Film genre – Mondovino Le Film http://mondovino-lefilm.com/ Fri, 13 May 2022 11:43:07 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://mondovino-lefilm.com/wp-content/uploads/2021/07/lefilm-150x150.png Film genre – Mondovino Le Film http://mondovino-lefilm.com/ 32 32 Mosh: Manchester Film Festival Brings Metal To… https://mondovino-lefilm.com/mosh-manchester-film-festival-brings-metal-to/ Fri, 13 May 2022 11:30:00 +0000 https://mondovino-lefilm.com/mosh-manchester-film-festival-brings-metal-to/ When asked what makes a movie “metal,” Greg brings up this hard-to-articulate concept applied by fans to everything from classic art to professional wrestling. “There’s this thing that metalheads have,” he says, “where you can just see something and go, ‘Yeah, that’s metal.’ It translates to a movie, too – you make the same grimace […]]]>

When asked what makes a movie “metal,” Greg brings up this hard-to-articulate concept applied by fans to everything from classic art to professional wrestling. “There’s this thing that metalheads have,” he says, “where you can just see something and go, ‘Yeah, that’s metal.’ It translates to a movie, too – you make the same grimace as when you hear a really disgusting riff.Between the vulgar displays in Green Room and the splatter comedy Kiwi Deathgasm, Mosh should slap stinky faces on everyone present.

Alongside old documentaries (The Decline of Western Civilization Part II: The Metal Years from 1988) and new ones (Murder In The Front Row: The San Francisco Bay Area Thrash Metal Story from 2019), Greg has put together a series free short films. designed to convey the diversity of global metal, including Metal From The Dirt: Inside The Navajo Reservation’s DIY Heavy-Metal Scene and Noisey’s 2013 Heavy Metal Gangs Of Wadeye.

“We want to show the extent of people who love metal,” says the University of Salford film graduate. “But it’s not as well represented in feature films. We want to paint a picture of the modernity of metal and show that it is gradually becoming more inclusive.

Part of that inclusiveness includes embracing the queer roots of metal leather and denim. Mosh’s free shorts series also includes Angry Queer Gloom Cult: How Queer Metal Bands Built Their Own Scene, an episode of Sam Sutherland’s Extremely Online YouTube series.

“As much as some macho metal fans might not want to admit, queer culture has had a huge influence on metal’s identity,” says Greg, who cites Vile Creature as one of his vanguards. favorite queer metal bands. “We want to shine a light on bands who are leading this charge in bringing queer metal to new audiences.”

The diversity of any scene is best represented not by charts, but by popular documentaries, often made by fans. No one knows a scene quite like his lifers, and Greg “searches very hard to find films about more diverse relationships with metal than just white and Western.” Given the peak state of the world, who better to fly the flag for heavy music than “damn awesome” bands like Bob Vylan, Liturgy and Bloodywood? “Metal is an aggressive art form,” says Greg, “and who has more reason to be angry than people facing racial injustice, queer communities, and people with disabilities?”

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Ken Jeong Joins ‘The Afterparty’ as Series Regular for Apple Comedy Series Season 2 – Deadline https://mondovino-lefilm.com/ken-jeong-joins-the-afterparty-as-series-regular-for-apple-comedy-series-season-2-deadline/ Wed, 11 May 2022 19:30:00 +0000 https://mondovino-lefilm.com/ken-jeong-joins-the-afterparty-as-series-regular-for-apple-comedy-series-season-2-deadline/ EXCLUSIVE: Apple TV+’s detective crime comedy the after party has made another high-profile cast addition for its upcoming second season. Actor-comedian Ken Jeong is set as a new series regular on the hit show from Oscar winners Chris Miller and Phil Lord. Primetime-Panic Your complete guide to drivers and direct-to-serial controls Jeong joins new cast […]]]>

EXCLUSIVE: Apple TV+’s detective crime comedy the after party has made another high-profile cast addition for its upcoming second season. Actor-comedian Ken Jeong is set as a new series regular on the hit show from Oscar winners Chris Miller and Phil Lord.

Jeong joins new cast members Elizabeth Perkins, Zach Woods, Paul Walter Hauser, Poppy Liu, Anna Konkle, Jack Whitehall and Vivian Wu, as well as returning stars Tiffany Haddish, Sam Richardson and Zoë Chao.

Season 2 will revolve around a murder at a wedding. Richardson, joined by Chao, reprising their respective roles as Aniq and Zoe, will take on primary crime-solving duties, with Haddish returning as Detective Danner.

Jeong will play the role of Feng. He has experience in the genre, coming out as a memorable guest starring Will Arnett in the Netflix comedy series. Murderville.

Created by Miller, the after party is a genre-defying comedy series in which each episode explores a different character’s tale of a fateful evening, all told through the lens of popular film genres and unique visuals to match the storyteller’s perspective.

After its premiere earlier this year, the after party quickly gained critical and large audience acclaim, as well as a renewal at the start of the second season. The complete first season is currently streaming worldwide on Apple TV+.

Season 2 will be co-hosted by Miller and Anthony King, and both will serve as executive producers. The series is produced for Apple by TriStar TV and Sony Pictures Television as part of Lord and Miller’s five-year overall television deal. Miller executive produces alongside Lord through the duo’s production banner, Lord Miller. Lord Miller’s Senior Vice President for Television, Aubrey Lee, is a producer on the series.

The Masked Singer Judge Jeong is currently seen alongside Mike Myers in Myers’ Netflix comedy series The Pentaverate. It is replaced by ICM Partners, Aligned Entertainment and Goodman, Genow, Schenkman, Smelkinson & Christopher, LLP.

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You have to watch the most underrated time travel show ever https://mondovino-lefilm.com/you-have-to-watch-the-most-underrated-time-travel-show-ever/ Mon, 09 May 2022 11:31:25 +0000 https://mondovino-lefilm.com/you-have-to-watch-the-most-underrated-time-travel-show-ever/ Start the burst sequence! If that phrase doesn’t make sense to you, chances are you haven’t seen the best time travel show of the 21st century – or maybe ever. For some, this 2010s SyFy Channel series lives in the shadow of Terry Gilliam’s 1995 film. But for science fiction fans, the TV series 12 […]]]>

Start the burst sequence! If that phrase doesn’t make sense to you, chances are you haven’t seen the best time travel show of the 21st century – or maybe ever.

For some, this 2010s SyFy Channel series lives in the shadow of Terry Gilliam’s 1995 film. But for science fiction fans, the TV series 12 monkeys is actually much more satisfying than its previous incarnation. 12 monkeys reinvents the time travel genre by embracing its oldest tropes, and in doing so, the sci-fi series is more than worth your time, now that all four seasons are streaming on Hulu.

Watching 12 monkeys in 2022 can certainly be triggering. The whole premise hinges on James Cole (Aaron Stanford) being sent back in time from 2043 to prevent a global plague from decimating the planet in 2017. Watching the show in 2015 was certainly a grim experience, but after 2020 it’s is even darker. And yet, as the series progresses, it’s less about a plan to prevent a pandemic and more about time travel itself.

Although Season 1 deals a lot with the paradoxes of predestination (we were still meant to be here) and closed loops (time travel technology exists because it always has), nearly every permutation of the time travel tropes is represented, re-examined, and feels like new by the time you cross the four seasons.

Sometimes events are permanently tied to causation, and sometimes they are not. Although a few alternate timelines are created, they don’t always replace the previous ones. In Doctor Who, you can imagine the Doctor saying that some things are “fixed points in time” and others can be changed. In this series, rules like that are wonky; audience dependent Told the rule exists. But in 12 monkeysthe why and how of these rules are part of the real story.

THE RULES OF TIME TRAVEL is a Reverse special issue exploring the evolution of science fiction’s most imaginative subgenre. From Marty McFly to Avengers: Endgame.

Cole (Aaron Stanford) and Cassie (Amanda Schull) go through several decades together.SyFy/NBC Universal

Thus, when the program presents a Back to the future trope or a remix of a Philip K. Dick story, 12 monkeys emphasizes how hyper aware he is of his influences without resorting to garish fan service. Yes, there are stunts, including memorable recurring roles from James Callis, original 12 monkeys star Madeleine Stowe and, of course, sci-fi royalty, Christopher Lloyd, who essentially plays an outright villain.

Based on the 1995 Terry Gilliam film of the same name, the series has a lot in common with that film such as the reboot of Battlestar Galactica had with its 1978 predecessor. The show was created by Terry Matalas and Travis Fickett who are currently working on Star Trek: Picard Season 2 and Season 3. In fact, if you’ve never seen SyFy 12 monkeys but i recently watched picardyou’ll be more than a little surprised at how many references now exist in Star Trek canon that tie directly into the 12 monkeys-verse.

Apart from any pollination between franchises, the orientation and philosophy of 12 monkeys not only pay homage to the Gilliam film, but also honor the original ancestor of both versions: the 1962 French film The Pier by Chris Marker. In a sense, 12 monkeys feels closer to The Pier insofar as he is less interested in being a confusing fucking mind (like the Gilliam movie) and more interested in telling a moving, romantic human story.

Without any specific spoiler, part of what makes 12 monkeys such a joyous series is how much the plot twists can surprise you, and how – just as often – those twists are utterly uplifting. The way the characters are presented in the first season drastically changes by Season 4, but each of those changes is justified by meticulous character development, not time travel reboots and alternate universe revisions. This also happens, but the characters change despite, not because of these events.

Emily Hampshire as Jennifer.SyFy/NBC/Universal

A good microcosm for the show’s multi-dimensional nature is the character of Jennifer Goines (Emily Hampshire), who is initially cast as a new version of Brad Pitt’s quirky Jeffrey Goines from the original film. At first, we think of Jennifer as a mental patient with a sadistic, mean side — like a time-traveling version of Harley Quinn. But by the end of the series, Jennifer’s characterization becomes far more complex than any cookie-cutter cliché.

In 2017, Hampshire declared Reverse she felt she had hit the “jackpot” with the role of Jennifer saying, “When as an actor on a show, in a part, do you get to play yourself at 65, get to you like to be in your 80s?”

Again, this character detail is a simple synecdoche of why. 12 monkeys is such a rewarding and wonderful science fiction television series. You come for the cool, twisted time travel narrative, but you stay for the characters. Another character, Deacon (Todd Stashwick) adopts the famous Simple Minds hit “Don’t You Forget About Me”, as his personal anthem. It’s also an appropriate war cry for the whole series. Don’t forget this one.

12 monkeys Seasons 1-4 are streaming on Hulu.

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2022 Easterseals Disability Film Challenge Awards Winners, Presenters https://mondovino-lefilm.com/2022-easterseals-disability-film-challenge-awards-winners-presenters/ Sat, 07 May 2022 18:51:00 +0000 https://mondovino-lefilm.com/2022-easterseals-disability-film-challenge-awards-winners-presenters/ Sommer Carbuccia’s comedy short “Mac & Cheese” received Best Picture at the 2022 Easterseals Disability Film Challenge Awards. “Mac & Cheese” took home a total of three awards at the annual event, with Amanda Pinto winning the Best Director and Jake Nathanson Best Editor. The ceremony returned in person for the first time in two […]]]>

Sommer Carbuccia’s comedy short “Mac & Cheese” received Best Picture at the 2022 Easterseals Disability Film Challenge Awards. “Mac & Cheese” took home a total of three awards at the annual event, with Amanda Pinto winning the Best Director and Jake Nathanson Best Editor.

The ceremony returned in person for the first time in two years Thursday night at Sony Pictures Studios’ Cary Grant Theater in Los Angeles. Christine Bélange and Liz Whitmere won the writing award for their work on “Superhero Inc.” while “Seven” star Natalie Trevonne was hailed with Best Actor.

Jennifer Montzingo’s “ILY,” which centers on a group of actresses with disabilities, won the award for Best Awareness Campaign. At the start of the awards show, Sony Pictures Motion Picture Group Chairman Josh Greenstein gave a keynote address and introduced challenge founder Nic Novicki.

Presenters included “Sound of Metal” star Paul Raci, “As We See It” cast members Rick Glassman, Sue Ann Pien and Albert Rutecki, “Winning Time: The Rise of the Lakers Dynasty” showrunner Max Borenstein, “This is Us” actor Blake Stadnik, “Special” creator Ryan O’Connell and “Spider-Man: Into the Spider-Verse” producers Phil Lord and Chris Miller.

Launched by Novicki in 2014, the 2022 iteration of the challenge received a record 95 submissions from the United States and other countries around the world. The filmmakers who take part in the competition have five days to make a short film, in a specific genre, which depicts disability.

This year, the participating teams were assigned the gender “superhero”. In an interview with Variety ahead of the awards show, Novicki adored the nominated films and expressed her joy at holding the awards ceremony in person.

“‘Super hero’ [isn’t] exactly the easiest thing to do in five days but [there are] amazing movies and everything culminates here tonight,” he said. “I’m very excited. We’ve held virtual awards ceremonies, but this is the first real in-person awards ceremony and it’s so exciting.

Novicki added: “It’s probably one of the best days of my life. And I just had a girl, so don’t tell my wife.

The challenge judging panel was made up of influential figures in the entertainment industry, including journalist Allison Norlian, comedian Danny Woodburn and African American Film Critics Association President Gil Robertson.

The winners received $2,000 grants provided by NBCUniversal, Dell Technologies computers, one-year subscriptions to IMDb Pro, one-year subscriptions to Adobe Creative Cloud, one-year subscriptions to Film Independent and screenings of their films at Oscar-qualifying festivals.

Additionally, winning films will be highlighted in a video playlist on IMDb’s homepage. The filmmakers also have mentorship meetings with entertainment industry executives and talent. This year’s mentors included Lord, Miller and Tiffany Smith-Anoa’I, Paramount’s Executive Vice President, Entertainment Diversity & Inclusion, West Coast.

Joining Novicki on the red carpet ahead of the event was Peter Farrelly, who mentored the challenge’s second-year winners. Noviki said Variety, “Peter and his brother Bobby are really the pioneers. They were the first people who really made big plans who recruited people with disabilities.

Farrelly said Variety, “I couldn’t believe the amount of talent that seeped into this festival. You see so much talent that you would never see. When he says we hire people with disabilities, we are opening the door for people with disabilities. We look at people with disabilities. If they are good, we hire them. And they’re very good, so we hire a lot of them and that’s all we try to do is to have a level playing field.

Farrelly and Novicki said Variety that they were thrilled to see “CODA” take home Best Picture at this year’s Oscars.

“I think the whole disability community was screaming,” Novicki said. “We all felt like we were up there.”

Awards sponsors included Adobe, Dell Technologies, Intel, NBCUniversal, Netflix, Paramount, Prime Video, IMDbPro, Sony Pictures Entertainment, HFPA, SAG-AFTRA, Microsoft Teams and Warner Bros. Discovery.

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Star Wars Characters As Horror Movie Monsters Will Give You Nightmares https://mondovino-lefilm.com/star-wars-characters-as-horror-movie-monsters-will-give-you-nightmares/ Fri, 06 May 2022 00:30:00 +0000 https://mondovino-lefilm.com/star-wars-characters-as-horror-movie-monsters-will-give-you-nightmares/ Artist Rob Sheridan uses digital AI to recreate Star Wars characters in a cosmic horror movie, featuring Darth Vader, Chewbacca and more. Recently shared art from star wars characters reimagined as horror movie monsters are the stuff of nightmares. Created by George Lucas in 1977, star wars was meant to be an ode to serial […]]]>

Artist Rob Sheridan uses digital AI to recreate Star Wars characters in a cosmic horror movie, featuring Darth Vader, Chewbacca and more.

Recently shared art from star wars characters reimagined as horror movie monsters are the stuff of nightmares. Created by George Lucas in 1977, star wars was meant to be an ode to serial films of yore, with Lucas drawing inspiration from Flash Gordon and John Carter of Mars to help fuel its sci-fi extravaganza. The franchise was meant to be an adventurous serialized thread from the start, but it took some dark turns along the way, featuring themes, characters, and creatures that weren’t always considered family-friendly.

Characters like Darth Vader, a cyborg Sith Lord, as well as horribly disfigured Emperor Palpatine have always felt properly villainous and looked the part. But the star wars The universe has also always been populated by alien creatures ranging from cute to weird to downright scary. Even with some of the scariest creatures in the franchise, however, the films played thematically to a PG-themed crowd, never going too far into dark horror-like territory, even if the events, characters and creatures could easily adapt. this mold with some minor adjustments.

VIDEO OF THE DAY

Related: Star Wars: The Rise of Skywalker Tries (Badly) To Be A Horror Movie

digital artist Rob Sheridan took this idea and recreated the many characters and creatures from the star wars universes into horror-themed monstrosities that are sure to leave all who see them with nightmares. Sheridan’s intention was to celebrate May 4 by taking a batch of popular star wars characters and reinvent them “like a horror film about the cosmic body” which takes place in “an unholy realm far, far away.” The results are nightmarish indeed, as Sheridan warps, scars, transforms and gore-ifies all of the fan favorites from Darth Vader and Luke Skywalker to Chewbacca, Yoda, Boba Fett, C-3PO and even the Ewoks. Take a look below at Sheridan’s spooky creations from a galaxy far, far away:


Although Sheridan’s art is both beautiful and terrifying, it’s not the first time star wars was mixed with the genre of horror. There have been a number of horror-centric stories, episodes, and even moments from films that qualify as part of the genre, including the stormtrooper/zombie book soldiers of death by Joe Schreiber. Before that, a series of books for young adults released in the 90s, titled Star Wars: Galaxy of Feardestined to mimic the success of RL Stine Goose bumpscame out, with titles such as City of the Dead, Army of Terror, Nightmare Machineand brain spiders (among others).


While it can be argued that star wars is aimed at all audiences and fits right into the sci-fi genre, there’s a significant amount of content across the franchise – whether in books, anime shows, action shows in direct or feature films – which could easily be called horror. Most children who grew up with star wars probably had a nightmare or another about something in the show, be it the Sarlacc Pit, The Rancor, The Wampa, or even The Ewoks, depending on different sensibilities. With Sheridan star wars digital art project now on display for all to see, it’s now hard to imagine avoiding a nightmare.


Next: How Phantasm’s Big Man Inspired Star Wars’ Captain Phasma

Source: Rob Sheridan

Doctor Strange 2 Post-Credits Scenes Explained

Doctor Strange 2 Post-Credits Scenes Explained (They’re Both Important)


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Elizabeth Olsen Talks Doctor Strange Team and Scarlet Witch’s Post-WandaVision “Trust” https://mondovino-lefilm.com/elizabeth-olsen-talks-doctor-strange-team-and-scarlet-witchs-post-wandavision-trust/ Tue, 03 May 2022 14:32:16 +0000 https://mondovino-lefilm.com/elizabeth-olsen-talks-doctor-strange-team-and-scarlet-witchs-post-wandavision-trust/ Please wait. Elizabeth Olsen’s Scarlet Witch glued us to our screens in Marvel’s first Disney Plus show, WandaVision, and now she returns to the big screen in Doctor Strange in the Multiverse of Madness. But a lot has changed since Westview. For one thing, the multiverse opened up thanks to Spider-Man: No Way Home – […]]]>

Please wait. Elizabeth Olsen’s Scarlet Witch glued us to our screens in Marvel’s first Disney Plus show, WandaVision, and now she returns to the big screen in Doctor Strange in the Multiverse of Madness. But a lot has changed since Westview. For one thing, the multiverse opened up thanks to Spider-Man: No Way Home – an event that leads to Doctor Strange asking for Wanda’s help.

“We find her in a place of trust that we haven’t seen and a place of clarity,” Olsen told Total Film and GamesRadar+ on Zoom while discussing her character. “There is a lot to learn at the end of [WandaVision]. Although she’s in charge of Westview and has to flee, I think there’s a part of her that feels some sort of resolve to allow her destiny to be that mythical Scarlet Witch wife.”

This clarity extended to Olsen’s own treatment of the character. After wrapping up WandaVision, she almost immediately flew to London to film Multiverse of Madness – yet she was one of the only people on set who knew how Wanda’s journey would take her in the Doctor Strange sequel.

Doctor Strange in the Multiverse of Madness

(Image credit: Marvel Studios)

“We literally finished WandaVision on a Wednesday and I flew to England on Friday to do this movie,” Olsen said. “I had just experienced a lot of WandaVision, but no one else on Doctor Strange had. He was trying to continue as much as possible of what we had done and learned in this film.”

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Nightmare Alley and the Best Modern Noir Movies | Drama movies https://mondovino-lefilm.com/nightmare-alley-and-the-best-modern-noir-movies-drama-movies/ Sat, 30 Apr 2022 07:00:00 +0000 https://mondovino-lefilm.com/nightmare-alley-and-the-best-modern-noir-movies-drama-movies/ OOur most enduring images and memories of film noir tend to have roots in the 1940s and 1950s: Speak the words and monochromatic visions of fedoras, tight satin dresses and streams of unrestricted cigarette smoke inevitably come to mind. ‘mind. This makes it a difficult genre to tackle these days, even if its themes and […]]]>

OOur most enduring images and memories of film noir tend to have roots in the 1940s and 1950s: Speak the words and monochromatic visions of fedoras, tight satin dresses and streams of unrestricted cigarette smoke inevitably come to mind. ‘mind. This makes it a difficult genre to tackle these days, even if its themes and social corners are hardly era-specific. Lean too hard into period style and it looks like empty cosplay; update it too much and the dark romance wears off.

Guillermo del Toro’s devious and seductive remake alley of nightmares (now on all major VOD platforms) gets the balance about right, though its early ’40s production and costume design is lavish in a way that Edmund Goulding’s 1947 original, still among the darkest and hardest of all classic blacks, ever thought to be. Expensively ramshackle and ludicrously lit, Del Toro’s film indulges in a degree of genre fetishism, never less than when Cate Blanchett is onscreen, sheathed and lacquered and vamping up a storm as a venomous, fatal psychoanalyst. But it retains a real jolt of human corruption and moral curiosity, all in Bradley Cooper’s remarkable lead performance as an ambitious, cold-blooded carnival worker who wants to be in high society at all costs. Cooper wears a high-waisted fedora and suit well enough, but his character’s tortured inner life never feels dressed in quotes.

alley of nightmares struts around with conviction similar to that of Curtis Hanson LA Confidential (Amazon) – now 25 but so convincingly immersed in his time and aesthetic that he feels both much older and fresh as a daisy. This black-hearted, acid-tongued adaptation of James Ellroy’s labyrinthine police rot saga wasn’t a remake of a classic property: it just feels like it should have always been there, given the rich, sordid textures of his mid-century Hollywood. the world-building and fluidity of its star-studded cast in a jazzy, witty noir style. Hanson’s film was released a year after Lee Tamahori’s similarly styled, similarly plotted and little remembered film. Mulholland Falls (Amazon), a suitably whimsical and enjoyable diversion in which every actor nonetheless seems to strike and hold a pose.

Russell Crowe and Guy Pearce in LA Confidential, 1997. Photography: Warner Bros/Allstar

Del Toro’s film also breaks a streak of bad luck for filmmakers reimagining already beloved examples of the genre: undistinguished 1970s remakes of The big sleep and Double Indemnity were forgotten for a reason. But Bob Rafelson’s hot and raunchy 1981 version The postman always rings twice (Google Play) is holding up better than mocking critics could have predicted at the time. Not trying to improve on Tay Garnett’s 1946 original, it instead focuses on what its predecessor couldn’t: explicit carnal energy between stars Jack Nicholson and Jessica Lange. And the curvy and underrated Steven Soderbergh The bottom (Apple TV) has successfully redone its black source (Robert Siodmak’s 1949 cross cross) by setting it in a particular milieu of mid-’90s American urban darkness, stark chiaroscuros replaced by bilious neons.

Joseph Gordon-Levitt and Nora Zehetner in The Brick, 2006.
Joseph Gordon-Levitt and Nora Zehetner in “Ingenious Brick”, 2006. Photography: Aliyah

Young filmmakers are more comfortable transposing film noir principles into brightly lit, unrecognizable 21st-century worlds: See Rian Johnson’s ingenious fusion of black moral code and high school politics in Brick (2005; Chile), or the eccentric and wandering of David Robert Mitchell under the silver lake (2018; Mubi), in which millennial anxiety continues to derail his Los Angeleno mystery. In today’s cinema, there’s more than one way to keep black from going gray.

Also new in streaming and DVD

turn red
(Disney)
Now available on DVD and Blu-ray for the benefit of non-Disney+ subscribers, this thoughtful and benevolent initiation film from Pixar breaks away from their frenetic storytelling formula to explore more tender teenage realities with just the right amount of excitement. metaphorical intelligence. Oddly denied a theatrical release, it’s one of the studio’s smartest recent efforts.

Become red.
Become red. Photography: © 2022 Disney/Pixar. All rights reserved

Wolf
(Universal)
The premise is intriguing: Jacob (a committed George MacKay) fancies himself a wolf trapped in a man’s body, finally meeting a kindred spirit during his therapy. But Nathalie Biancheri’s moody film is too preoccupied with moral binaries to have as much impact as the allegory of gender dysphoria it keeps suggesting.

Fooled forever
(primordial)
Speaking of indomitable, the cast of former MTV pranksters are (mostly) back together, and middle age has apparently brought them no wisdom. It’s exactly what you’d expect from a reunion of Johnny Knoxville et al: their shtick remains unchanged, even if a few friends have been lost along the way, lending a sort of lofty challenge to their arrested development.

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‘Take Me to the River: New Orleans’: Music Doc on the City’s Melting Pot https://mondovino-lefilm.com/take-me-to-the-river-new-orleans-music-doc-on-the-citys-melting-pot/ Thu, 28 Apr 2022 07:36:00 +0000 https://mondovino-lefilm.com/take-me-to-the-river-new-orleans-music-doc-on-the-citys-melting-pot/ The last time there were as many paperclips in a movie as in “Take Me to the River: New Orleans,” Harold Hill was probably leading a parade. The continued revitalization of Crescent City’s music culture really feels like something out of a horn seller’s fever dream, with younger generations happily embracing New Orleans’ traditional second-line […]]]>

The last time there were as many paperclips in a movie as in “Take Me to the River: New Orleans,” Harold Hill was probably leading a parade. The continued revitalization of Crescent City’s music culture really feels like something out of a horn seller’s fever dream, with younger generations happily embracing New Orleans’ traditional second-line culture in ways that can only make the aging elders of other regional music scenes. green with envy. It’s this cross-generational mix, as well as the city’s world-famous melting pot of styles, that director Martin Shore aims to celebrate in his latest documentary, much of which consists of recording sessions he set up that promote collaborations between the old guard and the new. The fiery end result suggests that New Orleans might be the only major city in America without a musical generation gap to speak of.

In “Take Me to the River: New Orleans” (which opened in its title city last week and moves to New York and LA this weekend), performances begin with ’60s hitmaker Irma Thomas dueting with Ledisi, the 21st-century Grammys favorite. From there we get the late Dr. John with his young relative Davell Crawford and Cyril Neville with Dumpstaphunk, among other examples. Soul legend William Bell is joined by Snoop Dogg and G-Eazy on a breakthrough cover of Allen Toussaint’s “Yes We Can Can” hit, which is likely the only time Snoop will be the featured artist on a track. which hinges on the repeated use of the word “darn”. (It’s unclear why Snoop, a guy from Cali, is in the film, but he’s credited as an executive producer, so maybe doing God’s work on a project like this has its privileges.) A session has brass greats Donald Harrison and Christian Scott meet the “Tipitina Trainees”, experience a traineeship that is about 10,000% more fun than any other apprenticeship known before.

What the filmmaker also provides, between the live recordings, is a glimpse into the past and present of New Orleans music that covers surprising historical ground for a span of less than two hours. Most topics are covered so briefly that you might wish Ken Burns made a miniseries that allowed each topic or style to be discussed quickly to get its own hour-long episode. When it is mentioned that traditional music was well out of New Orleans in the 1950s, before a resurgence of interest that turned into a tidal wave, one wonders why. There’s no time to find out, as the film moves on to other fascinating subjects, like the Mardi Gras Indians and their mix of colorful disguises and battle-ready ferocity. (“There’s a warrior culture, but for the most part it’s about being pretty,” says one participant.) A subject that gets a bit more screen time, for briefly sad effect, is Hurricane Katrina, which scattered many musicians who once were close-knit neighbors from other cities and states, some never returning.

But it’s easy to forgive how quickly Shore moves past the burning historical questions it raises or the thematic rabbit holes it explores so quickly, because the performance sequences are really the film’s main raison d’etre. The history and context of the interstitial? It really is gravy on the okra, so to speak.

“Take Me to the River: New Orleans” devotes enough screen time to these musical sequences, in fact, that it almost falls into the “concert film” genre, even though nothing was shot during ‘a concert. What happened during the studio performances captured by Shore is arguably one last waltz, of sorts, given the inevitable changing of the guard. Four people who appear have died since the performances were filmed – Art and Charles Neville in 2018, Dr John in 2019 and hip-hop artist 5th Ward Weebie in 2020 – so time was not wasted when it came to to obtain a cross-section of generations on film. (If only he had started filming in time to get Toussaint, who died in 2015 and is the subject of much discussion towards the end of the film.) The brothers as a group, as they had called it, stopped play in 2015, but briefly reunited to film a reunion that brought their children and grandchildren. It would be easier to feel saddened by these losses if the screen didn’t fill with so much joy – an exuberance that also makes you forget how much recording studios initially appear.

The film doesn’t always believe an audience will relax in these studio sessions. At the start, especially, there is an overabundance of cutting, as if a summit between Irma Thomas and Ledisi had to be staged as a wacky comedy. On more than one occasion there is the irritation of having songs interrupted so that we can hear a voiceover about the importance of carrying on the musical legacy, as if anyone who sat down to watch this needed to the homily. But ultimately the film finds its own rhythm. A film that includes this disproportionate number of global syncope experts would be hard pressed not to.

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Megastar wants Ram Charan to make these kind of movies https://mondovino-lefilm.com/megastar-wants-ram-charan-to-make-these-kind-of-movies/ Tue, 26 Apr 2022 04:14:16 +0000 https://mondovino-lefilm.com/megastar-wants-ram-charan-to-make-these-kind-of-movies/ Megastar Chiranjeevi is a proud dad as his son Ram Charan has risen as an actor. Chiranjeevi said he noticed a lot of changes in Charan after becoming a producer. It picks up movies with interesting content. At the same time, Chiranjeevi wants Ram Charan to be seen in mass […]]]>




Megastar Chiranjeevi is a proud dad as his son Ram Charan has risen as an actor. Chiranjeevi said he noticed a lot of changes in Charan after becoming a producer. It picks up movies with interesting content. At the same time, Chiranjeevi wants Ram Charan to be seen in mass comedy movies which happens to be Megastar’s favorite genre. He believes that such films work very well. Chiranjeevi did several mass comedies in the 90s and most of them ended up becoming super hits.

Chiranjeevi also revealed that Ram Charan arranged a gymnasium for her after her return to acting. Megastar looked super fit in Acharya and the movie has huge expectations. “Few people will have the opportunity to work with their sons and I am happy to have had the chance to work with my son Ram Charan. All episodes of Us are moving and intense,” Chiranjeevi said. Koratala Siva directed Acharya and the film hits screens this Friday.

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New V/H/S Horror Movie May Have Been Leaked By A Star https://mondovino-lefilm.com/new-v-h-s-horror-movie-may-have-been-leaked-by-a-star/ Fri, 22 Apr 2022 23:14:15 +0000 https://mondovino-lefilm.com/new-v-h-s-horror-movie-may-have-been-leaked-by-a-star/ It looks like one of the stars of the upcoming V/H/S anthology horror film accidentally confirmed its existence, and the fact that it’s currently filming, with a since-deleted Instagram post. Actor Freddy Rodriguez posted a picture of himself in a brown suit, complete with mullet and mustache, and the caption suggested the film’s name was […]]]>

It looks like one of the stars of the upcoming V/H/S anthology horror film accidentally confirmed its existence, and the fact that it’s currently filming, with a since-deleted Instagram post. Actor Freddy Rodriguez posted a picture of himself in a brown suit, complete with mullet and mustache, and the caption suggested the film’s name was V/H/S 85. This follows last year’s Shudder hit V/H/S 94.

The V/H/S franchise includes shorts from many acclaimed genre directors such as Adam Wingard (The Guest), Ti West (X), Gareth Evans (The Raid), Jennifer Reeder (Knives and Skin), Steven Kostanski ( Psycho Goreman), and David Bruckner (The Night House). Benson & Moorhead (Archive 81, Moon Knight, Loki Season 2) also contributed segments to the anthology series.

Rodriguez’s full post stated; “The Year: 1985 Mustache: Check Pompadour: Check Badge & Gun: Check Detective Wayne Johnson Shows Up For Duty #VHS85 @shudder” according to ComicBook.com. It looks like Shudder wasn’t ready to announce the movie, as it was quickly taken down. The actor is known for Six Feet Under, Poseidon and Planet Terror.

V/H/S 94 was a big hit for Shudder when it debuted on the platform in 2021, so it’s no surprise they’re already doing a follow-up. At the time, Shudder said; “V/H/S 94 is the biggest movie premiere in Shudder history, with more members watching its debut on its opening weekend than any previous movie premiere on the service. .”

The fact that the show decided to have a ’90s episode, and now an ’80s episode, taps into the wave of retro horror nostalgia that may have been sent into overdrive by Stranger Things. Last year’s Fear Street anthology on Netflix had entries set in 1978 and 1994, similarly.

If you like looking back, check out our guides to the best movies of the 80s and the best movies of the 90s.

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