:11:{s:5:"title";s:44:"Silent movies to screen in Pomona, Riverside";s:4:"link";s:74:"https://debatepost.com/movies/silent-movies-to-screen-in-pomona-riverside/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 21:49:47 +0000";s:8:"category";s:39:"MoviesmoviesPomonaRiversidescreensilent";s:4:"guid";s:31:"https://debatepost.com/?p=63410";s:11:"description";s:575:"You’ve got two chances to see a classic silent film the next two Saturdays, both with live accompaniment on a vintage pipe organ and in stately settings. One’s in Riverside, one’s in Pomona. Pipe down and I’ll give you the details. • “City Lights,” Charlie Chaplin’s 1931 comedy about a blind flower seller who mistakes ... Read more";s:7:"content";a:1:{s:7:"encoded";s:6669:"
You’ve got two chances to see a classic silent film the next two Saturdays, both with live accompaniment on a vintage pipe organ and in stately settings. One’s in Riverside, one’s in Pomona. Pipe down and I’ll give you the details.
• “City Lights,” Charlie Chaplin’s 1931 comedy about a blind flower seller who mistakes a tramp for a millionaire, will screen at 6:30 p.m. Saturday, April 30, at Pilgrim Congregational Church, 600 N. Garey Ave. in Pomona. Cost: $15.
“City Lights” walks the tightrope between humor and heart. Just when it’s about to fall into bathos, Chaplin undercuts the emotion with a pratfall. If you see only one silent film in your life, this should be it. (But why stop at one?)
It’s said that 100,000 people lined the streets for Valentino’s funeral. Maybe his matador flick will show why that’s no bull.
Personal note: I knew one day I could squeeze Riverside and Pomona into the same item. My thanks — silent ones, in keeping with the movies in question — to the news gods for allowing that to happen. (Cue merry, live organ accompaniment.)
Strike up the band
The Pomona Concert Band will mark its 75th anniversary on Sunday, May 1, with a free concert at 3 p.m. at Ganesha Park, 1575 N. White Ave., at the bandshell. The band is calling this its diamond jubilee. And you thought those were just for queens.
Music will include such disparate works as a march, a “Wizard of Oz” soundtrack medley, a John Williams medley, a fugue, “America the Beautiful” and a solo turn for the tuba. And Bob Selby, son of the band founder Stan Selby, will conduct one number.
How do I rate such confidential info? I’m the emcee. Evidently my first turn at the microphone in December was deemed passable. Come out to hear the band, listen to my dumb comments between songs and say hello (but not during my comments).
As a bonus, because my new book — more about that soon — happens to come out that day, I’ll have a limited number of copies for sale after the concert. Be the first on your block, and likely the last on your block, to buy one!
First comics
After my childhood tale here of my first superhero comic, issue 101 of The Avengers, released in April 1972, reader Dave Null of Claremont told me his first comic books were a batch of 1950s EC Comics, including a science fiction issue with the classic story “Judgment Day.”
This matter-of-fact story of an astronaut from the Galactic Alliance has a remarkable twist ending: The astronaut is revealed to be Black. Heady stuff for 1953. No less than Ray Bradbury wrote a fan letter to EC, saying the story “should be required reading for every man, woman and child in the United States.”
“I was stunned,” says Null, who was 7 when he read the comic. He adds: “I’m so glad my older brother shoplifted these comics so I could read them.”
Comics (cont’d)
“Too bad you didn’t start with Avengers #100,” reader and old-time Avengers fan Charles Bentley laments concerning the title’s March 1972 release. “That was a landmark issue that featured all the team members assembled from the first 100 issues. No wonder 101 used a slightly disjointed plot line; it had to follow a truly epic issue.”
I emailed my column to Roy Thomas, then the writer of The Avengers. Now 81, he’s best known not only as Stan Lee’s protege at Marvel Comics in the 1960s and ’70s but as the writer who adapted Conan the Barbarian and “Star Wars” for comics.
Careful readers will recall that I said the story was adapted from an outline by prominent science fiction writer Harlan Ellison and that the result was too adult for me at age 8. The next comic I bought was an issue of the far more straightforward The Pink Panther.
But two years later I gave Marvel another chance and it took. I still read their comics.
Roy says readers had responded positively to an earlier two-parter in Avengers and The Incredible Hulk plotted by Ellison, who was enough of a name that Roy decided to adapt a plot Ellison had written for rival DC that had been rejected. Ellison’s name was prominently featured on #101’s cover, a rarity for creators back then.
“Lots of people liked that issue, and it sold as well as others and didn’t hurt future sales, so in that sense it was a success,” Roy replies. “I’ll agree it was a bit sophisticated and hard to squeeze intelligibly into one issue…But I’m glad I did it, and I’m glad you were in the minority. Glad you gave Marvel a second try later.”
Roy concludes impishly: “Personally, I feel Avengers #101 was probably better than any issue of The Pink Panther, but that’s just me.”
David Allen writes Friday, Sunday and Wednesday, but that’s just him. Email dallen@scng.com, phone 909-483-9339, like davidallencolumnist on Facebook and follow @davidallen909 on Twitter.
We want to thank the writer of this article for this amazing material
";}s:7:"summary";s:575:"You’ve got two chances to see a classic silent film the next two Saturdays, both with live accompaniment on a vintage pipe organ and in stately settings. One’s in Riverside, one’s in Pomona. Pipe down and I’ll give you the details. • “City Lights,” Charlie Chaplin’s 1931 comedy about a blind flower seller who mistakes ... Read more";s:12:"atom_content";s:6669:"
You’ve got two chances to see a classic silent film the next two Saturdays, both with live accompaniment on a vintage pipe organ and in stately settings. One’s in Riverside, one’s in Pomona. Pipe down and I’ll give you the details.
• “City Lights,” Charlie Chaplin’s 1931 comedy about a blind flower seller who mistakes a tramp for a millionaire, will screen at 6:30 p.m. Saturday, April 30, at Pilgrim Congregational Church, 600 N. Garey Ave. in Pomona. Cost: $15.
“City Lights” walks the tightrope between humor and heart. Just when it’s about to fall into bathos, Chaplin undercuts the emotion with a pratfall. If you see only one silent film in your life, this should be it. (But why stop at one?)
It’s said that 100,000 people lined the streets for Valentino’s funeral. Maybe his matador flick will show why that’s no bull.
Personal note: I knew one day I could squeeze Riverside and Pomona into the same item. My thanks — silent ones, in keeping with the movies in question — to the news gods for allowing that to happen. (Cue merry, live organ accompaniment.)
Strike up the band
The Pomona Concert Band will mark its 75th anniversary on Sunday, May 1, with a free concert at 3 p.m. at Ganesha Park, 1575 N. White Ave., at the bandshell. The band is calling this its diamond jubilee. And you thought those were just for queens.
Music will include such disparate works as a march, a “Wizard of Oz” soundtrack medley, a John Williams medley, a fugue, “America the Beautiful” and a solo turn for the tuba. And Bob Selby, son of the band founder Stan Selby, will conduct one number.
How do I rate such confidential info? I’m the emcee. Evidently my first turn at the microphone in December was deemed passable. Come out to hear the band, listen to my dumb comments between songs and say hello (but not during my comments).
As a bonus, because my new book — more about that soon — happens to come out that day, I’ll have a limited number of copies for sale after the concert. Be the first on your block, and likely the last on your block, to buy one!
First comics
After my childhood tale here of my first superhero comic, issue 101 of The Avengers, released in April 1972, reader Dave Null of Claremont told me his first comic books were a batch of 1950s EC Comics, including a science fiction issue with the classic story “Judgment Day.”
This matter-of-fact story of an astronaut from the Galactic Alliance has a remarkable twist ending: The astronaut is revealed to be Black. Heady stuff for 1953. No less than Ray Bradbury wrote a fan letter to EC, saying the story “should be required reading for every man, woman and child in the United States.”
“I was stunned,” says Null, who was 7 when he read the comic. He adds: “I’m so glad my older brother shoplifted these comics so I could read them.”
Comics (cont’d)
“Too bad you didn’t start with Avengers #100,” reader and old-time Avengers fan Charles Bentley laments concerning the title’s March 1972 release. “That was a landmark issue that featured all the team members assembled from the first 100 issues. No wonder 101 used a slightly disjointed plot line; it had to follow a truly epic issue.”
I emailed my column to Roy Thomas, then the writer of The Avengers. Now 81, he’s best known not only as Stan Lee’s protege at Marvel Comics in the 1960s and ’70s but as the writer who adapted Conan the Barbarian and “Star Wars” for comics.
Careful readers will recall that I said the story was adapted from an outline by prominent science fiction writer Harlan Ellison and that the result was too adult for me at age 8. The next comic I bought was an issue of the far more straightforward The Pink Panther.
But two years later I gave Marvel another chance and it took. I still read their comics.
Roy says readers had responded positively to an earlier two-parter in Avengers and The Incredible Hulk plotted by Ellison, who was enough of a name that Roy decided to adapt a plot Ellison had written for rival DC that had been rejected. Ellison’s name was prominently featured on #101’s cover, a rarity for creators back then.
“Lots of people liked that issue, and it sold as well as others and didn’t hurt future sales, so in that sense it was a success,” Roy replies. “I’ll agree it was a bit sophisticated and hard to squeeze intelligibly into one issue…But I’m glad I did it, and I’m glad you were in the minority. Glad you gave Marvel a second try later.”
Roy concludes impishly: “Personally, I feel Avengers #101 was probably better than any issue of The Pink Panther, but that’s just me.”
David Allen writes Friday, Sunday and Wednesday, but that’s just him. Email dallen@scng.com, phone 909-483-9339, like davidallencolumnist on Facebook and follow @davidallen909 on Twitter.
We want to thank the writer of this article for this amazing material
";s:14:"date_timestamp";i:1651182587;}i:2;a:11:{s:5:"title";s:38:"Help pick the best baseball movie ever";s:4:"link";s:69:"https://debatepost.com/movies/help-pick-the-best-baseball-movie-ever/";s:2:"dc";a:1:{s:7:"creator";s:11:"David Lonit";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 18:34:39 +0000";s:8:"category";s:23:"Moviesbaseballmoviepick";s:4:"guid";s:31:"https://debatepost.com/?p=63322";s:11:"description";s:537:"It’s one thing to like a different team from your friends. After all, your fandom could come from where you grew up, or perhaps your parents indoctrinated you into the club early on, or there was a favorite player who caught your eye. But to like different baseball movies? That’s a matter of taste, of ... Read more";s:7:"content";a:1:{s:7:"encoded";s:8834:"
It’s one thing to like a different team from your friends. After all, your fandom could come from where you grew up, or perhaps your parents indoctrinated you into the club early on, or there was a favorite player who caught your eye. But to like different baseball movies? That’s a matter of taste, of discernment, of emotional intelligence. How can you, a “Bull Durham” fanatic, for instance, possibly have anything in common with someone who only respects “Rookie of the Year” as the greatest baseball movie of all time?
Well, that’s what we want to determine once and for all: Just what is the best bleacher feature ever created?
There are certainly some fan favorites that didn’t make this inner-circle list. “Rhubarb,” the movie about a cat owning the St. Louis Cardinals — a perfect film, if I do editorialize for a moment, didn’t make the list. Nor did “Mr. Go,” the fantastic Korean film about a baseball-bashing gorilla. But the movies that are so beloved that we ignore Rogers Hornsby’s advice and watch them all winter long? Those are on the list.
We’ve broken the bracket into four categories. There’s Hollywood endings, where the tears can flow freely; Based on a True Story for remarkable tales ripped straight from the ballfield; Let the Kids Play featuring a bunch of little rapscallions playing ball; and finally Best Ensemble because everyone knows a team is only as strong as its weakest link.
Before we get to the full bracket, we have some seriously tough matchups in the play-in round. Instead of having just a head-to-head matchup, we’ve got a full gladiatorial battle: Four films enter and only one can advance. Here are the initial matchups and then head over to @MLB’s Instagram stories to vote.
Hollywood Endings: Play-in Round
Mr. Baseball, featuring the always-mustachioed Tom Selleck heading to Japan to learn about baseball and himself, starts things off:
The Naked Gun, which features the greatest moment in umpiring history and Reggie Jackson providing a terrifying threat to the monarchy:
The Scout, starring everyone’s hero, Brendan Fraser, as the most incredible diamond in the rough any team has ever found:
Finally, there’s the 1994 remake of Angels in the Outfield. Starring a precocious Joseph Gordon-Levitt, Danny Glover and Christopher Lloyd, the film finally answers the question: Does God intervene in sporting events?
Based on a True Story: Play-in Round
First up is The Rookie, a movie that chronicles the stuff of every baseball fan’s dream: Going from mild-mannered schoolteacher to Major League pitcher deep into your 30s.
Million Dollar Arm follows the remarkable story of Rinku Singh and Dinesh Patel, two Indian pitchers who won a reality show competition to play professional baseball:
Directed by comedian and Yankees superfan Billy Crystal, 61* follows Mickey Mantle and Roger Maris during the highest highs and lowest lows they experienced during their chase for Babe Ruth’s single-season home run record in 1961:
We wrap up this part of the bracket with the classic The Pride of the Yankees. Gary Cooper stars in this ode to the legendary Yankee, Lou Gehrig.
Let The Kids Play: Play-In Round
Leading off, we’ve got Little Big League, the story of how one kid actually can manage the team better than the actual pros:
Everyone’s Hero is an animated film that follows the exploits of Babe Ruth’s bat, Darlin’, and the lengths one boy goes to make sure it’s returned to its proper owner:
Hardball stars the ageless, peerless, unstoppable Keanu Reeves, who starts managing a youth team from Chicago’s housing projects to pay off his gambling debts. Perhaps most importantly, the film features Michael B. Jordan in his first big screen role:
We wrap up this matchup with The Perfect Game, about how the Industrial Little League of Monterrey, Mexico, became the first team outside of the U.S. to win the Little League World Series. Not to spoil the ending, but pitcher Ángel Macías is still the only pitcher to throw a perfect game in championship game history.
Best Ensemble: Play-in Round
The lone musical on our list, here is a mix of baseball and Faustian myth in the classic film Damn Yankees (not to be confused with the 1980s hair metal band).
Fever Pitch follows luckless Red Sox fan Jimmy Fallon, who is always waiting for next year. Only problem: During filming, the 2004 Red Sox went and won the World Series, necessitating a new ending to be written and shot … on the field with the players.
Trouble with the Curve is, shockingly, more about baseball scouts than “The Scout.” This thing is just star-studded with Clint Eastwood, Amy Adams and, yes, Justin Timberlake getting top billing.
The Bingo Long Traveling All-Stars & Motor Kings is a truly star-studded movie that earns its title with Richard Pryor, James Earl Jones and Billy Dee Williams leading the cast. It follows the story of Negro League players breaking away from their teams to form their own barnstorming club during the 1930s.
Come back Monday to see who advanced to the Bleacher Features bracket. And be sure to check out the upcoming Bleacher Features on MLB Network. View the schedule here. To find your channel, visit FindMLBNetwork.com.
We would love to give thanks to the author of this post for this incredible content
";}s:7:"summary";s:537:"It’s one thing to like a different team from your friends. After all, your fandom could come from where you grew up, or perhaps your parents indoctrinated you into the club early on, or there was a favorite player who caught your eye. But to like different baseball movies? That’s a matter of taste, of ... Read more";s:12:"atom_content";s:8834:"
It’s one thing to like a different team from your friends. After all, your fandom could come from where you grew up, or perhaps your parents indoctrinated you into the club early on, or there was a favorite player who caught your eye. But to like different baseball movies? That’s a matter of taste, of discernment, of emotional intelligence. How can you, a “Bull Durham” fanatic, for instance, possibly have anything in common with someone who only respects “Rookie of the Year” as the greatest baseball movie of all time?
Well, that’s what we want to determine once and for all: Just what is the best bleacher feature ever created?
There are certainly some fan favorites that didn’t make this inner-circle list. “Rhubarb,” the movie about a cat owning the St. Louis Cardinals — a perfect film, if I do editorialize for a moment, didn’t make the list. Nor did “Mr. Go,” the fantastic Korean film about a baseball-bashing gorilla. But the movies that are so beloved that we ignore Rogers Hornsby’s advice and watch them all winter long? Those are on the list.
We’ve broken the bracket into four categories. There’s Hollywood endings, where the tears can flow freely; Based on a True Story for remarkable tales ripped straight from the ballfield; Let the Kids Play featuring a bunch of little rapscallions playing ball; and finally Best Ensemble because everyone knows a team is only as strong as its weakest link.
Before we get to the full bracket, we have some seriously tough matchups in the play-in round. Instead of having just a head-to-head matchup, we’ve got a full gladiatorial battle: Four films enter and only one can advance. Here are the initial matchups and then head over to @MLB’s Instagram stories to vote.
Hollywood Endings: Play-in Round
Mr. Baseball, featuring the always-mustachioed Tom Selleck heading to Japan to learn about baseball and himself, starts things off:
The Naked Gun, which features the greatest moment in umpiring history and Reggie Jackson providing a terrifying threat to the monarchy:
The Scout, starring everyone’s hero, Brendan Fraser, as the most incredible diamond in the rough any team has ever found:
Finally, there’s the 1994 remake of Angels in the Outfield. Starring a precocious Joseph Gordon-Levitt, Danny Glover and Christopher Lloyd, the film finally answers the question: Does God intervene in sporting events?
Based on a True Story: Play-in Round
First up is The Rookie, a movie that chronicles the stuff of every baseball fan’s dream: Going from mild-mannered schoolteacher to Major League pitcher deep into your 30s.
Million Dollar Arm follows the remarkable story of Rinku Singh and Dinesh Patel, two Indian pitchers who won a reality show competition to play professional baseball:
Directed by comedian and Yankees superfan Billy Crystal, 61* follows Mickey Mantle and Roger Maris during the highest highs and lowest lows they experienced during their chase for Babe Ruth’s single-season home run record in 1961:
We wrap up this part of the bracket with the classic The Pride of the Yankees. Gary Cooper stars in this ode to the legendary Yankee, Lou Gehrig.
Let The Kids Play: Play-In Round
Leading off, we’ve got Little Big League, the story of how one kid actually can manage the team better than the actual pros:
Everyone’s Hero is an animated film that follows the exploits of Babe Ruth’s bat, Darlin’, and the lengths one boy goes to make sure it’s returned to its proper owner:
Hardball stars the ageless, peerless, unstoppable Keanu Reeves, who starts managing a youth team from Chicago’s housing projects to pay off his gambling debts. Perhaps most importantly, the film features Michael B. Jordan in his first big screen role:
We wrap up this matchup with The Perfect Game, about how the Industrial Little League of Monterrey, Mexico, became the first team outside of the U.S. to win the Little League World Series. Not to spoil the ending, but pitcher Ángel Macías is still the only pitcher to throw a perfect game in championship game history.
Best Ensemble: Play-in Round
The lone musical on our list, here is a mix of baseball and Faustian myth in the classic film Damn Yankees (not to be confused with the 1980s hair metal band).
Fever Pitch follows luckless Red Sox fan Jimmy Fallon, who is always waiting for next year. Only problem: During filming, the 2004 Red Sox went and won the World Series, necessitating a new ending to be written and shot … on the field with the players.
Trouble with the Curve is, shockingly, more about baseball scouts than “The Scout.” This thing is just star-studded with Clint Eastwood, Amy Adams and, yes, Justin Timberlake getting top billing.
The Bingo Long Traveling All-Stars & Motor Kings is a truly star-studded movie that earns its title with Richard Pryor, James Earl Jones and Billy Dee Williams leading the cast. It follows the story of Negro League players breaking away from their teams to form their own barnstorming club during the 1930s.
Come back Monday to see who advanced to the Bleacher Features bracket. And be sure to check out the upcoming Bleacher Features on MLB Network. View the schedule here. To find your channel, visit FindMLBNetwork.com.
We would love to give thanks to the author of this post for this incredible content
";s:14:"date_timestamp";i:1651170879;}i:3;a:11:{s:5:"title";s:75:"New movies to stream this week: ‘I Love America,’ ‘7 Days’ and more";s:4:"link";s:92:"https://debatepost.com/movies/new-movies-to-stream-this-week-i-love-america-7-days-and-more/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 14:45:11 +0000";s:8:"category";s:37:"MoviesAmericadayslovemoviesstreamweek";s:4:"guid";s:31:"https://debatepost.com/?p=63235";s:11:"description";s:651:"Placeholder while article actions load Does Lisa Azuelos love America? I’m not sure, but based on the evidence of the movie “I Love America” — which the French filmmaker has described as 99 percent “my life” — she sure does seem to have a soft spot for American movies, especially the conventions of romantic comedies ... Read more";s:7:"content";a:1:{s:7:"encoded";s:9575:"
Does Lisa Azuelos love America? I’m not sure, but based on the evidence of the movie “I Love America” — which the French filmmaker has described as 99 percent “my life” — she sure does seem to have a soft spot for American movies, especially the conventions of romantic comedies and their Hollywood happy endings. Azuelos’s math might be a little off, but the film, which reunites her with her cinematic muse and alter ego Sophie Marceau (star of the director’s “LOL” and other collaborations), closely follows the contours of Azuelos’s own biography. It begins with Marceau (also called Lisa here) moving to La La Land after the death of her mother, as Azuelos did. Once there — and with her grown kids back in France, like Azuelos’s — the 50-year-old “Lisa” of the movie embarks on a hot romance with a 29-year-old (!) she has met via a dating app (Colin Woodell), at the insistence of her lonely gay BFF Luka (Djanis Bouzyani), who could use a little of Lisa’s luck in love himself. Be patient: Good things will come to all who don’t give up on this meringue-like confection, if they can stand how often Lisa and Luka call each other “bébé.” How close does everything in the film track with Azuelos’s life? Who cares? It barely feels like anyone’s real life, to be honest. But isn’t that why a lot of us go to the movies — or, in this case, Amazon Prime Video — in the first place? Unrated. Available on Amazon. Contains strong language, nudity, sensuality, drug use and smoking. In French and English with subtitles. 102 minutes.
Up-and-comers Geraldine Viswanathan (“The Broken Hearts Gallery”) and Karan Soni (“Always Be My Maybe”) star in “7 Days,” a romantic comedy about two young people whose blind date — set up by their old-fashioned Indian parents — turns into a week of togetherness when covid forces them to shelter in place. The Hollywood Reporter calls it “charming.” Unrated. Available on demand. 86 minutes.
In the thriller “The Aviary,” two women (Malin Akerman and Lorenza Izzo) fleeing the remote desert campus of a cult they have joined are pursued by the cult’s leader (Chris Messina). R. Available on demand. Contains strong language and some violence. 96 minutes.
“Crush” is a gay high school rom-com about two teenage girls (Auli’i Cravalho and Rowan Blanchard) who find love on the track team. Megan Mullally and Aasif Mandvi also star. TV-MA. Available on Hulu. 90 minutes.
The cyber-thriller sequel “Fortress: Sniper’s Eye” reunites Bruce Willis with Chad Michael Murray. R. Available on demand. Contains violence and strong language. 87 minutes.
Franz Rogowski (“Great Freedom”) stars in “Luzifer,” an Austrian horror film about a childlike man whose quiet life in the Alps with his hyper-religious mother is turned upside down when a developer begins to build a ski lift near their secluded home, unleashing nightmarish consequences. According to the New York Times, the film “conjures palpable unease, rattling the nervous system.” Unrated. Available on Mubi. In German with subtitles. 103 minutes.
The documentary “The Mystery of Marilyn Monroe: The Unheard Tapes” is built around hundreds of hours of recorded interviews conducted by investigative journalist Anthony Summer, author of “Goddess: The Secret Lives of Marilyn Monroe.” TV-14. Available on Netflix. 101 minutes.
From director Barry Levinson (“Rain Man”), “The Survivor” tells the true story of Auschwitz survivor Harry Haft (Ben Foster), who was forced by his captors to compete in gladiatorial boxing matches with his fellow prisoners. The Chicago Sun-Times calls Foster’s performance “haunting work.” R. Available on HBO Max. Contains disturbing violence, strong language and some nudity. 129 minutes.
Nikolaj Coster-Waldau (“Game of Thrones”) and Katrine Greis-Rosenthal star in the Danish drama “A Taste of Hunger,” a romance about an ambitious power couple within the Copenhagen foodie scene. The result, according to Variety, “certainly isn’t fast food, but neither is it fine dining.” Unrated. Available on Amazon, Apple TV Plus, Google Play, Vudu, FandangoNow, DirecTV and other on-demand platforms. In Danish with subtitles. 103 minutes.
Matt Walsh and Eva Longoria star in “Unplugging,” a romantic comedy about a husband and wife who try to bring a spark back to their relationship via a rustic getaway without kids, phones or social media, only to find that things don’t go as planned. According to the Austin Chronicle, the film is “hamstrung by its ricocheting tone and undercut by sequences that probably provoked chuckles during the initial read-through but too often fall flat in the finished product.” R. Available on demand. Contains strong language, sex and brief drug use. 94 minutes.
We wish to say thanks to the writer of this post for this outstanding material
";}s:7:"summary";s:651:"Placeholder while article actions load Does Lisa Azuelos love America? I’m not sure, but based on the evidence of the movie “I Love America” — which the French filmmaker has described as 99 percent “my life” — she sure does seem to have a soft spot for American movies, especially the conventions of romantic comedies ... Read more";s:12:"atom_content";s:9575:"
Does Lisa Azuelos love America? I’m not sure, but based on the evidence of the movie “I Love America” — which the French filmmaker has described as 99 percent “my life” — she sure does seem to have a soft spot for American movies, especially the conventions of romantic comedies and their Hollywood happy endings. Azuelos’s math might be a little off, but the film, which reunites her with her cinematic muse and alter ego Sophie Marceau (star of the director’s “LOL” and other collaborations), closely follows the contours of Azuelos’s own biography. It begins with Marceau (also called Lisa here) moving to La La Land after the death of her mother, as Azuelos did. Once there — and with her grown kids back in France, like Azuelos’s — the 50-year-old “Lisa” of the movie embarks on a hot romance with a 29-year-old (!) she has met via a dating app (Colin Woodell), at the insistence of her lonely gay BFF Luka (Djanis Bouzyani), who could use a little of Lisa’s luck in love himself. Be patient: Good things will come to all who don’t give up on this meringue-like confection, if they can stand how often Lisa and Luka call each other “bébé.” How close does everything in the film track with Azuelos’s life? Who cares? It barely feels like anyone’s real life, to be honest. But isn’t that why a lot of us go to the movies — or, in this case, Amazon Prime Video — in the first place? Unrated. Available on Amazon. Contains strong language, nudity, sensuality, drug use and smoking. In French and English with subtitles. 102 minutes.
Up-and-comers Geraldine Viswanathan (“The Broken Hearts Gallery”) and Karan Soni (“Always Be My Maybe”) star in “7 Days,” a romantic comedy about two young people whose blind date — set up by their old-fashioned Indian parents — turns into a week of togetherness when covid forces them to shelter in place. The Hollywood Reporter calls it “charming.” Unrated. Available on demand. 86 minutes.
In the thriller “The Aviary,” two women (Malin Akerman and Lorenza Izzo) fleeing the remote desert campus of a cult they have joined are pursued by the cult’s leader (Chris Messina). R. Available on demand. Contains strong language and some violence. 96 minutes.
“Crush” is a gay high school rom-com about two teenage girls (Auli’i Cravalho and Rowan Blanchard) who find love on the track team. Megan Mullally and Aasif Mandvi also star. TV-MA. Available on Hulu. 90 minutes.
The cyber-thriller sequel “Fortress: Sniper’s Eye” reunites Bruce Willis with Chad Michael Murray. R. Available on demand. Contains violence and strong language. 87 minutes.
Franz Rogowski (“Great Freedom”) stars in “Luzifer,” an Austrian horror film about a childlike man whose quiet life in the Alps with his hyper-religious mother is turned upside down when a developer begins to build a ski lift near their secluded home, unleashing nightmarish consequences. According to the New York Times, the film “conjures palpable unease, rattling the nervous system.” Unrated. Available on Mubi. In German with subtitles. 103 minutes.
The documentary “The Mystery of Marilyn Monroe: The Unheard Tapes” is built around hundreds of hours of recorded interviews conducted by investigative journalist Anthony Summer, author of “Goddess: The Secret Lives of Marilyn Monroe.” TV-14. Available on Netflix. 101 minutes.
From director Barry Levinson (“Rain Man”), “The Survivor” tells the true story of Auschwitz survivor Harry Haft (Ben Foster), who was forced by his captors to compete in gladiatorial boxing matches with his fellow prisoners. The Chicago Sun-Times calls Foster’s performance “haunting work.” R. Available on HBO Max. Contains disturbing violence, strong language and some nudity. 129 minutes.
Nikolaj Coster-Waldau (“Game of Thrones”) and Katrine Greis-Rosenthal star in the Danish drama “A Taste of Hunger,” a romance about an ambitious power couple within the Copenhagen foodie scene. The result, according to Variety, “certainly isn’t fast food, but neither is it fine dining.” Unrated. Available on Amazon, Apple TV Plus, Google Play, Vudu, FandangoNow, DirecTV and other on-demand platforms. In Danish with subtitles. 103 minutes.
Matt Walsh and Eva Longoria star in “Unplugging,” a romantic comedy about a husband and wife who try to bring a spark back to their relationship via a rustic getaway without kids, phones or social media, only to find that things don’t go as planned. According to the Austin Chronicle, the film is “hamstrung by its ricocheting tone and undercut by sequences that probably provoked chuckles during the initial read-through but too often fall flat in the finished product.” R. Available on demand. Contains strong language, sex and brief drug use. 94 minutes.
We wish to say thanks to the writer of this post for this outstanding material
";s:14:"date_timestamp";i:1651157111;}i:4;a:11:{s:5:"title";s:67:"How the sci-fi tech in Marvel movies influences real-world products";s:4:"link";s:98:"https://debatepost.com/movies/how-the-sci-fi-tech-in-marvel-movies-influences-real-world-products/";s:2:"dc";a:1:{s:7:"creator";s:11:"David Lonit";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 12:32:46 +0000";s:8:"category";s:54:"MoviesinfluencesMarvelmoviesproductsrealworldSciFitech";s:4:"guid";s:31:"https://debatepost.com/?p=63171";s:11:"description";s:639:"The lines between fiction and reality are blurry for John LePore. As a futurist and creative director who works on both movies and products, LePore not only crisscrosses these borders — he helps shape them. Much of his work has been done with Perception, a New York-based design lab. The Emmy-nominated team creates future tech ... Read more";s:7:"content";a:1:{s:7:"encoded";s:12816:"
The lines between fiction and reality are blurry for John LePore.
As a futurist and creative director who works on both movies and products, LePore not only crisscrosses these borders — he helps shape them.
Much of his work has been done with Perception, a New York-based design lab.
The Emmy-nominated team creates future tech for sci-fi blockbusters and real-world devices, from gadgets in Marvel films to gauges for rocket ships.
The two worlds frequently inspire each other.
“It’s not a one-way street — it’s a never-ending loop,” LePore tells TNW.
Perception conceptualized Tony Stark’s smart mirror, glass phone, and Jarvis AI system. Credit: Perception
When working on films, LePore insists on making fictional tech believable by grounding it in real scientific advances.
“That gives us some ideas that are feasible and possible, and then we try to extrapolate them further into the future,” he says.
The fantastical ideas then feed back into real-world products – such as the dashboards for GMC’s new Hummer EV.
Perception harnessed a sci-fi aesthetic to give drivers glanceable data about the vehicle.
The display combines a lunar backdrop with a tactical layout that prioritizes clarity over decoration.
“We often use technology as an important narrative device that might appear on screen for less than a second,” says LePore. “It needs to communicate information in a way that is dense, yet crystal clear.”
“The same techniques developed for films will make information appear in a car so you can comprehend it in the shortest period of time possible.”
Further cinematic flourishes are found in the various animations, from a welcome video based on a solar event to mode changes that traverse through dramatic environments.
“Having a little bit of that cinematic magic sprinkled into real-world tech inspires forward momentum in enormous, multifaceted organizations that can have a difficult time spurring rapid innovation,” says LePore.
“That forward-thinking view of technology permeates throughout the entire Hummer EV operating system, in how we’re presenting stuff to feel as future-forward as possible, without it also turning into a parody of the future.”
The Hummer’s app provides access to various instruments and visualizations. Credit: Perception
One film favorite that he doesn’t expect to soon be replicated in reality is volumetric holograms projected into midair.
“I think it’s going to be leapfrogged by augmented reality, which can already present things into your field of view as if they were a hologram.”
He points to Perception’s work on Captain America: The Winter Soldier. During an intense car chase, the titular character uses an AR display on his windshield to evade his enemies.
In yet another case of life imitating art, Perception applied this idea to an AR experience for Jeep. The project envisioned using the windshield display to avoid a crash with a speeding ambulance.
“We don’t see text on the screen saying, ‘Ambulance round the corner.’ Instead, we just show a red flashing ambulance moving through the intersection,” says LePore.
“It’s clear and concise enough for the driver to see what’s coming in a fraction of a second.”
Whether working in life or art, LePoe wants every pixel to have a purpose.
Did you know John LePore is speaking at theTNW Conferencethis summer? Check out the full list of speakers here.
We would like to thank the author of this article for this remarkable content
";}s:7:"summary";s:639:"The lines between fiction and reality are blurry for John LePore. As a futurist and creative director who works on both movies and products, LePore not only crisscrosses these borders — he helps shape them. Much of his work has been done with Perception, a New York-based design lab. The Emmy-nominated team creates future tech ... Read more";s:12:"atom_content";s:12816:"
The lines between fiction and reality are blurry for John LePore.
As a futurist and creative director who works on both movies and products, LePore not only crisscrosses these borders — he helps shape them.
Much of his work has been done with Perception, a New York-based design lab.
The Emmy-nominated team creates future tech for sci-fi blockbusters and real-world devices, from gadgets in Marvel films to gauges for rocket ships.
The two worlds frequently inspire each other.
“It’s not a one-way street — it’s a never-ending loop,” LePore tells TNW.
Perception conceptualized Tony Stark’s smart mirror, glass phone, and Jarvis AI system. Credit: Perception
When working on films, LePore insists on making fictional tech believable by grounding it in real scientific advances.
“That gives us some ideas that are feasible and possible, and then we try to extrapolate them further into the future,” he says.
The fantastical ideas then feed back into real-world products – such as the dashboards for GMC’s new Hummer EV.
Perception harnessed a sci-fi aesthetic to give drivers glanceable data about the vehicle.
The display combines a lunar backdrop with a tactical layout that prioritizes clarity over decoration.
“We often use technology as an important narrative device that might appear on screen for less than a second,” says LePore. “It needs to communicate information in a way that is dense, yet crystal clear.”
“The same techniques developed for films will make information appear in a car so you can comprehend it in the shortest period of time possible.”
Further cinematic flourishes are found in the various animations, from a welcome video based on a solar event to mode changes that traverse through dramatic environments.
“Having a little bit of that cinematic magic sprinkled into real-world tech inspires forward momentum in enormous, multifaceted organizations that can have a difficult time spurring rapid innovation,” says LePore.
“That forward-thinking view of technology permeates throughout the entire Hummer EV operating system, in how we’re presenting stuff to feel as future-forward as possible, without it also turning into a parody of the future.”
The Hummer’s app provides access to various instruments and visualizations. Credit: Perception
One film favorite that he doesn’t expect to soon be replicated in reality is volumetric holograms projected into midair.
“I think it’s going to be leapfrogged by augmented reality, which can already present things into your field of view as if they were a hologram.”
He points to Perception’s work on Captain America: The Winter Soldier. During an intense car chase, the titular character uses an AR display on his windshield to evade his enemies.
In yet another case of life imitating art, Perception applied this idea to an AR experience for Jeep. The project envisioned using the windshield display to avoid a crash with a speeding ambulance.
“We don’t see text on the screen saying, ‘Ambulance round the corner.’ Instead, we just show a red flashing ambulance moving through the intersection,” says LePore.
“It’s clear and concise enough for the driver to see what’s coming in a fraction of a second.”
Whether working in life or art, LePoe wants every pixel to have a purpose.
Did you know John LePore is speaking at theTNW Conferencethis summer? Check out the full list of speakers here.
We would like to thank the author of this article for this remarkable content
";s:14:"date_timestamp";i:1651149166;}i:5;a:11:{s:5:"title";s:37:"Avatar: The Movie That History Forgot";s:4:"link";s:67:"https://debatepost.com/movies/avatar-the-movie-that-history-forgot/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 07:44:50 +0000";s:8:"category";s:30:"MoviesavatarForgothistorymovie";s:4:"guid";s:31:"https://debatepost.com/?p=63031";s:11:"description";s:636:"This morning, I woke up, bolt upright, drenched in sweat from an unhinged, unnamed nightmare. This morning, I remembered the movie Avatar existed. “Avatar,” I whispered to myself. “Remember Avatar? The movie about the blue… things?” Unobtanium… floating mountains… Sam Worthington as a Hollywood lead… Hair sex. Wait, hair sex? My long-entrenched memories were dislodged, most ... Read more";s:7:"content";a:1:{s:7:"encoded";s:8993:"
This morning, I woke up, bolt upright, drenched in sweat from an unhinged, unnamed nightmare.
This morning, I remembered the movie Avatar existed.
“Avatar,” I whispered to myself. “Remember Avatar? The movie about the blue… things?”
Unobtanium… floating mountains… Sam Worthington as a Hollywood lead…
Hair sex.
Wait, hair sex?
My long-entrenched memories were dislodged, most likely, by news that Avatar’s long-gestating sequel finally has a name: Avatar: The Way of Water.
As part of that announcement, a remastered re-release of the original Avatar was also announced. A re-release scheduled, I suspect, the counter the collective Avatar brain wipe. To remind people Avatar was a thing that existed.
Because Avatar is the movie history forgot.
Remember Avatar?
If a temperamental volcano decided to violently erupt — Pompeii style — coating my entire suburb in lava, future historians, I bet, would be able to almost perfectly reconstruct 21st century culture using the stuff lying around my house.
Remember when Sam Worthington was a Hollywood lead?
Disney
A toy whip from Indiana Jones. When you hold down a button, it plays John Williams’ iconic score. When you make a whipping motion, it generates an amazing whipping noise. Best toy ever.
An Iron Man suit. Not an actual Iron Man suit, like a dress-up one, for kids. I should know, I have tried (and failed) to wear the thing multiple times.
Star Wars stuff. So much Star Wars stuff: books, Lego, Blu-rays, posters, toys.
But historians, after spending months poring through dust and DVDs I refused to throw in the bin, will find nothing in my house to confirm that Avatar existed or had any cultural impact on this strange bi-pedal race that collected pogs for some reason.
It is insane. How does a movie that so many people paid to watch have such a minuscule footprint on our collective culture?
Scrolling through the list of box office high performers, even the most casual fan of cinema can make connections. Think Titanic, think Celine and steamy sex in a car. Star Wars is Star Wars. Avengers is the new Star Wars.
Adjust for inflation and the connections are even stronger. Gone With The Wind and “frankly my dear, I don’t give a damn.” E.T., The Sound of Music. These movies reverberate throughout history in ways we’ll never be able to shake out.
In a list that powerful, Avatar feels like a drunken one-night stand.
Was Avatar a bad movie? I don’t think so. Avatar was a bizarre, post-colonial Pocahontas you could accuse of being mildly racist — but it was almost too stupid to be racist in any real damaging sense. It was a cinematic experience elevated by a heroic commitment to world building and aesthetic but brought back down to earth with clunky dialogue and a wooden Sam Worthington performance.
But none of that stopped Star Wars from inspiring a broad sense of wonder and possibility in an entire generation of kids (and adults). My kids dress up as the Avengers every goddamn day. My oldest still swings around a toy lightsaber. The idea that either of my children might dress up as blue Avatar people (what do you call them… Na’vi?) is insane.
Why did Avatar rake in all that dough but retain none of the cultural cachet?
Maybe it’s because it sorta sucked. Mediocre movies can make money — Aquaman took in almost $1.2 billion — but average movies rarely make it to that $2 billion mark without the word of mouth and repeat viewings. A movie almost has to become a cultural event to rake in that kind of bread.
And that’s almost certainly the key here, the reason why Avatar made so much money yet lurks in the shadows like a strange uncle squatting in the attic of our subconsciousness is that Avatar wasn’t a cultural event, it was a tech event.
Unlike most of the movies in the box office top 10, Avatar wasn’t a sweeping epic entry to a story we’re invested in. It’s not an epic conclusion to a brilliantly executed cinematic universe.
Avatar was about strapping a set of 3D glasses to your face to see what all the fuss was about. The movie was almost secondary. It wasn’t designed to be forgettable, but it was forgettable nonetheless.
3D. Remember 3D? You might not remember Avatar, but you almost certainly remember 3D.
Remember paying extra to put on a set of dark glasses and suppress vomit on movies that had 3D but sure as hell weren’t designed from the ground up to work in 3D. Remember TVs that came with one pair of glasses so you could watch the World Cup in 3D but your mates couldn’t?
Remember the 3DS?
Remember 3D Blu-rays that no one bought?
What a weird time.
The Trojan Horse
It’s funny, in an article about Avatar, it’s taken me 700 words to mention its director.
James Cameron is undoubtedly one of the most successful directors in Hollywood history. His Terminator 2 and Aliens are two of the greatest action movies ever made, and Titanic was a blockbuster success. But Cameron’s movies tend to be inseparable from the technology he pioneers to make them possible. No one has used cinema to push the boundaries of tech quite like Cameron.
But none of his movies are tethered to their technology quite like Avatar.
3D. It’s completely gone from television and it’s a walking husk in cinemas. An interesting gimmick in its time but now universally loathed. When you think Avatar, you think 3D glasses and trying something because it was weird and worth doing once — like a rollercoaster ride or virtual reality.
That’s why we forget Avatar. We remember 3D, the trojan horse it came in on.
Now, when news of Avatar and its potential sequels pops up on the internet, I rub my eyes with weary disbelief. That movie… exists? That happened?
Now Avatar is like a Furby or a Tamagotchi. It’s a warning. A permanent reminder that humanity, as a species, has the potential to go completely and collectively insane.
We would love to thank the writer of this post for this incredible content
";}s:7:"summary";s:636:"This morning, I woke up, bolt upright, drenched in sweat from an unhinged, unnamed nightmare. This morning, I remembered the movie Avatar existed. “Avatar,” I whispered to myself. “Remember Avatar? The movie about the blue… things?” Unobtanium… floating mountains… Sam Worthington as a Hollywood lead… Hair sex. Wait, hair sex? My long-entrenched memories were dislodged, most ... Read more";s:12:"atom_content";s:8993:"
This morning, I woke up, bolt upright, drenched in sweat from an unhinged, unnamed nightmare.
This morning, I remembered the movie Avatar existed.
“Avatar,” I whispered to myself. “Remember Avatar? The movie about the blue… things?”
Unobtanium… floating mountains… Sam Worthington as a Hollywood lead…
Hair sex.
Wait, hair sex?
My long-entrenched memories were dislodged, most likely, by news that Avatar’s long-gestating sequel finally has a name: Avatar: The Way of Water.
As part of that announcement, a remastered re-release of the original Avatar was also announced. A re-release scheduled, I suspect, the counter the collective Avatar brain wipe. To remind people Avatar was a thing that existed.
Because Avatar is the movie history forgot.
Remember Avatar?
If a temperamental volcano decided to violently erupt — Pompeii style — coating my entire suburb in lava, future historians, I bet, would be able to almost perfectly reconstruct 21st century culture using the stuff lying around my house.
Remember when Sam Worthington was a Hollywood lead?
Disney
A toy whip from Indiana Jones. When you hold down a button, it plays John Williams’ iconic score. When you make a whipping motion, it generates an amazing whipping noise. Best toy ever.
An Iron Man suit. Not an actual Iron Man suit, like a dress-up one, for kids. I should know, I have tried (and failed) to wear the thing multiple times.
Star Wars stuff. So much Star Wars stuff: books, Lego, Blu-rays, posters, toys.
But historians, after spending months poring through dust and DVDs I refused to throw in the bin, will find nothing in my house to confirm that Avatar existed or had any cultural impact on this strange bi-pedal race that collected pogs for some reason.
It is insane. How does a movie that so many people paid to watch have such a minuscule footprint on our collective culture?
Scrolling through the list of box office high performers, even the most casual fan of cinema can make connections. Think Titanic, think Celine and steamy sex in a car. Star Wars is Star Wars. Avengers is the new Star Wars.
Adjust for inflation and the connections are even stronger. Gone With The Wind and “frankly my dear, I don’t give a damn.” E.T., The Sound of Music. These movies reverberate throughout history in ways we’ll never be able to shake out.
In a list that powerful, Avatar feels like a drunken one-night stand.
Was Avatar a bad movie? I don’t think so. Avatar was a bizarre, post-colonial Pocahontas you could accuse of being mildly racist — but it was almost too stupid to be racist in any real damaging sense. It was a cinematic experience elevated by a heroic commitment to world building and aesthetic but brought back down to earth with clunky dialogue and a wooden Sam Worthington performance.
But none of that stopped Star Wars from inspiring a broad sense of wonder and possibility in an entire generation of kids (and adults). My kids dress up as the Avengers every goddamn day. My oldest still swings around a toy lightsaber. The idea that either of my children might dress up as blue Avatar people (what do you call them… Na’vi?) is insane.
Why did Avatar rake in all that dough but retain none of the cultural cachet?
Maybe it’s because it sorta sucked. Mediocre movies can make money — Aquaman took in almost $1.2 billion — but average movies rarely make it to that $2 billion mark without the word of mouth and repeat viewings. A movie almost has to become a cultural event to rake in that kind of bread.
And that’s almost certainly the key here, the reason why Avatar made so much money yet lurks in the shadows like a strange uncle squatting in the attic of our subconsciousness is that Avatar wasn’t a cultural event, it was a tech event.
Unlike most of the movies in the box office top 10, Avatar wasn’t a sweeping epic entry to a story we’re invested in. It’s not an epic conclusion to a brilliantly executed cinematic universe.
Avatar was about strapping a set of 3D glasses to your face to see what all the fuss was about. The movie was almost secondary. It wasn’t designed to be forgettable, but it was forgettable nonetheless.
3D. Remember 3D? You might not remember Avatar, but you almost certainly remember 3D.
Remember paying extra to put on a set of dark glasses and suppress vomit on movies that had 3D but sure as hell weren’t designed from the ground up to work in 3D. Remember TVs that came with one pair of glasses so you could watch the World Cup in 3D but your mates couldn’t?
Remember the 3DS?
Remember 3D Blu-rays that no one bought?
What a weird time.
The Trojan Horse
It’s funny, in an article about Avatar, it’s taken me 700 words to mention its director.
James Cameron is undoubtedly one of the most successful directors in Hollywood history. His Terminator 2 and Aliens are two of the greatest action movies ever made, and Titanic was a blockbuster success. But Cameron’s movies tend to be inseparable from the technology he pioneers to make them possible. No one has used cinema to push the boundaries of tech quite like Cameron.
But none of his movies are tethered to their technology quite like Avatar.
3D. It’s completely gone from television and it’s a walking husk in cinemas. An interesting gimmick in its time but now universally loathed. When you think Avatar, you think 3D glasses and trying something because it was weird and worth doing once — like a rollercoaster ride or virtual reality.
That’s why we forget Avatar. We remember 3D, the trojan horse it came in on.
Now, when news of Avatar and its potential sequels pops up on the internet, I rub my eyes with weary disbelief. That movie… exists? That happened?
Now Avatar is like a Furby or a Tamagotchi. It’s a warning. A permanent reminder that humanity, as a species, has the potential to go completely and collectively insane.
We would love to thank the writer of this post for this incredible content
";s:14:"date_timestamp";i:1651131890;}i:6;a:11:{s:5:"title";s:76:"“Everything Everywhere All At Once” and intertextuality in modern movies";s:4:"link";s:101:"https://debatepost.com/movies/everything-everywhere-all-at-once-and-intertextuality-in-modern-movies/";s:2:"dc";a:1:{s:7:"creator";s:11:"David Lonit";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 06:31:16 +0000";s:8:"category";s:33:"Moviesintertextualitymodernmovies";s:4:"guid";s:31:"https://debatepost.com/?p=63008";s:11:"description";s:659:"If you haven’t seen “Everything Everywhere All At Once” yet, do yourself a favor and buy a ticket right now. The movie has something to offer anybody — poignant commentary on generational trauma, awesome sci-fi action sequences, a goofy sense of humor and even a resonant romantic thread. Any of these topics, as well as ... Read more";s:7:"content";a:1:{s:7:"encoded";s:9674:"
The movie has something to offer anybody — poignant commentary on generational trauma, awesome sci-fi action sequences, a goofy sense of humor and even a resonant romantic thread.
Any of these topics, as well as the techniques that writer-directors Daniel Kwan and Daniel Scheinert use to execute them, could be talked about long enough to fill an article.
However, I want to focus on one aspect of the film specifically, and that’s its use of intertextuality.
Warning: I recommend going into this movie as blind as possible, even if it means waiting to read this article. There won’t be any serious spoilers but I figured I’d still give a heads up.
Intertextuality is a divisive topic in modern media.
Essentially, it refers to creators using the audience’s knowledge of other media to inform the piece they are currently consuming.
Common examples would be “Stranger Things” building its design and atmosphere around references to 1980s pop culture, or Marvel movies requiring the viewer to be aware of other Marvel movies for the story to make sense.
Another common example of intertextuality is the use of parody. Comedies have used parody as a tool for generations. Many of the show “Community’s” most acclaimed episodes are parodies of popular tropes or movies.
Intertextuality is an inherent part of all media, but in the cinematic universes and nostalgia-driven media of the 2010s it has become crucial to many media experiences.
In “Everything Everywhere,” the Daniels also use the audience’s awareness of other media as a storytelling tool, but in a very different way than those other examples.
Without revealing too much, the premise of the film is that a middle-aged Chinese-American immigrant named Evelyn must battle an interdimensional threat.
In order to do this, Evelyn uses a device that allows her to experience the alternate paths her life could have gone down.
It’s a little complex, and the early minutes of the movie carefully ease the audience into this idea.
For example, Evelyn is able to briefly hop into an alternate version of her life where she became a kung fu master, and then is able to use the memories of that training to fight off enemies in her world.
So, let me explain how “Everything Everywhere” uses the tool of intertextuality in a different way than something like “Stranger Things” or “Community.”
“Community’s” use of previously existing media is like Weird Al parodying a song. The show takes existing media, and applies a silly, deconstructive layer to it.
“Stranger Things” is like musicians using chord structures and sounds from the 80s to give their music a nostalgic feel.
“Everything Everywhere,” on the other hand, uses pre-existing media in the way that great hip-hop producers use samples in their songs.
The movies referenced in “Everything Everywhere” aren’t used as a punchline or as nostalgia bait. They’re treated with respect, and recontextualised within the movie to have new meaning and add additional meaning to the story.
One major film parodied in “Everything Everywhere” is the Hong Kong romantic drama “In the Mood for Love.”
Within this silly sci-fi comedy, the filmmakers use the framework of a very serious romantic drama to allow two of the main characters to address their own romantic and personal differences, leading to a pivotal moment in the movie.
It’s like when rapper-producer-famous jerk Kanye West used the soul classic “Through the Fire” by Chaka Khan as a sample in his early hit “Through the Wire.”
If you listen closely, the sample’s lyrics, which are used throughout the song’s beat, are clearly still “through the fire,” but because of their new context the listener hears it as “through the wire.”
The sample is given new meaning through its use in an entirely new context without degrading the original.
We live in a world where every movie is shaped by the hundreds of movies that have come before it. There are a million corporate reboots, sprawling franchises, and nostalgia-bait throwbacks coming out every year.
So, finding a way to still use the audience’s awareness of stories of the past while creating something one hundred percent new and unique is an amazingly refreshing and revolutionary act.
My point is you need to go see “Everything Everywhere All At Once.” Like, right now.
Porisch can be reached at [email protected]
We would like to give thanks to the writer of this short article for this outstanding material
";}s:7:"summary";s:659:"If you haven’t seen “Everything Everywhere All At Once” yet, do yourself a favor and buy a ticket right now. The movie has something to offer anybody — poignant commentary on generational trauma, awesome sci-fi action sequences, a goofy sense of humor and even a resonant romantic thread. Any of these topics, as well as ... Read more";s:12:"atom_content";s:9674:"
The movie has something to offer anybody — poignant commentary on generational trauma, awesome sci-fi action sequences, a goofy sense of humor and even a resonant romantic thread.
Any of these topics, as well as the techniques that writer-directors Daniel Kwan and Daniel Scheinert use to execute them, could be talked about long enough to fill an article.
However, I want to focus on one aspect of the film specifically, and that’s its use of intertextuality.
Warning: I recommend going into this movie as blind as possible, even if it means waiting to read this article. There won’t be any serious spoilers but I figured I’d still give a heads up.
Intertextuality is a divisive topic in modern media.
Essentially, it refers to creators using the audience’s knowledge of other media to inform the piece they are currently consuming.
Common examples would be “Stranger Things” building its design and atmosphere around references to 1980s pop culture, or Marvel movies requiring the viewer to be aware of other Marvel movies for the story to make sense.
Another common example of intertextuality is the use of parody. Comedies have used parody as a tool for generations. Many of the show “Community’s” most acclaimed episodes are parodies of popular tropes or movies.
Intertextuality is an inherent part of all media, but in the cinematic universes and nostalgia-driven media of the 2010s it has become crucial to many media experiences.
In “Everything Everywhere,” the Daniels also use the audience’s awareness of other media as a storytelling tool, but in a very different way than those other examples.
Without revealing too much, the premise of the film is that a middle-aged Chinese-American immigrant named Evelyn must battle an interdimensional threat.
In order to do this, Evelyn uses a device that allows her to experience the alternate paths her life could have gone down.
It’s a little complex, and the early minutes of the movie carefully ease the audience into this idea.
For example, Evelyn is able to briefly hop into an alternate version of her life where she became a kung fu master, and then is able to use the memories of that training to fight off enemies in her world.
So, let me explain how “Everything Everywhere” uses the tool of intertextuality in a different way than something like “Stranger Things” or “Community.”
“Community’s” use of previously existing media is like Weird Al parodying a song. The show takes existing media, and applies a silly, deconstructive layer to it.
“Stranger Things” is like musicians using chord structures and sounds from the 80s to give their music a nostalgic feel.
“Everything Everywhere,” on the other hand, uses pre-existing media in the way that great hip-hop producers use samples in their songs.
The movies referenced in “Everything Everywhere” aren’t used as a punchline or as nostalgia bait. They’re treated with respect, and recontextualised within the movie to have new meaning and add additional meaning to the story.
One major film parodied in “Everything Everywhere” is the Hong Kong romantic drama “In the Mood for Love.”
Within this silly sci-fi comedy, the filmmakers use the framework of a very serious romantic drama to allow two of the main characters to address their own romantic and personal differences, leading to a pivotal moment in the movie.
It’s like when rapper-producer-famous jerk Kanye West used the soul classic “Through the Fire” by Chaka Khan as a sample in his early hit “Through the Wire.”
If you listen closely, the sample’s lyrics, which are used throughout the song’s beat, are clearly still “through the fire,” but because of their new context the listener hears it as “through the wire.”
The sample is given new meaning through its use in an entirely new context without degrading the original.
We live in a world where every movie is shaped by the hundreds of movies that have come before it. There are a million corporate reboots, sprawling franchises, and nostalgia-bait throwbacks coming out every year.
So, finding a way to still use the audience’s awareness of stories of the past while creating something one hundred percent new and unique is an amazingly refreshing and revolutionary act.
My point is you need to go see “Everything Everywhere All At Once.” Like, right now.
Porisch can be reached at [email protected]
We would like to give thanks to the writer of this short article for this outstanding material
";s:14:"date_timestamp";i:1651127476;}i:7;a:11:{s:5:"title";s:93:"Missing ‘Yellowstone’? Watch All of Creator Taylor Sheridan’s Other TV Shows and Movies";s:4:"link";s:114:"https://debatepost.com/movies/missing-yellowstone-watch-all-of-creator-taylor-sheridans-other-tv-shows-and-movies/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 00:43:25 +0000";s:8:"category";s:57:"MoviescreatormissingmoviesSheridansTaylorwatchYellowstone";s:4:"guid";s:31:"https://debatepost.com/?p=62898";s:11:"description";s:757:"Time to grab the popcorn and pull on your cowboy boots! Taylor Sheridan’s TV show Yellowstone has got us all hooked (or, one might say, lassoed), whether we’re in it for the hunky cowboys like Luke Grimes, the Dutton family, or the gorgeous ranch landscape. The Paramount Network’s sleeper hit rocketed into blockbuster superstardom over ... Read more";s:7:"content";a:1:{s:7:"encoded";s:20394:"
Time to grab the popcorn and pull on your cowboy boots! Taylor Sheridan’s TV show Yellowstone has got us all hooked (or, one might say, lassoed), whether we’re in it for the hunky cowboys like Luke Grimes, the Dutton family, or the gorgeous ranch landscape. The Paramount Network’s sleeper hit rocketed into blockbuster superstardom over the last few years and the show’s co-creator with it. Though Sheridan is by no means a newbie in the entertainment world, Yellowstone gave him the opportunity to show off his artistic chops as a creator, producer, writer, director, and actor. It’s no wonder then that he’s teaming up with the network for a flurry of new projects–eight of them, to be exact!
Beyond the cowboys, part of Yellowstone’s mass appeal lies in its freshly-written, fraught heroesand the hardscrabble life they fight to maintain. You can trust Taylor’s writing to be authentic—he grew up on a Texas ranch! You’ll find this dynamic spirit across the creator’s repertoire, from the hit film Sicario to the Yellowstone prequel, 1883. Here is a list of all Taylor Sheridan TV shows and movies he’s written or created, along with all available info on his eagerly anticipated new shows.
Advertisement – Continue Reading Below
Sheridan’s first film as a screenwriter stars Emily Blunt as an FBI agent who’s enlisted into a task force to bring down a brutal Mexican drug cartel. It’s an action thriller and received critical acclaim in 2011, for both the acting and the writing.
The phrase “come hell or high water” typically means “do whatever needs to be done, no matter the circumstances.” This meaning plays into the plot of Sheridan’s second foray into the Western genre, which released in 2016. Two brothers carry out a series of bank robberies to save their family ranch in West Texas while two Texan rangers pursue them.
Sheridan wrote this movie to raise awareness about the high statistics of violence against Indigenous women, both on and off reservations. It stars an FBI agent and fish and wildlife service tracker tasked with investigating the murder of a young woman on a reservation in Wyoming. He seems to enjoy working with certain actors, as you’ll recognize Gil Birmingham as Thomas Rainwater from Yellowstone!
4
Sicario: Day Of The Soldado
Sicario: Day Of The Soldado is the 2018 sequel to his first film. The war on drugs has escalated at the Mexican border, and the cartels have begun trafficking terrorists into the United States. Make sure to catch up on the first two hits because a third installment is reportedly in the works!
Chances are, you’ve landed on this page because you’re a Yellowstone fan or at least are curious about all the hype. Sheridan co-created the family ranch drama starring fan-favorite Kevin Costner, and its most recent season became the most-watched cable telecast in the U.S. in recent years!
You may not be a reality TV show kind of person, but you will be this kind of reality show person. The Last Cowboy has lots of heart—it’s an unscripted show about real-life cowboys and cowgirls competing for a one million dollar prize in the sport of Reining, one of the toughest and most dangerous sports in the world.
Mayor of Kingstown diverges slightly from Sheridan’s other projects in that it’s set farther northwest, in Michigan. Jeremy Irons returns to Sheridan’s team as one of two powerful brothers in Kingstown, who act as the liaisons between prisoners and the Kingstown community. When a young guard, Sam, is set up to deliver a letter for a prisoner, Irons’ character works to get him off the hook.
The 2021 film Without Remorse is based on the 1993 book by the same name. The ever-impressive Michael B. Jordan stars in this action-thriller which is the origin story of U.S. Navy Seal John Kelly. Kelly embarks on a revenge mission after Russian hitmen kill his pregnant wife and unit members.
Released in the same year as Without Remorse, this film is another thriller based on a novel by the same name. Taylor returns to Montana, where a smokejumper aids a little boy pon the run from assassins after he witnesses the murder of his father. If you don’t like fire or are afraid of forest fires, this is not the film for you.
If you love Yellowstone, you simply have to watch its prequel, 1883. Beyond the star-studded cast, Sheridan does a beautiful job setting up the Dutton family’s origin story as they pioneer across America in search of what will become the Dutton ranch. Don’t worry about committing to another four seasons—it’s a limited series!
11
The Tulsa King (Under Development)
Filming has just begun for Sheridan’s new Paramount crime show! It stars Sylvester Stallone as a mobster who, after serving 25 years in prison for murder, is banished to Tulsa to re-establish an Italian mafia family. Say hello to another western set drama!
12
Land Man (Under Development)
Sheridan will return to West Texas with a show about the story of the Texas oil and gas boom. Little is known so far about the show, aside from the casting of Billy Bob Thornton (also in 1883!). If you want more details, though, the show is based on the Texas Monthly eleven-part podcast series Boomtown.
13
Lioness (Under Development)
In typical Taylor Sheridan fashion, the show centers on a rough-around-the-edges young Marine who is tasked with bringing down a terrorist organization from within. The coolest part? The show is based on a real-life CIA program!
14
1932 (Under Development)
Yellowstone fans, rejoice! The Dutton universe expands with 1932, andaccording to the official synopsis it follows, “a new generation of Duttons during the time of Western expansion, Prohibition and the Great Depression.” While cast and characters are yet to be announced, chances are we’ll see an older version of John Dutton Sr., who was just a child in 1883.
15
Bass Reeves (Under Development)
Possibly one of the most exciting limited series on the list, Bass Reeves is about the real-life, legendary first Black lawman of the wild West. Reeves is one of the greatest heroes of the American Frontier, who caught dozens of dangerous criminals and is thought to be the inspiration for The Lone Ranger. Emmy-nominated actor David Oyelowo will play Reeves.
16
6666 (Under Development)
Yet another Yellowstone spinoff, 6666 is about the famed Four Sixes Texas ranch, which Sheridan actually helped purchase! The ranch is enormous (it takes up a whole county) and “is synonymous with the merciless endeavor to raise the finest horses and livestock in the world, and ultimately where world-class cowboys are born and made,” according to the show’s official press release.
No casting announcements have been made yet, but rumors are swirling that the cowboy Jimmy from Yellowstone will somehow be involved.
Micaela Bahn Micaela Bahn is a freelance editorial assistant and recent graduate from Carleton College, where she majored in English literature.
This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano.io
Advertisement – Continue Reading Below
We want to thank the author of this short article for this incredible web content
";}s:7:"summary";s:757:"Time to grab the popcorn and pull on your cowboy boots! Taylor Sheridan’s TV show Yellowstone has got us all hooked (or, one might say, lassoed), whether we’re in it for the hunky cowboys like Luke Grimes, the Dutton family, or the gorgeous ranch landscape. The Paramount Network’s sleeper hit rocketed into blockbuster superstardom over ... Read more";s:12:"atom_content";s:20394:"
Time to grab the popcorn and pull on your cowboy boots! Taylor Sheridan’s TV show Yellowstone has got us all hooked (or, one might say, lassoed), whether we’re in it for the hunky cowboys like Luke Grimes, the Dutton family, or the gorgeous ranch landscape. The Paramount Network’s sleeper hit rocketed into blockbuster superstardom over the last few years and the show’s co-creator with it. Though Sheridan is by no means a newbie in the entertainment world, Yellowstone gave him the opportunity to show off his artistic chops as a creator, producer, writer, director, and actor. It’s no wonder then that he’s teaming up with the network for a flurry of new projects–eight of them, to be exact!
Beyond the cowboys, part of Yellowstone’s mass appeal lies in its freshly-written, fraught heroesand the hardscrabble life they fight to maintain. You can trust Taylor’s writing to be authentic—he grew up on a Texas ranch! You’ll find this dynamic spirit across the creator’s repertoire, from the hit film Sicario to the Yellowstone prequel, 1883. Here is a list of all Taylor Sheridan TV shows and movies he’s written or created, along with all available info on his eagerly anticipated new shows.
Advertisement – Continue Reading Below
Sheridan’s first film as a screenwriter stars Emily Blunt as an FBI agent who’s enlisted into a task force to bring down a brutal Mexican drug cartel. It’s an action thriller and received critical acclaim in 2011, for both the acting and the writing.
The phrase “come hell or high water” typically means “do whatever needs to be done, no matter the circumstances.” This meaning plays into the plot of Sheridan’s second foray into the Western genre, which released in 2016. Two brothers carry out a series of bank robberies to save their family ranch in West Texas while two Texan rangers pursue them.
Sheridan wrote this movie to raise awareness about the high statistics of violence against Indigenous women, both on and off reservations. It stars an FBI agent and fish and wildlife service tracker tasked with investigating the murder of a young woman on a reservation in Wyoming. He seems to enjoy working with certain actors, as you’ll recognize Gil Birmingham as Thomas Rainwater from Yellowstone!
4
Sicario: Day Of The Soldado
Sicario: Day Of The Soldado is the 2018 sequel to his first film. The war on drugs has escalated at the Mexican border, and the cartels have begun trafficking terrorists into the United States. Make sure to catch up on the first two hits because a third installment is reportedly in the works!
Chances are, you’ve landed on this page because you’re a Yellowstone fan or at least are curious about all the hype. Sheridan co-created the family ranch drama starring fan-favorite Kevin Costner, and its most recent season became the most-watched cable telecast in the U.S. in recent years!
You may not be a reality TV show kind of person, but you will be this kind of reality show person. The Last Cowboy has lots of heart—it’s an unscripted show about real-life cowboys and cowgirls competing for a one million dollar prize in the sport of Reining, one of the toughest and most dangerous sports in the world.
Mayor of Kingstown diverges slightly from Sheridan’s other projects in that it’s set farther northwest, in Michigan. Jeremy Irons returns to Sheridan’s team as one of two powerful brothers in Kingstown, who act as the liaisons between prisoners and the Kingstown community. When a young guard, Sam, is set up to deliver a letter for a prisoner, Irons’ character works to get him off the hook.
The 2021 film Without Remorse is based on the 1993 book by the same name. The ever-impressive Michael B. Jordan stars in this action-thriller which is the origin story of U.S. Navy Seal John Kelly. Kelly embarks on a revenge mission after Russian hitmen kill his pregnant wife and unit members.
Released in the same year as Without Remorse, this film is another thriller based on a novel by the same name. Taylor returns to Montana, where a smokejumper aids a little boy pon the run from assassins after he witnesses the murder of his father. If you don’t like fire or are afraid of forest fires, this is not the film for you.
If you love Yellowstone, you simply have to watch its prequel, 1883. Beyond the star-studded cast, Sheridan does a beautiful job setting up the Dutton family’s origin story as they pioneer across America in search of what will become the Dutton ranch. Don’t worry about committing to another four seasons—it’s a limited series!
11
The Tulsa King (Under Development)
Filming has just begun for Sheridan’s new Paramount crime show! It stars Sylvester Stallone as a mobster who, after serving 25 years in prison for murder, is banished to Tulsa to re-establish an Italian mafia family. Say hello to another western set drama!
12
Land Man (Under Development)
Sheridan will return to West Texas with a show about the story of the Texas oil and gas boom. Little is known so far about the show, aside from the casting of Billy Bob Thornton (also in 1883!). If you want more details, though, the show is based on the Texas Monthly eleven-part podcast series Boomtown.
13
Lioness (Under Development)
In typical Taylor Sheridan fashion, the show centers on a rough-around-the-edges young Marine who is tasked with bringing down a terrorist organization from within. The coolest part? The show is based on a real-life CIA program!
14
1932 (Under Development)
Yellowstone fans, rejoice! The Dutton universe expands with 1932, andaccording to the official synopsis it follows, “a new generation of Duttons during the time of Western expansion, Prohibition and the Great Depression.” While cast and characters are yet to be announced, chances are we’ll see an older version of John Dutton Sr., who was just a child in 1883.
15
Bass Reeves (Under Development)
Possibly one of the most exciting limited series on the list, Bass Reeves is about the real-life, legendary first Black lawman of the wild West. Reeves is one of the greatest heroes of the American Frontier, who caught dozens of dangerous criminals and is thought to be the inspiration for The Lone Ranger. Emmy-nominated actor David Oyelowo will play Reeves.
16
6666 (Under Development)
Yet another Yellowstone spinoff, 6666 is about the famed Four Sixes Texas ranch, which Sheridan actually helped purchase! The ranch is enormous (it takes up a whole county) and “is synonymous with the merciless endeavor to raise the finest horses and livestock in the world, and ultimately where world-class cowboys are born and made,” according to the show’s official press release.
No casting announcements have been made yet, but rumors are swirling that the cowboy Jimmy from Yellowstone will somehow be involved.
Micaela Bahn Micaela Bahn is a freelance editorial assistant and recent graduate from Carleton College, where she majored in English literature.
This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano.io
Advertisement – Continue Reading Below
We want to thank the author of this short article for this incredible web content
";s:14:"date_timestamp";i:1651106605;}i:8;a:11:{s:5:"title";s:83:"Brokaw: Series about mobster movie makes viewers an ‘Offer’ they can’t refuse";s:4:"link";s:104:"https://debatepost.com/movies/brokaw-series-about-mobster-movie-makes-viewers-an-offer-they-cant-refuse/";s:2:"dc";a:1:{s:7:"creator";s:11:"David Lonit";}s:7:"pubdate";s:31:"Wed, 27 Apr 2022 18:29:49 +0000";s:8:"category";s:48:"MoviesBrokawmobstermovieofferrefuseseriesviewers";s:4:"guid";s:31:"https://debatepost.com/?p=62747";s:11:"description";s:700:"
Courtesy ‘The Offer’ begins streaming Thursday, April 28, 2022, on Paramount+.
It has been 50 years since the release of “The Godfather,” which became the highest grossing film to that date. Now Paramount+ has a 10-episode dramatic version of how the film came to be. “The Offer” includes plenty of Hollywood ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5497:"
Courtesy
‘The Offer’ begins streaming Thursday, April 28, 2022, on Paramount+.
It has been 50 years since the release of “The Godfather,” which became the highest grossing film to that date. Now Paramount+ has a 10-episode dramatic version of how the film came to be. “The Offer” includes plenty of Hollywood glamour of the day, references to Old Hollywood, and depictions of famous people, places and the cutthroat business that is entertainment.
Recently, some of the cast and executive producers gathered for a virtual meeting with members of the media. They included Miles Teller who plays Albert S. Ruddy, Matthew Goode who portrays Paramount chief Robert Evans, Juno Temple who plays Bettye McCartt, and Giovanni Ribisi who portrays Joe Columbo. Also included were EPs Nikki Toscano, Michael Tolkin and Dexter Fletcher.
“I grew up on ‘The Godfather,’” Toscano said. “The first time I saw it, not even a teenager, I was enthralled with the masterful and subtle storytelling, and it became the high-water mark in my mind of what was possible. And it continues to inform me. To this day, I discover new things every time I watch it. And I can always watch it, I think because ‘The Godfather’ examines the most universal theme of all: family. ‘The Offer’ is the incredible story of producer Al Ruddy going to the mattresses to get his film made. It’s told from Ruddy’s POV, and it examines the many challenges he faced.”
Bob Evans is an icon in the entertainment industry. Portraying him was not really a challenge for Goode because there are plenty of videos out there from which he gathered his information. “His manner of speaking and his cadence and all of that was funny,” Goode acknowledged. “I didn’t think I looked anything like him. I didn’t understand why they wanted me to be in it, if I’m honest. I wanted to be in it, but I was quite surprised. And I spent a long time studying him, what I knew about him on the page and from what I found out about by stories, and just looking, listening to some many entities of the younger Bob Evans rather than the ‘The Kid Stays in the Picture,’” the autobiography by Evans.
Teller’s part of Al Ruddy was the instrumental element in getting the film to the screens, along with help from some other execs. He acknowledged the impact Al Ruddy had on the business and was happy to bring him to the screen.
“He gets stuff done. You know, he just did ‘Cry Macho’ with Clint (Eastwood in 2021]). He said Clint called him up and he said, ‘You still got that ‘Cry Macho’ script, kid?” And that was a script that Al had for 30-something years, I think, maybe even longer. So it’s just who he is. He just gets stuff done. And that was really one of the big pleasures of playing him,” Teller said. Ruddy is still hard at work in his 90s. “So it was really a pleasure and an honor to play him in this.”
Viewers will be enthralled to see the portrayals of Francis Ford Coppola, Mario Puzo, Frank Sinatra, Marlon Brando, Al Pacino, Ali MacGraw, Jilly Rizzo, James Caan, Diane Keaton, Vic Damone, Burt Reynolds, Ann-Margaret, Raquel Welch, Henry Kissinger, Arthur Hiller and others. There’s no doubt this series takes viewers right into the heart of Hollywood in the late 1960s to early 1970s.
Evans went on to produce “Chinatown,” “Marathon Man,” “The Cotton Club,” “How to Lose a Guy in 10 Days,” Urban Cowboy” and more. Ruddy wrote “Hogan’s Heroes” and “The Longest Yard,” and produced “Cry Macho,” “Million Dollar Baby” and plenty more.
“The Offer” is a dramatization into what it took to make “The Godfather.” From start to finish, this was an epic undertaking.
As Tolkin stated, “Television has become the great delivery system for storytelling now. I think we’re happier watching 10 hours of a television series than 90 minutes of a movie most of the time.”
The series streams on Paramount+ beginning Thursday.
";}s:7:"summary";s:700:"
Courtesy ‘The Offer’ begins streaming Thursday, April 28, 2022, on Paramount+.
It has been 50 years since the release of “The Godfather,” which became the highest grossing film to that date. Now Paramount+ has a 10-episode dramatic version of how the film came to be. “The Offer” includes plenty of Hollywood ... Read more";s:12:"atom_content";s:5497:"
Courtesy
‘The Offer’ begins streaming Thursday, April 28, 2022, on Paramount+.
It has been 50 years since the release of “The Godfather,” which became the highest grossing film to that date. Now Paramount+ has a 10-episode dramatic version of how the film came to be. “The Offer” includes plenty of Hollywood glamour of the day, references to Old Hollywood, and depictions of famous people, places and the cutthroat business that is entertainment.
Recently, some of the cast and executive producers gathered for a virtual meeting with members of the media. They included Miles Teller who plays Albert S. Ruddy, Matthew Goode who portrays Paramount chief Robert Evans, Juno Temple who plays Bettye McCartt, and Giovanni Ribisi who portrays Joe Columbo. Also included were EPs Nikki Toscano, Michael Tolkin and Dexter Fletcher.
“I grew up on ‘The Godfather,’” Toscano said. “The first time I saw it, not even a teenager, I was enthralled with the masterful and subtle storytelling, and it became the high-water mark in my mind of what was possible. And it continues to inform me. To this day, I discover new things every time I watch it. And I can always watch it, I think because ‘The Godfather’ examines the most universal theme of all: family. ‘The Offer’ is the incredible story of producer Al Ruddy going to the mattresses to get his film made. It’s told from Ruddy’s POV, and it examines the many challenges he faced.”
Bob Evans is an icon in the entertainment industry. Portraying him was not really a challenge for Goode because there are plenty of videos out there from which he gathered his information. “His manner of speaking and his cadence and all of that was funny,” Goode acknowledged. “I didn’t think I looked anything like him. I didn’t understand why they wanted me to be in it, if I’m honest. I wanted to be in it, but I was quite surprised. And I spent a long time studying him, what I knew about him on the page and from what I found out about by stories, and just looking, listening to some many entities of the younger Bob Evans rather than the ‘The Kid Stays in the Picture,’” the autobiography by Evans.
Teller’s part of Al Ruddy was the instrumental element in getting the film to the screens, along with help from some other execs. He acknowledged the impact Al Ruddy had on the business and was happy to bring him to the screen.
“He gets stuff done. You know, he just did ‘Cry Macho’ with Clint (Eastwood in 2021]). He said Clint called him up and he said, ‘You still got that ‘Cry Macho’ script, kid?” And that was a script that Al had for 30-something years, I think, maybe even longer. So it’s just who he is. He just gets stuff done. And that was really one of the big pleasures of playing him,” Teller said. Ruddy is still hard at work in his 90s. “So it was really a pleasure and an honor to play him in this.”
Viewers will be enthralled to see the portrayals of Francis Ford Coppola, Mario Puzo, Frank Sinatra, Marlon Brando, Al Pacino, Ali MacGraw, Jilly Rizzo, James Caan, Diane Keaton, Vic Damone, Burt Reynolds, Ann-Margaret, Raquel Welch, Henry Kissinger, Arthur Hiller and others. There’s no doubt this series takes viewers right into the heart of Hollywood in the late 1960s to early 1970s.
Evans went on to produce “Chinatown,” “Marathon Man,” “The Cotton Club,” “How to Lose a Guy in 10 Days,” Urban Cowboy” and more. Ruddy wrote “Hogan’s Heroes” and “The Longest Yard,” and produced “Cry Macho,” “Million Dollar Baby” and plenty more.
“The Offer” is a dramatization into what it took to make “The Godfather.” From start to finish, this was an epic undertaking.
As Tolkin stated, “Television has become the great delivery system for storytelling now. I think we’re happier watching 10 hours of a television series than 90 minutes of a movie most of the time.”
The series streams on Paramount+ beginning Thursday.
";s:14:"date_timestamp";i:1651084189;}i:9;a:11:{s:5:"title";s:74:"Spider-Man’s Andrew Garfield Announces He’s Taking a Break From Movies";s:4:"link";s:99:"https://debatepost.com/movies/spider-mans-andrew-garfield-announces-hes-taking-a-break-from-movies/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 27 Apr 2022 17:42:51 +0000";s:8:"category";s:50:"MoviesAndrewannouncesbreakGarfieldmoviesSpiderMans";s:4:"guid";s:31:"https://debatepost.com/?p=62730";s:11:"description";s:676:"Spider-Man: No Way Home may have cracked open the Marvel Multiverse; but in this reality, Andrew Garfield has been at the center due to his roles in The Eyes of Tammy Faye, Tick, Tick… Boom!, and, of course, Spider-Man: No Way Home. Following the latter film’s release, the fan demand to revive The Amazing Spider-Man franchise dominated ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5607:"
Spider-Man: No Way Home may have cracked open the Marvel Multiverse; but in this reality, Andrew Garfield has been at the center due to his roles in The Eyes of Tammy Faye, Tick, Tick… Boom!, and, of course, Spider-Man: No Way Home. Following the latter film’s release, the fan demand to revive The Amazing Spider-Man franchise dominated social media and was even acknowledged by Sony’s social team.
Fans aren’t the only ones eager for more of Garfield’s web-slinger. The MCU’s current Spider-Man, Tom Holland, has also given his “full support.” The question, however, was whether both Sony and Garfield were interested.
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When asked about his potential return, The Amazing Spider-Man star claimed that there were “No plans, that’s the truth,” while also acknowledging the fact that no one would believe him after his viral denials of being in No Way Home.
However, following Sony’s lack of Spider-Man announcements at CinemaCon 2022, Garfield’s latest claim has fans doubting his desired return more than ever.
Spider-Man: No Way Home’s Andrew Garfield Announces Break
On the heels of his crowd-pleaser reprisal in Spider-Man: No Way Home and his Oscar-nominated role in Tick, Tick… Boom!, Andrew Garfield told Variety that he’s “going to take a break” from acting “to rest for a little bit:”
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“I am going to take a break though… I’m going to rest for a little bit… I need to recalibrate and reconsider what I want to do next and who I want to be and just be a bit of a person for a while. Because as you know, that is a washing machine, that awards season… [It’s] so fun, and you get to hang out with people that you love and admire. You get to be a part of a conversation that is so privileged and you get to experience all the first-hand, visceral… kind of, being part of that community and the dynamics within this community is so cool. I feel so privileged and lucky… but now I need to just be a bit ordinary for a while.”
Andrew Garfield’s latest project, Under the Banner of Heaven, is set to release on Hulu on Thursday, April 28, where the actor plays a Morman detective who investigates the murder of a mother and her child by followers of the Church of Jesus Christ of Latter-day Saints.
More Parker Luck for Spider-Man Fans
Clearly, Andrew Garfield has been going nonstop the past few years. And, while Spider-Man: No Way Home was a lighter film in terms of subject matter and also allowed the actor much-deserved redemption in the eyes of the fans, the role came with a great deal of pressure as well.
No doubt the actor deserves a much-needed break; and the fact that he expressed the need “to just be a bit ordinary for a while” sounds like a healthy move as well.
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Of course, this isn’t what Spidey fans wanted to hear. Even though it’s “a break” and not a retirement, it adds new doubt to the possibility of him working with Sony again in the near future.
However, considering how the studio has handled Venom and Morbius separately from Marvel Studios, it may be for the best. After all, the reason why The Amazing Spider-Man films weren’t well-received was due to the studio, not its star. Considering where Garfield is in his career, there’s no reason to risk repeating the problems of the past, especially when No Way Home allowed his Spider-Man closure.
Whether audiences have seen Garfield’s final bow as the web-slinger or not remains to be seen; but in the meantime, it’s a credit to the actor that he’s willing to make the best choices for himself and his career.
ADVERTISEMENT
Spider-Man: No Way Home is now available for digital and physical purchase.
FOLLOW MCU DIRECT
We would like to thank the author of this write-up for this amazing content
";}s:7:"summary";s:676:"Spider-Man: No Way Home may have cracked open the Marvel Multiverse; but in this reality, Andrew Garfield has been at the center due to his roles in The Eyes of Tammy Faye, Tick, Tick… Boom!, and, of course, Spider-Man: No Way Home. Following the latter film’s release, the fan demand to revive The Amazing Spider-Man franchise dominated ... Read more";s:12:"atom_content";s:5607:"
Spider-Man: No Way Home may have cracked open the Marvel Multiverse; but in this reality, Andrew Garfield has been at the center due to his roles in The Eyes of Tammy Faye, Tick, Tick… Boom!, and, of course, Spider-Man: No Way Home. Following the latter film’s release, the fan demand to revive The Amazing Spider-Man franchise dominated social media and was even acknowledged by Sony’s social team.
Fans aren’t the only ones eager for more of Garfield’s web-slinger. The MCU’s current Spider-Man, Tom Holland, has also given his “full support.” The question, however, was whether both Sony and Garfield were interested.
ADVERTISEMENT
When asked about his potential return, The Amazing Spider-Man star claimed that there were “No plans, that’s the truth,” while also acknowledging the fact that no one would believe him after his viral denials of being in No Way Home.
However, following Sony’s lack of Spider-Man announcements at CinemaCon 2022, Garfield’s latest claim has fans doubting his desired return more than ever.
Spider-Man: No Way Home’s Andrew Garfield Announces Break
On the heels of his crowd-pleaser reprisal in Spider-Man: No Way Home and his Oscar-nominated role in Tick, Tick… Boom!, Andrew Garfield told Variety that he’s “going to take a break” from acting “to rest for a little bit:”
ADVERTISEMENT
“I am going to take a break though… I’m going to rest for a little bit… I need to recalibrate and reconsider what I want to do next and who I want to be and just be a bit of a person for a while. Because as you know, that is a washing machine, that awards season… [It’s] so fun, and you get to hang out with people that you love and admire. You get to be a part of a conversation that is so privileged and you get to experience all the first-hand, visceral… kind of, being part of that community and the dynamics within this community is so cool. I feel so privileged and lucky… but now I need to just be a bit ordinary for a while.”
Andrew Garfield’s latest project, Under the Banner of Heaven, is set to release on Hulu on Thursday, April 28, where the actor plays a Morman detective who investigates the murder of a mother and her child by followers of the Church of Jesus Christ of Latter-day Saints.
More Parker Luck for Spider-Man Fans
Clearly, Andrew Garfield has been going nonstop the past few years. And, while Spider-Man: No Way Home was a lighter film in terms of subject matter and also allowed the actor much-deserved redemption in the eyes of the fans, the role came with a great deal of pressure as well.
No doubt the actor deserves a much-needed break; and the fact that he expressed the need “to just be a bit ordinary for a while” sounds like a healthy move as well.
ADVERTISEMENT
Of course, this isn’t what Spidey fans wanted to hear. Even though it’s “a break” and not a retirement, it adds new doubt to the possibility of him working with Sony again in the near future.
However, considering how the studio has handled Venom and Morbius separately from Marvel Studios, it may be for the best. After all, the reason why The Amazing Spider-Man films weren’t well-received was due to the studio, not its star. Considering where Garfield is in his career, there’s no reason to risk repeating the problems of the past, especially when No Way Home allowed his Spider-Man closure.
Whether audiences have seen Garfield’s final bow as the web-slinger or not remains to be seen; but in the meantime, it’s a credit to the actor that he’s willing to make the best choices for himself and his career.
ADVERTISEMENT
Spider-Man: No Way Home is now available for digital and physical purchase.
FOLLOW MCU DIRECT
We would like to thank the author of this write-up for this amazing content
