Mar 17, 2018
The Martian (2015)
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The Martian (2015)
The Being the Ricardos true story is compared to the Lucille Ball movie starring Nicole Kidman and Javier Bardem as the I Love Lucy stars an
Being the Ricardos (2021)
Historical Accuracy (Q&A): How much of Lucille Ball and Desi Arnaz's lives does the movie cover?
The Aaron Sorkin Lucille Ball movie focuses on one fictionalized tumultuous week in the couple's lives in 1952 as they confront accusations of infidelity in their marriage, in addition to accusations that Lucille Ball is a communist. One is a crisis that could end their marriage and the other is a crisis that could destroy their careers on their hit TV sitcom I Love Lucy. The plot is summed up in the movie's tagline, which explains that the couple is "threatened by shocking personal accusations, a political smear, and cultural taboos." The last part pertains to the discovery that Lucy is pregnant. While all of these events did happen, the Being the Ricardos true story reveals that they didn't happen in a single week like in the film. This manipulation of the timeline is arguably the biggest inaccuracy with Aaron Sorkin's movie, and it has been pointed out by Lucy and Desi's daughter, Lucie Arnaz, who despite having an executive producer credit on the film, hasn't held back in criticizing the movie's truthfulness and condensing of events. "He's taking some theatrical license and sort of cramming a couple of true events that did happen, they just didn't happen at the same time." Aaron Sorkin admitted that while the three points of friction between Lucy and Desi in the film are historically true, he took creative license by condensing them into a single week in the movie. "They all happened, they just didn't happen in the same week," Sorkin stated during a Q&A after a screening of the film.
How did Lucille Ball and Desi Arnaz meet?
In researching how true is Being the Ricardos, we learned that Lucille Ball met Cuban-born bandleader Desi Arnaz in 1940 while shooting the film Too Many Girls, an adaptation of the hit Rodgers and Hart Broadway musical. By the second day of filming, they had developed an instant connection with one another and eloped later that same year.
Cruella De Vil’s In Film
One Hundred And One Dalmatians (1961) voiced by Betty Lou Gerson & animated by Marc Davis
101 Dalmatians (1996) portrayed by Glenn Close & styled by Anthony Powell and Rosemary Burrows
102 Dalmatians (2000) portrayed by Glenn Close & styled by Anthony Powell
Descendants (2015) portrayed by Wendy Raquel Robinson & styled by Kara Saun
Cruella (2021) portrayed by Emma Stone & styled by Jenny Beavan
Bombshell (2019)
Bombshell is a 2019 American drama film directed by Jay Roach and written by Charles Randolph. The film stars Charlize Theron, Nicole Kidman, and Margot Robbie, and is based upon the accounts of the women at Fox News who set out to expose CEO Roger Ailes for sexual harassment. Actors John Lithgow, Kate McKinnon, Connie Britton, Malcolm McDowell, and Allison Janney appear in supporting roles.
The project was first announced in May 2017 following Ailes's death, with Roach confirmed as director the following year. Much of the cast joined that summer and filming began in October 2018 in Los Angeles. It entered into a limited release in the United States on December 13, 2019, before a wide release on December 20, by Lionsgate.
Bombshell's box office results were seen as a disappointment but it received generally favorable reviews, with critics praising the performances of the cast (particularly of Theron and Robbie) and the makeup and hairstyling but some criticizing its screenplay and inaccuracies. At the 92nd Academy Awards, it earned three nominations: Best Actress (Theron), Best Supporting Actress (Robbie), and Best Makeup and Hairstyling, winning the latter. The film also received two nominations at the 77th Golden Globe Awards (for Theron and Robbie), four at the 26th Screen Actors Guild Awards (Theron, Robbie, and Kidman, as well as Outstanding Performance by a Cast in a Motion Picture) and three at the 73rd British Academy Film Awards (Theron, Robbie, and Best Makeup and Hair). The theme song, "One Little Soldier", performed by Regina Spektor, won the 2020 "Best Song Written or Recorded for a Film" from the Guild of Music Supervisors Awards.
https://en.wikipedia.org/wiki/Bombshell_(2019_film)
There’s A Very Good Reason Why Everyone Is Watching “The Queen’s Gambit” The new Netflix miniseries takes a damaged heroine into new territory. Posted on November 10, 2020
Last week, in the middle of the pandemonium of the presidential election, stray tweets and Instagram stories raving about Netflix’s The Queen’s Gambit started to take over my feeds. The president of the United States was undermining faith in the democratic process, and these folks were tweeting about a show about chess? What the hell was going on?
It’s always interesting when a show effectively breaks through in the all-out war for viewers’ attention, but to draw eyeballs in the midst of the most chaotic news cycle in a decade is an impressive feat.
As it turns out, those eyeballs were earned: Gambit is a show so effective and captivating, it immediately stands out as among the most compelling shows of the year.
The seven-episode miniseries follows the life of Beth Harmon (Anya Taylor-Joy), an orphan who wants to become the world’s greatest chess player. And because what’s a quest without obstacles, she has an alcohol and drug problem too. The show is created by Allan Scott and Scott Frank, the latter of whom takes on the directing. Frank is also the creator of Godless, and his credits also include the films A Walk Among the Tombstones and Logan. He’s the first to succeed in a long line of people who have tried to bring Gambit to the screen. The series is based on a 1983 novel by the same name, and in the intervening decades since its publication, Michael Apted was set to direct a screen adaptation. Then Bernardo Bertolucci took the helm. Later, Gambit was even set to become Heath Ledger’s directorial debut, but he died a few months before production was set to start.
Here’s the thing: If Gambit feels familiar immediately, this is no accident. The show deploys the heavyweights of storytelling tropes as it follows the comforting trajectory of the hero’s journey. It’s the fairy-tale structure you know: Here’s the orphan origin story trope; there’s the wise mentor trope. The show adheres closely to the rule of threes — Beth has three coaches who get close to her, she has three women who act as mothers and protectors, and she confronts her most fearsome opponent as many times, too.
But while the show is familiar, it’s also aware it’s landing in an environment where audience expectations are so shaped by trauma, and it has its fun with those expectations. Trauma is central to this moment in prestige TV, whether in comedies like Fleabag or dramas like Chernobyl. This, of course, is not a problem per se: Exploring the ways our painful past shapes us is meaningful heavy lifting for art to take on. It’s just that I’ve come to associate award-contender TV with deep-seated damage. I watch TV shows bracing for the worst.
Gambit deftly sets up scenes to suggest they’ll go one way before pivoting in another. The creepy basement stairs do not lead to death. The unsettling glance of an older man does not end in sexual assault. I’ve been so trained by the last five years of TV to anticipate bad things happening that I found myself gleeful at how Gambit builds then dissipates my anticipatory dread.
That’s not to say the scars aren’t there — Beth has gone through ample anguish, but her wounds do not define her. The pain is not dwarfed, nor is it in bold type. It is there in flashbacks and in between triumphs. It pops up in her highs and lows. On occasion, it is there in the choices she makes, the same way it is there for you and me. Beth is damaged and functional, sometimes winning and sometimes losing, but never only broken, never only an orphan, never only someone dealing with addiction.
A big reason why Gambit works is that it resolves the writer–director tension — a dynamic that pops up when a creator puts more emphasis on one part of the process over the other. There’s the writer who marshals all their directing prowess to showcase the words they’ve written (let’s say Aaron Sorkin). There’s the director who writes fine, but their main focus is to show off their directorial tricks (say, Darren Aronofsky). There’s nothing inherently wrong with tipping the scale in favor of one over the other, but in Gambit, Scott Frank put on a masterclass in harmonizing the two.
Frank creates an immersive gothic feel for Beth to move through, alternating between heart-palpitating quick cuts to lingering shots that make you lean closer to the screen. The chess matches are gorgeously shot.
The casting, too, is note-perfect. Anya Taylor-Joy delivers yet another up-and-coming-star caliber performance (Serious question: The Witch was five years ago, so how long must Taylor-Joy be considered “arriving” before she finally arrives?). Her primary weapon in silence: She fills the frame and lets her glances tell the story, to riveting effect.
Marielle Heller, the actor turned director (The Diary of a Teenage Girl, A Beautiful Day in the Neighborhood), is extraordinary as Alma, Beth’s adoptive mom. Here, too, Gambit subverts expectations: Alma and Beth’s relationship is less of a mother–daughter relationship, more of two mercenaries who need each other, and Heller is magnetic in the role.
Then there’s Jolene. Played by newcomer Moses Ingram, Jolene is a Black orphan and Beth’s first friend at the orphanage. Ingram is a scene-stealer every time, bursting onto the screen with energy and charisma. It’s Ingram’s first major role since graduating from drama school, but watching her, you’d imagine she was a veteran.
Taylor-Joy and Ingram have genuine warmth and chemistry together. Presumably to move the character away from “magical negro” territory, Jolene is given the ability to set boundaries and a satisfying character arc and agency.
Gambit is intelligent enough to treat its audience with respect. No one explains what the Sicilian Defense is, choosing instead to focus on why it matters in the narrative.
The show is ambitious, beautiful, and creative. For the love of god, it finds a way to inject sex appeal into chess. It hints at trauma enough to belong just fine in this TV moment while at the same time breaking away from it. More than anything else, it’s an intense ride that feels familiar enough to invite you in. No wonder it’s managing to break through even while the world is a mess. ●
https://www.buzzfeednews.com/article/elaminabdelmahmoud/the-queens-gambit-netflix-what-to-watch?utm_source=pocket-newtab
Charlie Chaplin 🎬 The Great Dictator (1940)
CLICK Below ..... 👇 🎥 👇
https://paulcpw.blogspot.com/2020/06/charlie-chaplin-great-dictator.html
Upload (TV Series) 2020
Upload is set in a future where "humans are able to 'upload' themselves into their preferred choice of afterlife. When Nathan meets his early death, he is greeted by Nora in his version of heaven. The series follows the two as Nathan grows accustomed to life away from his loved ones, and the alive Nora struggles to stay afloat working her job alongside Nathan in the afterlife."
"Once you get past the exposition-laden 45-minute premiere episode, the rest of it is a quick and mostly likable binge. And there are periodic moments of inspiration, be they comic (...) or something more divine.(…
"'Upload's' world, and the satire of our own that it steadily builds throughout its first season, is already more than potent enough to sustain the series without miring itself in cloak-and-dagger nonsense.
"The content is relatable and honest, and exactly the interesting direction and risk-taking journey one would hope upcoming comedy series would be offering up to viewers" Eoghan Cannon: entertainment.ie
<iframe frameborder="0" width="640" height="360" src="https://www.dailymotion.com/embed/video/x7sr4rp" allowfullscreen allow="autoplay"></iframe>
https://www.filmaffinity.com/us/film767847.html
Temple Grandin (TV) (2010) 👍
Synopsis / Plot - A biopic of Temple Grandin, an autistic woman born in 1947 who has become one of top scientists in humane livestock handling.
Cast - Claire Danes, Julia Ormond, Catherine O'Hara, David Strathairn, Melissa Farman, Barry Tubb, Stephanie Faracy, Jenna Hughes, Steve Shearer, Richard Dillard, David Born
Awards
2010: 7 Emmys, Including Best TV Movie, Directing and Actress (Danes). 15 Nominations
2010: Golden Globe: Best Actress (Danes). 3 nominations, including Best TV Movie
2010: American Film Institute (AFI): Top 10 - TV Programs of the Year
2010: Satellite Awards: Best TV Movie, Actress (Danes) & Supp. Actor (Strathairn)
2010: Nominated for Critics' Choice Awards: Best Picture Made for TV
2010: Producers Guild Awards (PGA): Nominated for Best TV Movie
2010: Directors Guild of America (DGA): Best Director (Miniseries/TV Movie)
2010: Writers Guild of America (WGA): Nominated for Best Adapted Screenplay (Long Form)
2010: Screen Actors Guild (SAG): Best Actress TV Movie or Miniseries (Danes).
https://www.filmaffinity.com/en/film855605.html