1958 book by William Barrett
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2 episodes with Irrational Man
2 episodes with Irrational Man
2 episodes with Irrational Man
2 episodes with Irrational Man
2 episodes with Irrational Man
2 episodes with Irrational Man
2 episodes with Irrational Man
2 episodes with Irrational Man
Emily and Lauren chat with Chris Revill of the Hey Rhody podcast. They talk about watching nostalgic movies, libraries as third spaces, and the many amazing free events and small businesses in Rhode Island. In the Last Chapter they discuss their favorite Rhode Island books, films, and TV series'. Overdueing It is a project funded by the Rhode Island Office of Library and Information Services and is produced by library staff around the state. We are proud to be a resident partner of the Rhode Island Center for the Book. The views, thoughts, and opinions expressed are the speakers' own and do not represent those of the Overdueing It podcast, its sponsor organizations, or any participants' place of employment. The content of Overdueing It episodes are the property of the individual creators, with permission for Overdueing it to share the content on their podcast feed in perpetuity. Any of the content from the Overdueing podcast cannot be reproduced without express written permission. Our logo was designed by Sarah Bouvier and our theme music is by Neura-Flow. Books Heartbreak is the National Anthem: How Taylor Swift Reinvented Pop Music by Rob Sheffield The Pumpkin Spice Café by Laurie Gilmore The Art of Keeping Cool by Janet Taylor Lisle The Wedding People by Alison Espach Media Parks and Recreation (TV series, 2009-2015) 30 Rock (TV series, 2006-2013) Point Break (film, 1991) Legally Blonde (film, 2001) Scrubs (TV series, 2001-2010) Mean Girls (film, 2004) The Sandlot (film, 1993) Free Willy (film, 1993) Homeward Bound (film, 1993) The Adventures of Milo and Otis (film, 1986) Andre (film, 1994) AirBud (film, 1997) Abbott Elementary (TV series, 2021 - ) The Muppet Movie (film, 1979) Casablanca (film, 1942) Jurassic Park (film, 1993) Spider-Man: Across the Spider-Verse, Into the Spider-Verse (films, 2023) Dumb and Dumber (film, 1994) Moonrise Kingdom (film, 2012) Ella McCay (film, 2025) The Polka King (film, 2017) Dan in Real Life (film, 2007) R.I.P.D. (film, 2013) Irrational Man (film, 2015) Knives Out (film, 2019) Good Burger 2 (film, 2023) Kenan & Kel (TV series, 1996-2001) Good Burger (film, 1997) The Gilded Age (TV series, 2022 - ) The Great Gatsby (film, 1974) Other Games: Super Smash Brothers Mario Kart Rocket League Previous episodes of Overdueing It mentioned in this episode: Episode 16 – Getting Playful at the Children's Museum Episode 18 – Exploring TV Herstory with Cynthia Bemis-Abrams Episode 10 – Adventure Awaits in Rhode Island Episode 20 – Community and Food, That's All You Need Other Podcasts: Let's Chat with Chris Revill Codex Prime Podcast The Jmack Experience Podcast Spark Up Podcast
Emily and Lauren chat with Chris Revill of the Hey Rhody podcast. They talk about watching nostalgic movies, libraries as third spaces, and the many amazing free events and small businesses in Rhode Island. In the Last Chapter they discuss their favorite Rhode Island books, films, and TV series'. Overdueing It is a project funded by the Rhode Island Office of Library and Information Services and is produced by library staff around the state. We are proud to be a resident partner of the Rhode Island Center for the Book. The views, thoughts, and opinions expressed are the speakers' own and do not represent those of the Overdueing It podcast, its sponsor organizations, or any participants' place of employment. The content of Overdueing It episodes are the property of the individual creators, with permission for Overdueing it to share the content on their podcast feed in perpetuity. Any of the content from the Overdueing podcast cannot be reproduced without express written permission. Our logo was designed by Sarah Bouvier and our theme music is by Neura-Flow. Books Heartbreak is the National Anthem: How Taylor Swift Reinvented Pop Music by Rob Sheffield The Pumpkin Spice Café by Laurie Gilmore The Art of Keeping Cool by Janet Taylor Lisle The Wedding People by Alison Espach Media Parks and Recreation (TV series, 2009-2015) 30 Rock (TV series, 2006-2013) Point Break (film, 1991) Legally Blonde (film, 2001) Scrubs (TV series, 2001-2010) Mean Girls (film, 2004) The Sandlot (film, 1993) Free Willy (film, 1993) Homeward Bound (film, 1993) The Adventures of Milo and Otis (film, 1986) Andre (film, 1994) AirBud (film, 1997) Abbott Elementary (TV series, 2021 - ) The Muppet Movie (film, 1979) Casablanca (film, 1942) Jurassic Park (film, 1993) Spider-Man: Across the Spider-Verse, Into the Spider-Verse (films, 2023) Dumb and Dumber (film, 1994) Moonrise Kingdom (film, 2012) Ella McCay (film, 2025) The Polka King (film, 2017) Dan in Real Life (film, 2007) R.I.P.D. (film, 2013) Irrational Man (film, 2015) Knives Out (film, 2019) Good Burger 2 (film, 2023) Kenan & Kel (TV series, 1996-2001) Good Burger (film, 1997) The Gilded Age (TV series, 2022 - ) The Great Gatsby (film, 1974) Other Games: Super Smash Brothers Mario Kart Rocket League Previous episodes of Overdueing It mentioned in this episode: Episode 16 – Getting Playful at the Children's Museum Episode 18 – Exploring TV Herstory with Cynthia Bemis-Abrams Episode 10 – Adventure Awaits in Rhode Island Episode 20 – Community and Food, That's All You Need Other Podcasts: Let's Chat with Chris Revill Codex Prime Podcast The Jmack Experience Podcast Spark Up Podcast
Welcome back to the Woody Allen Retrospective Podcast for another episode of Woody Allen Adjacent - the last one of 2024, in fact! First of all, thank you for rocking with us for another year. We GREATLY appreciate our lovely listeners, loyal subscribers, and thoughtful supporters! For those who don't know, in Woody Allen Adjacent our podcast hosts work they way thought films they like to compare and contrast to Woody Allens filmography and or writing style. Recently, Donald has charged the AI Assistant of the show to dig even deeper and generate an additional wider list of interesting Adjacent movies some maybe we may find 'out of the norm' so to speak. As we rotate our turns for adjacent every month we're slowly working our way through a very interesting list of films. We've already done more than a bunch at this point in time, some obvious, some not so. Fittingly, for the Ai's turn this month, it has chosen Spike Jonze's film - Her (2013) - a well celebrated, Oscar winning, romantic drama, where Artificial Intelligence is at the core of the love story. In this timely episode James and Donald dive into Her, exploring its poignant themes of love, loneliness, and technology in a near futuristic world that actually feels more relevant than ever. We have standout performances by Joaquin Phoenix, Scarlett Johansson and taking a look back now, we find a surprisingly well star studded supporting cast Incidentally, the main leads here, do have ties to Woody Allen (Match Point, Irrational Man) and as a extra tid-bit of trivia, some people may not know, the original Ai voice that was replaced - Samantha Morton - is another Woody Allen alumni (Sweet and Lowdown) With Joaquin Phoenix already in the spotlight earlier this year due to the Joker 2 box office disaster, we took 5 or so minutes to talk about that situation :P Reality can be just as intriguing as fiction as this movie is drawing parallels to the ever-growing influence of advanced AI platforms like Character AI, in fact we even highlight a riveting mini YouTube documentary that showcases just how close we've come to living out the reality of Her: The Rise and Fall of Character Ai So lets wrap up this year with this thoughtful discussion blending cinema, technology, and humanity, as we consider whether Her is still science fiction - or if we're already living it. Wishing you a very merry Christmas and happy new year 2025! - Links Mentioned in this Episode - The Rise and Fall of Character Ai https://www.youtube.com/watch?v=ynqAB9K4icg The Real Reason Samantha Morton Was Replaced In ‘HER' (2013) https://www.thelist.com/428711/the-real-reason-samantha-mortons-voice-was-replaced-in-her/ My Complicated Feelings For ‘HER' (2013) by Passion of the Nerd https://www.youtube.com/watch?v=EMJcbigcDJU Please check out the links below for the full cast, user reviews, ratings and info you may find interesting Wikipedia: https://en.wikipedia.org/wiki/Her_(film) IMDb: https://www.imdb.com/title/tt1798709/ Rotten Tomatoes: https://www.rottentomatoes.com/m/her _________________________________________ A VERY Special Thanks to The Woody Allen Pages Website & The Woody Allen Subreddit for the continued support and info – check them out for the latest from the Woody Allen Fan Community!! https://www.woodyallenpages.com & https://www.reddit.com/r/woodyallen PLEASE LEAVE A COMMENT TO THIS OR ANY OTHER EPISODE USING OUR COMMENT SECTION VIDEO LINK HERE >>>>>>> https://bit.ly/warpcom IF YOU LIKE THE SHOW, PLEASE CONSIDER BUYING US A COFFEE / GIVING US A TIP VIA OUR PATREON CAMPAIGN >>> https://www.patreon.com/woodyretro Thanks for listening as always - we would also LOVE a review on iTunes or a 5 star rating via Spotify or whichever podcast platform you are listening on - please find all our connected links below. >>> https://linktr.ee/woodyretro
El caso Allen vs. Farrow lleva coleando desde 1992, pero cogió un peso especial a partir de 2018, en plena ola del #MeToo. Woody Allen fue acusado de abusar sexualmente de su hija Dylan, sumado a la cuestionable decisión de casarse con Soon-Yi Previn, la hija adoptiva de Mia Farrow. ¿Qué hay de cierto en todo esto? ¿Pedófilo, abusador, o víctima de una enorme campaña de desinformación? Adéntrate conmigo en este episodio de ‘El lado oscuro', quizá el más especial de toda la temporada, con una historia terrible pero cierta acerca de una familia, con víctimas, monstruos y mentiras. Empecemos por el principio…Si quieres ampliar información, te dejo aquí un listado con las películas mencionadas:
On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s. And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come. Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative. We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979. 1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral. For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016. But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema. Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier. In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance. Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film. After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton. But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend. It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984. In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira. If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962. Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side. American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven. Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf. Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta. In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died. When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel. Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States. And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments. Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982. Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year. Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there. Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business. But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend. Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration. But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May. I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year. We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman. The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget. And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes. And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help. Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema. Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives. Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode. August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time. In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center. It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story. Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story. After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up. After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town. With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors. For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role. Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles. Today, there are two reasons to watch Playing For Keeps. One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst. The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday. Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums. Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release. Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps. The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m. Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon. Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps. In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her. She would find Weinstein nude in the bathtub, where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter. And on that sad note, we're going to take our leave. Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s. And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come. Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative. We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979. 1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral. For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016. But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema. Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier. In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance. Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film. After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton. But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend. It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984. In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira. If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962. Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side. American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven. Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf. Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta. In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died. When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel. Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States. And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments. Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982. Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year. Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there. Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business. But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend. Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration. But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May. I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year. We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman. The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget. And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes. And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help. Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema. Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives. Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode. August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time. In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center. It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story. Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story. After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up. After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town. With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors. For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role. Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles. Today, there are two reasons to watch Playing For Keeps. One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst. The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday. Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums. Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release. Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps. The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m. Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon. Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps. In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her. She would find Weinstein nude in the bathtub, where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter. And on that sad note, we're going to take our leave. Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Paula Plum is one of Boston's leading actresses. Her most notable performance have been as Cleopatra and Lady Macbeth at the Actors' Shakespeare Project. She's been a staple at the Lyric Stage, the SpeakEasy Stage, and the American Repertory Theatre.Her movie credits include Irrational Man, Next Stop Wonderland, Mermaids, Malice, and The March Sisters at Christmas. Television credits include voicing characters on Squigglevision (ABC), The Dick and Paula Celebrity Special (FX), Hey Money(Oxygen) and Dr. Katz, Professional Therapist (Comedy Central). Paula Plum is the recipient of numerous awards and was trained at The London Academy of Music and Dramatic arts and is a Cum Laude graduate of Boston University's School for the Arts, where she was also honored as Distinguished Alumna.Support the show
William Barrett was a professor of philosophy. He wrote a book called Irrational Man, published in 1958, that's considered to be one of the finest introductions to the philosophy of existentialism ever written!
What do, a pampered and pretentious executive who grows to love his ambitious lawyer, and a pessimistic philosophy professor who pulls off a murder, have in common? This week on THE MOVIE CONNECTION: KC Watched: "IRRATIONAL MAN" (5:40) (Directed by, Woody Allen. Starring, Joaquin Phoenix, Emma Stone, Parker Posey...) Jacob Watched: "TWO WEEKS NOTICE" (35:20) (Directed by, Marc Lawrence. Starring, Sandra Bullock, Hugh Grant, Alicia Witt...) Talking points include: Problematic figures in movies What's your favorite philosophy? When good actors pick bad projects and more!! Send us an email to let us know how we're doing: movieconnectionpodcast@gmail.com Follow us on Instagram Rate and Review on Apple Podcasts Check out more reviews from Jacob on Letterboxd Cover art by Austin Hillebrecht, Letters by KC Schwartz
In this episode Tarryn is joined by actor, podcast host and pizza expert Sophie von Haselberg. Sophie von Haselberg is a New York-based actor. Recent TV includes: Halston (Netflix), Pose (FX), American Crime Story: Versace (Netflix), Wizard of Lies (HBO), and the ribald-but-little-seen American Princess (Lifetime). Film work includes: Equity, Ask For Jane, Irrational Man, and the upcoming features Give Me Pity and The Raging Heart of Maggie Acker. She produced and starred in the short YOYO, which premiered at Tribeca Film Festival. She is also the co-host of Having A Night, a podcast dedicated to reviving the lost art of the dinner party! Having spent seven years in New Haven -- first as an undergraduate at Yale studying Sociology, then as a grad student at the Yale School of Drama -- she feels entitled to answer all your pizza questions. You can find her on Instagram @sophievonhaselberg and @havinganight Connect with The Podcast https://hopeigetitpodcast.wixsite.com/ihopeigetit Instagram @hopigetitpod/ @Tarrynsteyn Twitter @IHopeIGetItPod1 Facebook @IHopeIGetIt I Hope I Get It Podcast is created and produced by Citizen Femme Productions. Cover Art created by Tarryn Steyn Theme Music created by Steven Steyn Intro and Outro by Melissa Kimmel
¿Cómo pasar por la ciudad New York y no detenerte en el puente de la 59 Street en Manhattan para recordar un clásico del cine? ¿Rememorar Ángel Azul o ir a escuchar un poco de jazz con la New Orleans Jazz Band en la que toca Allan Stewart Konigsberg en Café Carlyle, cada lunes? Todos estos ritos, ¡ya clásicos! Están dotados de sentido, a razón de uno de los genios del cine que revolucionó la forma en que interiorizamos existencialmente los personajes de una obra: el gran Woody Allen. Acompáñanos con el filósofo Gabriel Zanotti a pasearnos por la interesante e hiperquinética vida de este director de más de 50 películas, y de una de sus más interesantes obras del último tiempo, Irrational Man del 2015. ¡No te lo pierdas! ¡Te esperamos!
Pawtucket has it's very own, tiny little “Walk of Fame” that Roadside America has dubbed “either the saddest or most optimistic Hollywood Walk of Fame.”I've got a Live Episode coming up on Monday, September 20th at 7:30pm! It's on Zoom, and if you wish to attend please email info@eghps.org and the East Greenwich Historic Preservation Society will send you the Zoom link!Episode Source Material: Hollywood Walk of FamePawtucket, RI - Hollywood Walk of FameWoody Allen's handprints on RI walk of fameWoody Allen Summer ProjectDOWNTOWN PAWTUCKET HISTORIC WALKING TOUR 1American Buffalo (film)American Buffalo• Movie genres by average box office revenue in North America 1995-2021Domestic Yearly Box OfficeAmerican Buffalo SummaryAmerican Buffalo movie review (1996)Michael CorrenteWoody AllenIrrational Man Filming Locations – Rhode Island, Newport, Providence And MoreIrrational Man (film)Irrational Man movie review & film summary (2015)History of the Walk of FameHollywood Walk of Fame | Explorestars on the Hollywood Walk of FameAmerican Buffalo (1996) - Financial Information
Films Mentioned: Chaos Walking (2021), Bad Trip (2021), Irrational Man (2015), Café Society (2016), Grey Garden (1975), Blue Jasmine (2013), Scoop (2006), The Apartment (1960), etc. Film News Gathered from Empire. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Terrill and Nate compute Her // The Master (2:34) // The Yards / We Own The Night (6:47) // Two Lovers (9:00) // The Immigrant (10:42) // The Forty-Year-Old Version (12:36) // To Die For (15:50) // Don’t Worry, He Won’t Get Far On Foot (16:49) // Brother Bear (18:21) // Joker (18:57) // Walk the Line / Walk Hard (22:10) // The Sisters Brother (23:22) // Signs / The Village (24:05) // Gladiator (27:10) // Quills (28:55) // 8MM (31:06) // Hotel Rwanda (32:46) // Irrational Man (34:28) // Stranger by the Lake (35:34) // A Nightmare on Elm Street (37:36) // Her (40:50) // @MovieFilmPod // moviefilmpod@gmail.com
Time for another Special Episode! This week we're discussing the illustrious career of and counting down our Top 10 picks towards the Best Thing We've Seen from the one and only Emma Stone. This list can include movies, shows or maybe even YouTube videos. From Superbad to Crazy, Stupid, Love. to Zombieland: Double Tap, from Tate Taylor to Damien Chazelle to Yorgos Lanthimos, Emma Stone's rise to stardom over the last 10+ years has been amazing to watch. What's the Best Thing You've seen from Emma Stone? Let us know on Twitter @BestThingRadio We hope you enjoy the show, stay safe and thank you for listening! Things discussed in this episode (Spoiler-Free!): Superbad, The Rocker, Paper Man, Zombieland, Easy A, Crazy, Stupid, Love., The Help, The Amazing Spider-Man, Gangster Squad, Magic in the Moonlight, Birdman or (The Unexpected Virtue of Ignorance), Irrational Man, Aloha, La La Land, Battle of the Sexes, The Favourite, Maniac, Zombieland: Double Tap and more. Timecodes: Gabe's Picks: Nr. 10 - 10:59 (& 01:06:19), Nr. 9 - 12:14, Nr. 8 - 15:25, Nr. 7 - 18:29, Nr. 6 - 25:46, Nr. 5 - 40:03, Nr. 4 - 49:30, Nr. 3 - 43:11, Nr. 2 - 52:39 The Best Thing Gabe has seen from Emma Stone - 01:01:20 Flo's Picks: Nr. 10 - 11:36 (& 18:29), Nr. 9 - 15:06 (& 40:03), Nr. 8 - 17:39 (& 52:39), Nr. 7 - 25:25 (& 49:30), Nr. 6 - 35:21, Nr. 5 - 43:11, Nr. 4 - 25:46, Nr. 3 - 52:15 (& 01:01:21), Nr. 2 - 56:39 The Best Thing Flo has seen from Emma Stone - 01:06:19 Honorable Mentions - 01:12:16 --- Send in a voice message: https://anchor.fm/bestthingpodcast/message
Show introduction.An interrupted summary of this special spooky episode's topics, along with discussion between Teh Dŭk!tər and FrEd-rEkw' on Friedrich Nietzsche's Twilight of the Idols, or How to Philosophize with a Hammer, in honor of which a new addition to the show's segments is entitled: Phenomenologizing with a New Hammer.Being there.Guilt and anxiety.The writings of Irving Yalom and Rollo May are integrated into discussion and practical advice on guilt and anxiety, as these experiences are typically understood by existential-phenomenological psychologists.Music for our Non-Corporeal DescendantsThe Lesson of AnxietySung by Sim-own. Inspired by Jean Piaget’s theory on accommodation, and incorporating existential perspectives on anxiety. But, see also Klaus Fiedler’s discussion on the emotional correlates of accommodation and assimilation in his Affective Influences on Social Information Processing, a chapter in the Handbook of Affect and Social Cognition by Joseph P. Forgas. On the psychopathology of everyday life specifically, see the work of the same name by Sigmund Freud, and William Barrett’s book entitled Irrational Man. Being here.Results from a A U.S. nationwide survey on nightmares and worries. A nationwide online survey of Amazon Mechanical Turk workers was conducted October 15th-19th, 2019. We asked participants their age, gender, and state of residence, and then asked them to tell us about their most recent nightmare, in their own words over the course of 2-3 sentences. We then asked them to explain—again, over 2-3 sentences of their own words—what most worries them in everyday life. For both of these questions, in turn, we asked them to rate the impact of their nightmare and worries on their everyday lives. Phenomenologizing with a New Hammer.On nightmares, worries, and Emmanuel Levinas.Dr. David R. Harrington returns to discuss the application of Levinasian concepts to the most popular themes revealed in our nationwide survey on nightmares and worries.
We're joined by our friends Sky, Jessica and Jacob (#1) for another retro review special as we fall in love with an undead princess in The Mummy (2017) then fly like a turd in the wind with Venom (2018). Later we discuss if Hollywood remakes have become the new norm plus we also talk Masterminds, What We Do in the Shadows (TV show), Captain Marvel, Free Fire, Brooklyn Nine-Nine, The Good Place, Maniac, Spectre, Ghostbusters (2016), The Happening, The Village, Lady in the Water, The Visit, Irrational Man, and By the Sea. 0:00 - Intros: Our Three Special Guests!10:12 - Retro Review: Venom (2018)41:41 - Retro Review: The Mummy (2017)1:38:03 - Mail: Have Hollywood Remakes Become The New Norm?1:53:51 - Picks of the Week: Masterminds, What We Do in the Shadows (TV Show), Captain Marvel, Free Fire, Brooklyn Nine-Nine, The Good Place, Maniac, Spectre, Ghostbusters (2016), The Happening, The Village, Lady in the Water, The Visit, Irrational Man, and By the Sea2:32:20 - Outros: Donate to the Show! Check The Link Below! Thank You! DONATE: www.thefilmbuds.com/donate/Email: Thefilmbudspodcast@gmail.comTwitter: @filmbudsLetterboxd: Henry: @HenryFaherty/Jacob: @VeniVidiViciInstagram: @thefilmbudspodcast
We're joined by our friends Sky, Jessica and Jacob (#1) for another retro review special as we fall in love with an undead princess in The Mummy (2017) then fly like a turd in the wind with Venom (2018). Later we discuss if Hollywood remakes have become the new norm plus we also talk Masterminds, What We Do in the Shadows (TV show), Captain Marvel, Free Fire, Brooklyn Nine-Nine, The Good Place, Maniac, Spectre, Ghostbusters (2016), The Happening, The Village, Lady in the Water, The Visit, Irrational Man, and By the Sea. 0:00 - Intros: Our Three Special Guests! 10:12 - Retro Review: Venom (2018) 41:41 - Retro Review: The Mummy (2017) 1:38:03 - Mail: Have Hollywood Remakes Become The New Norm? 1:53:51 - Picks of the Week: Masterminds, What We Do in the Shadows (TV Show), Captain Marvel, Free Fire, Brooklyn Nine-Nine, The Good Place, Maniac, Spectre, Ghostbusters (2016), The Happening, The Village, Lady in the Water, The Visit, Irrational Man, and By the Sea 2:32:20 - Outros: Donate to the Show! Check The Link Below! Thank You! DONATE: www.thefilmbuds.com/donate/ Email: Thefilmbudspodcast@gmail.com Twitter: @filmbuds Letterboxd: Henry: @HenryFaherty/Jacob: @VeniVidiVici Instagram: @thefilmbudspodcast
Closing the gap when catching up to these movies in the retrospective we get to another somewhat interesting moral murder think piece by Woody _____________ SPECIAL THANKS to The Woody Allen Pages & The Woody Allen Subreddit http://www.woodyallenpages.com https://www.reddit.com/r/woodyallen/ http://woodyallen.site / @simeon_rad @dontyro
País Estados Unidos Dirección Woody Allen Guion Woody Allen Música Ramsey Lewis Fotografía Darius Khondji Reparto Joaquin Phoenix, Emma Stone, Jamie Blackley, Parker Posey, Ethan Phillips, Julie Ann Dawson, Mark Burzenski, Gary Wilmes, Geoff Schuppert, David Pittu, Steven Howitt, Kaitlyn Bouchard, Kate McGonigle, Tamara Hickey, Joe Stapleton Sinopsis Abe Lucas, un profesor de filosofía en plena crisis existencial, llega a una nueva universidad. Allí se relaciona con dos mujeres: Rita Richards, una solitaria profesora que busca que la rescate de su infeliz matrimonio; y Jill Pollard, su mejor estudiante y muy pronto su amiga. Aunque Jill está enamorada de su novio, encuentra irresistible la personalidad atormentada de Abe.
Mi reportaje sobre Cine sobre la FILOSOFÍA vista en el Cine. Entre otras: Dogville, Hanna Arendt, Àgora, Merlí, Lou Andreas Salomé, Hamlet, Fahrenheit 451, Jules y Jim, Hannah y sus Hermanas, Fresas salvajes, El séptimo sello, Irrational Man, Delitos y faltas, Muerte en Venecia, etc.
Mi reportaje sobre Cine sobre la FILOSOFÍA vista en el Cine. Entre otras: Dogville, Hanna Arendt, Àgora, Merlí, Lou Andreas Salomé, Hamlet, Fahrenheit 451, Jules y Jim, Hannah y sus Hermanas, Fresas salvajes, El séptimo sello, Irrational Man, Delitos y faltas, Muerte en Venecia, etc.
This week's LARB Radio Hour features two full length interviews, both all about conspicuous, yet mysterious, New York Jews. In the first, the celebrated documentary team of Heidi Ewing and Rachel Grady talk about what inspired them to focus their lens on a few brave souls who decided to leave the tight knit Hasidic community in their new film One of Us, which recently debuted on Netflix. Heidi and Rachel felt these tales would reveal much about the human spirit, the vulnerability of those that challenge orthodoxy, the safety of community contrasted with dangerous thrill of freedom; and understood the commitment necessary to complete such a challenging and captivating film. In game two of our double-header, co-hosts Eric Newman and Medaya Ocher are joined by Eric Lax, author of Start to Finish: Woody Allen and the Art of Moviemaking. Eric explains what he sought to reveal in a book that documents the production of Allen's 2015 film Irrational Man from start to finish: a unique, quirky master-craftsman at work doing what so few get to do, make films just the way he wants. And lest the elephant in the room pass unnoticed, Eric directly addresses the charges of sexual molestation against his legendary friend.
In this episode of Enlightenment Today we will explore the Eastern philosophical view within the Woody Allen film Irrational Man. We will go into the benefits and naturalness of the irrational view over being too rational which is a way of life and cognitive state embraced in the East and evident within this film. Recommended Viewing Irrational Man http://amzn.to/2B8D4GK
This week, Danny passes judgment on Woody Allen's latest, Irrational Man, which sees the veteran filmmaker leap dramatically out of his comfort zone in a story about a neurotic old white guy having an existential crisis. After that, Sam nervously approaches Brazilian thriller A Wolf at the Door, which makes Rio de Janiero simultaneously look like a sunny urban paradise and a den of iniquity populated by dangerous obsessive maniacs. We also discuss how it be raining planned Men in Black sequels at Sony right now, and speculate what Ridley Scott might do with his favourite black goo in the upcoming sequel to Prometheus. Finally, unsure how to end the the podcast, Sam reads out a bunch of Steven Seagal film titles. It is gripping radio. See acast.com/privacy for privacy and opt-out information.
Este es un episodio muy especial de Dos Tipos de Cuidado: Alejandro y Arturo tienen algo importante que decir. Pero antes hablan de Son of Saul, durísima e inolvidable ganadora del Oscar, de una emotiva película japonesa, del exquisito experimento grabado con un IPhone, de la nueva de Woody Allen... y hasta del tour de force de Alejandro con Blim. Hablan de Son of Saul, Mi hermana pequeña, Irrational Man, Tangerine, La isla mínima See acast.com/privacy for privacy and opt-out information.
For today's episode we review Expelled from Paradise, The Revenant, Irrational Man, and Yandere Simulator (as well as the Twitch controversy surrounding it!). Kitsune also goes on a rant against Bakemonogatari, much to DoomPlague's chagrin. Is it really so bad? Find out! Anime Night pits two high school comedies against each other: Seitokai Yakuindomo and MM!, Hect's pick from the previous week. Cat vs. Fox reaches a rare consensus on a story with business shirt underpants. Yeah it makes no sense until we explain it... Learn how to get some play time at the arcade with a new Language Share segment. We run out of time before delving too far into the news but we did get around to talking about that cat keyhole bra trend spreading all over the internet. So join us and listen to some Cat & Fox!
Reviewing director Michael Bay's latest movie 13 Hours: The Secret Soldiers of Benghazi, mining drama The 33, animated adventure Capture the Flag, hard hitting drama in Spotlight and music drama Youth. In the home release section we cast our eyes over action sequel The Maze Runner: The Scorch Trials, hard hitting thriller Sicario, Michael Fassbender stars in the retelling of Macbeth, drama Miss you Already, edge of your seat comedy drama The Walk, another drama with a hint of horror in Regression, Woody Allen's latest film Irrational Man and home invasion thriller Captive.
Irrational Man - (2015) A tormented philosophy professor finds a will to live when he commits an existential act.
Irrational Man - (2015) A tormented philosophy professor finds a will to live when he commits an existential act.
Stanchi quasi più che in tutto l’anno che sta per finire, Aldo e Matteo hanno ancora la forza di portare a casa una puntata in cui, al solito, si parla di tutto: dal settimo episodio di "Guerre Stellari" (che Matteo ha visto in una delle sale migliori d’Europa e, accipicchia!, gli è piaciuto!), allo http://www.netflix.com/title/80042368 speciale natalizio di Netflix con Bill Murray (completamente privo di senso: e perciò bellissimo), alla http://www.theverge.com/2015/12/28/10675230/new-x-files-episodes-preview-fox-joel-mchale featurette uscita giusto ieri sulla nuova mini-serie di "X-Files" (molto bella: la featurette; la mini-serie ancora non lo sappiamo, ma promette bene).E poi l’ultimo film di Woody Allen (vederlo? anche no) e quello di Steven Spielberg (vederlo? anche sì!). E poi, insomma: godetevi queste feste, almeno un po’. Noi lo faremo quanto prima.Un paio di link, giusto per darvi due riferimenti:- http://querty.it/podcast/crosscast-la-forza-si-e-risvegliata-fantascientificast-80-ricciotto134/ il crossover tra Ricciotto e Fantascientificast, dove Aldo, Claudio Serena, Omar Serafini e Paolo Bianchi (con Roberto De Luca come ospite) hanno analizzato "Il risveglio della Forza"- la puntata in cui abbiamo parlato degli ultimi film di Woody Allen: "http://querty.it/podcast/magic-in-the-moonlight-mommy-w-zappatore-ricciotto-89/ Magic in the Moonlight" e http://querty.it/podcast/old-boy-ricciotto-49/ "Blue Jasmine" (anche se solo accennato).
Horst JENS, Gregor PRIDUN, Denis K. und Stefan HASLINGER plaudern über freie Software und andere Nerd-Themen. Shownotes auf http://goo.gl/S4cQib oder http://biertaucher.at
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The boys are back for their brand new third season! Christopher Preston and Dan Orton return after their summer break to review SUFFRAGETTE and 2011's THE IRON LADY for Some Film Old, Some Film New. The boys then discuss the likes of THE MARTIAN, LEGEND, MACBETH, and IRRATIONAL MAN in What's Gone On While We've Been Gone, before Dan attempts to equalise in Which Chris Said This?. The season's premiere finishes with Christopher dusting off a cinematic idol to stick up on The Shelf, and Dan delivering this month's Netpix. The third season is the charm - download now! With thanks to: Focus Features, 20th Century Fox, Universal Pictures, The Weinstein Company, Sony Pictures Classics, Paramount Pictures, United Artists, and John Deley and the 41 Players.
Repasamos los estrenos destacados de la pasada semana, centrándonos principalmente en la nueva película de Alejandro Amenábar, donde podréis escuchar nuestra crítica con y sin spoilers.
Repasamos los estrenos destacados de la pasada semana, centrándonos principalmente en la nueva película de Alejandro Amenábar, donde podréis escuchar nuestra crítica con y sin spoilers.
Esta semana, Mercedes Monserrat, Lucila Farrell y Valentina Ruderman hablan de The Walk: En la Cuerda Floja, Irrational Man, la nueva de Woody Allen, la vuelta de The Good Wife, Limitless y el documental de Keith Richards. La entrada Episodio 7: Semana de parciales aparece primero en Gorda Podcast.
This episode we talk about the new Woody Allen movie, an Irrational Man and the Netflix Original Series, Narcos. Of course, Woody isn’t everyone’s cup of tea, but Asim has a strange relationship with the director (OK, it’s not THAT strange) – preferring the films that don’t win critical approval to those that do. Case […]
Muy buenas a todos y bienvenidos a un nuevo programa de No Hay Cine Sin Palomitas. Esta vez, aprovechando que Woody Allen nos gusta mucho y ha sacado nueva película, Irrational Man, haremos una pequeña retrospectiva de toda su filmografía, parandonos un poco más en las películas que consideremos más interesantes. Para acabar, hablaremos de la última película, primero sin spoilers y después desgranandola con todos los spoilers que se nos ocurran y ayudándonos a terminar de amar u odiar esta cinta del director. Como siempre, esperamos que disfrutéis de la escucha tanto como nosotros grabándolo.
Luis Tosar se enfrenta a un antagonista misterioso en el thriller de Dani de la Torre. Además tenemos a Jack Black y a James Marsden recordando sus años de institutos y un montón de vampiresas sedientas de sangre. Tras repasar el resto de estrenos [01:35], os hablaremos de: De chica en chica [04:06] El desconocido [08:55] Irrational Man [16:42] The D Train [24:50] Vampyres [30:52] Concluiremos con vuestros comentarios [36:38] y la taquilla del fin de semana pasado [40:33].
L'Ignasi comença amb la cita anual de Woody Allen, s'estrena Irrational Man amb Emma Stone. Torna en Jacint i les Notícies calentes, avui un munt d'actors s'apunten al reboot d'Els caçafantasmes. S'ha acabat el rodatge de Joc de trons a Girona, per parlar-ne hem convidat a en Jordi Camps, responsable del blog Els bastards d'El Punt-Avui i Esteban Bernis que va participar com a extra. Tanca la Marta que estrena un nou espai de recomanacions i ens parla de l'anime Saint Young Men.
L'Ignasi comença amb la cita anual de Woody Allen, s'estrena Irrational Man amb Emma Stone. Torna en Jacint i les Notícies calentes, avui un munt d'actors s'apunten al reboot d'Els caçafantasmes. S'ha acabat el rodatge de Joc de trons a Girona, per parlar-ne hem convidat a en Jordi Camps, responsable del blog Els bastards d'El Punt-Avui i Esteban Bernis que va participar com a extra. Tanca la Marta que estrena un nou espai de recomanacions i ens parla de l'anime Saint Young Men.
Episode 159: Cruising for a Bruising [1:27:14] You can Listen online or Download Here (Right Click… Save as) It’s Episode 159 of In the Mood for Podcast, a British-based film podcast hosted by Calum Reed of Ultimate Addict and Pete Sheppard of In the Mood for Blog. This week we sliced up the new releases, which include Tom Hardy’s dual-role […]
With reviews of the newest releases including Tom Hardy playing both Kray twins in Legend, after escaping the trails of the maze in the first film the remaining survivors continue their journey in Maze Runner: The Scorch Trials, M.Night Shaymalan returns to small budget creepy territory with The Visit, and Joiquin Phoenix stars with Emma Stone in Woody Allen's latest drama Irrational Man. In the home release section Marvel's superheros team up again in Avengers: Age of Ultron, mysterious drama with The Age of Adaline, thriller in the Marshlands, hard hitting documentary Citizenfour and small horror film The Canal, plus as usual the latest movie news and our TV movies of the upcoming week.
Kase Allen and Van Connor look at not one but two Tom Hardys in Legend, YA fantasy sequel Maze Runner: The Scorch Trials, Woody Allen's Irrational Man, found footage horror tale The Visit, and French family comedy La Famille Bélier. See acast.com/privacy for privacy and opt-out information.
Jason Clarke talks to Simon about Everest. Plus the UK Box Office Top 10 and Mark's reviews of the week's new films including Everest, Legend, The Visit, The Maze Runner: Scorch Trials, Irrational Man and Pasolini. Download the Kermode and Mayo podcast at bbc.co.uk/podcasts/5live. Email: mayo@bbc.co.uk Text: 85058 (charged at your standard network rate) Twitter: @wittertainment.
We review Mistress America, Trainwreck, Paper Towns, Hard to be a God and The Man from UNCLE. And then we delve into the upcoming month of September and discuss Ricki and the Flash, Legend, Irrational Man and Life.
Efter en lille forsinkelse er DD tilbage i studiet. Og vi har fået en ny radiator! Oh, og så har vi også nogle film vi skal have anmeldt. Vi har et par gode 90'er klassikere, Dennis har fundet en boksefilm, han ikke tidligere har set, David springer på cyklen, og vi slutter af med en totalt ny TV-serie og en totalt ny film. Følgende titler omtales: 0:03:49 The Rocky Horror Picture Show Bluray 0:16:25 Premium Rush Bluray 0:29:29 The Amazing Spider-Man 2 Bluray 0:45:49 Kiss The Girls Bluray 0:59:30 Ghost Bluray 1:12:35 Deadfall Bluray 1:23:24 Chef 1:34:30 Wet Hot American Summer: First Day of Camp 1:54:07 Irrational Man
The team discusses a wide selection of recent releases including Mission: Impossible – Rogue Nation, Far From Men, Maggie, Last Cab to Darwin, Trainwreck, Girlhood, Dope, Irrational Man and Iris. With Thomas Caldwell, Cerise Howard and Josh Nelson.
Welcome all to our Summer of Horror spectacular! In truth, we really just took the opportunity to talk at length about the terrific It Follows from promising new director David Robert Mitchell. A visual feast that harkens to material we have praised in the past including Stoker, Drag Me To Hell, The Guest, Only God Forgives and more - the positive comments are somewhat backed up by a surface analysis that demonstrates the amount of audience investment this film calls for. There are 2 separate spoiler segments for It Follows (split by a state of the industry address from Anthony): 25:19 - 30:05 - spoiler discussion part 1 33:34 - 45:22 - spoiler discussion part 2 Why is this a 'summer of horror' episode? Simply to offer a chance to talk about a few other horror offerings in the recent months including the Poltergeist remake, The Gallows, Irrational Man, Mad Max, etc. Finally, we return to schlock corner to check out the Suspiria read-along book, an American Guinea Pig film and more. Thanks again for listening, more to come even quicker than this episode. As always we welcome your comments: horroretc@gmail.com Check out our premium episodes at www.bandcamp.horroretc.com Voicemail (206) 337-5324 WWW.HORRORETC.COM
Woody Allen entered a new phase in his artistic development after he conquered the romantic comedy and took it as far as it could go. Films like 'Crimes and Misdemeanors', 'Match Point' and 'You Will Meet a Tall Dark Stranger' explore the dark side of human nature; our capacity for murder, sex and greed. 'Irrational Man' is in the vein of his somber films. You will probably not laugh more than once during this movie. But it is a fascinating portrait of a sociopathic academic character played by Joaquin Phoenix. Emma Stone is the student who develops a serious crush on him, but let us tell you sister, this guy is bad news. This episode does contain SPOILER ALERTS. Enjoy. You can download the podcast here by right-clicking on the hypertext link and choosing "save as", or you can use the convenient player attached to this post.
Montages-redaktørene Karsten Meinich og Lars Ole Kristiansen ser Woody Allens nyeste.
Straight Outta Compton, Man From UNCLE, The End Of The Tour, Irrational Man, Netflix : Short Term 12, Death Of Midnight Screenings On Opening Weekends
This week on the InSession Film Podcast: Extra Film segment, we review Woody Allen's Irrational Man starring one of our favorites Joaquin Phoenix and the always adorable Emma Stone. And we also take a look into the psychological study that was The Stanford Prison Experiment. - Irrational Man Review (7:12) - The Stanford Prison Experiment Review (36:29) Thanks for listening and be sure to subscribe on iTunes, Jabbercast, Stitcher, Soundcloud or TuneIn Radio! iTunes: https://itunes.apple.com/us/podcast/insession-film-podcast/id605634337 Jabbercast: https://insessionfilm.jabbercast.com Stitcher: http://www.stitcher.com/podcast/insession-film Soundcloud: https://soundcloud.com/insession-film TuneIn Radio: http://tunein.com/radio/The-InSession-Film-Podcast-p522717/ Listen Now: http://insessionfilm.com/insession-film-podcasts-listen-now/
Et fuldt bemandet Filmnørdens Hjørne vender tilbage fra en tiltrængt sommerferie her i nr. 114, og med os har vi en fed stak henvendelser fra vores kære lyttere. I vores fravær har I nemlig sendt os et væld af spidsfindige spørgsmål, som vi besvarer så detaljeret, som vi kan. Således snakker vi om Jakob Stegelmann, Filmnørdens Hjørne-bogen, mulige fremtidige podcasts, vores favorit-soundtracks og -scores, Carl Th. Dreyer, John Hughes, Jared Letos Joker og meget, meget andet - ikke mindst hvad det præcist er, der gør Robocop til en robot i modsætning til Darth Vader, selvom de begge er mennesker med robot-modificeringer. Casper har forberedt en stak (for en gangs skyld) ret gode nyheder, der blandt andet giver Jesper en idé til hans næste date. Vi anmelder også en overskuelig stak film. Således har vi lynanmeldelser af acapellamok-efterfølgeren Pitch Perfect 2, den danske stand-up-film Comeback, Woody Allen-filmen Irrational Man og hvad der er blevet udnævnt til årtiets værste strimmel, Pixels - men er den nu også så slem? De lange anmeldelser fyldes godt ud af Mission: Impossible - Rogue Nation, der næsten reducerer Hjørnets Bond-ekspert til tårer. Dokumentarfilmen Amy er blevet modtaget med himmelråbende flot kritik af de danske anmeldere, men den leg stopper NU! Og så har vi set gen-genoplivningen af Fantastic Four, der har fået sparket fortænderne ud på interwebbets kantsten og dermed ankommer med hysterisk dårlig hype - men igen, er den nu også så slem? Sidst men ikke mindst har Reklamedude beæret os med sin tilstedeværelse, da han kommer og anbefaler noget hjernegymnastik for filmnørder. Det er godt at være tilbage. Rigtig god fornøjelse. Med venlig hilsen, Casper, Jesper, Brie & Mille
Nathan and Scotty discuss Irrational Man, Woody Allen, Murder Mystery Movies, Philosophy 101, Intellectuals, Albert Camus, My Dinner with Andre (1981), Sleeping with the Enemy (1991), Joaquin Phoenix, James Franco, Parker Posey and reinvigorating our want to read. Plus, Andydrogynous braves the darkness and reviews Fantastic Four during Crap Night. Cinematically, Woody Allen is aging like a fine wine. Irrational Man is a showcase of disproportionate greatness. This episode is sponsored by Philz Coffee.
Chris and Dylan gather together in-person for the last time in a while as Chris moves out to Toronto. So of course, the last podcast we do in-person is Fantastic Four, a film that we cannot discuss without bringing up all the behind-the-scenes drama. After covering some new releases, Chris discusses Woody Allen's newest film, Irrational Man. Then Dylan proceeds to discuss Amy - the new Amy Winehouse documentary - and Ian McKellan's take on Sherlock Holmes with Mr. Holmes. Finally, the two shower praise on Joel Edgerton's directorial debut, The Gift, starring Jason Bateman, Rebecca Hall and Edgerton. Show Notes: (1:19) Fantastic Four Review (20:24) Fantastic Four Spoilers (44:58) New Releases: The French Lieutenant's Woman, Jonathan Strange & Mr Norrell, Hot Pursuit, Unfriended, Northmen: A Viking Saga (51:02) Irrational Man (57:14) Amy (63:57) Mr. Holmes (68:03) The Gift (75:28) Closing Comments Tune in next week when we come back for Straight Outta Compton. And sometime later this week, a bonus podcast of True Detective's second season. You can find more written content at www.infiniterespawns.com.
Matthew Socey reviews RICKI AND THE FLASH and discusses the WFYI/Indiana connection to the film. He also reviews SHAUN THE SHEEP and IRRATIONAL MAN. Plus Matthew and Coby chat once again with Chef Robert Irvine about his upcoming Indiana appearance, his new fitness book, the latest MISSION: IMPOSSIBLE film and soup.
0:00-3:15 - Intro; we're back after a week off; we're taking a week off next week, too 3:15-15:25 - "Fantastic Four" review 15:25-23:40 - "Mission: Impossible - Rogue Nation" review 23:40-34:10 - "Vacation" review 34:10-40:00 - "Phoenix" review 40:00-44:40 - "Ricki and the Flash" review (Bayer only) 44:40-47:15 - "Irrational Man" review (Bayer only) 47:15-1:00:30 - QOTW - the Mt. Rushmore of animation 1:00:30-1:09:50 - Summer Box Office Challenge update: a victor is declared 1:09:50-1:11:35 - Wrap-up and goodbye No show and no QOTW next week. We'll be back August 21, and we'll never leave again! REVIEWS: Fantastic Four: D 4/10 Mission: Impossible - Rogue Nation: A- 9/10 (B.S.-approved!) Vacation: B 4/10 Phoenix: B+ 5/10 Ricki and the Flash: n/a 7/10 Irrational Man: n/a 8/10
Sit back, grab a glass of wine, relax and get ready for a nice long Movie Movie Podcast! Join Alex, Russ, Peter and myself as we talk about Jurassic World, Inside Out, Magic Mike XXL, Entourage, Terminator: Genisys, Spy, Trainwreck, Ant-Man, Me Earl and the Dying Girl, Dope, Pixels, Insidious: Chapter 3, Irrational Man, The Gallows, Minions, Southpaw and […] The post Movie Movie Podcast #63: Casually Funny appeared first on Movie Movie Podcast.
Boston podcast legend Steve Head from the Post-Movie Podcast and Diabolique Webcast almost gets stuck in cement on his way to join Evan and Kris for this week’s episode. After he and Evan swap SIMPSONS references, Steve shares some of his famous stories from working in the film industry. Then the three of them discuss MISSION: IMPOSSIBLE - ROGUE NATION’s exciting set pieces, its fantastic female lead Rebecca Ferguson, record store names, why Tom Cruise probably works out like gerbil, and how the film series is just a chance for Cruise to show off. Kris spends some time talking about how Woody Allen’s latest film is “all over the fuckin’ place,” which somehow leads to tangents about Wikipedia and Paul Feig, before he wraps things up with a quick summary of Joshua Oppenheimer’s documentary THE LOOK OF SILENCE, a companion to his doc THE ACT OF KILLING.
Sit back, grab a glass of wine, relax and get ready for a nice long Movie Movie Podcast! Join Alex, Russ, Peter and myself as we talk about Jurassic World, Inside Out, Magic Mike XXL, Entourage, Terminator: Genisys, Spy, Trainwreck, Ant-Man, Me Earl and the Dying Girl, Dope, Pixels, Insidious: Chapter 3, Irrational Man, The Gallows, Minions, Southpaw and […] The post Movie Movie Podcast #63: Casually Funny appeared first on Movie Movie Podcast » Movie Movie Podcast.
Director Dave Boyle joins this week's Way Too Indiecast to discuss 'Man From Reno', plus we share our favorite SF-set movies.
Dave and Alonso are still exhausted from Outfest 2015, but they find time to explain why Marvel movies are like a Partridge Family lunchbox and to promote "the TURIN HORSE of comedies." Like our Facebook page, review us at iTunes, follow us @linoleumcast, best to take the moment present as a present for the moment. Dave's DVD pick of the week: PATHS OF GLORY Dave's DVD pick of every week: SUPER TROOPERS Alonso's DVD pick of the week: 3
There are three very different jars of jelly on the shelf this week, and one man has his finger in every jar. That man's name is Judd Apatow. In addition to directing Amy Schumer in the week's big comedy, "Trainwreck," he's also the bro master behind half of Paul Rudd's movies (Rudd stars this week in "Ant-Man"); and on top of that, he's one of the earliest directors to cast Emma Stone (who, this week, is in Woody Allen's new film, "Irrational Man"). Rafer and Kristen review every jelly jar, and get help with one jar in particular, from Scott Rosenberg, the comic book enthusiast who knows all things Marvel. They also sit down with David Thorpe, director of the new documentary, "Do I Sound Gay?" The film examines the so-called gay voice - including its theorized origins and role in personal and social identity. All that, plus trivia!
Ant-Man - If you can hang in there an hour and a half, this latest Marvel installment does, finally, deliver. But why do we have to wait so long? Amy Schumer’s Trainwreck is anything but. Baudy, assured, realistic and mature this laugh-out-loud comedy is a delight. Mr. Holmes - It’s Ian McKellen who, in a brilliant turn, makes this class act one that should be remembered at awards season. In great company and greater surroundings, you still just can’t take your eyes (or heart) off of him. Woody Allen’s Irrational Man, an okay piece buffed up by its pedigree. Has Woody worn me down, getting me to (almost) shrug my shoulders at this latest spin on a romance between an older man and younger woman?
Achtung: Spoiler bei Interstellar (ab Laufzeit 01:17:03)!!! Wolfgang, Stefan und Andreas begrüßen euch zum NarrenTalk No. 125. Trailer Wir sprechen über die Trailer zu Momentum, Irrational Man, Strangerland, Infini, The Visit, Area 51, Black Mass und La Giovinezza – Youth. Last Seen Andreas stellt uns...
Achtung: Spoiler bei Interstellar (ab Laufzeit 01:17:03)!!! Wolfgang, Stefan und Andreas begrüßen euch zum NarrenTalk No. 125. Trailer Wir sprechen über die Trailer zu Momentum, Irrational Man, Strangerland, Infini, The Visit, Area 51, Black Mass und La Giovinezza – Youth. Last Seen Andreas stellt uns...
Kino är nu inne på andra veckan i Cannes och vi har fått en exklusiv intervju med regissören Woody Allen som är på plats med sitt senaste Lolitadrama - Irrational Man. Irrational Man är en filmberättelse på välbekant Woody-tema om en äldre professor som förälskar sig i sin unga student. Lisa Bergström, vår egen Woody Allen-expert, träffar honom på Hotel Martinez nära Croisetten. Rollen som den mittlivs-krisande filosofiprofessorn spelas av Joaquin Phoenix och hans student av Emma Stone. Vi har också sett den svenska filmen Efterskalv med sångaren Ulrik Munther i en av huvudrollerna. Det är ett drama inspirerat av verkliga händelser när svartsjuka får en till synes välanpassad tonåring att begå mord. Både Ulrik Munther och regissören Magnus Von Horn besöker Kinos terrass i centrala Cannes. Dessutom hör vi de tre personerna bakom det nystartade produktionsbolaget Avanti: Anna Anthony, Anna Croneman och Charlotta Denward, tre erfarna producenter med ambitionen att göra nyskapande svensk film. Programledare: Saman Bakhtiari och Emma EngströmProducent: Nina Asarnoj
Kino packar smoking och långklänning och far till Rivieran och filmfestivalen i Cannes! En lång rad stjärnor som Woody Allen, Cate Blanchett och Isabella Rossellini är också mitt i packbestyren. På plats bland undersköna, plastikopererade och photoshopade filmstjärnor, paparazzis och wannabees, umgås Saman Bakhtiari, Lisa Bergström och Emma Engström med den globala filmindustrin och dess följe.Vi undersöker hur det gick med festivalchefen Thierry Frémauxs selfieförbud på röda mattan, kvaliteten på invigningsfilmen La Tête haute av Emanuelle Bercot och om det verkligen är möjligt att Woody Allen har gjort ännu en film om kärlek mellan en äldre man och en mycket yngre kvinna i Irrational Man. Sedan finns det även utrymme för lite svensk patriotism i Cannes i år. En av de verkliga huvudpersonerna på årets festival är skådespelaren Ingrid Bergman som skulle fyllt hundra den 29 augusti 2015. Hon pryder festivalaffischen och mycket lägligt har filmaren Stig Björkman precis blivit klar med dokumentären Jag är Ingrid. Kinos reporter Laura Wihlborg har gjort en vandring i Stockholmsflickan Ingrid Bergmans fotspår tillsammans med regissören. Vi har också träffat årets Producer on the Move - Annika Rogell - som är på plats i Cannes med festivalälsklingen Min Lilla Syster, Sanna Lenkens film om när ätstörningar blir en del av familjelivet.Programledare: Saman BakhtiariProducenter: Nina Asarnoj och Lisa Bergström
Main Review: The Hobbit: The Battle of the Five Armies Top 5 Trilogies Main Review: Unbroken What Else We Watched (Coherence, 2 Guns, The Ultimate Fighter) News Pre-Judgement Day (Black Mass, Irrational Man, The Visit) Next Week Preview (Wild, The Gambler, Paddington, Top 5 Gambling Movies) 2015 Summer Box Office Draft Joel
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