I've Been Going to the...MOOOOvies

[Strider]

"No one ever went broke underestimating the intelligence of the American public." ~ H.L. Mencken

Thank you HL..,and because of that, I won a bet I had with a friend's wife who works in the movie industry. She thought "50 Shades of Shite" would be a flop and I didn't...the over/under it had to break for me to win was $75 million. Thanks to all the sheeple, it grossed more than that in the first weekend.

When Stephanie Meyer dies she's going to have a lot to answer for, hehe.

Edited February 17, 2015 by Strider

[Patrycja]

^^^

It is an amazing doc Patrycja! In fact, all of the nominated documentary feature films are great and worthy of winning...it is one of the strongest categories of this year's Oscars. Which makes it hard to figure out who is going to win for my Oscar Pool.

Thanks, Strider, I don't have Netflix and it's not playing near here, so I'll have to wait for it to be available for sale on video. I have a feeling it'll be a rage/tear-inducing doc, not just because of the harm that some are willing to do, but the lengths that protectors are going to as well.

If it means proceeds of sales help them protect the park or in general fewer pics of idiots posing with the majestic game they've so bravely conquered with a gun (talking about not just gorillas now), then the balance can be tipped at least a little towards good.

Watched Lucas's 1968 short Coppola doc (not the interview below yet). I love all those behind-the-scenes decisions, challenges, and creative solutions that lead to the finished film.

Watch George Lucas’ 1968 Documentary on Francis Ford Coppola and His Recent 1.5-Hour Talk at Sundance

Posted by Jordan Raup, on February 4, 2015 at 7:00 am

We’ve seen a documentary on the “film school generation” of the 1970′s and now today brings another peek behind the curtain before Francis Ford Coppola and George Lucas would truly break out.

Filmmaker, a 32-minute 1968 documentary from Lucas, follows Coppola behind-the-scenes of Rain People. Made for around $12,000 while Lucas was writing his script for THX-1138, it takes an intimate look at what it takes to put together an independent production, including rehearsals, rewrites, studio interference, and much more.

Jumping to the present-day, we also have a recent 1.5-hour conversation between Lucas andRobert Redford while at Sundance this year. During the talk, the Star Wars creator says he has “no interest in science-fiction at all” and slams Hollywood for their reliance on “circus movies,” but believes that his hit franchise has “a lot more substance.” Nodding the aforementioned video, Lucas added, “All of us in film school hated the establishment. It was the ’60s.” Also discussing how independent filmmakers should own their properties, he says there’s not much money in post-production or visual effects.

For two very different sides of Lucas, check out both Filmmaker (via Open Culture) and the full talk below.

http://thefilmstage.com/news/watch-george-lucas-1968-documentary-on-francis-ford-coppola-and-his-recent-1-5-hour-talk-at-sundance/

Edited February 17, 2015 by Patrycja

[Patrycja]

Also, the great Walter Murch will be honoured this August:

Walter Murch To Be Honored By Locarno Film Festival With Vision Award

FEBRUARY 4, 2015 | 06:48AM PT

Festival del film Locarno

p.s. Ondaatje's The Conversations book is a must-read for insights into the creative process.

Edited February 17, 2015 by Patrycja

[Patrycja]

Indulge me - I LOVE theatre of all kinds (it's a sort of entrancing sickness for which, if there is ever a cure, I will refuse to take), and I'm wild for a certain Mr. Shakescene's productions, so for the, ahem, three of us who are interested, this will be coming soon to a movie theatre near you!

A great actor in probably my favourite (at the moment) Shakespeare play: Colm Feore starring in King Lear

TORONTO - February 19 - 22, 2015; March 7 & 22, 2015 - in various Cineplex locations http://www.cineplex.com/Showtimes/king-lear-stratford-festival-hd/toronto-on?Date=2/19/2015

Playing this month and next in various locations throughout Canada (check your local listings on http://cineplex.com

USA - FEBRUARY 25, 2015

Date: Wednesday, February 25

Time: 7:00 p.m. (local time)

Run Time: 2 hours, 50 minutes (approximate) including one intermission

Locations: A list of participating locations can be found on the "Theater Locations" tab. Check back often if your nearest theater is not listed as updates are being made daily.

Special Fathom Features: Stratford Festival’s unforgettable performance of Shakespeare’s greatest tragedy starring Colm Feore as King Lear.

Fathom Events and BY Experience are delighted to bring the Stratford Festival’s critically acclaimed performance of King Lear to select cinemas nationwide for a memorable one-night event.

Captured live at the legendary Stratford Festival in Canada, King Lear tells the story of a kingdom divided, a family destroyed, the faithful banished and the hateful left to wreak inhuman havoc in the realm. Four hundred years after it was written, King Lear resonates as never before. This powerful and unforgettable production of Shakespeare’s greatest tragedy stars the incomparable Colm Feore in the role of a lifetime, directed by Stratford Festival Artistic Director Antoni Cimolino.

Here’s what critics are saying:
“The play's final scenes are as harrowing as any I’ve seen.” Charles Isherwood, The New York Times

“It unquestionably catapults Colm Feore into the ranks of the world’s greatest living actors.” Richard Ouzounian, Toronto Star

“Feore’s fallible, fleshly Lear is unforgettable.” J. Kelly Nestruck, The Globe and Mail

“Colm Feore’s powerhouse of a performance stands at the apex of a riveting staging from Festival artistic director Antoni Cimolino.” Gary Smith, Hamilton Spectator

“This superb production is not only the Stratford Festival at its finest, it is Shakespeare at his finest.” Robert Reid, The Record

Don't miss the Stratford Festival's theatrical sensation on the big screen for a special one-night event, February 25 only!

http://www.fathomevents.com/event/king-lear

[Strider]

^^^

That's great news, Patrycja...they are showing it at the Chinese Theatre locally, so I will be able to go. I love it when they show live satellite feeds of theatre or opera at the theatre...whether it is La Scala or Opera at the Met or Shakespeare from the Globe.

By the way Patrycja, did you happen to catch Ben Whishaw as Richard II recently? Astounding performance...I hope he does more Shakespeare.

I saw "Kingsmen" the other night. Ehhh, kind of liked it, kind of didn't. Tonally, it was a very confused movie...over-the-top cartoonishness one moment, then trying to be a serious spy caper the next. There are some jarring moments towards the end that are gratuitous and unnecessary. Samuel L. Jackson is a complete loon...a lisping loon. It is like he is trying to audition to be a kooky villain in the next James Bond movie. I had no idea of the source material going in, but it had the smell of being a comic book. Plot holes abound. Sure enough, the credits at the end of the film said it was based on a comic book. Which means 13-year old boys will love it.

I grant you that it is kind of neat to see Colin Firth as an action hero sort, and Mark Strong is, well, strong as always. But the movie practically evaporates from your mind as you exit the theatre.

Edited February 20, 2015 by Strider

[Patrycja]

^^^

That's great news, Patrycja...they are showing it at the Chinese Theatre locally, so I will be able to go. I love it when they show live satellite feeds of theatre or opera at the theatre...whether it is La Scala or Opera at the Met or Shakespeare from the Globe.

By the way Patrycja, did you happen to catch Ben Whishaw as Richard II recently? Astounding performance...I hope he does more Shakespeare.

I saw "Kingsmen" the other night. Ehhh, kind of liked it, kind of didn't. Tonally, it was a very confused movie...over-the-top cartoonishness one moment, then trying to be a serious spy caper the next. There are some jarring moments towards the end that are gratuitous and unnecessary. Samuel L. Jackson is a complete loon...a lisping loon. It is like he is trying to audition to be a kooky villain in the next James Bond movie. I had no idea of the source material going in, but it had the smell of being a comic book. Plot holes abound. Sure enough, the credits at the end of the film said it was based on a comic book. Which means 13-year old boys will love it.

I grant you that it is kind of neat to see Colin Firth as an action hero sort, and Mark Strong is, well, strong as always. But the movie practically evaporates from your mind as you exit the theatre.

Did I say three of us? lol it looks like it's just two

Thanks for the RII suggestion, Strider, really appreciate it. Just got a copy, can't wait to see it! Ben Whishaw is one of those rare young actors that we feel privileged to witness because he's so good we'll be talking about him for years to come. He was mesmerizing in "Perfume: The Story of a Murderer." This whole BBC series "The Hollow Crown" is now on an ever growing list of things to see.

Adapting plays to film can be tricky. I'm curious how the more obvious stage of RII elements translate. It doesn't always work. For example, In Michael Radford's "The Merchant of Venice" the whole Portia-as-Balthazar artifice doesn't work nearly as well on film as it does on stage. You just don't buy into it when characters are presented more realistically and in a more realistic world the whole way through.

I've not seen any of the live theatre or opera satellite feeds (though the Lear one was previously recorded - it's from last summer's Stratford Festival in Ontario) so I wonder whether it is staged with being filmed in mind or just a straight recording, that is, theatre for film or simply filmed theatre, and how well that translates in 2D.

The single best filmed live theatre performance I've ever seen was at TIFF 2014 with Julie Taymor's "A Midsummer Night's Dream." This production was staged at BAM, and towards the end of the run, they decided to capture it because they felt it was something special. Cameras were installed in the theatre so as not to obstruct the performance and filmed it from multiple angles simultaneously. The performances themselves, however, were not altered in any way; the actors played to the audience in the theatre (which you could see and hear since it was a black box type of configuration - I think it was in the Fishman Space), rather than to those behind the camera, so no close-ups especially for the lens and no whispering for a mic that could be edited later.

It was the one time I felt a director's imagination reached so far as to match Shakespeare's words and the creative world they made. Breathtaking performance by the great Kathryn Hunter who played Puck (most will know her as Mrs. Arabella Figg in Harry Potter OotP: "Good Lord, boy, they told me you were intelligent" lol). She's all of about five feet tall, does two hours of yoga a day, and smokes, all of which helped in shaping such a unique portrayal of this character. Max Casella as Nick Bottom was incredible, too. The cameras simply captured the dynamics of rare theatre magic.

At the Q&A after the movie, Taymor said that they just weren't sure what to do with it next. It's hard to find distribution for that kind of 'film'. "Maybe this was it, and if you didn't see it, fuck you," she said. Boss. So glad I got to see it.

Oscars Sunday night.

[Cecil.]

An oldie, but a goodie that I have not watched in quite some time--so I need to watch it again to grasp how good it is.

Don't know if I'll enjoy it as much as I did The Raven--which Lugosi dominated--but it should be a good time nonetheless....

A good if somewhat stagey film, the set design and lighting, in some scenes are excellent. I'm sort of becoming a fan of Val Lewton.

[Strider]

Did I say three of us? lol it looks like it's just two

Thanks for the RII suggestion, Strider, really appreciate it. Just got a copy, can't wait to see it! Ben Whishaw is one of those rare young actors that we feel privileged to witness because he's so good we'll be talking about him for years to come. He was mesmerizing in "Perfume: The Story of a Murderer." This whole BBC series "The Hollow Crown" is now on an ever growing list of things to see.

Adapting plays to film can be tricky. I'm curious how the more obvious stage of RII elements translate. It doesn't always work. For example, In Michael Radford's "The Merchant of Venice" the whole Portia-as-Balthazar artifice doesn't work nearly as well on film as it does on stage. You just don't buy into it when characters are presented more realistically and in a more realistic world the whole way through.

I've not seen any of the live theatre or opera satellite feeds (though the Lear one was previously recorded - it's from last summer's Stratford Festival in Ontario) so I wonder whether it is staged with being filmed in mind or just a straight recording, that is, theatre for film or simply filmed theatre, and how well that translates in 2D.

The single best filmed live theatre performance I've ever seen was at TIFF 2014 with Julie Taymor's "A Midsummer Night's Dream." This production was staged at BAM, and towards the end of the run, they decided to capture it because they felt it was something special. Cameras were installed in the theatre so as not to obstruct the performance and filmed it from multiple angles simultaneously. The performances themselves, however, were not altered in any way; the actors played to the audience in the theatre (which you could see and hear since it was a black box type of configuration - I think it was in the Fishman Space), rather than to those behind the camera, so no close-ups especially for the lens and no whispering for a mic that could be edited later.

It was the one time I felt a director's imagination reached so far as to match Shakespeare's words and the creative world they made. Breathtaking performance by the great Kathryn Hunter who played Puck (most will know her as Mrs. Arabella Figg in Harry Potter OotP: "Good Lord, boy, they told me you were intelligent" lol). She's all of about five feet tall, does two hours of yoga a day, and smokes, all of which helped in shaping such a unique portrayal of this character. Max Casella as Nick Bottom was incredible, too. The cameras simply captured the dynamics of rare theatre magic.

At the Q&A after the movie, Taymor said that they just weren't sure what to do with it next. It's hard to find distribution for that kind of 'film'. "Maybe this was it, and if you didn't see it, fuck you," she said. Boss. So glad I got to see it.

Oscars Sunday night.

I have many thoughts on the subject of artifice versus realism in adapting Shakespeare from stage to screen, Patrycja, but no time at the moment to share them coherently.

I have several things to get ready for tonight as soon as I leave work. Starting with getting to see the nominated short films at the American Cinematheque.

First the live-action shorts...

http://www.americancinemathequecalendar.com/content/2015-oscar-nominated-live-action-shorts

Then, the animated ones...

http://www.americancinemathequecalendar.com/content/2015-oscar-nominated-animated-shorts

I am really looking forward to seeing what Colm Feore does with King Lear. I have been impressed with Feore ever since his marvelous turn as Glenn Gould in the fantastic, whimsical "Thirty-two Short Films About Glenn Gould". A must-see for classical music fans...and Canadians!

Edited February 22, 2015 by Strider

[Strider]

After seeing all the Oscar-nominated shorts, my educated guess is that in the Animation Short category, it is between "A Single Life" and Disney's "Feast"...with Canada's "Me and My Moulton" having a dark horse's chance.

For the Live Action Short category, it's a battle between two UK contenders..."The Phone Call" and "Boogooloo and Graham". If you like rooting for the underdog, "Butter Lamp" has a good chance at being an upset pick.

Edited February 22, 2015 by Strider

[paul carruthers]

I was watching The Haunted Palace earlier and although it was a good movie, it was also kind of sad too--seeing how much Lon Chaney's physical appearance had deteriorated from his years of alcohol abuse. Of course, going in I knew I was not going to see the Chaney from his prime years at Universal Pictures, but it was alarming nonetheless. Even his voice was different and I think as the years went on, even his voice began to fail him as I've seen the clips of his last film, Dracula vs. Frankenstein and it was pretty tough to watch.

Thank goodness the films he made during his prime years are readily available on DVD--that's how I will choose to remember the man.

Well, enough of my ranting--back to the regularly scheduled movie talk...

Edited February 22, 2015 by paul carruthers

[Strider]

I was watching The Haunted Palace earlier and although it was a good movie, it was also kind of sad too--seeing how much Lon Chaney's physical appearance had deteriorated from his years of alcohol abuse. Of course, going in I knew I was not going to see the Chaney from his prime years at Universal Pictures, but it was alarming nonetheless. Even his voice was different and I think as the years went on, even his voice began to fail him as I've seen the clips of his last film, Dracula vs. Frankenstein and it was pretty tough to watch.

Thank goodness the films he made during his prime years are readily available on DVD--that's how I will choose to remember the man.

Well, enough of my ranting--back to the regularly scheduled movie talk...

You mean Lon Chaney JUNIOR, of course?

Yes, it was sad to chart his deterioration over his film career. The shadow of his father's legacy must have been a burden.

[paul carruthers]

^^ Yes, I meant Chaney Jr.--sometimes I just refer to him by the named he was billed under for most of his career.

I think not only the shadow of his father, but Lon's own career frustrations must have affected him as well. I think Chaney Jr. had aspirations of being a leading man in the movies and instead was typecast as a "horror star." The irony of all that may be is that it was those horror roles which immortalized him for generations of fans--maybe moreso than a lot of the guys who were playing romantic leads during Junior's career.

[Patrycja]

I have many thoughts on the subject of artifice versus realism in adapting Shakespeare from stage to screen, Patrycja, but no time at the moment to share them coherently.

I have several things to get ready for tonight as soon as I leave work. Starting with getting to see the nominated short films at the American Cinematheque.

First the live-action shorts...

http://www.americancinemathequecalendar.com/content/2015-oscar-nominated-live-action-shorts

Then, the animated ones...

http://www.americancinemathequecalendar.com/content/2015-oscar-nominated-animated-shorts

I am really looking forward to seeing what Colm Feore does with King Lear. I have been impressed with Feore ever since his marvelous turn as Glenn Gould in the fantastic, whimsical "Thirty-two Short Films About Glenn Gould". A must-see for classical music fans...and Canadians!

If you could when you can, that would be great. Fascinating subject.

In the Oscar thread, I posted an article about the honest look behind the Oscar voting process. I just wanted to highlight this part for a different focus. Regarding "American Sniper":

" It shows that a movie can galvanize America and shows that people will go if you put something out that they want to see. With regard to what it did or didn’t leave out, it’s a movie, not a documentary. I enjoyed it, I thought it was well done, and I can separate out the politics from the filmmaking."

https://ca.movies.yahoo.com/news/anonymous-oscar-voter-reveals-brutally-honest-ballot-141014501.html

I still haven't seen "American Sniper" but there has been some controversy both here on the forum and in many articles. A similar controversy has been brewing with "Ida", another example of films and the politics that get entangled with them.

Does ‘Ida’ Misrepresent Poland's Treatment of Jews?

Oscar-Nominated Film Draws Fire for Occupation Portrayal

OPUS FILM

Looking Up: Agata Kulesza (left) and Agata Trzebuchowska star in Pawel Pawlikowski’s Oscar-nominated film.

By David Levesley

Published February 06, 2015, issue of February 13, 2015.

Every year since 1963, Poland has submitted a movie for the Academy Award for Best Foreign Language Film. Nine of the country’s past submissions have been shortlisted for the prize, and 2015 marks the 10th: “Ida,” a black-and-white film about a Polish nun (Agata Trzebuchowska) who discovers she is Jewish and that her parents were murdered by those who offered them sanctuary. It is bleak, slow and concise, while also offering a cast of ciphers for the complex history of 20th-century Poland.

English language critics have lauded the movie as an artistic triumph: A.O. Scott of The New York Times named it the second best movie of the year, and The New Yorker’s David Denby was “thrown into a state of awe by the movie’s fervent austerity.” But groups on both the Polish left and right are far from content with Ida’s treatment of Polish, particularly Polish Jewish, history.

One aspect of “Ida” that such groups find problematic is the fact that the only murder of Jews portrayed in the film is carried out by a Pole. Considering the outrage whenever Nazi death camps on Polish land are labeled “Polish” in the media or by officials, this might not be entirely surprising.

Critics also took issue with the character of the aunt, Wanda Gruz (Agata Kulesza), an ex-judge under the Stalinist regime who sentenced many people to death. Because she is the only middle-aged Polish Jew in the movie, some find her to be an unflattering avatar for those Jewish citizens who joined the secret police in Stalinist Poland.

The Polish Anti-Defamation League, which is circulating a petition that has 36,000 signatures, has asked the moviemakers to add contextualizing captions before the movie’s start, to make clear that Poland was occupied by Germany during the war and that many Poles did hide Jews even at the risk of death. In an email to The New York Times, one of the film’s producers, Eric Abraham, objected to the request.

“It is telling that a fictional film about two women traumatized by National Socialism and Stalinism should so get under the skin of Polish nationalists,” Abraham wrote. “It’s as if anything that picks away at the scab of the nation’s unprocessed history of Stalinism and anti-Semitism remains a clear and present threat.”

According to Sheila Skaff, director of the master’s program at New York University’s Gallatin School and author of “The Law of the Looking Glass: Cinema in Poland, 1896-1939,” the film’s nomination caused anger in part because the director Pawel Pawlikowski is not seen as particularly influential in the Polish film scene. His work, Skaff says, is “more reminiscent of Ozu and Japanese cinema than postwar Polish cinema.” She noted that the film lacks the complex narrative and fast tempo of most contemporary Polish movies, and that this simple narrative structure coupled with heady political topics might not sit well with some.

“This is one of the gloomiest movies ever to come out of Poland,” said Skaff. “There’s a darkness that’s very hard for people to accept.”

Padraic Kenney, a history professor at Indiana University and vice president of the Association for Slavic, East European and Eurasian Studies, contends that the film’s role as “Poland’s business card to the world” has bred discord because large swathes of Polish political history are represented by just two characters: the orphaned Jewish girl Ida as a symbol of the war, and the hardened Jewish “comrade” Wanda as a avatar of Stalinism.

According to Kenney, Poland now has arrived at a place of maturity and open discourse about its role in World War II, and has come to terms with much of its Jewish history too, as witnessed by last year’s opening of the Museum of the History of the Polish Jews in Warsaw. But Poland’s communist history has not yet been sufficiently parsed,”and it was during communist reign in 1968 that most of Poland’s remaining Jews were forced into exile or assimilation. It is this far murkier period that is embodied in the character of Wanda, who is supposedly based on the alleged war criminal Helena Wolinska-Brus.

OPUS FILM

Snowed Over: The characters in ‘Ida’ are made to represent large swathes of Polish political history.

“Ida,” Kenney says, is a highly unusual Polish film to be submitted for an Oscar. While other countries have settled on very specific formulae for their submissions — World War II biopics or “quirky comedies that make Norway or Estonia seem like a real fun place” — Poland varies its choices from one year to the next. Last year, Poland’s choice was a biopic of Lech Wałesa. “I can’t imagine a biopic ever winning the Oscar,” said Kenney, “because it’s made to speak to a Polish audience.”

“Ida” may be the only Polish movie in its category, but it is not the only Polish movie up for an award, Skaff said. Two Polish documentaries (“Joanna” and “Our Curse”) are up for the Oscar for Best Documentary Short Subject and both, she says, are centered on illness but are less dour than “Ida.” They endeavor to show viewers that Poland shouldn’t be seen as too glum a land.

Still, according to Kenney, the majority of Poles are unconcerned with the fate of “Ida” overseas. “We don’t think people will watch ‘Selma’ in France and get the wrong idea of the United States,” he said. “If this film wins the Oscar, it won’t be because people think it’s about Poland.”

David Levesley is the Forward’s arts and culture intern.

http://forward.com/articles/214172/does-ida-misrepresent-polands-treatment-of-j/?

I was at the TIFF 2014 premiere of "Ida" and an audience member asked why Poles were misrepresented as being anti-Semitic, why there were none shown risking their lives to help hide Jews as her father had done. Awkward question, and though valid, not for the context of this film. There's a big difference between a movie lacking breadth and depth, and it not focusing on what people want it to address. Politics inevitably get discussed, and it's a valid discussion in its own right, but that's also not the point of a given movie, which should be accepted and critiqued on its own merit or on the story it actually strives to communicate. I feel the last line of of the article sums it up nicely.

Edited February 23, 2015 by Patrycja

[TypeO]

Saw 2 good movies this weekend, compliments of Redbox.

First off, I watched St. Vincent twice, Friday night alone and again Saturday evening with my wife.

And I cried both times.
I really loved it.
Bill Murray remains as awesome as ever.

Tonight I watched Gone Girl.

Really long, and I want to say really good, but I'm not sure.
I wasn't happy with the ending.

But it was pretty good, and very intense.
Overall, I liked it.

[TypeO]

Tonight I watched Gone Girl.

Really long, and I want to say really good, but I'm not sure.

I wasn't happy with the ending.

But it was pretty good, and very intense.

Overall, I liked it.

Also, I noticed Trent Reznor with Atticus Ross for the music, which was pretty awesome.

[Strider]

Also, I noticed Trent Reznor with Atticus Ross for the music, which was pretty awesome.

With Gone Girl and The Social Network under their belts, Trent and Atticus are getting quite a rep in soundtrack circles.

Thanks Patrycja for the articles...I'll definitely read later.

Edited February 23, 2015 by Strider

[zepscoda]

Watched 2 movies the past couple of days...today was Whiplash. I thought it was really good.

The other was Guardians of the Galaxy. I didn't know what to expect on this one, and was blown away ! I can't wait for a sequel.

[Ddladner]

Watched 2 movies the past couple of days...today was Whiplash. I thought it was really good.

Thanks for reminding me, I wanted to see Whiplash after watching the Oscars. Just watched it...WOW!!! I can see why J. K. Simmons was a shoe-in for best supporting actor. I loved Miles Teller...unbelievable!!!

Highly recommend the movie, a must-see for the great drummers on this forum.

[Sathington Willoughby]

With Gone Girl and The Social Network under their belts, Trent and Atticus are getting quite a rep in soundtrack circles.

http://en.wikipedia.org/wiki/The_Girl_with_the_Dragon_Tattoo_(soundtrack)

[Pagefan55]

I just saw "Still Alice"; a film about Alzheimer's disease. The subject matter is depressing, but I thought the film was pretty good.

[redrum]

We saw 'The Imitation Game' and we were surprised it was even playing in our small town. Great movie.

[Sathington Willoughby]

RIP Gregory Walcott

https://www.youtube.com/watch?v=QkpJAQ9G-gM

[Strider]

It's one thing to see "APOLLO 13". It's quite another to see it at the Grauman's Chinese with Captain Jim Lovell and Alex Trebek doing a Q & A afterwards. Tonight at the TCM Festival.

http://filmfestival.tcm.com/programs/films/apollo-13/

[Reggie29]

I enjoyed this movie.

The Water Diviner is scheduled for a limited release in the USA on April 24, 2015, the day before the 100th anniversary of the Gallipoli (Çanakkale), landing.

The Dardanelles (Hellespont) on the Aegean Sea in Turkey is where Troy once stood and Hector and Achilles fell.

http://www.imdb.com/title/tt3007512/

Edited March 28, 2015 by Reggie29

[Strider]

I enjoyed this movie.

The Water Diviner is scheduled for a limited release in the USA on April 24, 2015, the day before the 100th anniversary of the Gallipoli (Çanakkale), landing.

The Dardanelles (Hellespont) on the Aegean Sea in Turkey is where Troy once stood and Hector and Achilles fell.

http://www.imdb.com/title/tt3007512/

Thank you for the heads up, Reggie. I look forward to this one.

The rain stopped long enough for me to head to this nasty little double-feature of Japanese delights by directors Takashi Miike and 'Beat' Takeshi Kitano. "Audition" especially is not for the squeamish.