tag:blogger.com,1999:blog-63470124099855791912024-03-05T17:57:22.355-05:00JAMES AGEE CINEMA CIRCLEUnknownnoreply@blogger.comBlogger90125tag:blogger.com,1999:blog-6347012409985579191.post-38151980974970634752022-03-19T13:05:00.000-04:002022-03-19T13:05:00.255-04:00<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhT-91CnoWbgaJGsmQuHBx54YpinFK8JONmxMpo5ZwSkk7loP3duyLAZKHTREtvi3prHSu-S6J_mhw6tC1MXClUlcHz364SIVy6FGYtpXurfnW8t4KSKY5yZZl0vrh6J9R1-lfqX7j-_COrmPARe92PJ0wMxI9QH7GCFS1l0w9_S-ougakc0AVpz0t4=s206" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="204" data-original-width="206" height="198" src="https://blogger.googleusercontent.com/img/a/AVvXsEhT-91CnoWbgaJGsmQuHBx54YpinFK8JONmxMpo5ZwSkk7loP3duyLAZKHTREtvi3prHSu-S6J_mhw6tC1MXClUlcHz364SIVy6FGYtpXurfnW8t4KSKY5yZZl0vrh6J9R1-lfqX7j-_COrmPARe92PJ0wMxI9QH7GCFS1l0w9_S-ougakc0AVpz0t4=w200-h198" width="200" /></a></div><br /> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-64858723011906686582021-08-27T11:32:00.008-04:002021-08-27T11:47:30.328-04:00 499, FRIDAY THE 13TH - INTERRUPTING HISTORY<div class="separator"><p style="margin-left: 1em; margin-right: 1em;"><b><img alt="Documentary '499' Acquired by Cinema Guild For U.S. Release - Variety" height="224" src="data:image/jpeg;base64,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" width="400" /> <br /></b></p><p style="margin-left: 1em; margin-right: 1em;"><b>RODRIGO REYES ON 499, FRIDAY THE 13TH - INTERRUPTING HISTORY </b></p><p style="margin-left: 1em; margin-right: 1em;"><b>** "You appeared one morning from the East, on the beaches of Veracruz. By a strange coincidence, you arrived almost 500 years after crushing the Aztec Empire - a secret miracle had shipwrecked you into the future. What brought you to our time..."<br /> </b></p><p style="margin-left: 1em; margin-right: 1em;"><b>What does Friday the 13th, 500 years commemorating the colonial invasion of a doomed Mexico, and the number 499 have in common.</b><br /> </p><p style="margin-left: 1em; margin-right: 1em;">This August, Friday the 13th, marks the 500 year anniversary of Spain's invasion, carnage and destruction of a doomed Mexico - and actually much of the Western hemisphere back then. And those horrors and the aftermath are the subject of the unconventional Mexican film 499. And directed by Rodrigo Reyes, whose interest in is probing the legacy of that fateful encounter on this anniversary - and hopefully enlightening the Mexican masses historically and ideologically.<br /> </p><p style="margin-left: 1em; margin-right: 1em;">The director is on the line from Mexico City to discuss that Friday the 13th dubious anniversary this month - and his stunning film mixing drama and documentary, and laced with poetic imaginative historical storytelling. With Reyes concluding that 'we can interrupt history, and we can invent it - I hope audiences can feel that when they watch my film.'<br /> </p><p style="margin-left: 1em; margin-right: 1em;">And as seen through the eyes of the confounded, nameless military invader, played by Eduardo San Juan, finding himself dazed on the beaches of Veracruz, inexplicably washed ashore today as an ironic undocumented immigrant among the masses. And encountering real people, not actors, caught in the resulting historical ramifications of violence, poverty, misery and racism in the present time - and the indigenous 'wandering hungry and barefoot, he does not know how to write on the pages of his soul - all he knows are coal ovens...'<br /> </p><p style="margin-left: 1em; margin-right: 1em;"><a href="https://s3.us-east-2.amazonaws.com/wbai.org.archive.audio/arts-express_2021-08-17_04-00_01-00.mp3"><b>RODRIGO REYES 499 INTERVIEW</b></a><br /> </p><p style="margin-left: 1em; margin-right: 1em;">Prairie Miller</p></div><div style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; display: block; font-family: Arial, Helvetica, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: auto; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; width: 476.797px; word-spacing: 0px;"> <br /><p> <br /></p><p> </p><p> </p><p> </p></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-57595419690526435272021-01-01T13:17:00.007-05:002021-01-01T13:42:54.135-05:00Movies 2020: The Good, The Bad, And The Ugly<p><span style="color: white;"><span style="font-size: small;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: white;"><span style="font-size: small;"><a href="https://s1.dmcdn.net/v/SYFjO1Vay5PbO1gaR/x1080" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></span></span></div><span face="Arial, Helvetica, sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: #222222; display: inline; float: none; font-size: small; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><div class="separator" style="clear: both; text-align: center;"><a href="https://s1.dmcdn.net/v/SYFjO1Vay5PbO1gaR/x1080" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="533" data-original-width="800" height="213" src="https://s1.dmcdn.net/v/SYFjO1Vay5PbO1gaR/x1080" width="320" /></a></div><br /></span><p></p><p></p><p><span face="Arial, Helvetica, sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: #222222; display: inline; float: none; font-size: small; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span style="background-color: black;"><span style="color: white;">With a few outstanding exceptions that you're not likely to hear about at the Oscars, or on most critics organization lists whose members are still predominantly white, male and middle class - and most starkly absent is any working class or left perspective membership - the narratives invariably follows the same old trajectory no matter what the year. Namely, whatever the daring political or historical subject matter, there is the inevitable detour along the way to either retreat into the family as more important than anything else, or the death of the heroic figure along with his cause - the latter ultimately deemed disappointing or corrupted. Not to mention a question I like to pose to filmmakers of suspect ulterior motives when they consistently bash progressive history - who funded your movie.</span></span></span></p><p><span face="Arial, Helvetica, sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: #222222; display: inline; float: none; font-size: small; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span style="background-color: black;"><span style="color: white;"><br /><b>Best Improbable Holiday Movie</b>: Fatman. This Santa Noir finds Mel Gibson as the portly grouch, sparring with the worst kid/best young actor of the year in a movie - Chance Hurstfield as a filthy rich, kind of mini-Trump who won't take no for an answer when subjected to coal in his stocking for Christmas. And who then proceeds to hire hitman Skinny Man, to assassinate Santa. But he's preoccupied with pressing issues of his own - as orders plummet due to the decline of good kids deserving gifts. So Santa is reluctantly forced to produce military products for the Pentagon instead - no surprise in this declining capitalist economy propped up by the US military industrial complex - to make ends meet. Meanwhile, this darkly comical, strange satire reveals a seemingly penitent Gibson deferring to his perhaps reluctant feminist side, and boasts the best screen couple of the year - counting eminent Afro-British actress Marianne Jean-Baptiste as the frequently scolding spouse who wears the pants around this Santa.<br /> <br /><b>The Mauritanian</b>: This devastating docudrama is based on Guantanamo Diary, the prison writings of Mohamedou Ould Salahi, an innocent man incarcerated and subjected to a brutal ordeal of 'enhanced interrogation' torture there for decades. Jodi Foster is his ACLU lawyer battling the corrupt US government and military to finally free him. A viscerally traumatic experience for audiences as well, placing them in those torture chambers right alongside Salahi, played by Algerian French actor Tahar Rahim.<br /><br /><b>Emperor</b>: Yet another greatest story never told of all too often buried courageous black history. A rebel slave uprising political action thriller, Emperor is based on the life of Shields Green, African royalty kidnapped and enslaved on a Southern plantation - who escaped and fought with John Brown at Harpers Ferry. And though released by chance in this BLM moment, Emperor could not be more timely. Along with bracing Brechtian interludes confronting essential ideological issues. <br /><br /><b>The 24TH</b>: Yet another exemplary example of persistent filmmakers of conviction stepping in to exhume a suppressed black past - where US history and the dishonest education system fear to tread. And potentially ushering in a commendable Black Renaissance in movies. Based on real events in the long infamous US past, the historical drama takes place during WW I, and a Houston army contingent known back then as the 24th Regiment. But this is not a war movie, while at the same time it is, very much so. Namely, the endless war against African Americans from the inception of this nation, and essentially to this very day. And the repeatedly buried black history of defiant, desperate resistance and rebellion, however bereft of hope. Known as the Camp Logan Mutiny taking place on August 23rd back in 1917, a mass rebellion of those 156 segregated soldiers of the Third Battalion occurred in reaction to the Houston escalating racist assaults and outright massacres all around them.<br /><br /><b>On Night In Miami</b>: Award winning actress Reina King has crafted an amazing feat with her venture into directing - burrowing into the souls, emotions and politics of prominent black men back then, that night in February 25, 1964 in Miami. This fictionalized account finds boxing ring triumphant Cassius Clay and the soon to be Muhammad Ali (Eli Goree), Malcolm X (Kingsley Ben-Adir), Sam Cooke (Leslie Odom Jr.) and Jim Brown (Aldis Hodge), debating racism, religion, FBI persecution, and the socio-political significance of emerging meaningful music in progress.<br /><br /><b>Escape From Pretoria</b>: Based on the ordeal of filmmaker, author and actor Tim Jenkin, who happens to be the real life South African political prisoner and revolutionary fugitive on which this political thriller is based - and played by Daniel Radcliffe. His grueling predicament, the unimaginable escape from that maximum security prison, his continued struggle to set up a secret communications system to Mandela still behind bars, and the page to screen book he wrote about it all while playing a role in the movie as well, is extraordinary.<br /><br /><b>40 Years A Prisoner</b>: Mike Africa Jr. revisits his six year old self during the police assault and murder of his family members at their MOVE home in Philly back then, all around him. Along with scenes from the jail cell where his incarcerated mother gave birth to him alone. Then his long struggle captured in this documentary, to free his parents since - political prisoners for four decades. And what all of this has to do with Malcolm, Martin Luther King, Mumia, the Panthers, George Floyd and Breonna Taylor. <br /><br /><b>Best Foreign Film</b>: Wasp Network. <br />Honoring the courage, bravery and sacrifice of the Cuban Five who posed as US defectors to defeat anti-Castro terrorist groups in Miami in the early 1990s and suffered the consequences, incarcerated here for decades. The docudrama bypasses the usual NGO financed propaganda productions, and pays tribute as well to the woman and wife of one who fought on their behalf, Olga Salanueva portrayed by Penelope Cruz <br /><br /><b>Movies About Women Saving Themselves</b>: For a change, that is. This year counting: Radium Girls, The real life dramatic feature detailing the horrific and deplorable radioactive poisoning of Jersey female factory workers. While their struggle to demand that the corporation face responsibility, resulted in strengthening occupational labor laws - and the right of individual workers to sue corporations for damages. And mystery character Etta, played by African American actress Susan Heyward, as a political filmmaker herself and a communist back then who gets it about Hollywood, and who turns up from the Tulsa Massacre.<br /><b>Along With The Women Of...</b> Judy And Punch, Devil To Pay, All Joking Aside, Intrigo: Dear Agnes.<br /> <b><br />Black Lives Matter Checking In</b>... A continued reinvention of Hollywood crime and horror genres that began with 'Get Out.' And Antebellum, with its BLM influenced moments of Janelle Monae declaring homage to Assata Shakur, when not freeing herself from bondage as she incinerates the cruelty of a Southern slave plantation.<br /><br /><b>The Last Vermeer</b>: Simultaneously convicted, cursed and celebrated in his lifetime, the notorious Dutch art forger Han van Meegeren symbolizes beyond his situation in this dramatic feature, the questionable US and European powers who today claim moral authority - and continued assault in that regard against Third World countries they've targeted with genocide and exploitation for centuries. An elephant in the room, candid interrogation of what passes for truth or fabrication and self-proclaimed moral authority in history. And fueled by the deliriously elusive, perverse and mystifying Oscar-worthy performance of Guy Pearce. And, those eyebrows...<br /><b><br />The Tobacconist</b> (Der Trafikant) : Freud, fascism and a smokers guide to surviving history. One rural migrant's coming of age during the rise of Nazism in 1930s Vienna and Hitler's subsequent invasion of Austria, the young man's traumatic political transformation, and a chance encounter subsequent friendship with chain smoker Sigmund Freud. While moments of Freud wearily crashing on his own therapy couch out of historical exasperation, are indelible.<br /><br /><b>Best Movie Title</b>: 'The Big Ugly' - A metaphorical reference to US imperialism in this Malcolm McDowell corporate crime thriller.<br /><b><br />Best Film Not Coming Out Anywhere</b>: Wuhan Wuhan! - A remarkable journey capturing a cross-cultural collaboration with Chinese filmmakers in Wuhan shooting footage in Hazmat suits - as the pandemic was raging there. And, everyday people figuring out how to survive, endure - and how to help each other. Collective concern, not cash for care triumphs over the pandemic in China. And it goes without saying here that documentary directors with conviction step in as truth tellers, where the US media fear - or conspire - to tread. Unfortunately, MTV seems to have staged an intervention, claiming what appears to be the same production sources under a different name, for profit in this country.<br /><br /><b>Double Dose Of Acting Acclaim</b>: The delightfully irreverent Latino actor and comic John Leguizamo is astonishingly eloquent as the unconventional teacher of an unlikely group of inner city high school students in Critical Thinking, who struggle against a racist education system - all the way to victory in a national chess tournament. And starring as well, as zany Detective Espada in Night Clerk, going eccentrically toe to toe with the autistic moonlighter in question.<br /><br /><b>And The Bad And Ugly...</b><br /><br /><b>Nomadland</b>: Hollywood exploits the homeless crisis as cross-country great adventure by van. A pandemic wet dream escapist antidote in every worst sense of the word, Nomadland and its current breathless avalanche of critic accolades could not be further from its sobering reality. Exploiting pandemic free spirit fantasy rambler euphoria - while somehow making US socio-economic misery great again. No need for statistics on homeless female murders and rapes, and with essentially characters hugging and kissing their poverty. More Kerouac than Grapes Of Wrath.<br /><br /><b>Worst Film Critc</b>: Dennis Harvey in Variety, mocking star Carey Mulligan, the date rape avenger in Promising Young Woman, as "not hot enough to portray the character." In effect perpetrating the lie that rape is about sex - not to mention emphasizing the need for more women film critics.<br /> <br />Prairie Miller</span></span></span><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-52148235475726506282020-08-22T11:38:00.002-04:002020-08-22T11:44:16.633-04:00THE 24TH REVIEW: Exhuming Suppressed Buried Black History<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://i1.wp.com/www.michaelcorcoran.net/wp-content/uploads/2015/12/3334016-camp_logan_riots-houston.jpg?fit=475%2C500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="475" height="256" src="https://i1.wp.com/www.michaelcorcoran.net/wp-content/uploads/2015/12/3334016-camp_logan_riots-houston.jpg?fit=475%2C500" width="243" /></a></div><p></p><div>Based on real events in the long infamous US past, the historical drama The 24th takes place during WW I, and a Houston army contingent known back then as the 24th Regiment. But this is not a war movie, while at the same time it is, very much so. Namely, the endless war against African Americans from the inception of this nation, and essentially to this very day. And the repeatedly buried black history of defiant, desperate resistance and rebellion, however bereft of hope.</div><div><br /></div><div>Known as the Camp Logan Mutiny taking place on August 23rd back in 1917, a mass rebellion of those 156 segregated soldiers of the Third Battalion occurred in reaction to the Houston escalating racist assaults and outright massacres all around them. While an evident spark igniting the uprising however futile, was in some cases the personally experienced East St. Louis Massacre ending just a month earlier, when up to 250 African Americans were murdered by whites, and another 6,000 left homeless following the rampage burning down their homes, beginning that May.</div><div><br /></div><div>And the Army unwilling to do anything to protect the soldiers, or prosecuting those responsible. Leading to the armed attack one night against those brutalizing Houston whites, including the police, responsible for the torture and murders of terrified African Americans civilians of Houston as well. The resulting trial, the largest murder trial in US history, led to the execution of nineteen of those brave and defiant soliders, and the rest sentenced to life imprisonment hard labor.<br /></div><div><br /></div><div>Helmed by first time director Kevin Willmott (BlacKkKlansman, Da 5 Bloods screenwriter) and co-written and starring Trai Byers, The 24th is yet another exemplary example of persistent filmmakers of conviction stepping in to exhume that invisibilized black past - where US history and the cowardly, abominable suppressed education system fear to tread. </div><div><br /></div><div>And while it may be noted that the film is being released during this Black Lives Matter moment - along with Emperor, and the Samuel Jackson narrated Enslaved - potentially ushering in a commendable and urgent Black Renaissance in movies, that convergence which could not be more timely, may be more coincidental than otherwise. And quite possibly a reaction against a very different, loathesome convergence - the long surging racist white backlash against this country's first Black president, than anything else.</div><div><br /></div><div>Prairie Miller</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-91629218553656609092020-07-30T12:30:00.003-04:002020-07-30T12:30:38.885-04:00 The Big Ugly: Gangster Thriller, Greed, Oil And A Rural Appalachia Uprising<div class="separator" style="clear: both; text-align: center;">
<a href="https://scontent-lga3-1.xx.fbcdn.net/v/t1.0-9/112667809_3396069050427228_102361345157459343_o.jpg?_nc_cat=101&_nc_sid=8024bb&_nc_ohc=UPl5hTMzPuAAX8zYxMu&_nc_ht=scontent-lga3-1.xx&oh=1c0cf3942b29806f14c02352c3bc47dc&oe=5F4798FA" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="223" src="https://scontent-lga3-1.xx.fbcdn.net/v/t1.0-9/112667809_3396069050427228_102361345157459343_o.jpg?_nc_cat=101&_nc_sid=8024bb&_nc_ohc=UPl5hTMzPuAAX8zYxMu&_nc_ht=scontent-lga3-1.xx&oh=1c0cf3942b29806f14c02352c3bc47dc&oe=5F4798FA" width="400" /></a></div>
<br />
Move over, The Ugly American, boasting Brando front and center or not. A gangster thriller gone global that may endure for it's provocative title if nothing else, The Big Ugly could not have encapsulated planetary US imperialism thuggery more. Playing out in discovered West Virginia oil-rich land around a local creek known as Big Ugly, this Scott Wiper sophomoric sendup of well worn gangster territory, promises so much more while delivering exceedingly less.<br />
<div>
<br /></div>
<div>
The film follows the unfortunate escapades of London mobsters played by Malcolm McDowell and Vinnie Jones, as they are lured to rural West Virginia to invest in a money laundering oil venture concocted by shady businessman, Ron Perlman. And though by no means saintly operatives themselves, the comparatively gentlemanly Brits get caught up in the deadly bully instincts of those avaricious oil Yanks, with tragic consequences. And while dredging up oil exploitation gangster capitalism via the otherwise tired narrative proceedings, Appalachian rebels as the ripped off rural masses happen to rise up to reclaim their confiscated land - though they should have grabbed a lot more screen time, and been placed decisively front and center in the story.
</div>
<div>
<br /></div>
<div>
Meanwhile, with UK sacrificial racketeers turning up, would that be British Brexit anxiety chiming in - now that Boris has left the country vulnerable and on its own for the anticipated US economic feeding frenzy? Who can say. On the other hand, spending screen time with the likes of that OG - or rather OJ, original Joker - that Clockwork Orange classic unhinged thug, Malcolm McDowell while pondering his take on gangsters then and now, usually tends to feel like it might have been an otherwise missed opportunity.</div>
<div>
<br /></div>
<div>
Prairie Miller</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-2734851046884558642020-07-17T12:36:00.000-04:002020-07-17T12:37:06.908-04:00Dateline: Saigon Review: Fake News, Nothing New<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://m.media-amazon.com/images/M/MV5BZWJkZTdmNWYtNTYwYi00ZjVhLWI4MDItYTRmMjI3MzE4YmUzL2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMjA0NzUwMg@@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="749" data-original-width="487" height="400" src="https://m.media-amazon.com/images/M/MV5BZWJkZTdmNWYtNTYwYi00ZjVhLWI4MDItYTRmMjI3MzE4YmUzL2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMjA0NzUwMg@@._V1_.jpg" width="260" /></a></div>
Though the notion of fake news has a specific connection at this moment in time to the sitting president lashing out at media reports unfavorable to him, that concept has a surprisingly much longer and secretive tarnished US history - with no particular party affiliation in collusion with the media as well. And Dateline: Saigon, the documentary delving into the Vietnam War as covered by fearless journalist back then, simultaneously reveals a huge trove of US state secrets conducting that war covertly as if, say - directing a Hollywood movie.<br />
<br />
Written and directed by first time filmmaker Tom Herman and narrated by Sam Waterston, Dateline: Saigon revisits the efforts of Viet Nam war correspondents - Pulitzer Prize-winning journalists David Halberstam, Neil Sheehan, Malcolm Browne, Peter Arnett, and photojournalist Horst Faas, to record the truth on two war fronts, not just one. In other words, struggling against US government censorship bent on discrediting them, pressuring to report the Viet Nam War their way dishonestly, and as a winning venture.<br />
<br />
And revealing not just about what transpired decades ago in that regard, but that nothing has changed - no matter which political party. And by extension, what the past can reveal concerning our present time, both historically and about the media.<br />
<br />
While in the case of Peter Arnett, covering Middle East US invasions and wars, along the US assault on Viet Nam - the JFK/Johnson government, CIA and Hoover's FBI were bent on destroying Arnett by shutting him down professionally, And necessitating personal protection as well for reporting the truth.<br />
<br />
Dateline: Saigon - A rigorous and scathing chronicle of devastating defeat: The US War on Viet Nam, and on the US media.<br />
<br />
Prairie MillerUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-8754244233645018882020-01-05T23:32:00.000-05:002020-01-05T23:42:04.690-05:00ARTS EXPRESS TOP TEN BEST LIST 2019<br />
<br />
<br />
<div style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<b><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFavRafXRCNFDtFwUJzrYHi2lXoZmI0g4DDE_9EvsKNKuh5TAnjbZ-nEkc3Nt_vM0uK26UWdzMTqjMQyH_jX-RSf9TEqgCH_KYqV8CSkj-4m7VJTekSyK5h8UZ8eEmL2NCDanzBbzvXbo/s320/ArtsExpressRedEyeLogo.jpg" /><span style="background-color: black;"></span> </b></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>ARTS EXPRESS RED EYE MOVIE REVIEWS - <i>Red Hot And Saucy </i>Top Ten </b></span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>Served Up Here<span style="background-color: black;"></span></b></span></span></span> </div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><br /></span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>Cold Brook:</b> 'Are you ready to be different?' - Part ghost tale, part Bartleby while at the same time a captivating slavery reparations fable, the film flirts with the supernatural even with its heart planted firmly in sobering class and race issues historically and now.</span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><br /></span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>Dolemite Is My Name</b>: With class, race and cultural divides up for satirical scrutiny, the entire explosive socio-political era that fed blaxploitation gets raw enlightenment on rewind. And with the ignited rebel instinct, lucid moment of the marginalized defining that subversive time.</span></span></span></div>
<div style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<br /></div>
<div style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
</div>
<div style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
</div>
<div style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<img alt="" src="http://wfuogb.com/wp-content/uploads/2019/04/Gloria-Bell-1-1024x576.jpg" style="border-style: none; height: 212px; width: 354px;" /></div>
<div style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<br /></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>Gloria Bell *Best Musical</b>: Julianne Moore in a take no prisoners transformative middle age makeover moment of clarity from emotionally passive 'other woman' outcast to patriarchal payback uprising. And with lots of self-celebratory, breathlessly expressive emancipation in this somewhat feminist musical too.</span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><br /></span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>In The Aisles</b>: A metaphorical, muted lyrical elegy of unrelieved despair in the Kafkaesque corporate workplace catacombs of global capitalism, somewhere in the former GDR following German reunification - and the concurrent disappearance of a collective trucker brotherhood under socialism.</span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><br /></span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>Joker</b>: Fear of the masses - in a movie. Unlike say, Parasite's combo derisive mockery and apprehensive undercurrent of potential workingclass rebellion. Along with an erroneous official fear-mongering advisory that the portrayal of that anarchistic comic book villain would precipitate violence in America. But the Golden Lion top prize winner at the Venice Film Festival as more manifestation of a violence already grounded in US culture, and a reflection of simmering low wage police state millennial generation misery.</span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><br /></span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>Official Secrets *Best Female Action Hero:</b> "My motive was to stop a war and save lives - Yes, I'd do it again." Yet another instance of filmmakers of courage and conviction stepping up where unfortunately and unlike Keira Knightley's anti-Iraq War real life rebel - politicians and the press (including critics) fear to tread. Which is the reason you likely never heard of this best female action hero of the year. </span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><br /></span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>Pause</b>: A vivid, near soliloquy, men distorting women and bypassing the hungering housewife soul. And relief for aging suppressed passions and frustrations do eventually break free for moments, but with only elusive windows of dramatic conjecture provided - as perhaps it should be.</span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><br /></span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>Richard Jewell:</b> 'Don't become an asshole, a little power can turn a person into a monster.' A real life unlikely designated hero in this emerging police state/corporate press collusion cautionary tale.</span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><br /></span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>The Operative:</b> Essential filmmaking of conviction indeed, a dramatic denunciation of the Mossad against Iran, penned by a former Israeli intelligence officer. And a brave movie stepping in to confront the challenges of current political censure and censorship offscreen - where timid and cowardly or complicit governments and corporate media fear to tread.</span></span></span></div>
<div style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<br /></div>
<div style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<img alt="" src="https://www.thewrap.com/wp-content/uploads/2019/04/P_02067.jpg" style="border-style: none; height: 212px; width: 318px;" /></div>
<div style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<br /></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>The Public:</b> A mix of eloquence and satire, in this homeless mass uprising takeover of one of the last remaining US public service and social program sanctuaries for bookworms and the homeless alike, the public library.</span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><br /></span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>** Note: 7 out of 10 were mysteriously 'disappeared' for their socio-political content. The others are inexplicably Hollywood.</b></span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><br /></span></span></span></div>
<div style="font-family: "arial", "helvetica", sans-serif; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"><b>AND...Worst Movie Of The Year: Parasite:</b> 'On est tous le parasite de quelqu'un' [We are all the parasites of someone] Though billed as a kind of South Korean anti-capitalism satire - this eat the rich outing when not eating its own at the bottom of the economic food chain, comes off more as an empty plate...A condescending, pessimistic portrayal of human nature, bereft of class consciousness or ideology.</span></span></span><br />
<span style="background-color: black;"><span style="color: white;"><span style="font-size: x-small;"> ~ Prairie Miller</span></span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-57974209559830903302019-11-30T15:19:00.000-05:002019-12-22T13:30:28.637-05:00ARTS EXPRESS<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFavRafXRCNFDtFwUJzrYHi2lXoZmI0g4DDE_9EvsKNKuh5TAnjbZ-nEkc3Nt_vM0uK26UWdzMTqjMQyH_jX-RSf9TEqgCH_KYqV8CSkj-4m7VJTekSyK5h8UZ8eEmL2NCDanzBbzvXbo/s1600/ArtsExpressRedEyeLogo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFavRafXRCNFDtFwUJzrYHi2lXoZmI0g4DDE_9EvsKNKuh5TAnjbZ-nEkc3Nt_vM0uK26UWdzMTqjMQyH_jX-RSf9TEqgCH_KYqV8CSkj-4m7VJTekSyK5h8UZ8eEmL2NCDanzBbzvXbo/s320/ArtsExpressRedEyeLogo.jpg" width="320" /><span style="background-color: black;"></span></a></div>
<br />
<b>ARTS EXPRESS <i>RED EYE</i> MOVIE REVIEWS - <i>Red Hot And Saucy</i></b><br />
<b>Served Up Here<i> </i></b><br />
<br />
<span style="background-color: black;"><span style="color: white;"><b><i><b style="font-family: "arial", "helvetica", sans-serif; font-size: 13.3333px; font-style: normal; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">**Karma Express: </b><span style="display: inline; float: none; font-family: "arial" , "helvetica" , sans-serif; font-size: 13.3333px; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">[That 'refurbished' Lionel train above was the company owned by Roy Cohn...]</span></i></b></span></span><br />
<br />
<div style="font-family: "arial"; font-size: 13.3333px; font-style: normal; letter-spacing: normal; margin: 0px; padding: 0px; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<b><span style="background-color: black;"><span style="color: white;">THREE CHRISTS REVIEW </span></span></b><br />
</div>
<div style="font-family: "arial"; font-size: 13.3333px; font-style: normal; letter-spacing: normal; margin: 0px; padding: 0px; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<img alt="Image result for three christs movie poster" src="data:image/jpeg;base64,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" /></div>
<div style="font-family: "arial"; font-size: 13.3333px; font-style: normal; letter-spacing: normal; margin: 0px; padding: 0px; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</div>
<div style="font-family: "arial"; font-size: 13.3333px; font-style: normal; letter-spacing: normal; margin: 0px; padding: 0px; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</div>
<div style="font-family: "arial"; font-size: 13.3333px; font-style: normal; letter-spacing: normal; margin: 0px; padding: 0px; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<br /><b><span style="background-color: black;"><span style="color: white;"> THREE CHRISTS - OR POSSIBLY FOUR</span></span></b></div>
<div style="-webkit-text-stroke-width: 0px; font-family: arial; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; padding: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><br data-mce-bogus="1" /></span></span></div>
<div style="-webkit-text-stroke-width: 0px; font-family: arial; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; padding: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;">Based
on a true story and adapted from the autobiography The Three Christs of
Ypsilanti, by Dr. Milton Rokeach, the dramatic feature set in the
sprawling Michigan mental hospital of the book's title stars Richard
Gere as the shrink in question, here named Alan Stone. It's the late
1950s when warehousing, and shock therapy and lobotomies were the mostly
cruel and ineffective psychiatric treatments of choice, and Dr. Stone
is determined to oppose the resistant institutional bureaucracy in that
regard, taking up the challenges of introducing group therapy as an
innovative alternative.</span></span></div>
<div style="-webkit-text-stroke-width: 0px; font-family: arial; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; padding: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><br />Facing
the hospital's 'unfeeling, conformist' determined backlash, Dr. Stone
proceeds defiantly by scoping out two diagnosed paranoid schizophrenics
claiming to be Jesus Christ. And in search of a third Christ to complete
his planned assemblage, Stone sends his assistant on a quest through
the institution to find one - which turns into a complicated affair as
she comes up with 'three Cinderellas, two Eisenhowers, and one Duke
Ellington' in the process.</span></span></div>
<div style="-webkit-text-stroke-width: 0px; font-family: arial; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; padding: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><br />Eventually
the trio materializes (Peter Dinklage, Walton Goggins, Bradley
Whitford), but what ensues is more erratic behavior and unorthodox
therapy such as staff role playing as fictitious patients themselves,
than any noted cure. Which tends to focus mostly on Gere and his complex
state of mind, than the patients in question - who as actors give off
vibes here as somewhat dramatically uncomfortable with portraying mental
illness.</span></span></div>
<div style="-webkit-text-stroke-width: 0px; font-family: arial; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; padding: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><br />And
Gere is to be commended for his principled choices on and off screen -
including Avnet's Three Christs along with his compelling portrayal of a
homeless man in Time Out Of Mind - and personally delivering water,
food and other supplies this past summer to African migrants stranded on
an Open Arms vessel off the coast of Italy.</span></span></div>
<div style="-webkit-text-stroke-width: 0px; font-family: arial; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; padding: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><br />But
missing from this championing of psychiatrc therapy over prior methods,
even as a postscript confesses 'Though I had failed to cure the Three
Christs of their God-like delusions, they had cured me of mine' - is
what should have been a crucial second postscript about the current
terrible state of affairs regarding psychiatric care that followed this
doctor's efforts. Namely in the present, replacing warehousing and the
rest with simply tossing mental patients on the streets into burgeoning
homelessness, and budget cuts that have denied them treatment.</span></span></div>
<div style="-webkit-text-stroke-width: 0px; font-family: arial; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; padding: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><br />Though
that particular issue rears its head in another current frightening
movie touching on that horrifying present reality - Joker.</span></span></div>
<b><br /></b>
<span style="background-color: black;"><span style="color: white;"><b><i><span style="display: inline; float: none; font-family: "arial" , "helvetica" , sans-serif; font-size: 13.3333px; font-style: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><b>The First Worst Film Of 2020 </b></span></i></b></span></span><br />
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: arial; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; padding: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<br /></div>
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: arial; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; padding: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><b>Citizen K: Don't Believe The Hype</b></span></span></div>
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: arial; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; padding: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<br /></div>
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: arial; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
</div>
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: arial; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;">Who is Russian oligarch Mikhail Khodorkovsky, and what is he doing as a dubious hero in this Alex Gibney documentary? And what does all this have to do with the Black October coup not collapse back in 1993, and Russia election meddling - no not that one. Rather, the Bill Clinton/CIA bromance with Boris Yeltsin that brought the counter-revolutionary candidate to power back then.</span></span><br />
<br />
<div>
</div>
<div>
<span style="background-color: black;"><span style="color: white;">The ex-con turned Gibney martyr celebrated here as the once richest man in Russia after grabbing the wealth out of the people's coffers in that post-Soviet scam known as state vouchers, turns up in the film promoting his human rights organization out of London, Open Russia - an outfit created and funded by war criminal Henry Kissinger and UK robber baron banker Jacob Rothschild.</span></span></div>
<div>
<br /></div>
<div>
</div>
<div>
<span style="background-color: black;"><span style="color: white;">Say It Ain't So, Gibney...</span></span></div>
<div>
</div>
</div>
<b><br /></b>
<b>Richard Jewell: Truth Stranger Than Hollywood</b><br />
<div>
</div>
<div>
<br />
<b>"Don't become an asshole - a little power can turn a person into a monster."</b> </div>
<div>
</div>
<br />
"A little power can turn a person into a monster." That key observation by Sam 'Make My Day' Rockwell in Clint Eastwood's biopic Richard Jewell, sets the highly unusual tone for the conservative minded director, whether incidentally or accidentally, of the US moving progressively into police state mode.<br />
<div>
</div>
<div>
<br />
The film is based on the true story of Jewell, an eccentric security guard underachiever aspiring unsuccessfully to be a cop, who is deemed a public hero helping save lives during the 1996 deadly Centennial Park Olympics bombing in Atlanta. But with a joint FBI/press obsession to rapidly collar a bombing suspect however inconclusive, Jewell finds himself abruptly morphed from an object of celebration into condemnation - simply because he appears to fit a vague psychological profile of frustrated, reclusive white male. And a trend on screen as well this season in movies, with the immense audience interest in Joker and The Irishman.</div>
<div>
</div>
<div>
<br />
Actor Paul Walter Hauser has been praised for his clueless and impassive stifled portrayal of Jewell, which tends to border until an emotionally charged conclusive breakthrough finale, on the exclusively public persona of southern hillbilly bordering on caricature. While the powerfully conveyed resistance and rage against the authoritarian and repressive political drift in the country, is a burden placed heavily on the shoulders of Sam Rockwell as unheralded real life low rent Atlanta lawyer - who bravely rises to the formidable occasion rigorously denouncing the FBI and tabloid tendency press, with kickass fury and then some. </div>
<div>
</div>
<div>
<br />
A tacit, cautionary wakeup call to what's going down ever since then in the drift towards a police state in collusion with the press, the film has resounding implications but could have weighed in on the surrounding political reality continuing to this day. Namely, a reversal reaction against the liberating Anti-War and Civil Rights Movements earlier in the last century, proceeding into the '80s Greed Decade and accompanying repressive political tendencies - the 1994 Mass Incarceration Crime Bill and privatized prisons cashing in. </div>
<div>
</div>
<div>
<br />
Along with historically, the upcoming 1999 US/NATO bombing of Serbia and entire obliteration of that former country known as Yugoslavia. While their leader Slobodan Milošević was hauled off to the International Criminal Court, accused of 66 counts of genocide, crimes against humanity and war crimes - only to have the charges dropped long after years of incarceration, following his death in prison due to chronic health conditions.</div>
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><b><i><a href="https://acedmagazine.com/wp-content/uploads/CB1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="324" data-original-width="600" height="216" src="https://acedmagazine.com/wp-content/uploads/CB1.jpg" width="400" /></a></i></b></span></div>
<span style="font-size: small;"><br /></span>
<span style="font-size: small;"><b><i>Cold Brook Review: Are You Ready To Be Different</i></b></span><br />
<div>
</div>
<div>
<br />
Part ghost tale and part Bartleby The Scrivener while at the same time a captivating slavery reparations fable, Cold Brook flirts with the supernatural even as its heart is planted firmly in the social reality of the hear and now. And a story so delicately woven with a tender human core, yet grounded in sobering class and race issues reverberating today.</div>
<div>
</div>
<div>
<br />
The Bartleby in question is Gil Le Deux (Harold Perrineau) an African American dignified yet determined seeming apparition haunting an Upstate NY history museum. And when asked to leave at closing time, somehow 'prefers not to' - and refusing to do so while vanishing repeatedly on the premises. What comes to light progressively, is that Le Deux is fixated on a glass enclosed antique scroll on display, a deed that would confirm his right to land left to him in this area by the New Orleans slave owner who freed him. But due to tragic circumstances back then in the 1850s (actually around the same time that Melville wrote Bartleby) Le Deux died and never arrived to claim his land - until now.</div>
<div>
</div>
<div>
<br />
Meanwhile, a pair of museum maintenance men, George and Ted (Kim Coates and William Fichtner respectively - the latter the director and co-writer of Cold Brook), following a frantic period of disbelief, fear and ambivalence, set out on a mission, despite the risk of arrest and losing their jobs, to help this tormented spirit claim justice and closure. While one of the most radiant lines in Cold Brook uttered by Coates - 'I don't know if I'm ready to be different' - speaks to the human and historical challenges of fearlessness, risk, and rebellion in acting on convictions - and taking a stand no matter what.</div>
<div>
</div>
<div>
<br />
The film could have been shortened to pick up the somewhat sagging pace, when a brisk, suspenseful momentum was called for. And the narrative lost a key opportunity for socio-economic scrutiny, while skirting over the stark class differences within Ted's family - between the demeaned blue collar spouse and his bourgeois, educated college dean wife pretty much wearing the patrician pants in the family.<br />
<br />
But remarkable in any case about Cold Brook, is a rare and commendable sighting of blue collar working class heroes like this duo, not the usual condescending proletarian screen buffoons, but instead graced with affectionate humor while treated with seriousness and dignity as principled, courageous protagonists. While the many metaphorical ghosts haunting the film historically within the darker recesses of this country, are bravely illuminated as well.</div>
<br />
<br />
<b>Official Secrets Review<br /><br />"My motive was to stop a war and save lives - Yes, I'd do it again."</b><br />
<br />
<b><i>Yet another instance of filmmakers of courage and conviction stepping up where unfortunately and unlike Gun, politicians and the press (including critics) fear to tread. Which is the reason you likely never heard of this best female action hero this year. </i></b><br />
<br />
While most attention when it comes to US invasions and wars, is paid to those who fight them, the truly courageous with unbroken resolve who battle for peace instead, are inevitably ignored or worse punished into silence. Such was the predicament of young British intelligence translator Katharine Gun. And venturing a guess you never heard of her.<br />
<br />
Yet this fearless woman's lonely struggle nearly stopped the Iraq invasion and mass death and destruction - costing up to a million lives and many more injured - in its tracks. While her bold and plainly stated motivation was simply explained as caring about the world - and confessing her actions in order to protect her fellow workers around her from similar suspicion and persecution.<br />
<br />
And sadly as well, too often investigative, truth telling filmmakers step up to the plate to bring such insidious government manufactured events like the WMD hoax in question here, to light, where more often than not politicians and the media fear to tread. Or as one persistent reporter is ordered by his boss in the docudrama Official Secrets - 'stop over-thinking it.'<br />
<br />
And Official Secrets, directed and co-written by South African filmmaker Gavin Hood and based on the book The Spy Who Tried To Stop A War: Katharine Gun and the Secret Plot to Sanction the Iraq Invasion by Marcia and Thomas Mitchell, is both a politically inspiring and emotionally intense portrait. And of one woman's fiercely determined, solitary challenge in a faceoff against the illegally duplicitous UK government, that would already seem to have clearly earned Keira Knightley best female action hero acclaim this year - blockbuster babes move over.<br />
<br />
That is not to say that movies reviewers - and that all too often dancing around controversy, elephant in the room film criticism - will be forthcoming regarding praise for this politically illuminating gem. Unfortunately as is already the case with Official Secrets.<br />
<br />
Instead, reactions more likely avoid the kind of bravery demonstrated by the film's protagonist, however minimal in comparison, by diverting reader attention to unwarranted distractions like assessments of production values or dramatic pace over vision. And relegating the crucial importance of what matters in the real world to an inconsequential realm - instead a pressured meek press opting for feeling taking precedence over thought and ideas. <b><i> </i></b><br />
<br />
Prairie Miller<br />
<br />
<i><b> </b></i><b> ENOUGH BOWLING - LET'S GO JOIN THE FARC</b><br />
<br />
<b><i><img alt="Image may contain: 3 people, people sitting and indoor" height="225" src="https://scontent.fewr1-6.fna.fbcdn.net/v/t1.0-9/69170519_2638515366182604_4984320546419245056_n.png?_nc_cat=108&_nc_oc=AQnFYYNs6dKE74_gYz5DpcomcG3FefjKPltQgCRkuz_6lrnO2iZ5zqjESc-BarMHoVA&_nc_ht=scontent.fewr1-6.fna&oh=d6cafac2e388196c921b6b3a9e4a6030&oe=5E871DB2" width="400" /> </i></b><br />
<br />
<b>PARASITE: Deplorables, South Korea Style. Though billed as a kind of
South Korean anti-capitalism satire - this eat the rich outing when not
eating its own at the bottom of the economic food chain, comes off more
as an empty plate...Parasite is screening at the NY Film Festival 2019
in progress.</b><br />
<br />
<b><img alt="Image result for parasites movie 2019" height="223" src="https://cdn.newsapi.com.au/image/v1/da3582272cfe1fe5f989653e8033638c?width=650" width="400" /> </b><br />
<b><br /></b>A somewhat combo tale of two families and exceedingly
twisted prince and the pauper dubious Seoul mates turned sour spree,
Parasite plays out as the poverty stricken bottom feeder (literally
basement dwellers) Kim clan conspires together to pull off an elaborate
scheme posing as hired help at the home of the patrician Park family.
All goes well until part of the ploy involving maneuvers to get rid of
the existing household workers backfires into over the top mayhem, as a
kind of chaotic both external and internal bloody class warfare ensues.<br />
<br />
Director
Bong Joon Ho (Snowpiercer, Okja) presents a condescending, pessimistic
portrayal of human nature bereft of class consciousness or ideology -
and a workingclass whose sole motivation is to go to extremes, or
aspiring to do so, to replace when not feeding off the economic class
exploiting them.and similar films exposing government deceit,
intelligence manipulation, and mass murder in pursuit of avarice around
the world - fear of denunciation from those in power for 'overthinking'
what lies in plain sight, is marked it seems by press retreat from
daring and truthful responses. <b><i> </i></b><br />
<br />
<b><i><img alt="Image may contain: 1 person, smiling, text" height="320" src="https://scontent.fewr1-6.fna.fbcdn.net/v/t1.0-9/76659845_776688792753761_6643063115434950656_n.jpg?_nc_cat=102&_nc_oc=AQmhRLcOoGUOjbZEIyCS3G6w_UKfE3jHeeAOgF0Im8_p8m85t_624u7EdSjJj_528DA&_nc_ht=scontent.fewr1-6.fna&oh=fd9354e1976c3e0ce3c75624f119fd52&oe=5E4C6750" width="320" /> </i></b><br />
<br />
<span style="background-color: black;"><span style="color: white;"><span class="_4yxo" style="font-family: inherit; font-weight: 600;"><a href="http://audioport.org/audioport_files2/pmiller@wbai.org/608_1-1_20190320_154053.mp3">LARRY FESSENDEN TALKS DEPRAVED </a></span></span></span><br />
<br />
<span style="background-color: black;"><span style="color: white;"><span class="_4yxo" style="font-family: inherit; font-weight: 600;"><span style="background-color: black;"><span style="color: white;">** "I think horror has to address the current collapse of society, that is what it's always been good at. It's a cautionary genre that tries to shock people out of their complacency - and I really believe that it has a heroic purpose, horror films."</span></span> </span></span></span><span style="background-color: white; color: black; display: inline; float: none; font-family: "verdana" , "geneva" , "arial" , "helvetica" , sans-serif; font-size: 12px; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> </span><br />
<br />
<span style="background-color: black;"><span style="color: white;"><span class="_4yxo" style="font-family: inherit; font-weight: 600;">COMING DETRACTIONS!</span></span></span><br />
<br />
<span style="background-color: black;"><span style="color: white;"><span class="_4yxo" style="font-family: inherit; font-weight: 600;">Understanding The US Obsession To Make War In Venezuela</span></span></span><br />
<div class="_2cuy _3dgx _2vxa" style="direction: ltr; font-family: "helvetica", "arial", sans-serif; font-size: 14px; font-style: normal; letter-spacing: normal; margin: 0px; padding: 6px 0px 0px; text-align: left; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;">'...The answer to whether or not Venezuela will be intervened militarily may not have to be sought in the official statements of the head of the Southern Command, Craig Faller, but in the signals that come from the cultural wing of the American war apparatus, that is, from the film industry.'</span></span></div>
<div class="_2cuy _3dgx _2vxa" style="direction: ltr; font-family: "helvetica", "arial", sans-serif; font-size: 14px; font-style: normal; letter-spacing: normal; margin: 0px; padding: 6px 0px 0px; text-align: left; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;">"If you want to know what the next great war will be, just look at the marquee of the cinemas," exclaims a literary character - and may be right.</span></span></div>
<div class="_2cuy _3dgx _2vxa" style="direction: ltr; font-family: "helvetica", "arial", sans-serif; font-size: 14px; font-style: normal; letter-spacing: normal; margin: 0px; padding: 6px 0px 0px; text-align: left; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><a data-lynx-mode="async" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fmundo.sputniknews.com%2Fauthors%2Fjose_negron_valera%2F%3Ffbclid%3DIwAR1U6kmqSrIIWTmrB5KUC92AayENUY6FawE8oDYiImkdM6GZJhyMPQyLuFw&h=AT1h8jjK3oWyDzOaeolcHYHx7faV8iyIn3irQEnEHZDRFSmdUGIZb9RXgwU83jJAK3_jhxVWzWjuq1REYFAt5oLN4bACfktidIk0fIMn_ooYCL_iSsXoP1pr14bfKFpdMzCIre-BTcFM6ZtJwO7rtbwPpmV81H7OaBX07_3qR2maDduuBLimwRIBdIzhWgm-yHnJW56UTXzQ6CxWR_GnZv-3Q4zOAVLid5AsfOnItMnzUd6vqiv2aDC9KYCdLdSZ1-YtpeBLhrugt5MDaaaVnqd8Z5zUBi2I6XAcy4ZPEbAz4XP_V5uBV_GkSlwx5s50ATTh8EsuND1Ji8Jpo3Sbj4pWKUbgenpKJl6W6doqd3c23kLM6IGtNjQzfBfm3er1bn7NzmW-DeNUCmpP_IIzoWXrZzO_j-H0oT4bnQrwZi_JNjhCZVTW1428PuT1HZ_fhLLD1-uhQyRdVqpHcKKJMwjn_V-1anSJZnZSsdizxqleaRl-UmmOFDK340OhIdcNbNKieDE5uMRQ9RaaMd7-n0Q-LJVw0kmwRrV1Rftvy9FCYUbyyLp9_p8M2NSrNr-jf_MAYccglYptVzEE8rrt4M3fs-XSA1LlsxMbRiaY1sNi0kTCemvzqw" rel="noopener nofollow" style="cursor: pointer; font-family: "helvetica", "arial", sans-serif; font-size: 14px; font-style: normal; letter-spacing: normal; outline: currentcolor none medium; text-align: left; text-decoration: underline; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;" target="_blank">José Negrón Valera</a><span style="display: inline; float: none; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; font-style: normal; letter-spacing: normal; text-align: left; text-indent: 0px; text-transform: none; white-space: pre-wrap; word-spacing: 0px;">, Sputnik</span> </span></span></div>
<br />
<div class="lfloat _ohe" style="-webkit-text-stroke-width: 0px; background-color: #f2f3f5; color: #1c1e21; float: left; font-family: Helvetica, Arial, sans-serif; font-size: 12px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<span class="_3m6-" style="font-family: inherit;"></span><br />
<div class="_6ks" style="font-family: inherit; line-height: 0; position: relative; z-index: 1;">
<span class="_3m6-" style="font-family: inherit;"><a data-lynx-mode="async" href="https://l.facebook.com/l.php?u=https%3A%2F%2Ftwitter.com%2Fjackryanamazon%2Fstatus%2F1155152471041273858%3Fref_src%3Dtwsrc%255Etfw%257Ctwcamp%255Etweetembed%257Ctwterm%255E1155152471041273858%26ref_url%3Dhttps%253A%252F%252Fmundo.sputniknews.com%252Ffirmas%252F201907291088189883-tiar-y-obsesion-de-eeuu-de-hacer-guerra-en-venezuela%252F%26fbclid%3DIwAR1eFq5JD30631FfuLAkrl3kmdpjMZBTZi45zdmAVyhCdXLuqdDlkIHYdI8&h=AT0V1U3x1RffCecf7ADawIIqDJ3Z50-1e9rf9GoFlHRugOQiq_6mwn4lauJZ0skOhVtaxZVClQfzJpWFVHU2Q6mRctOcOwDSm3tz1SqBXLft3x1oY5uakxaWFAYN6bI3xgxlV8S2iRgX3PDEpqG7xLWp3K1raVRTB3ZAYl-o0e99E5945EK-2GI4AN4yUPf8JausunfFOMaISPBoFYiEknaujjksk8NgiK5PHJTbTWCgZ_xsbHWWa4b2jwLGjtrkY2za5a2Ojf1FYdsjbmZUGmSgnAisPcleLLdQuT5jFPdCbpve17ykElawH-gp_Vnbl0qloJjDFOpE7f2MmC2WJym5ARGUhA9XnUGDHqogUGveWDxpRhZ9fB178fKfeODQPMi6VDaA9yq1vpL9YYGTx40hFxExCZtxYf2zxNkwo70a9JGzkfGmDZtOhL4kVK3Oq6SHiEK7WDvHcvz7rvU7Pdcp-ynNikBSL6Y_5zfVo9atlVN_XZsgiMLNPfJmHuyRSliVRUAJadllfpu7hLn3zvwO1rqG5PqlAnaDs_3moUzd9aAjV-Kkp8-KC2Lub3puTSMFGFv7XK0k-ETghxTBB-HRVgOlCwRhI_ZKKQWHivRxDsG43EYRSvA" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; outline: none; text-decoration: underline;" tabindex="-1" target="_blank"></a></span><br />
<div class="_6l- __c_" style="font-family: inherit; position: relative;">
<div class="uiScaledImageContainer _6m5 fbStoryAttachmentImage" style="background-position: 50% 50%; background-repeat: no-repeat; color: rgba(0, 0, 0, 0.15); display: block; font-family: inherit; height: 235.319px; overflow: hidden; position: relative; width: 158px;">
<span class="_3m6-" style="font-family: inherit;"><a data-lynx-mode="async" href="https://l.facebook.com/l.php?u=https%3A%2F%2Ftwitter.com%2Fjackryanamazon%2Fstatus%2F1155152471041273858%3Fref_src%3Dtwsrc%255Etfw%257Ctwcamp%255Etweetembed%257Ctwterm%255E1155152471041273858%26ref_url%3Dhttps%253A%252F%252Fmundo.sputniknews.com%252Ffirmas%252F201907291088189883-tiar-y-obsesion-de-eeuu-de-hacer-guerra-en-venezuela%252F%26fbclid%3DIwAR1eFq5JD30631FfuLAkrl3kmdpjMZBTZi45zdmAVyhCdXLuqdDlkIHYdI8&h=AT0V1U3x1RffCecf7ADawIIqDJ3Z50-1e9rf9GoFlHRugOQiq_6mwn4lauJZ0skOhVtaxZVClQfzJpWFVHU2Q6mRctOcOwDSm3tz1SqBXLft3x1oY5uakxaWFAYN6bI3xgxlV8S2iRgX3PDEpqG7xLWp3K1raVRTB3ZAYl-o0e99E5945EK-2GI4AN4yUPf8JausunfFOMaISPBoFYiEknaujjksk8NgiK5PHJTbTWCgZ_xsbHWWa4b2jwLGjtrkY2za5a2Ojf1FYdsjbmZUGmSgnAisPcleLLdQuT5jFPdCbpve17ykElawH-gp_Vnbl0qloJjDFOpE7f2MmC2WJym5ARGUhA9XnUGDHqogUGveWDxpRhZ9fB178fKfeODQPMi6VDaA9yq1vpL9YYGTx40hFxExCZtxYf2zxNkwo70a9JGzkfGmDZtOhL4kVK3Oq6SHiEK7WDvHcvz7rvU7Pdcp-ynNikBSL6Y_5zfVo9atlVN_XZsgiMLNPfJmHuyRSliVRUAJadllfpu7hLn3zvwO1rqG5PqlAnaDs_3moUzd9aAjV-Kkp8-KC2Lub3puTSMFGFv7XK0k-ETghxTBB-HRVgOlCwRhI_ZKKQWHivRxDsG43EYRSvA" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; outline: none; text-decoration: underline;" tabindex="-1" target="_blank"><br class="Apple-interchange-newline" /></a></span>
<span class="_3m6-" style="font-family: inherit;"><a data-lynx-mode="async" href="https://l.facebook.com/l.php?u=https%3A%2F%2Ftwitter.com%2Fjackryanamazon%2Fstatus%2F1155152471041273858%3Fref_src%3Dtwsrc%255Etfw%257Ctwcamp%255Etweetembed%257Ctwterm%255E1155152471041273858%26ref_url%3Dhttps%253A%252F%252Fmundo.sputniknews.com%252Ffirmas%252F201907291088189883-tiar-y-obsesion-de-eeuu-de-hacer-guerra-en-venezuela%252F%26fbclid%3DIwAR1eFq5JD30631FfuLAkrl3kmdpjMZBTZi45zdmAVyhCdXLuqdDlkIHYdI8&h=AT0V1U3x1RffCecf7ADawIIqDJ3Z50-1e9rf9GoFlHRugOQiq_6mwn4lauJZ0skOhVtaxZVClQfzJpWFVHU2Q6mRctOcOwDSm3tz1SqBXLft3x1oY5uakxaWFAYN6bI3xgxlV8S2iRgX3PDEpqG7xLWp3K1raVRTB3ZAYl-o0e99E5945EK-2GI4AN4yUPf8JausunfFOMaISPBoFYiEknaujjksk8NgiK5PHJTbTWCgZ_xsbHWWa4b2jwLGjtrkY2za5a2Ojf1FYdsjbmZUGmSgnAisPcleLLdQuT5jFPdCbpve17ykElawH-gp_Vnbl0qloJjDFOpE7f2MmC2WJym5ARGUhA9XnUGDHqogUGveWDxpRhZ9fB178fKfeODQPMi6VDaA9yq1vpL9YYGTx40hFxExCZtxYf2zxNkwo70a9JGzkfGmDZtOhL4kVK3Oq6SHiEK7WDvHcvz7rvU7Pdcp-ynNikBSL6Y_5zfVo9atlVN_XZsgiMLNPfJmHuyRSliVRUAJadllfpu7hLn3zvwO1rqG5PqlAnaDs_3moUzd9aAjV-Kkp8-KC2Lub3puTSMFGFv7XK0k-ETghxTBB-HRVgOlCwRhI_ZKKQWHivRxDsG43EYRSvA" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; outline: none; text-decoration: underline;" tabindex="-1" target="_blank"><img alt="" aria-label="Image may contain: one or more people, people standing, cloud, sky, text and outdoor" class="scaledImageFitWidth img" data-src="https://external-lga3-1.xx.fbcdn.net/safe_image.php?d=AQDBGDr_mGByZaYO&w=235&h=350&url=https%3A%2F%2Fpbs.twimg.com%2Fmedia%2FEAftCm2VUAILsta.jpg%3Alarge&cfs=1&upscale=1&fallback=news_d_placeholder_publisher&_nc_hash=AQCL1tSqF7HH_LIR" height="236" src="https://external-lga3-1.xx.fbcdn.net/safe_image.php?d=AQDBGDr_mGByZaYO&w=235&h=350&url=https%3A%2F%2Fpbs.twimg.com%2Fmedia%2FEAftCm2VUAILsta.jpg%3Alarge&cfs=1&upscale=1&fallback=news_d_placeholder_publisher&_nc_hash=AQCL1tSqF7HH_LIR" style="border: 0px; height: auto; min-height: initial; position: relative; top: 0px; vertical-align: bottom; width: 158px;" width="158" /></a></span></div>
</div>
<span class="_3m6-" style="font-family: inherit;"><a data-lynx-mode="async" href="https://l.facebook.com/l.php?u=https%3A%2F%2Ftwitter.com%2Fjackryanamazon%2Fstatus%2F1155152471041273858%3Fref_src%3Dtwsrc%255Etfw%257Ctwcamp%255Etweetembed%257Ctwterm%255E1155152471041273858%26ref_url%3Dhttps%253A%252F%252Fmundo.sputniknews.com%252Ffirmas%252F201907291088189883-tiar-y-obsesion-de-eeuu-de-hacer-guerra-en-venezuela%252F%26fbclid%3DIwAR1eFq5JD30631FfuLAkrl3kmdpjMZBTZi45zdmAVyhCdXLuqdDlkIHYdI8&h=AT0V1U3x1RffCecf7ADawIIqDJ3Z50-1e9rf9GoFlHRugOQiq_6mwn4lauJZ0skOhVtaxZVClQfzJpWFVHU2Q6mRctOcOwDSm3tz1SqBXLft3x1oY5uakxaWFAYN6bI3xgxlV8S2iRgX3PDEpqG7xLWp3K1raVRTB3ZAYl-o0e99E5945EK-2GI4AN4yUPf8JausunfFOMaISPBoFYiEknaujjksk8NgiK5PHJTbTWCgZ_xsbHWWa4b2jwLGjtrkY2za5a2Ojf1FYdsjbmZUGmSgnAisPcleLLdQuT5jFPdCbpve17ykElawH-gp_Vnbl0qloJjDFOpE7f2MmC2WJym5ARGUhA9XnUGDHqogUGveWDxpRhZ9fB178fKfeODQPMi6VDaA9yq1vpL9YYGTx40hFxExCZtxYf2zxNkwo70a9JGzkfGmDZtOhL4kVK3Oq6SHiEK7WDvHcvz7rvU7Pdcp-ynNikBSL6Y_5zfVo9atlVN_XZsgiMLNPfJmHuyRSliVRUAJadllfpu7hLn3zvwO1rqG5PqlAnaDs_3moUzd9aAjV-Kkp8-KC2Lub3puTSMFGFv7XK0k-ETghxTBB-HRVgOlCwRhI_ZKKQWHivRxDsG43EYRSvA" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; outline: none; text-decoration: underline;" tabindex="-1" target="_blank">
</a></span></div>
<span class="_3m6-" style="font-family: inherit;">
</span></div>
<div class="_42ef" style="-webkit-text-stroke-width: 0px; background-color: #f2f3f5; color: #1c1e21; font-family: Helvetica, Arial, sans-serif; font-size: 12px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; overflow: hidden; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<span class="_3c21" style="font-family: inherit;"></span><br />
<div class="_3ekx _29_4" style="border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-bottom: none; border-left: none; border-right: none; border-top-right-radius: 0px; border-top: 1px solid rgb(221, 223, 226); font-family: inherit; margin: 0px; padding: 10px 12px 11px; position: relative;">
<div class="_6m3 _--6" style="display: flex; flex-direction: column; font-family: inherit; font-size: 12px; height: 215px; justify-content: center; margin: 0px; position: relative;">
<div class="_59tj _2iau" style="bottom: 0px; color: #606770; flex-shrink: 0; font-family: inherit; font-size: 12px; left: 0px; line-height: 16px; overflow: hidden; padding: 0px; position: static; right: 0px; text-overflow: ellipsis; text-transform: uppercase; white-space: nowrap;">
<div style="font-family: inherit;">
<div class="_6lz _6mb _1t62 ellipsis" style="color: #606770; font-family: inherit; font-size: 12px; line-height: 11px; overflow: hidden; padding: 0px; text-overflow: ellipsis; text-transform: uppercase; white-space: nowrap;">
<span class="_3c21" style="font-family: inherit;">TWITTER.COM</span></div>
</div>
</div>
<div class="_3n1k" style="font-family: inherit;">
<div class="mbs _6m6 _2cnj _5s6c" style="font-family: inherit; font-size: 16px; font-weight: 600; letter-spacing: normal; line-height: 20px; margin: 3px 0px 0px; max-height: 110px; overflow-wrap: break-word; overflow: hidden; padding-top: 2px; text-decoration: none; transition: color 0.1s ease-in-out 0s;">
<span class="_3c21" style="font-family: inherit;"><a data-lynx-mode="async" href="https://l.facebook.com/l.php?u=https%3A%2F%2Ftwitter.com%2Fjackryanamazon%2Fstatus%2F1155152471041273858%3Fref_src%3Dtwsrc%255Etfw%257Ctwcamp%255Etweetembed%257Ctwterm%255E1155152471041273858%26ref_url%3Dhttps%253A%252F%252Fmundo.sputniknews.com%252Ffirmas%252F201907291088189883-tiar-y-obsesion-de-eeuu-de-hacer-guerra-en-venezuela%252F%26fbclid%3DIwAR0WSvZTPyzfL1doS1pp_lT7R3X_GtTC1zwMN2UNmsxfXGYwQFhqnbl2vTY&h=AT0K892VXusXvB7SVRriqspYHi9y7KdjDkgo5l18U0ar1tAScH6V-ygp2hYJ9_LAPkoDhi2KJTgmmM67ianhoJ6esgychM3ChYhmTky1BeNVuFbfnRvFzKM7PbwF-Yx7hbF_qhtmCn1jgbXc547c3UdgmHU3thPgiuHbi01TrLrlKI29P5qZu_BKzRguWRsMI-6bs9ftlTRWuBoYLt-YlKaNkrrz2gYPeoJh_HqbW8VL_Dhur6EnlfxwFfA7PnfAarhKBKnVGWC9Vo9wTNm3I4c0eP-tSspscXP5PMe5kzSIkQ6A523Q9ZPbGlN00fJVBqEYNEf0qTiB-Zids-VLvTbQNzdqzER03TjfeLPLBFEzOPt5HdzZtp_QSmGCf2vLzckS_P9CGNiwY_jq22NUM2_TZ5D5C2ZQCpNHmBf7ScVfB9Yiud_8iqZI8YcsOYQy3ff9KHVw-RDEOazgKLaSckNgzp9bXaTwbZWshTsumc29x13fIhI4ZlX6HhD4ig89kNbEsPWeEoDu_KA6OcN5RjKHkk738FQfCA9R9FGDTNy7-hnV_-Tv5XheLRQWninRYDh_y28KURiq1FEDWf64tOg_FnBYed7q-cz4lvPLUqECDwFWVarSqNE" rel="noopener nofollow" style="color: #1d2129; cursor: pointer; font-family: inherit; text-decoration: none; transition: color 0.1s ease-in-out 0s;" target="_blank">Jack Ryan on Twitter</a></span></div>
<div class="_6m7 _3bt9" style="color: #606770; font-family: inherit; font-size: 14px; line-height: 20px; margin-top: 3px; max-height: 80px; overflow: hidden; word-break: break-word;">
<span class="_3c21" style="font-family: inherit;">“There's no looking back for #JackRyan. Next stop: Venezuela.”</span></div>
</div>
</div>
</div>
<span class="_3c21" style="font-family: inherit;">
</span></div>
<b><i> </i></b>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6347012409985579191.post-31165039488663205782019-11-18T12:39:00.000-05:002019-12-22T13:27:52.888-05:00BRO ON THE GLOBAL TELEVISION BEAT<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="margin-left: 1em; margin-right: 1em;">
<img alt="Image result for serie series, fontainebleau" height="240" src="https://ivansanna3000.files.wordpress.com/2019/07/img_7715.jpg?w=700" width="320" /></div>
<br />
<span style="background-color: black;"><span style="color: white;"><span style="display: inline; float: none; font-family: "verdana" , "geneva" , "arial" , "helvetica" , sans-serif; font-size: 12px; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Arts Express Paris Correspondent Professor Dennis Broe presents his report on location attending a television festival at Fontainebleau, France - The Americans Are Coming! And how what you'll be seeing on the small screen in the near future is impacted by corporate monopolies, class tensions and class privilege, the Trump doctrine, lobbyists - and progressive content in a collision course with ratings.</span></span></span><br />
<br />
<b>Listen To The Show <a href="http://audioport.org/audioport_files2/pmiller@wbai.org/608_1-1_20190717_160475.mp3">HERE</a></b>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-90747972777068941392019-11-29T10:51:00.000-05:002019-12-08T10:52:58.904-05:00ARTS EXPRESS: THE NIGHT COLLECTIVE<img alt="Image may contain: 2 people" src="https://scontent.fewr1-6.fna.fbcdn.net/v/t1.0-9/79272338_2913248938687202_5143122525487628288_n.jpg?_nc_cat=108&_nc_ohc=uV9WgT9ufqwAQmDDFxkPcRiPvLrQPPl2fq2nQrXiY3VgMlsBY8SFy8k1g&_nc_ht=scontent.fewr1-6.fna&oh=f484496590961f169266f6b21894934b&oe=5E7956E6" />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-31307970352923777102019-11-19T11:15:00.000-05:002019-11-22T11:21:21.982-05:00Revival<br />
<img alt="Image result for creedence clearwater revival" height="224" src="https://societyofrock.com/wp-content/uploads/2015/05/niconnoplay-735x413.jpg" width="400" /><br />
<br />
<div style="display: block; font-family: "helvetica", "arial", sans-serif; font-size: 14px; font-style: normal; font-weight: 400; letter-spacing: normal; margin: 0px 0px 6px; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="color: white;"><span style="background-color: black;">Some folks are born silver spoon in hand</span></span><br />
<span style="color: white;"><span style="background-color: black;">Lord, don't they help themselves, no</span></span><br />
<span style="color: white;"><span style="background-color: black;">But when the taxman comes to the door</span></span><br />
<span style="color: white;"><span style="background-color: black;">Lord, the house looks like a rummage sale, yeah</span></span></div>
<div class="text_exposed_show" style="display: inline; font-family: "helvetica", "arial", sans-serif; font-size: 14px; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<div style="font-family: inherit; margin: 0px 0px 6px;">
<span style="color: white;"><span style="background-color: black;">Yeah, some folks inherit star-spangled eyes</span></span><br />
<span style="color: white;"><span style="background-color: black;">They send you down to war</span></span><br />
<span style="color: white;"><span style="background-color: black;">And when you ask 'em: "How much should we give?"</span></span><br />
<span style="color: white;"><span style="background-color: black;">They only answer: "More, more, more"</span></span></div>
<div style="font-family: inherit; margin: 6px 0px;">
<span style="color: white;"><span style="background-color: black;">Fortunate Son | Creedence Clearwater Revival</span></span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-45216012299375071012019-11-21T20:34:00.003-05:002019-11-21T20:35:00.626-05:00Bolivia<img height="208" src="https://external.fewr1-6.fna.fbcdn.net/safe_image.php?d=AQAD1V8a6wwjXkZ6&w=540&h=282&url=https%3A%2F%2Falbaciudad.org%2Fwp-content%2Fuploads%2F2019%2F11%2Fgolpe-estado-bolivia-indigenas-680x453.jpg&cfs=1&upscale=1&fallback=news_d_placeholder_publisher&_nc_eui2=AeExokzrCT2XxJgqnSSsYLLbtLTH2Zo--E4-TmP4-XbSrZSrf7Ygto9ey0gYQBLEohOV0fmM2kn-Hh84KqHATvGtMutbts-hcQ4EEMvUwWFeZQ&_nc_hash=AQC5-t8ftxSMMwt1" width="400" />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-69659619951735788872016-11-09T21:38:00.000-05:002019-09-10T17:09:50.744-04:00I, DANIEL BLAKE: INTERVIEW WITH PAUL LAVERTY, LONGTIME KEN LOACH COLLABORATOR<span style="color: white;"><span style="background-color: black;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.fact.co.uk/media/70424431/i-daniel-blake-3.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.fact.co.uk/media/70424431/i-daniel-blake-3.png" height="232" width="400" /></a></div>
<br />
<span style="color: white;"><span style="background-color: black;">By Liza Bear</span></span><br />
<br />
<span style="color: white;"><span style="background-color: black;"><span style="font-family: "verdana" , sans-serif;">In
this piercingly relevant contemporary drama, Laverty's tightly
structured script tracks Daniel Blake (Dave Johns), a joiner in his
fifties recovering from a heart attack as he confronts implacable
bureaucracy when his benefits are inexplicably denied, meanwhile
befriending Katie (Hayley Squires), a single mother with two children
and her own survival problems. </span><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">The film is also a richly detailed portrait of community solidarity and resourcefulness.</span></span></span></span><br />
<div class="gmail_default" style="font-family: "arial","helvetica",sans-serif; font-size: medium; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="color: white;"><span style="background-color: black;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"> </span> </span></span></span></div>
<div class="gmail_default" style="font-family: "arial","helvetica",sans-serif; font-size: medium; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="color: white;"><span style="background-color: black;"><span style="font-family: "verdana" , sans-serif;"><a href="https://www.youtube.com/watch?v=IWoEbXP0TpI&feature=youtu.be"><b>WATCH THE INTERVIEW HERE</b></a> </span></span></span></div>
<div class="gmail_default" style="font-family: "arial","helvetica",sans-serif; font-size: medium; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="color: white;"><span style="background-color: black;"><br /></span></span>
<span style="color: white;"><span style="background-color: black;"><span style="font-family: "verdana" , sans-serif;">Palme d'Or winner I, Daniel Blake's screenwriter Paul Laverty talks to Liza B<span style="font-family: "verdana" , sans-serif;">e</span>ar
about his early career, his 20 year collaboration with director Ken
Loach and the political background to the film: the UK's
austerity-driven Strivers Versus Shirkers campaign that targets the
disadvantaged.<span class="Apple-converted-space"> </span></span></span></span></div>
<div class="gmail_default" style="font-family: "arial","helvetica",sans-serif; font-size: medium; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="color: white;"><span style="background-color: black;"><span style="font-family: "verdana" , sans-serif;">Filmed by Liza Bear at the 54th New </span><span style="font-family: "verdana" , sans-serif;">York Film Festival.</span></span></span></div>
<div class="gmail_default" style="font-family: "arial","helvetica",sans-serif; font-size: medium; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<br />
<span style="color: white;"><span style="background-color: black;"><span style="font-family: "verdana" , sans-serif;"><b>Liza Bear</b> is a member of the James Agee Cinema Circle </span></span></span></div>
<span style="color: white;"><span style="font-family: "verdana" , sans-serif;">.</span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-636068565257587542019-07-12T09:41:00.000-04:002019-08-24T16:48:47.512-04:00ARTS EXPRESS <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixSny0DuOLTLT3DdAfog3_ApjMIWdzIktQ4fs66QgUKcBf4Va0u5bsRjIurvSUYAtDIHJTY9_w1B77XldwPaMaI-D7MK8WDUtYMJb5NByFlnGAaAm-_6rrSupPseH2ChUvmGytBOisFIU/s1600/ArtsExpressRedEyeLogo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixSny0DuOLTLT3DdAfog3_ApjMIWdzIktQ4fs66QgUKcBf4Va0u5bsRjIurvSUYAtDIHJTY9_w1B77XldwPaMaI-D7MK8WDUtYMJb5NByFlnGAaAm-_6rrSupPseH2ChUvmGytBOisFIU/s400/ArtsExpressRedEyeLogo.jpg" width="400" /></a></div>
<br />
<b>ARTS EXPRESS <i>RED EYE</i> MOVIE REVIEWS - <i>Red Hot And Saucy</i></b><br />
<b>Served Up Here<i> </i></b><br />
<br />
<b>The Gold Glove: Fatih Akin Takes The 'Glove' Off, In This Take No Prisoners Socio-Politically Rooted Horror Spree </b><br />
<br />
<b><i>"Your heroes are losers. You are supporting a lost cause. Believe me, I knew the original Nazis. Growing up I was surrounded by broken men, men who came home from the war filled with shrapnel and guilt, men who were misled into a losing ideology. And I can tell you that these ghosts that you idolize spent the rest of their lives living in shame. And right now, they're resting in hell."</i><br />(Arnold Schwarzenegger to Donald J Trump) </b><br />
<br />
At the same time a gruesome serial killer horror film and in no way that at all, Turkish-German filmmaker Fatih Akin's The Golden Glove confounds and fascinates once again, somewhat like his predatory protagonist, luring in audiences with a bait and switch narrative agenda exploiting the notion of controversial entertainment for socio-political shock and awe. And specifically from a cultural outsider's subversive point of view.<br />
<br />
The take no prisoners, daring director's perspective focuses yes, on disturbing audiences, but more as mirror reflecting back on themselves with ugly historical truths, than what may be seductively, evidently up on the screen. And specifically how Germany or any western society may appear to the alienated, demonized or victimized outsider - whether immigrant or conquered, destroyed nation historically and in the present time. <br />
<br />
The narrative is ostensibly a retelling of the crimes attributed to an actual obscure early 1970s German serial killer Fritz Honka targeting primarily elderly prostitutes inhabiting a dilapidated, exceeding grotesque red light district pub of the title, but much more. The Golden Glove is based on the novel of the same name, revisiting the madman's barbaric exploits, and written by Heinz Strunk.<br />
<br />
A blue collar, alcoholic with physically deformed facial features and a raging temper, Honka (a remarkably disfigured, transformed Jonas Dassler) prowls for his female victims at the local bar in question, and takes them home to his attic hovel where he horrifically, beyond graphically rapes, tortures and beats most of them to death, dismembering and stuffing their bodies behind a wall there. And when complaints ensue about the terrible smell, he readily blames the cooking odors of a Greek family he detests as immigrants, living below.<br />
<br />
Though Akin would appear to have much more on his mind that similarly sadistically plays with audience minds. We learn in the course of this grueling procession that victims and perpetrators alike are the seeming waste product of a decaying Western civilization following WW II, specifically Germany in this case, leaving in its wake a procession of damaged and destroyed humans. And among them dangerous elements as well. <br />
<br />
At one point we learn that the serial killer's father had been a communist sent away to a concentration camp during the war, as was one of Honka's prostitute victims - implying a similar fate of other women like her at the bar as well. And, the telling presence of another mysterious intimidating barfly there, a former SS officer with eventual sadistic malice on his mind at the men's urinal there. <br />
<br />
All of which creates a grotesque canvas that might be said to extend from the Hieronymus Bosch and Bruegel sado-masochistic Renaissance hellish landscapes, Germanic even if Dutch - a seemingly self- fulfilling trajectory that may be said to extend from the cruelty and decadence of early capitalism, to the degeneracy and blight of late stage capitalism today. <br />
<br />
And consequently, the telling cultural outsider perspective of Akin, a demonic depravity and ironic reversal connected to western demonization of the 'other' - whether referring to misogyny or the horrendous mass murder and serial killing all around the world, justified politically and economically by those controlling western powers. <br />
<br />
And not unlike Akin's previous film In The Fade, in which Diane Kruger goes full Antifa with nothing to lose, following the loss of her entire family at the hands of right wing extremists. In other words, the immensely provocative notion of victimization reversal - and the justified perpetrator as motivated by victimization in a persistent cycle perpetuating grief and revenge.<b> <i><br /></i></b><br />
<br />
<b>THE OPERATIVE: Diane Kruger Kicks Ass</b><br />
<b><br /></b>
<b>** 'The world is so hypocritical about the sanctions - it's okay for Israel to blow up children but we can't have the components for medical equipment.'</b><br />
<br />
While the tendency is to not view actors in terms of the characters they play, there may be a pattern regarding the choice of roles. And in the case of Diane Kruger, her recent work demonstrates political conviction, determination and courage rare in a vocation more associated with ambition, conformity, and exclusively careerist considerations.<b> </b>
<br />
<div>
</div>
<div>
<br />
Such was the case with Kruger's subversive principled role as victim turned sympathetic anti-right wing Neo-Nazi terrorist in the dramatic feature, In The Fade. And no less is her astonishing commendable turn in The Operative - an anti-Zionist espionage thriller particularly daring at this historical moment in time in view of the assault, and even censorship and outlawing, of those critical of Israeli crimes against Palestine and abroad.</div>
<div>
</div>
<div>
<br />
And The Operative is no typical espionage thriller, though those basic conventional elements form<br />
the groundwork of the narrative. Rather, as the enigmatic story unravels, Israeli director Yuval Adler opts for psychological components instead - and specifically how spy operations like the Israeli Mossad exploit emotionally vulnerable assets who may be cooperative but not voluntary at all in that regard, under psychological pressure.</div>
<div>
</div>
<div>
<br />
Diane Kruger is Rachel, a rootless and alienated German woman who seems to have been cornered into assisting the Mossad as a driver, a favor to a friend while living in Israel. And seemingly personally connected to rebellious resentment against a contemptuous, rejecting half-Jewish father - who harbors critical, liberal views politically against Israel. </div>
<div>
</div>
<div>
<br />
And Mossad agents maneuver to ensnare Rachel psychologically and ever deeper into deadly assignments, connected to her value as a multi-lingual teacher - coaxing her off to Iran on a vague assignment, but with cruel and homicidal intended operations conspiring with Kurdish terrorists. And to maintain Rachel in an anxiety-free state of mind while exploiting her for their own illegal ends as they infiltrate a foreign country, the Mossad emotionally pairs her with Thomas (Martin Freeman), a similarly expendable, culturally alienated British asset living in Germany.</div>
<div>
</div>
<div>
<br />
A German, French and Israeli co-production, The Operative is based on the novel The English Teacher. Written by former Israel intelligence officer Yiftach Reicher Atir who may have conflicted feelings of his own, The Operative is a deeply engaging and critically important politically and emotionally brutal thriller exposing the Mossad. And Israel as well, a country reportedly possessing 80 secret and globally unregulated and unquestioned nuclear warheads - and with enough fissile material to produce 190 more - while engaging in attempts to sabotage and destroy Iran in that regard, a country possessing none. While back in 2014, former US president Jimmy Carter noted that 'Israel has, what, 300 or more, nobody knows exactly how many' nuclear weapons. </div>
<div>
</div>
<div>
<br />
Which would deem The Operative essential filmmaking indeed. A brave production stepping in to confront those challenges - where timid and cowardly or complicit governments and corporate media fear to tread.<br />
<br />
Prairie Miller<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSnl77gdc-7O7VN_-0x_AB-BE7Wxaksaacyo6q95rLK2KS3Jvfj" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="183" data-original-width="275" height="265" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSnl77gdc-7O7VN_-0x_AB-BE7Wxaksaacyo6q95rLK2KS3Jvfj" width="400" /></a></div>
<b>'We blew it. Good night, man. I'm hip about time. But I just gotta go...'</b><br />
<br />
<b> <span style="background-color: black;"><span style="color: white;"> PETER FONDA, THE LAST INTERVIEW</span></span></b><br />
<span style="background-color: black;"><span style="color: white;"><br /></span></span>
<br />
<div style="font-family: "arial"; font-size: 13.3333px; font-style: normal; letter-spacing: normal; margin: 0px; padding: 0px; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><b>** "Gary Cooper said something that I didn't understand at the time, he said that if I know what I'm doing, I don't have to act. I didn't understand that, and now I do. And that sounded strange coming from an actor, and it was such a wonderful moment. I feel that freedom - and in Easy Rider, I didn't understand that yet."</b></span></span></div>
<div style="font-family: "arial"; font-size: 13.3333px; font-style: normal; font-weight: 400; letter-spacing: normal; margin: 0px; padding: 0px; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><br /></span></span></div>
<div style="font-family: "arial"; font-size: 13.3333px; font-style: normal; font-weight: 400; letter-spacing: normal; margin: 0px; padding: 0px; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;">Peter Fonda Talks Boundaries, Easy Rider: And a different sort of journey, his life journey in film. And in our conversation, touching on co-starring in his last film theatrically released before his passing, Boundaries - yet another road movie with no less than two Christophers - Plummer and Lloyd; memories of James Stewart, Marlon Brando, and playing football with Elvis; teeth, water, and a song John Lennon wrote about him secretly; life growing up around Henry Fonda as 'uncertain and unformed'; and why "12 Angry Men was my father's Easy Rider."</span></span></div>
<div style="font-family: "arial"; font-size: 13.3333px; font-style: normal; font-weight: 400; letter-spacing: normal; margin: 0px; padding: 0px; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: black;"><span style="color: white;"><br /></span></span></div>
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: arial; font-size: 13.3333px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; padding: 0px; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<a href="http://audioport.org/audioport_files/pmiller@wbai.org/608_1-1_20180620_139261.mp3"><span style="background-color: black;"><span style="color: white;"><b>Listen To The Interview HERE</b></span></span></a> </div>
<br />
<b>THE LOAD: What Doesn't Kill You Makes You...Disappear. And which might update that Winston Churchill axiom: History is written by the victor's filmmakers.</b><br />
<br />
A tense, muted, never less than simultaneously grim and confounding, historically laced road movie venture into the heart of darkness of a disappeared country, The Load [Teret] opts for subtlety over sensationalism. Directed by Serbian Ognjen Glavonić, the story follows truck driver Vlada (Leon Lucev), who appears to be transporting an unknown, secretive cargo across a terrifying landscape from Kosovo to Belgrade, being subjected to NATO bombing in 1999. Not only bombing the population, NATO is likewise conducting a propaganda blitz, dropping leaflets across the land intended to convince civilians that destruction, invasion and occupation are their glorious democratic future. While The Load has been cited as referencing the highway thrillers Henri-Georges Clouzot’s The Wages of Fear, and Williams Friedkin’s retelling, Sorcerer. <br />
<br />
Glavonić, who has emerged from a young, post-communist Yugoslavia generation of filmmakers, appears most personified here in a despondent, directionless nomadic youth Vlada picks up along the way. An aspiring musician who plays some of his songs on a cassette for Vlada - when asked about the group, the youth's reply provides a stinging metaphor expressing the fate of the broken, disappeared and Western imperialist devoured Yugoslavia itself: My group no longer has a name, because the band broke up when everyone was gone.<br />
<br />
While the inferences of The Load remaining ambiguous regarding casualties of war and culpability, have been referred to as a praiseworthy artistic preference - perhaps the truth resides elsewhere. No less than that this Serbian-French collaboration is an ironic co-production between that NATO invader/exploiter and victim country. Which might update and expand that Winston Churchill axiom: History is written by the victor's filmmakers.<br />
<br />
Likewise an intriguing update that might have made for an insightful postscript, would have been the inclusion of the current shadow CIA regime change factory known by its front name CANVAS, and secretly functioning in the present time in Serbia. And where self-declared coup president of Venezuela Juan Guaido had been trained to do just that. While preceded by their regime change factory operation that succeeded in the imprisonment there of Socialist President Slobodan Milosevic for war crimes, a subsequent Hague trial and imprisonment over the course of many years - and with Milosevic ultimately declared innocent long after he had died in prison at the Hague, for lack of adequate medical care for a serious heart condition.</div>
<div>
</div>
<div>
<br />
Prairie Miller</div>
<b><i> </i></b><br />
<b><i> </i></b>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-37113081039501253452019-07-10T20:01:00.000-04:002019-08-11T20:02:47.825-04:00Jack Prefers Not To<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5PkwMUDjkK5XmLKz7WL-mjpwBmmLbpgPVMO5V-NS6deBpmw-hBFqLUUwyFhedM1cNTR_fRVHKHNq0uJOGVXZGMUsQhrymBKE9RSHqqSoKqmul12P9hO4vPtEVBzs9Evy-tqD46b9eXK4/s1600/JackPrefers+Not+To.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="576" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5PkwMUDjkK5XmLKz7WL-mjpwBmmLbpgPVMO5V-NS6deBpmw-hBFqLUUwyFhedM1cNTR_fRVHKHNq0uJOGVXZGMUsQhrymBKE9RSHqqSoKqmul12P9hO4vPtEVBzs9Evy-tqD46b9eXK4/s320/JackPrefers+Not+To.png" width="240" /></a></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-34885068107516567332018-03-29T12:44:00.001-04:002018-05-18T15:04:52.890-04:00<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/lK3omtLTScI/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/lK3omtLTScI?feature=player_embedded" width="320"></iframe></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-85418621474754264482017-11-02T21:28:00.002-04:002017-11-02T21:30:48.166-04:00In The Fade: Diane Kruger Goes Full Antifa<div class="separator" style="clear: both; text-align: center;">
<a href="https://theplaylist.net/wp-content/uploads/2017/05/a2b56eaf7147c2665d747709ae2d3b3d-1200x520.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="347" data-original-width="800" height="173" src="https://theplaylist.net/wp-content/uploads/2017/05/a2b56eaf7147c2665d747709ae2d3b3d-1200x520.jpg" width="400" /></a></div>
<br />
When Western terrorist attacks by mostly Middle Eastern right wing extremists take place, among the shocked responses in the aftermath, is always the perplexed reaction in disbelief, as to why such a presumably meaningless assault could have taken place. Yet like a long lingering elephant in the room that just won't seem to go away, the evidence is in plain sight.<br />
<br />
Say for instance, the murder in recent times and in progress, of over a million people in Iraq and Afghanistan alone by the US military and European allies. And a kind of blowback retaliation on their own soil of the perpetrators, that may not even be those original fighters - but perhaps their surviving inconsolable relatives or children determined to seek revenge.<br />
<br />
Such is the intriguing metaphorical premise of Fatih Akin's In The Fade (Aus dem Nichts). The German director of Turkish parentage masterfully flips the script, as Hamburg housewife Katja (Diane Kruger) endures the horror of her Kurdish husband Nuri (Numan Acar), a legal activist for the local Turkish community, along with her young son being murdered in a racially motivated, anti-immigrant targeted bombing of his office by German white supremacist Neo-Nazis.<br />
<br />
The emotionally disintegrating, suicidal widow, overcome by feelings of hopelessness and rage, seeks a revenge in kind against the two accused perpetrators - following their acquittal for lack of irrefutable evidence in court. And what ultimately ensues is not just a stunningly executed thriller, but a brilliant parable for our time.<br />
<br />
In other words, the immensely provocative notion of victimization reversal, and the perpetrator as perpetrated. Along with ironically, the accusation that has always been raised against Germans where this movie was made - how could you as a people stand by and do nothing while Hitler annihilated civilians and enemies alike in the millions. Well, perhaps exactly what those leveling charges have been doing since then, without much objection or even acknowledgement raised - and the United States alone having killed and continuing to do so, more than 20 million people in thirty-seven victim nations since World War II.<br />
You go, Diane.<br />
<br />
Prairie Miller <br />
<br />
<b>Arts Express:</b> Airing on the WBAI/Pacifica National Radio Network and Affiliate Stations.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-3247321411143707002017-11-01T21:19:00.000-04:002017-11-02T21:21:22.483-04:00CHARACTERS WITH A BAD CONSCIENCEBy Liza Béar<br />
<br />
"1945" Opens at Film Forum, New York, November 1--Not to be missed! Once in a while an independent film hits the screens that totally galvanizes you by its sheer filmmaking craft and its insights into human nature.<br />
<br />
<b><a href="https://www.youtube.com/watch?v=QwxZxsU10Fs&feature=youtu.be">WATCH THE FILMMAKER INTERVIEWS HERE</a> </b><br />
<br />
Simply titled, 1945, this highly original psychological thriller, superb in every respect: script, directing, ensemble acting, b&w camerawork, musicand of course the overpowering sense of menace and (false) suspicion) created throughout the film. Such a complex & intimate portrait of immediate postwar peasant psychology, such nuanced and sophisticated storytelling about an important subject is award-winning Hungarian director Ferenc Torok's sixth feature.<br />
<br />
It's based on The Homecoming, a short story by noted writer Gabor T. Szanyo. WWII has ended. The arrival of two Orthodox Jews, father and son, by train throws the inhabitants of a nearby Hungarian village into a maelstrom of fear, suspicion and havoc as they prepare for the wedding of the town clerk's son. As time allowed, I spoke to Ferenc and Gabor last week about aspects of the original story, the development of the film, and characters with a bad conscience, [note; the interview took place in the Green Room's mirrored clothes closet at JCC]. <br />
<br />
1945 Film Credits: Writer-director: Ferenc Torok; screenplay Gabor T. Szanto & Torok; director of photography: Elemer Ragalyi; editor: Bela Barsi; music: Tibor Szenzo; production design: Lazlo Rajk.<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-73384988385679520402017-06-24T19:53:00.002-04:002017-06-24T19:57:00.257-04:00Working Stiff Revolt<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='420' height='366' src='https://www.blogger.com/video.g?token=AD6v5dwE_qz201N2T1li_ff_qdRU18-GLjTaYFhWZZK-SdLBomxL3Dtd95RlHOthxJZckWNehTrQt-QESvHO5XxF1A' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6347012409985579191.post-89566633932614978802017-06-04T11:11:00.000-04:002017-06-04T11:44:03.802-04:00Wonder Woman War Criminal<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br /><div class="separator" style="clear: both; text-align: center;">
<img border="0" data-original-height="547" data-original-width="540" height="320" src="https://scontent-iad3-1.xx.fbcdn.net/v/t1.0-9/18835902_316442198790012_1164352975599108730_n.jpg?oh=372c69cdec39ae5762c3cb29e6b3914b&oe=59A6E11D" width="314" /></div>
<br />
Electronic Intifada co-founder Ali Abunimah said on Twitter that “Gal Gadot’s support for Israel’s slaughter of 11 children a day in Gaza in summer 2014 means it’s common sense not to reward her with money.”<br /><br />
The tension between supporters of Israel and the women’s movement came to a head in March when Linda Sarsour, a Palestinian activist and co-chair of the Women’s March, argued that feminists could not also be pro-Israel. Ms. Sarsour told The Nation. “There can’t be in feminism. You either stand up for the rights of all women, including Palestinians, or none. There’s just no way around it.”Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-71536665706951814522017-04-30T22:08:00.003-04:002017-04-30T22:10:11.114-04:00Lucy Gonzalez Parsons, Founder Of May Day<iframe allowfullscreen="" frameborder="0" height="215" src="https://www.youtube.com/embed/m1AOZlUflgo" width="460"></iframe>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-12137250947216028042017-02-17T14:57:00.000-05:002017-03-03T14:58:05.892-05:00Final Word On The Oscars...<a href="https://www.facebook.com/anonews.co/videos/1529330470411840/"><b>FINAL WORD ON THE OSCARS 2017...</b></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-74434981031361865202017-02-16T20:32:00.000-05:002017-02-24T20:37:16.142-05:00Generation Zero Review: Steve Bannon Fascist Frolicking On Screen<div class="separator" style="clear: both; text-align: center;">
<a href="http://us.pressfrom.com/upload/images/real/2017/02/03/steve-bannon-cover-time__400732_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://us.pressfrom.com/upload/images/real/2017/02/03/steve-bannon-cover-time__400732_.jpg" height="320" width="242" /></a></div>
<a href="http://www.counterpunch.org/2010/03/26/teabagger-cinema/"><b>COUNTERPUNCH</b></a><br />
Tells The Facts, Names The Names<br />
Fearless Muckraking Since 1993<br />
<br />
MARCH 26, 2010<br />
Teabagger Cinema<br />
by PRAIRIE MILLER<br />
<br />
Dredging up tired old myths about America while concocting misleading new ones, the documentary Generation Zero assembles a host of valid gripes currently troubling the nation, but is more than careful to detour around any proposed remedies anchored in reality. In other words, all dressed up in undercover Republican in rebel’s clothing, and with basically nowhere new to go.<br />
<br />
Written and directed by reactionary Reagan partisan propagandist Stephen K. Bannon (In the Face of Evil: Reagan’s War in Word and Deed, and Border War: The Battle Over Illegal Immigration) the inaugural Tea Party cinema documentary Generation Zero boasts an exceedingly odd couple combo of assorted right wing egghead think tank rhetoric talking heads and angry white middle class rants. And all wrapped up in highly sophisticated production values fueling alarmist high speed imagery, and topped off with a musical score seemingly gleaned from really scary slasher movies.<br />
<br />
Invoking intimidating biblical scriptures that are fused visually with looming tornadoes, rotting fruit, paper money on fire, and a man versus lion beatdown, Generation Zero gets down to business on fast forward by blaming the current economic crisis retroactively on Lucifer, Woodstock, Dems, post-hippie yuppies lighting up cigars with burning Ben Franklins, Hollywood, Black Panthers, anti-war protesters and disrespectful post-WWII youth. Which might leave the marginalized left in this country scratching their collective heads while caught between pondering these neo-McCarthyite attacks, and shock that they seem to wield such enormous power over the course of history.<br />
<br />
At the same time, the right wing populist thrust of this documentary mourns the economic tragedy of the Great Depression, while reticently longing for the good old days of capitalism unregulated by the government. History alert, that’s exactly what led to the Great Depression. And in glaring contradiction, the current ‘incestuous’ relationship between government and big business is condemned as contributing to the economic woes facing us today. But if in reality those two entities have merged into one and the same with politicians the actual under the radar conflict-of-interest corporate partners, isn’t that unregulated capitalism after all?<br />
<br />
In a case of repeatedly not saying what you mean moviemaking in the extreme, Generation Zero is ironically advocating in its own way, a utopian nation grounded in a prevailing small business society that no longer exists, and is in effect hardly different from the hippie fantasy back to nature version of the world. And in this small business interests butting of heads with big capitalism that is the core grievance of this film, where exactly do the American masses you’re inflaming – with no businesses of their own, let alone even a job or home in many cases – fit in?<br />
<br />
Now while there’s nothing wrong with spouting your opinions loudly in a movie, at the same time it’s respectful of your audience to come out of your political closet and say so. Instead of manipulatively shouting at viewers about everything that’s ailing America and rightly so, while quietly tiptoeing around your own hidden agenda solutions that’s really a same politics, different day, voting booth Republican pep rally.<br />
<br />
Generation Zero: A Tea Party animal all steamed up, but whose tempest in a teapot is basically empty.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="215" src="https://www.youtube.com/embed/k3SLtP10NQ8" width="460"></iframe>
<br />
<br />
<a href="https://youtu.be/k3SLtP10NQ8">WATCH GENERATION ZERO HERE</a> <br />
<br />
PRAIRIE MILLER is a WBAI film critic, and host and executive producer of Arts Express. She can be reached at: pmiller@wbai.org.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-34102919644209282017-02-18T13:16:00.003-05:002017-02-18T13:31:04.081-05:00The JAMES AGEE CINEMA CIRCLE ANTI-OSCARS<b>The JAMES AGEE CINEMA CIRCLE ANTI-OSCARS 2016</b>:<br />
<b>**Free State Of Jones Rebel Cinema Rules!</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://cdn-images-1.medium.com/max/1200/1*G48--VhtAwdfe6fX9HHmgA.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="251" src="https://cdn-images-1.medium.com/max/1200/1*G48--VhtAwdfe6fX9HHmgA.jpeg" width="400" /></a></div>
<br />
<b>*THE TRUMBO: The Award For BEST PROGRESSIVE PICTURE</b> is named after Oscar-winning screenwriter Dalton Trumbo, a member of the Hollywood Ten, who was imprisoned for his beliefs and refusing to inform. Trumbo helped break the Blacklist when he received screen credit for "Spartacus" and "Exodus" in 1960.<br />
<br />
<b>*FREE STATE OF JONES</b><br />
<br />
<b> **THE GARFIELD: The Award For BEST ACTOR</b> is named after John Garfield, who rose from the proletarian theatre to star in progressive pictures such as "Gentleman's Agreement" and "Force of Evil," only to run afoul of the Hollywood Blacklist.<br />
<br />
<b>*Matthew McConaughey, Free State Of Jones </b><br />
<b>*Mahershala Ali, Free State Of Jones: Best Supporting Actor</b><br />
<br />
<b> *KAREN MORLEY AWARD: For BEST ACTRESS </b>Named for Karen Morley, who was driven out of Hollywood in the 1930s for her leftist views, but who maintained her militant political activism for the rest of her life, running for Lieutenant Governor on the American Labor Party ticket in 1954. She passed away in 2003, unrepentant to the end, at the age of 93.<br />
<br />
<b>*Taraji Henson, Hidden Figures</b><br />
<b>*Lily Gladstone, Certain Women: Best Supporting Actress </b><br />
<br />
<b><b>*THE RENOIR:</b> The Award For BEST ANTI-WAR FILM </b>is named after the
great French filmmaker Jean Renoir, who directed the 1937
anti-militarism masterpiece, "Grand Illusion."<b> </b><br />
<b><br /></b>
<b>*Free State Of Jones</b><br />
<b><br /></b>
<b>*</b> <b>*THE TOMAS GUTIERREZ ALEA AWARD:</b> Named after the late legendary
Cuban filmmaker. For best depicting mass popular uprising or
revolutionary transformation in movies. And <b>Best Action Heroes</b>, for revolutionary rebellion and activist uprising redefined.<b><br /></b><br />
<b>*Free State Of Jones</b><br />
<b>*The Women of Free State Of Jones: Best Female Action Heroes</b><br />
<br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><a href="http://i.dailymail.co.uk/i/pix/2016/01/11/19/300B194F00000578-3394275-Armed_and_ready_The_scene_transitions_to_a_surprise_attack_by_th-m-85_1452539254264.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://i.dailymail.co.uk/i/pix/2016/01/11/19/300B194F00000578-3394275-Armed_and_ready_The_scene_transitions_to_a_surprise_attack_by_th-m-85_1452539254264.jpg" height="208" width="400" /></a></b></div>
<br />
<b><br /></b>
<b>*THE GILLO:</b> <b>The Award for BEST PROGRESSIVE FOREIGN FILM</b> is named
after the Italian director Gillo Pontecorvo, who lensed the 1960s
classics "The Battle of Algiers" and "Burn!"<br />
<br />
<b>*The Measure Of A Man </b><br />
<br />
<b><b>*THE DZIGA:</b> The Award for BEST PROGRESSIVE DOCUMENTARY</b> is named
after the Soviet filmmaker Dziga Vertov, who directed 1920s nonfiction
films such as the "Kino Pravda" ("Film Truth") series and "The Man With
the Movie Camera."<b> </b><br />
<b><br /></b>
<b>*13TH</b><br />
<b>*Prescription Thugs</b><br />
<b><br /></b>
<b>*THE BOUND FOR GLORY AWARD:</b> <b>The Award for BEST ANTI-CAPITALIST
FILM</b> is named after the 1976 Hal Ashby directed biopic about Woody
Guthrie, played by the late David Carradine.<br />
<br />
<b>*Christine </b><br />
<br />
<b>*OUR DAILY BREAD AWARD:</b> For the most positive and inspiring working class images in movies this year.<br />
<br />
<b>*I, Daniel Blake</b> <br />
<br />
<b>*THE ROBESON AWARD:</b> Named after courageous performing legend,
Paul Robeson. The award is for the movie that best expresses the people
of color experience, in light of their historically demeaning portrayals
in films.<br />
<br />
<b>*Loving</b><br />
<br />
<b><b>*LA PASSIONARA AWARD:</b> </b>For the most positive female images in a movie, and in light of the historically demeaning portrayal of women in movies.<b> </b><br />
<br />
<b>*Hidden Figures</b><br />
<b>*Shailene Woodley: For her Water Protector activism at Standing Rock </b><br />
<br />
<b><b>*THE LAWSON:</b> The Award for BEST ANTI-FASCIST FILM</b> this year, is
named after screenwriter John Howard Lawson, one of the Hollywood Ten,
who wrote Hollywood's first feature about the Spanish Civil War, 1938's
"Blockade," with Henry Fonda, and anti-Nazi movies such as 1943's
"Sahara," starring Humphrey Bogart.<b> </b><br />
<br />
<b> *Free State Of Jones</b><br />
<br />
<b> </b><b>*THE MODERN TIMES:</b> <b>The Award for Best Progressive Film SATIRE</b> is
named after Charlie Chaplin, who made 1936's "Modern Times" and 1940's
"The Great Dictator."<br />
<br />
<b>*Moonwalkers </b><br />
<br />
<b>*THE ORSON:</b> The Award for BEST OVERLOOKED OR THEATRICALLY
UNRELEASED Progressive Film is
named after actor/director Orson Welles. After he directed the
masterpiece "Citizen Kane" Welles had difficulty getting most of his
other movies made.<br />
<br />
<b>*Free State Of Jones </b><br />
<b> *Snowden</b><br />
<br />
<b>ELIA KAZAN HALL OF SHAME</b><br />
<br />
<b>The Oscars: For nominating as documentary and also inviting The White Helmets, who are ISIS collaborators and ISIS Fake News producers in Syria, to the Oscar Awards Ceremony.</b><br />
<br />
<b>The Oscars: For nominating as documentary Joe's Violin, a promotional infomercial for corporate, anti-labor charter schools. </b><br />
<br />
<b>STX Entertaiment: For burying Free State Of Jones, and refusing to make it available for awards consideration. </b><br />
<b> </b><br />
<b>Tribeca Film Festival: For removing Vaxxed from the festival, under pressure from the US pharmaceutical corporations who profit from vaccines exposed in this documentary.</b><br />
<br />
<br />
<b>**</b>For more information, please contact The James Agee Cinema Circle at
Miguel Gardel, ProgressiveCritics@gmail.com. Guest submissions are
welcome.
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6347012409985579191.post-67839551269959376182017-01-24T10:45:00.002-05:002017-01-24T10:45:11.087-05:00NOT MY PRESIDENT<div class="separator" style="clear: both; text-align: center;">
<a href="https://media.giphy.com/media/26gsvwGBQCulqr49q/source.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://media.giphy.com/media/26gsvwGBQCulqr49q/source.gif" width="400" /></a></div>
<br />
<br />Unknownnoreply@blogger.com0