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Amazon Robotics

Started by genie

1 Replies
Last post November 13, 2017, 02:34:45 AM
by Luce
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Last post October 22, 2017, 07:46:38 PM
by genie
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Last post October 15, 2017, 08:34:41 PM
by Oso
Ping Pong Shots

Started by genie

3 Replies
Last post October 07, 2017, 03:24:36 AM
by Luce
0 Replies
Last post October 01, 2017, 12:34:27 PM
by genie
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Last post September 17, 2017, 10:23:18 AM
by genie
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by genie
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Last post September 14, 2017, 01:47:38 PM
by genie
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Last post July 31, 2017, 08:02:46 AM
by genie
7 Replies
Last post July 08, 2017, 09:29:53 AM
by genie
Stupid People

Started by genie

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Last post June 23, 2017, 09:35:18 AM
by genie
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Last post June 03, 2017, 02:45:34 PM
by genie
Bad Answers

Started by genie

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Last post May 18, 2017, 09:06:26 PM
by genie
4 Replies
Last post May 17, 2017, 07:43:10 AM
by genie
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Last post May 06, 2017, 06:50:37 PM
by genie
Pulled Pepsi ad

Started by genie

7 Replies
Last post April 13, 2017, 04:55:10 PM
by Oso
5 Replies
Last post April 09, 2017, 07:31:02 PM
by genie
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Last post April 06, 2017, 08:03:25 PM
by genie
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by genie
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Last post March 15, 2017, 07:46:04 PM
by genie


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* BBC Films

* The Guardian (Film)

  • post 'Rape is a rampant issue'; taboo drama Verna battles the censors in Pakistan - 17 November
  • Rejected for its ?edgy content?, Shoaib Mansoor?s timely revenge thriller has finally made it into cinemas after a public backlash. Is the country?s film industry ready for change?
    In recent years, Pakistan has seen a huge resurgence of its film industry, which has emerged from the shadow of Bollywood to find its own identity, one at the forefront of the battle between a growing conservatism in the country and an emboldened youth hungry for change. There?s a notable trend towards female-led narratives, which are not only setting new standards in storytelling, but also challenging taboos around the treatment of women in society. The battle to get the voices and experiences of women on screen achieved a much-needed victory this week when the Pakistani censor board backed down over a decision to ban a new film about the injustices faced by rape victims in the country ? a development that shows that Pakistan might be ready for change both on screen and off. Continue reading...
  • post Justice League ? hit or miss for the DC Extended Universe? Discuss with spoilers - 17 November
  • It has patched-together directing, shoddy special effects and a wetter than ever Batman, but is the latest DCEU instalment still worth watching?? This article contains spoilers Just when you thought it was safe to head back into the Twittersphere, the ongoing war between Marvel and DC fanboys and girls is about to reignite. Why? Because the critics don?t really like new DC Extended Universe instalment, Justice League, much more than they did the operatically dark and muddled Batman v Superman: Dawn of Justice, or the bombastically nonsensical Suicide Squad. That?s now three out of four movies in this new superhero cinematic realm that have failed to pass muster, with only Patty Jenkins? Wonder Woman standing tall. Related: Justice League review ? good, evil and dullness do battle Continue reading...
  • post Is Get Out a horror film, a comedy ... or a documentary? - 17 November
  • Jordan Peele?s film has been submitted in the comedy/musical category at the Golden Globes, prompting debate over which genre it belongs to. What?s inarguable is the significance of its race-relations message
    One of the most striking images from Get Out is a closeup of British actor Daniel Kaluuya wide-eyed in shock as tears stream down his face. As the $4.5m indie horror evolved this year from buzzed-about Sundance hit to $250m-grossing global phenomenon, this image increasingly became the go-to visual to accompany admiring features and reviews, because it effectively communicates something of the movie?s unsettling nature. (Spoiler: Kaluuya?s tears are not a byproduct of mirth.) Which makes it all the stranger that much of this week has been given over to a wide-ranging discussion as to whether Jordan Peele?s high-tension satirical horror should be classified as a comedy.It is all because of the baked-in eccentricities of the Golden Globes. The gong-dispensing offshoot of the Hollywood Foreign Press Association (HFPA) essentially hands out two best picture awards every January, one for drama and one for comedy/musical. If Get Out can smuggle itself into the latter category, it arguably has more of a fighting chance: instead of going head-to-head with Christopher Nolan?s war epic Dunkirk, a likely drama frontrunner, it can compete against more modestly budgeted fare such as romcom The Big Sick or tennis tale Battle of the Sexes. Despite being voted on by only 90 international journalists, the Globes are viewed as a bellwether for the Oscars. If Peele?s film can carve out a win, the thinking goes, it might fuel an underdog narrative all the way to the Academy Awards. Continue reading...
  • post Cate Blanchett: artists are being silenced - 17 November
  • A news anchor, a widow, a bearded drunk ? Cate Blanchett?s new film sees the actor take on 13 personas in a script cribbed from 50 revolutionary texts. She and director Julian Rosefeldt explain why Manifesto is an artistic call to arms in the age of TrumpHere?s Cate Blanchett as you?ve never seen her before: as a bearded old man pulling a shopping cart through a post-industrial wasteland. In a drunken Scottish accent he/she proclaims: ?We glorify the revolution aloud as the only engine of life. We glorify the vibrations of the inventors young and strong. They carry the flaming torch of the revolution!? Now Blanchett is a grieving widow telling a funeral congregation, ?to lick the penumbra and float in the big mouth filled with honey and excrement?. Now she?s an American news anchor in the studio, talking to a reporter standing in the rain under an umbrella. The reporter is also Blanchett. ?Well Cate, perhaps this could all be dealt with if man was not facing a black hole,? she tells her other self. Now she?s a 1950s mother, clasping her hands in prayer before the Thanksgiving family dinner: ?I am for art that comes out of a chimney like black hair and scatters in the sky,? she murmurs, as the children eye the turkey hungrily. Related: Warfare, wormholes and cosmic biceps ? my day on the set of Thor: Ragnarok Continue reading...
  • post Sylvester Stallone accused of sexually assaulting 16-year-old girl in 1986 - 17 November
  • Film star ?categorically denies? claims, detailed in police report, that he and a bodyguard intimidated a girl into sex before threatening her with violenceSylvester Stallone has denied allegations that he and his bodyguard sexually assaulted a 16-year-old fan in the 1980s and then threatened to ?beat her head in? if she spoke up about it. A spokesperson for the actor described the claims as ?ridiculous? and ?categorically false?, after a 1986 police report into the alleged encounter was obtained by Mail Online. Continue reading...
  • post Heartstone review ? fervent teen sexuality drama - 17 November
  • This long, Iceland-set debut steams with suppressed emotion as two teenagers explore a dawning relationship
    A remote, wildly beautiful ? and wonderfully shot ? Icelandic village is the setting for this soulful, indulgent story of teen angst and teen sexuality, which is a feature debut for Guđmundur Arnar Guđmundsson. Thor (Baldur Einarsson) and Kristján (Blćr Hinriksson) are best friends whose home lives are both fracturing. Thor?s mother has been abandoned by her husband for a younger woman and she is not-so-secretly despised by Thor?s older, callous sisters. Kristján?s father is an obnoxious and homophobic bully. The boys make vague and maladroit attempts at romantic connections with girls, but the resulting quartet?s truth-or-dare adventures at same-sex kissing alert Thor and Kristján to another possibility: that they themselves are in love. It?s a long movie whose suppressed emotions hiss and steam like geysers and just occasionally there is something a little softcore about it: perhaps Larry Clark himself might have taken an interest in these semi-clad teens hanging out, together with the inevitable older male bullies, whose revolting behaviour is there to underline the importance and authenticity of Kristján and Thor and their feelings. Some tighter editing was needed, not merely in terms of length but in giving more emphasis to the older generation and to Thor?s sisters. But it is a fervent, intensely acted drama. Continue reading...
  • post Uphill battle: can Mudbound change the white face of war films? - 17 November
  • If you go by the movies, the world wars look to have been fought and won by white people ? although history begs to differ. Now, Netflix?s Mudbound is challenging this perception?Over there I was a liberator. People lined up in the streets waiting for us, throwing flowers and cheering. And here I?m just another nigger pushing a plough.? So says Ronsel Jackson, a young, black army sergeant, recently returned from wartime Europe to Jim Crow-era Mississippi. Jackson, played by Jason Mitchell, is a character in the epic new movie Mudbound, which pointedly contrasts his experiences with those of a white neighbour returning from the second world war. It?s a true-to-life experience that we have never seen on screen before; it?s rare enough to see a film even acknowledging that African Americans, or other people of colour, were involved in the war at all.If you go by the movies, the first and second world wars were essentially fought and won by white people. When you look back at the many, many war movies made by both the US and Britain, you would be hard-pressed to spot a non-white face among the heroes, or even among the background characters. We know they were there: more than four million soldiers who fought the first world war were non-white, drawn into European and US armies, for example. On screen, and probably off screen too, we have never really seen the full picture. Continue reading...
  • post Good Time directors the Safdie brothers: ?Robert Pattinson was just a guy chasing work? - 16 November
  • The low-budget crime-thriller film-makers talk about being ?petrified of stasis? and casting the Twilight star in their latest release, despite not having seen his moviesIn a Hollywood that seems more monetised, sanitised and purely profit-driven than ever ? these days, we use the phrase ?film industry? so much more than ?film world? ? it is good to be reminded of the people tearing up around the edges, propelled by their own outsized forces of personality and vision. Josh and Benny Safdie are chancers, hustlers and prodigious talents. You could say they have been film-makers since they were kids, when their dad used to shut them in a closet with a camcorder. They are also throwbacks to a more haphazard, chaotic and readily romanticised time when movies trailed the mythos of their own making; when what you saw on screen in the 70s, say, was tinted with behind-the-scenes legends of chutzpah.The brothers, who are in their 30s and grew up in New York, shuttling between Queens and Manhattan, are known for low-budget, ?gutter realism? movies and for opting for nonprofessional actors through the process of ?street casting?. Those who know them say they have a special kind of magnetism for madness. The film-maker Ron Bronstein, a frequent collaborator, has said that Josh, in particular, ?can?t move five inches through life without attracting a lunatic experience?. Such as, for example, that time at the height of Twilight hysteria when Robert Pattinson sent them an out-the-blue email, begging them to let him work on whatever their next project was. They could not believe he had even seen their low-budget heroin drama, 2014?s Heaven Knows What. The extra layer of oddness to this story is that Pattinson hadn?t seen the film: he was going purely on some sixth-sense reaction he had to a still of its star Arielle Holmes?s pink-lit face. Continue reading...
  • post Mudbound review ? powerful tale set in Jim Crow America has real sinew - 16 November
  • Dee Rees?s rich, absorbing story set in pre- and postwar Mississippi and based on Hillary Jordan?s novel is beautifully directed and performed There?s a rich, arterial force in this film?s storytelling: director Dee Rees handles the material with flair and real passion. It?s a big, powerful, generational story culminating in tragedy and violence, based on the novel by Hillary Jordan, all about Jim Crow America and the changes beginning to happen after young men of all races and classes returned from the second world war to find a home unfit for heroes and riddled with the same old bigoted attitudes from which the horrors of warfare had, briefly and ironically, freed them. Jason Clarke and Garrett Hedlund play brothers Henry and Jamie; Carey Mulligan plays Laura, a beautiful, unworldly woman who marries Henry, charmed by his shy courtesy but also secretly entranced by Jamie?s dashing romantic charm. Yet all these good qualities seem knocked out of the brothers when they have to work on the grim farm in the Mississippi mud belonging to their grotesquely racist father, Pappy (Jonathan Banks). Continue reading...
  • post How movies brought polyamory into the mainstream - 16 November
  • Non-monogamous relationships used to be portrayed as disastrous in film. But with Professor Marston and the Wonder Women, is there a shift towards greater acceptance?
    Last week, a very different period drama hit cinemas. Professor Marston and the Wonder Women concerns a real-life love story between a professor and his academic wife ? and their teaching student, Olive. From the late 1920s onwards, they begin sharing a workplace, a bed, a home and eventually a family. Related: Professor Marston and the Wonder Women review ? a saucy origin story Continue reading...

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* Recent Posts

Re: Cute babies! by genie
[Today at 07:36:38 PM]

Cute babies! by DCM
[Today at 04:53:39 PM]

Re: Amazon Robotics by Luce
[November 13, 2017, 02:34:45 AM]

Re: Church Shooter Chase by genie
[November 12, 2017, 07:14:05 PM]

Amazon Robotics by genie
[November 12, 2017, 06:31:12 PM]

Re: Walmart in Florida...was this your store Genie?! by genie
[November 10, 2017, 09:03:21 PM]

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