New Entertainment

Documentary Releases: Cinematographer (2022) - Reviewed

Posted By themoviesleuth 14 hours ago on Entertainment

Courtesy of LightyearThe story of cinematographer Donald M. Morgan, the man who shot three of John Carpenter’s films including but not limited to Christine and Starman, is far more checkered and multi-layered than you’d think the life of a man behind a film camera would be.  With documentary filmmaker Dan Asma’s eye-opening dialogue Cinematographerwith Morgan, The Exorcist cinematographer Owen Roizman and Unforgiven cinematographer Jack N. Green, we’re given a portrait of how a man with former substance abuse problems found his vocation to become one of the world’s greatest directors of photography for some of Hollywood’s most beloved movies. Partially a confessional with Donald M. Morgan reflecting on his troubled past before achieving sobriety through the art and craft of film photography, partially a celebration of cinematography and the impact it has on viewers and those making film itself, Cinematographer is an intimate love letter to a man long overdue for his indelible contribution to cinema.  And yet as you’re watching it, Morgan comes across as an everyman not interested in mathematics or techniques relative to new camera tools, approaching it as constructing a painting while giving way to a director’s vision.  Is the cinematographer an artist or is he merely a serviceman to the director?  Well, Morgan contests with what he brought to the table he is most definitely an artist and for once it was refreshing to hear the stories of filmmaking told entirely and only from the point of view of the cameraman who brought their directors’ visions to vivid life.  More than anything, the film is a testament to Donald M. Morgan’s own quest for helping others struggling with their own substance abuse issues and the sobering nature of sitting behind a camera to shoot a film.  As a documentary, Cinematographer though mostly focused on Morgan bounces between interviews with Roizman and Green talking about their relationships not only with the directors they worked for but with the impact Morgan had on their lives.  Occasionally the film intersperses clips of footage from the works in question these three cinematographers shot though Cinematographer avoids becoming a clips compilation film ala Z Channel: A Magnificent Obsession(also a wonderful documentary about movies by the way).  Still, most of it is filmed inside the homes of the three key cinematographers of this documentary and as such it takes on a greater intimacy. A treat for film lovers and a heartfelt leaning upon the viewer’s shoulder from an ordinary man who was once lost but found his calling behind a film camera, Cinematographer while not a revolutionary documentary that reinvents the wheel is kind of a heartwarming look behind the camera at the men who shaped some of our favorite cinematic visions to have ever appeared onscreen.  By the end of it, while revering Morgan, Roizman and Green’s filmmaking efforts, you come to know these guys as friends who each cared deeply about their work and brought a unique quality to the films they helped to create.  Anyone interested in the movies owes themselves a look at Cinematographer!--Andrew Kotwicki (function() { var zergnet = document.createElement('script'); zergnet.type = 'text/javascript'; zergnet.async = true; zergnet.src = (document.location.protocol == "https:" ? "https:" : "http:") + '//www.zergnet.com/zerg.js?id=59239'; var znscr = document.getElementsByTagName('script')[0]; znscr.parentNode.insertBefore(zergnet, znscr); })();

Halloween Ends: John Carpenter Track and Boy Harsher Remix Have Been Released Online

Posted By themoviesleuth 1 day 8 hours ago on Entertainment

 Keeping in line with the last two entries in the Halloween franchise, John Carpenter has released one of his tracks from the upcoming soundtrack online. His group which features Cody Carpenter and Daniel Davies have released the track called The Junkyard on Youtube in preparation for what is said to be the final entry in the Halloween saga. Alongside the Carpenter track, Boy Harsher has also posted a brand new remix of Burn It Down to the streaming site as well. Halloween Ends will conclude the long running Michael Myers saga and is said to finally end the character. Jamie Lee Curtis obviously returns to her long running role of Laurie Strode. The last release, Halloween Kills proved to be another success for the slasher brand despite a very mixed critical response. We look forward to seeing how they end the series.  (function() { var zergnet = document.createElement('script'); zergnet.type = 'text/javascript'; zergnet.async = true; zergnet.src = (document.location.protocol == "https:" ? "https:" : "http:") + '//www.zergnet.com/zerg.js?id=59239'; var znscr = document.getElementsByTagName('script')[0]; znscr.parentNode.insertBefore(zergnet, znscr); })();

2022 Yamaha Electone Arrangement 6: Ceoi Soeng Kuk (隨想曲)

Posted By ScribblingGeek 1 day 10 hours ago on Entertainment

https://www.scribblinggeek.com - The post 2022 Yamaha Electone Arrangement 6: Ceoi Soeng Kuk (隨想曲) appeared first on The Scribbling Geek.
Electone sheet music and registration data for Ceoi Soeng Kuk (隨想曲), a 1982 classic Cantopop hit by Paula Tsui Siu Fung.
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Cinematic Releases: Blonde (2022) - Reviewed

Posted By themoviesleuth 2 days ago on Entertainment

Courtesy of NetflixBy now for good or for ill, you’ve probably caught wind of the controversy surrounding Killing Them Softly director Andrew Dominik’s new Netflix produced drama Blonde, a fictionalized, lyrical take on the life and final days of Hollywood icon Marilyn Monroe.  From Joyce Carol Oates’ fictitious novel to Cuban born actress Ana de Armas’ controversial casting to being the first Netflix streaming film to be branded with the dreaded NC-17 for graphic sexual content, Blonde was already shaping up to be a divisive shocker destined to highlight the ugly belly of the beast that is Tinseltown and how unfairly it treated one of its most prolific moneymakers.  Many are writing the film off sight unseen as puerile exploitation of a gifted Hollywood starlet.  After seeing the film (currently in limited theatrical release before going to Netflix) co-produced by Brad Pitt’s production company Plan B and factoring the experience of uncompromising confrontational unpleasantries, I can confirm Blonde to be the saga of Marilyn Monroe through the mournful lens of David Lynch’s Twin Peaks: Fire Walk with Me by way of equally challenging and difficult hyperkinetic artworks such as Darren Aronofsky’s Requiem for a Dream, Oliver Stone’s Natural Born Killersor even Gaspar Noe’s Enter the Void.  Alas, here is a period piece about a familiar subject that pushes the boundaries of what is seeable or hearable in a film, experimenting wildly with innovative filmmaking and sound engineering techniques.  Those who are looking for a straight-laced Netflix biopic are likely going to be turned off while others more interested in subverting conventions will have a field day.  Whether or not audiences at home will have the same experience as in theaters, which felt increasingly like a frontal sensory assault, remains to be seen.  What unspooled in the theater setting, however, was in its way kind of astonishing.  There has never been a biopic of an actor/actress quite like this before except maybe Paul Schrader’s Auto Focusand given the noise made about Blonde before anyone got a real look at Dominik’s film, it is unlikely we’ll see one like it ever again. Much has been made of actress Ana de Armas who all but completely inhabits every aspect of the role from the physicality to the psychology of Marilyn Monroe.  Though having to reenact degradations experienced by the actress, including one particularly unnerving scene with former president John F. Kennedy, de Armas IS Marilyn Monroe.  From her movements to the way she speaks and carries herself to the bevy of innovative cinematographic techniques employed by cinematographer Chayse Irvin, we are believably transported into Monroe’s world and headspace which grows increasingly hallucinatory and even bizarre as the forces of Old Hollywood evils close in around her. Visually Blonde has the feel of experimental filmmaking with a wide variety of cinematic invention including but not limited to multiple aspect ratios, windowboxing, rapid-fire editing, frequent use of the Snorricam where the camera apparatus is attached to de Armas’ body and the subtle use of curved lenses to give certain shots a circular effect.  Simply put, this is the most hyperactive experimental piece of filmmaking of its kind since Aronofsky set moviegoers loose into druggie Hell back in 2001.  Then there’s the soundtrack by Nick Cave and Warren Ellis which is evocative, ethereal, haunted and finally ambient ala Angelo Badalamenti, again fueling comparisons to the tonality of Lynch’s work. Yes Blonde is like being in a Hell, an unmitigated misery that just keeps spiraling downward into degradation and death.  Whether or not it does right or wrong by Monroe is open to debate but for my money, Blonde washes over the viewer like a Tsunami, galvanizing and hurting you as it crashes into you, leaving you feeling somewhat shaken, perhaps angry but ultimately cleansed.  More than anything, it takes what we think we know about Monroe and the conventions of the biopic and completely tears them limb from limb in what is an evocative film experience that doesn’t attempt to clear up our notions of who Marilyn Monroe was so much as it tries to bring us a little bit closer to her fragile soul.  Not for most people, not to be enjoyed but as a piece of purely audiovisual art, Blonde is breathtaking!--Andrew Kotwicki (function() { var zergnet = document.createElement('script'); zergnet.type = 'text/javascript'; zergnet.async = true; zergnet.src = (document.location.protocol == "https:" ? "https:" : "http:") + '//www.zergnet.com/zerg.js?id=59239'; var znscr = document.getElementsByTagName('script')[0]; znscr.parentNode.insertBefore(zergnet, znscr); })();

The Way of Money: Avatar Re-Release Takes #1 Spot at the Global Box Office

Posted By themoviesleuth 2 days ago on Entertainment

 This last weekend saw the long awaited re-release of James Cameron's Avatar back in theaters. Initially released in 2009 to a massive box office haul, the film's sequel is scheduled to hit theaters in the coming months. In preparation, the studio has released the original back to cinemas with this weekend further solidifying its status as the biggest theatrical release of all time. Avatar re-opened globally and continued to rake in the bucks. This weekend saw the film take in another $10 million in U.S. receipts as well as $20.5 million in the international market. The movie took the number 3 spot domestically following behind The Woman King which banked another $11 million and Olivia Wilde's heavily dramatized directorial outing, Don't Worry Darling which clocked in at $19.2 million in the number 1 position.  This is a great sign for the studio, James Cameron, and the movie itself. Many thought that the long hiatus between Avatar and its sequel would cause lack of interest. Obviously not. People are still invested in seeing where this story goes and appear to be hyped for Avatar:The Way of Water. -CG (function() { var zergnet = document.createElement('script'); zergnet.type = 'text/javascript'; zergnet.async = true; zergnet.src = (document.location.protocol == "https:" ? "https:" : "http:") + '//www.zergnet.com/zerg.js?id=59239'; var znscr = document.getElementsByTagName('script')[0]; znscr.parentNode.insertBefore(zergnet, znscr); })();

The Gays Do It Better: Bros (2022) - Reviewed

Posted By themoviesleuth 3 days ago on Entertainment

It would be easy to assign historical significance to something that breaks into the mainstream after years on the sidelines. Perhaps a film that is the first of its kind to be distributed by a major studio could be described as pioneering and revolutionary. And Bros easily fits that description by taking characters who are usually only seen as the gay best friend of the female lead and making them the protagonists. Co-written by leading man Billy Eichner, the film smartly uses the romcom formula, but delivers so much more. It does so by weaving in gay history, realistic gay dating and Gindr experiences, a bit of generational reflection past trauma and the space that queer people have had to exist in, and a more realistic ending for gay relationships. The comedy works very well with Eichner’s angry/difficult person diatribes not becoming the sole source of the jokes. Though a few lines seem slightly shoehorned in, many more naturally flow from the conversations, sharp satire of Hallmark Channel ‘inclusivity’, and gay culture. Gay historian and podcast host Billy Leiber (Eichner) begins the movie describing himself as ‘not a relationship guy’ and suffering the realities of Grindr hookups. He meets Aaron Shepard (Luke McFarlane), a beefy, bro-y, estate lawyer, at a club when they lock eyes from across the room. Their awkward conversations at the club are entertaining and lead to them both to learning that neither are ‘looking’ and not interested in being in a relationship. Their meetcute leads to more hanging out and, because this is a romcom, dating and romance. The plot covers so much of the gay experience with Eichner’s more effeminate character representing one end of the spectrum and McFarlane’s straight-passing one the more masculine end. Open relationships and the use of testosterone, among many other aspects of gay life, are addressed with honesty and boldness. Additionaly, the entire spectrum of queer identities and experiences are represented very well throughout and also played for laughs with Eichner’s character having to wrangle queer board members of a soon-to-open LGBTQ+ museum. This formation of the museum allows for some riotous cameos and surprises not revealed in any of the trailers. Though there could be debate about this being the first gay romcom, this is the first of its kind distributed by a major studio. Additionally, 99% of the cast identify as queer, according to promotional interviews. So, in a turn that’s more than fair given the history of straight actors playing queer parts, queer actors played straight roles in this movie.  This intentionality comes through in the more realistic issues and experiences of the characters and in the intelligent take on the genre that raises the bar for romcoms. So, in this case, you could say that the gays do it better. Bros releases in theaters on Sept. 30th. -Eric Beach (function() { var zergnet = document.createElement('script'); zergnet.type = 'text/javascript'; zergnet.async = true; zergnet.src = (document.location.protocol == "https:" ? "https:" : "http:") + '//www.zergnet.com/zerg.js?id=59239'; var znscr = document.getElementsByTagName('script')[0]; znscr.parentNode.insertBefore(zergnet, znscr); })();

Movie Review – Jeepers Creepers: Reborn

Posted By ScribblingGeek 3 days ago on Entertainment

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Jeepers Creepers: Reborn review. A “reboot” of sorts wasted by terrible effects and godawful dialogue. With a mystery that isn’t explained too.
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Vader No More: James Earl Jones Retires From Star Wars

Posted By themoviesleuth 4 days ago on Entertainment

 After decades of starring as the voice of Darth Vader in the Star Wars saga, James Earl Jones has officially retired from his role. It's being reported that he has signed over voice rights to Lucasfilm and Respeecher. First appearing as the voice of Vader in 1977, he has continued through the series as the vocal character of the Sith Lord. He had worked on not just the movies but also worked on the Obi-Wan Kenobi series, Rebels and numerous other Star Wars projects. Today, he has stepped down from the role and handed over the usage of his iconic tone to Lucasfilm and the Ukrainian AI audio company Respeecher who will now find new and interesting ways to give Vader his voice. Apparently, both companies are still planning on using his advice in the future saying that they will, "heed his advice on how to stay on the right course".Jones is 91 years old. This really isn't a shock and the man obviously deserves to finally step away from being the best villain to ever hit the screen. Jones was brought in later in to the production of the first Star Wars movie when David Prowse's voice was found to not be threatening enough. George Lucas then opted to hire Jones to do all the voice work in post production via overdubs. -CG (function() { var zergnet = document.createElement('script'); zergnet.type = 'text/javascript'; zergnet.async = true; zergnet.src = (document.location.protocol == "https:" ? "https:" : "http:") + '//www.zergnet.com/zerg.js?id=59239'; var znscr = document.getElementsByTagName('script')[0]; znscr.parentNode.insertBefore(zergnet, znscr); })();

House of Dreams @ ION Art Gallery | Barbie Exhibition in SG

Posted By ScribblingGeek 4 days ago on Entertainment

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House of Dreams at ION Art Gallery is the largest-ever free Barbie exhibition in Singapore. With over 600 gorgeous dolls on display.
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Box Office Barbarian: Horror Flick Passes $23 Million, Is Expanding This Weekend

Posted By themoviesleuth 5 days ago on Entertainment

 Just in time for the Halloween month, 20th Century Fox has a small horror hit on their hands. Their September release, Barbarian has gone on to gross $23 million in revenue over 14 days. And it is continuing to expand. The movie scared up $10 million in its first weekend but is expected to climb as it is going to start opening in more theaters with Exhibitor Relations getting it into an additional 550 cinemas this weekend. The lower budget featured has already grossed over $24 million in its full worldwide haul but will definitely keep stacking more on as it's getting excellent word of mouth from both critics and movie-goers. 20th Century fully expects Barbarian to hit the $30 million marker by the end of this weekend. Heading into the Halloween month with limited new horror releases coming out, it may have a clear path to continuing its excellent numbers. It's main competition will obviously be the conclusion to the long running Halloween saga in October. -CG (function() { var zergnet = document.createElement('script'); zergnet.type = 'text/javascript'; zergnet.async = true; zergnet.src = (document.location.protocol == "https:" ? "https:" : "http:") + '//www.zergnet.com/zerg.js?id=59239'; var znscr = document.getElementsByTagName('script')[0]; znscr.parentNode.insertBefore(zergnet, znscr); })();