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Soft Disclosure in new X-FILES, Season 10 – EOTM REVIEW, well Kind of…

New X Files - Season 10 - Image credit: FOX

By Regis Yates

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A friend called me a couple days ago and said that I should watch the 1st episode of Season 10, of The X-Files. I was told it seemed to border around soft alien disclosure. So of course, I viewed it. Considering I follow things dubbed conspiracies. If I had to surmise in one word it would be ‘jarring.’ Written and directed by Chris Carter, the episode encapsulates much of what made The X-Files such a hit back in the ’90s. Carter was sending us all a message, to all those with an ear to hear.

The most fascinating part in my opinion was everything outlined in this episode had already happened in this reality! It’s not unusual in TV, yes I know. It seems they dream it up and things just magically happen.

A point to keep in hindsight, if there is anything to this… some of y’all may need to get off the sofa, put down the remote and start taking control of y-our lives.

But how, Carla?

You probably shouldn’t have asked me that. Now, I’m on a roll! (blink blink blink)

1st step per your boy Carter:

Wake up and realize the evils we see today are initiated and put in place to create problem, reaction, solution scenarios… which are meant to distract, enrage and enslave us in our very own homes with tools like the Patriot Act, The National Defense Authorization Act, which abridged the Constitution in the name of national security. The militarization of police forces in cities around the world. The building of prison camps by the Federal Emergency Management Agency with no stated purpose. The corporate take over of food, agriculture, land, pharmaceuticals and healthcare, our very own military in clandestine agendas to filter, dull, sicken and control a populace already consumed by consumerism. The great United States of America encourages us all to shop more even when many of us are barely making it to our next pay check…and we do just that…shop.

What the hell am I talking about?! This is suppose to be a review, right? Oh yeah, it is. It was a good show. I’m watching it again, as I type. Everything I’ve written so far is pretty much how the program went. Yes, they got good and dirty with conspiracy theories. But if its happening, is it still a conspiracy? (blink blink)

Let’s continue.

They police us and spy on us and tell us it makes us safer….

A government that taps your phone, collects your data and monitors your whereabouts with impunity. A government preparing to use that data against you when it strikes and the final take over of America. A well oiled and well armed multinational group of elites that will cull, kill and subjugate happenings as we sit here and allow it to happen all around us.

The other shoe waiting to drop.

More chaos is coming and you best behold cause it will probably happen on a Friday. Black Friday.

Possible Scenario:

The banks will announce a security action necessitating their computers to go offline all weekend. BEWARE. Digital money will disappear. Yes, my friend, they can and will steal your money. This followed by the detonation of strategic electromagnetic pulse bombs knocking out all major grids. What will seem like an attack on America by terrorists or Russia or even a simulated alien invasion using alien replica vehicles that exist and are already in use! What? Yes, you got it Sherlock. An alien invasion of the US. The Russians may have been the ones to try in in 1947.

Does this sound like a warning to you?

What in the hell am I sipping on you wondering? Nothing, nothing at all. This is what the show outlined fool!! (just kidding about callin y’all fools, just playing)

Now I realize some may consider what I’m sharing is nothing more than fear mongering. Spreading paranoia dubbed by mainstream media as bogus, dangerous and so very stupid! I beg to differ. Seriously, I beg to differ, fool! Am I being irresponsible? No! It would be irresponsible and selfish if I did not write about it. But why? Everything I just shared was aired in the very episode of X Files I’m writing about! Most of this is verbatim!

You should be aware of what is happening just in case it happens. This is not behind the scenes type of stuff, this is right in our faces! And the joke is on us…on you, fool. Lol…seriously, just kidding.

Other hot topic conspiracies that were highlighted in this episode of X Files:

  • 9-11 was a false flag
  • Alien reproduction Vehicles (RV’s)
  • Free energy
  • Surveillance programs
  • the 1940s but it’s been covered up
  • Clips of Obama on Jimmy Kimmel not denying the existence of UFO’s (When Obama visited Kimmel in 2015 he denied an alien cover-up)
  • Genetic manipulation and combining human DNA with alien DNA
  • Alien abductions are not really “alien,” but rather by a secret shadow government (Many whistleblowers have come out in recent years affirming this to be true)

Yep, a lot happened in the 44 minutes of the program that begs the question…. What is truth? Who can you trust and where the hell as Mulder been for 8 years?! Oh yeah, Cali-For-ni-cating.

Hey folks, I’m trying something different here, with this quirky blog…it seems no one really takes me seriously when I write about this sort of stuff…maybe in the humor… one or two of you will see the light.

What did you think of the episode? Share with us below in the comments.

THE X-FILES (2016) Official SEASON #10 Full Trailer

‘Unbroken’: Movie review

Published by EOTM News Editor on December 24th, 2014 - in Entertainment News, Film News, Movie Review

By Maya Felts

Follow us: @EOTMOnline on Twitter EOTM.Media on Facebook

A tale of endurance, “Unbroken” takes endurance to sit through. That may have been inevitable, to some degree, given the tale’s harrowing nature and its inherent lack of suspense; the title isn’t “Broken,” so there’s not much doubt of the outcome. But it’s certainly regrettable, because this long and increasingly sluggish film version of the Laura Hillenbrand book celebrates an American life of singular heroism.

Photo credit: Universal

The subject is Louis “Louie” Zamperini ( Jack O’Connell ), whose 93 years—he died in July—encompassed grand adventures and terrible trials. An Olympic distance runner in the 1930s and an Army Air Force bombardier in World War II, he survived a crash at sea and 47 days on a raft in the Pacific Ocean, followed by unspeakable torture at the hands of his captors in a Japanese prison camp. And that’s only the section of his life covered by the movie, which was directed by Angelina Jolie from a script by Joel Coen, Ethan Coen, Richard LaGravenese and William Nicholson. They are prominent writers, all four of them, yet the screenplay views its hero from an emotional distance, with constant emphasis on his inner strength but few intimations of his deeper feelings.

“Unbroken” is pleasurably earnest for a while—Ms. Jolie is a skillful director—but then terribly repetitive within the two main settings of the story: the raft, where Louie and two crewmates struggle for survival in predictable ways during a significant part of the film’s 137-minute running time; and the prison camp, where the drama pits a weakened and emaciated Louie against a sadistic guard, Watanabe (aka “The Bird”), who is played by the Japanese singer-songwriter Miyavi.

SEE ALSO: “American Sniper” Gets It Right – Trailer

This ostensibly unequal contest is central to the film, and profits from the malign panache of Miyavi’s performance. By focusing almost entirely on the psychopathic evil of a single individual, however, the script ignores casual outrages perpetrated by other soldiers and their superiors as a matter of course, if not explicit policy. And the director strikes a false note—then sustains it beyond endurance—when Louie, half-dead from starvation and fatigue in a Japanese labor camp, defies The Bird and saves his own life in the process by hoisting an immensely heavy timber over his head while the music swells. The scene has become the film’s iconic image, but great stories such as this one don’t need to be heightened by glib triumphalism.


Movie chains won’t premiere Sony Pictures “The Interview” after hacking and threats

By Maya Felts

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Most of the country’s largest theater chains have decided not to show Sony’s “The Interview,” according to a person with direct knowledge of the matter.

Image Credit: Sony Pictures



A spokesperson for the Malco Theater chain said they had no comment about whether the movie will be show in its theaters.

As of now on the Malco website, the movie is still listed to premier December 25.

The decision follows a strange warning on Tuesday from anonymous hackers, possibly from North Korea, that people should avoid going to theaters where “The Interview” is playing.

“The Interview” has become controversial because its plot involves the attempted assassination of North Korean dictator Kim Jong-un.

Sony does not plan to pull the film altogether, but the studio has indicated it won’t object if theaters decide not to show the film, a second source said.

Among the top chains that have decided to not show the movie are Regal, Cinemark,  Carmike Cinemas, Arclight and Southern.

Another smaller chain, Bow Tie Cinemas, has also dropped its plans to show the film.

SEE ALSO: EOTM Movie Critics: “American Sniper” Gets It Right

“It is our mission to ensure the safety and comfort of our guests and employees,” the company said in a statement.

Bow Tie operates 55 theaters, mostly in the Northeast.

The film’s Los Angeles premiere went off without a hitch last week, but the New York premiere planned for Thursday was called off after the new threat on Tuesday.

Sony Pictures has been devastated by a cyber attack that appears motivated by anger over the film.

So now theater owners have to decide whether to reject the online threats and show the film, or succumb to the pressure.

The controversy raises profound questions about freedom of artistic expression — even though “The Interview” might just be a mediocre comedy.

“The possibility that people will avoid theaters altogether is the problem,” the person said. In other words, it’s not just “The Interview” that could be hurt, it’s other Christmas releases like Disney’s “Into The Woods” and Universal’s “Unbroken.”

The people insisted on anonymity because Sony has not commented publicly.

Furthermore, according to The Hollywood Reporter, “exhibitors are wary of becoming liable if they show the movie and any violence occurs.”

To many observers, however, that sounds like a far-fetched scenario.

Daveed Gartenstein-Ross, a senior fellow at the Foundation for Defense of Democracies, said on CNN’s “New Day” that “this is essentially a heckler’s veto” of the film.

While Sony and U.S. government officials have not explicitly accused North Korea of being behind the hacking attacks, he said this seems to be “a foreign power engaging in a cyber-attack against a private actor, a private company, in order to squelch freedom of expression.”

The FBI is investigating the hack, and the U.S. Department of Homeland Security said Tuesday that “there is no credible intelligence to indicate an active plot against movie theaters within the United States.”

All the attention is causing some people to pledge to see the film.

“I am not going to let a terrorist threat shut down freedom of speech. I am going to The Interview,” screenwriter and director Judd Apatow wrote on Twitter Tuesday night.

News Source: WREG

EOTM Movie Critics: “American Sniper” Gets It Right – Trailer

By Maya Felts

Follow us: @EOTMOnline on Twitter EOTM.Media on Facebook



A superb performance by Bradley Cooper anchors Clint Eastwood’s harrowing and thoughtful dramatization of the life of Navy SEAL Chris Kyle

Image credit: Warner Bros

 

A skillful, straightforward combat picture gradually develops into something more complex and ruminative in Clint Eastwood’s “American Sniper,” an account of the Iraq War as observed through the rifle sights of Navy SEAL Chris Kyle, whose four tours of duty cemented his standing as the deadliest marksman in U.S. military history. Hard-wiring the viewer into Kyle’s battle-scarred psyche thanks to an excellent performance from a bulked-up Bradley Cooper, this harrowing and intimate character study offers fairly blunt insights into the physical and psychological toll exacted on the front lines, yet strikes even its familiar notes with a sobering clarity that finds the 84-year-old filmmaker in very fine form. Depressingly relevant in the wake of recent headlines, Warners’ Dec. 25 release should drum up enough grown-up audience interest to work as a serious-minded alternative to more typical holiday fare, and looks to extend its critical and commercial reach well into next year.

Although Steven Spielberg was set to direct before exiting the project last summer (just a few months after Kyle’s death in Texas at the age of 38), “American Sniper” turns out to be very much in Eastwood’s wheelhouse, emerging as arguably the director’s strongest, most sustained effort in the eight years since his WWII double-header of “Flags of Our Fathers” and “Letters From Iwo Jima.” As was clear in those films and this one, few directors share Eastwood’s confidence with large-scale action, much less his inclination to investigate the brutality of what he shows us — to acknowledge both the pointlessness and the necessity of violence while searching for more honest, ambiguous definitions of heroism than those to which we’re accustomed. In these respects and more, Kyle — who earned the nickname “Legend” from his fellow troops, achieved a staggering record of 160 confirmed kills, and became one of the most coveted targets of the Iraqi insurgency — makes for a uniquely fascinating and ultimately tragic case study.

We first meet Kyle (Cooper) as he’s hunched over a rooftop overlooking a blown-out structure in Fallujah, Iraq, taking deadly aim at a local woman and her young son walking some distance away; only Kyle’s specific vantage allows him to see that they’re preparing to lob a grenade at nearby Marines. The fraught situation and its queasy-making stakes thus introduced, the film abruptly flashes back some 30-odd years to Kyle’s Texas childhood, establishing him as a skilled shooter at a young age (played by Cole Konis) as well as a brave protector to his younger brother, Jeff (Luke Sunshine). After a brief rodeo career, Cooper’s Kyle joins the ranks of the Navy SEALs, whose brutal training regimen — including the muddy beachfront endurance tests of the dreaded Hell Week — is depicted more extensively here than they were in last year’s military-memoir adaptation “Lone Survivor.”

Bradley Cooper stars in American Snyper - Image credit: Warner Bros

As scripted by Jason Hall (paring down Kyle’s 2012 autobiography, written with Scott McEwen and Jim DeFelice), these flashbacks form the film’s most conventional stretch, including a tartly humorous scene at a bar where Kyle charms his way past the defenses of the beautiful Taya (Sienna Miller), despite her early claim that she’d never date one of those “arrogant, self-centered pricks” who call themselves SEALs. Yet Kyle belies that description, revealing himself as a God-fearing, red-blooded American galvanized into fighting, as so many were, by the shock of 9/11 and his determination to avenge his country. Indeed, the ink is barely dry on his and Taya’s marriage license when Kyle gets shipped off to Fallujah, where he and his comrades are well served by his exceptional abilities as a sniper.

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It’s here that the story catches up with that tense mother-and-child setup, this time not sparing us the gruesome, inevitable aftermath. Describing his actions to a fellow soldier, Kyle breathes, “That was evil like I had never seen before” — a statement that lingers meaningfully as we watch him racking up kill after kill, efficiently dispatching the male Iraqi insurgents he spies surreptitiously arming themselves in a back alley, or driving a car bomb in the direction of American soldiers. In each of these life-or-death scenarios, Kyle must use what little time he has to swiftly assess whether his targets indeed pose an immediately actionable threat, lest he face recriminations from lawyers, liberals and other members of the Blame America First crowd (a point the book drives home far more vehemently than the film).

Not surprisingly, Eastwood avoids wading into the ideological murk of the situation and sticks tightly to Kyle’s p.o.v., yielding an almost purely experiential view of the conflict in which none of the other soldiers becomes more than a two-dimensional sketch, dates and locations are rarely identified, and any larger geopolitical context has been deliberately elided. (Some details have clearly been fudged; Kyle says he’s 30 when he enlists, but he was actually in his mid-20s.) Yet the achievement of “American Sniper” is the way it subtly undermines and expands its protagonist’s initially gung-ho worldview, as Eastwood deftly teases out any number of logistical and ethical complications: Kyle’s frustration at always having to engage from a distance rather than on the ground with his comrades; the sometimes difficult collaboration between the SEALs and the less well-trained Marines, especially when they begin the dangerous task of clearing out Iraqi houses; and above all, the near-impossibility of figuring out whom to trust in an environment where everyone is presumed hostile.

This becomes especially crucial when Kyle and company receive orders to take down the Al Qaeda terrorist Abu Musab al-Zarqawi and his vicious second-in-command, the Butcher (Mido Hamada), named in part for his imaginative use of power drills. The hunt for the Butcher — and, eventually, a Syrian-born sniper named Mustafa (Sammy Sheik), whose lethal precision rivals Kyle’s own — leads the troops into a series of breathless skirmishes, from a horrific Al Qaeda attack on the family of an Iraqi sheikh (Navid Negahban) to a nighttime ambush that develops as a result of Kyle’s extraordinary perceptiveness in a seemingly benign situation. Working as usual with d.p. Tom Stern and editors Joel Cox and Gary D. Roach, Eastwood handles these ambitious setpieces with an unfussy professionalism worthy of his subject, the camera maintaining a gritty, ground-level feel (with the exception of a few crane shots demanded by the complex staging of the film’s climactic shootout) while switching deftly among a range of perspectives that nonetheless maintain a strong continuity of action.

Less adroitly handled are the regular cutaways to Taya and their two children back in Texas, providing necessary but over-emphatic reminders that Kyle’s loved ones are paying dearly for his military service. Taya seems to have a bad habit of catching her husband on the phone at those unfortunate moments when mortar and shrapnel are exploding around him (which is understandably often). When he’s home on leave, he’s painfully distant, reluctant to talk about his experiences and barely able to function, which is Taya’s cue to spout some gratingly obvious dialogue of the “Even when you’re here, you’re not here” variety. What works in these scenes, however, is the disquieting sense that Kyle’s normal life has shifted into the war zone, and that his time with his family is passing him by in fast, jarring blips; we see his kids at only brief intervals here, and the rate at which they grow up must be as startling for him as it is for us.

In its revelation of character through action, its concern with procedure rather than politics, and its focus on an exceptionally gifted U.S. soldier struggling to make sense of his small yet essential place in a war he only partly understands, Eastwood’s picture can’t help but recall “The Hurt Locker,” and if it’s ultimately a more earnest and prosaic, less formally daring affair than Kathryn Bigelow’s film, it nevertheless emerges as one of the few dramatic treatments of the U.S.-Iraq conflict that can stand in its company. And just as “The Hurt Locker” found revelatory depths in Jeremy Renner, so “American Sniper” hinges on Cooper’s restrained yet deeply expressive lead performance, allowing many of the drama’s unspoken implications to be read plainly in the actor’s increasingly war-ravaged face.

Cooper, who packed on 40 pounds for the role, is superb here; full of spirit and down-home charm early on, he seems to slip thereafter into a sort of private agony that only those who have truly served their country can know. (A late sequence shot in an impenetrable sandstorm provides the most literal possible metaphor for his own personal fog of war.) Perhaps the film’s most humanizing touch is its willingness to show Kyle not just reacting but thinking, attempting to grasp ideas that have thus far eluded him, whether he’s spending time with veterans who have lost limbs and worse on the battlefield; coming to grips with the difference between him and his reluctant-Marine brother (Keir O’Donnell); or shrugging awkwardly when someone calls him a “hero,” as if the word were a particularly ill-fitting sweater.
Fandango’s Hobbit Movie Guide
While the circumstances of Kyle’s death add a note of tragic urgency to the film’s matter-of-fact examination of post-traumatic stress disorder, the moment itself is left offscreen, a decision that feels consistent with the scrupulous restraint that characterizes the production as a whole. The visual and editorial choices discreetly reinforce the clash between the hell of modern warfare (the color all but drained away from Stern’s images) and the purgatory of middle-class American life, accentuated by a sound mix that allows us to register the hard pop of every gunshot. While Eastwood’s musical compositions have sometimes been hit-or-miss, he’s never written a subtler score than the one here, providing faint, almost imperceptible accompaniment; in a film that encourages us to reflect as well as feel, it’s a choice that speaks volumes.

American Sniper Official Trailer #1 (2015)

SEE ALSO: The Hobbit: The Battle Of The Five Armies – EOTM Movie Critics

Production

A Warner Bros. release and presentation, in association with Village Roadshow Pictures, Ratpac-Dune Entertainment, of a Mad Chance, 22nd & Indiana, Malpaso production. Produced by Clint Eastwood, Robert Lorenz, Andrew Lazar, Bradley Cooper, Peter Morgan. Executive producers, Tim Moore, Jason Hall, Sheroum Kim, Steven Mnuchin, Bruce Berman.

Crew

Directed by Clint Eastwood. Screenplay, Jason Hall, based on the book “American Sniper: The Autobiography of the Most Lethal Sniper in U.S. Military History” by Chris Kyle with Scott McEwen, Jim DeFelice. Camera (color, Panavision widescreen, Arri Alexa digital), Tom Stern; editors, Joel Cox, Gary D. Roach; production designers, James J. Murakami, Charisse Cardenas; art directors, Dean Wolcott, Harry Otto; set decorator, Gary Fettis; costume designer, Deborah Hopper; sound (Dolby Digital/Datasat), Walt Martin; sound designer, Tom Ozanich; supervising sound editors, Alan Robert Murray, Bub Asman; re-recording mixers, John Reitz, Gregg Rudloff; special effects supervisor, Steven Riley; special effects coordinator, Brendon O’Dell; stunt coordinators, Jeff Habberstad, Trevor Habberstad; visual effects supervisor, Michael Owens; visual effects, MPC, Pacific Title & Art Studio, Sony Pictures Imageworks, Image Engine, Lola; assistant director, David M. Bernstein; second unit director, Robert Lorenz; second unit camera, Barry Idoine; casting, Geoffrey Miclat.

Starring

Bradley Cooper, Sienna Miller, Luke Grimes, Jake McDorman, Cory Hardrict, Kevin Lacz, Navid Negahban, Keir O’Donnell, Cole Konis, Luke Sunshine, Mido Hamada, Sammy Sheik. (English, Arabic dialogue)
Read more: Variety



The Hobbit: The Battle of the Five Armies – Movie Review

Published by EOTM News Editor on December 13th, 2014 - in Breaking News, Film News, Movie Review, Movie Reviews, Movies

By Cain Cawthon

Follow us: @EOTMOnline on Twitter | EOTM.Media on Facebook

Image credit: Warner Bros

  The Hobbit: The Battle of the Five Armies review – packs a huge chain-mail punch

Peter Jackson has pulled it off. He has successfully concluded his outrageously steroidal inflation of Tolkien’s Hobbit into a triple-decker Middle Earth saga equivalent to the Rings trilogy, and made it something terrifically exciting and spectacular, genial and rousing, with all the cheerful spirit of Saturday morning pictures. And if poor, bemused little Bilbo Baggins now looks a bit lost on this newly enlarged action-fantasy canvas – well, he raises his game as well, leavening the mix with some unexpectedly engaging and likable drama. The Battle of the Five Armies is at least as weighty as The Return of the King. It packs a huge chain-mailed punch and lands a resounding mythic stonk. But it’s less conceited, more accessible and it makes do with just the one ending.

‘Can I pawn this now?’ ... Martin Freeman in The Hobbit: The Battle of the Five Armies Photograph: Allstar/NEW LINE CINEMA

We are pitched right back into the chaos in which we left the second episode, as the dragon Smaug (boomingly voiced by Benedict Cumberbatch) unleashes his fiery fury on Lake Town, whose buildings are made entirely out of wood – not great if you’ve got a dragon nearby. Meanwhile, the dwarves have established de facto ownership of the dragon’s gold, which they consider their own birthright and the movie culminates in a gigantic battle of orcs, elves, dwarves, humans and eagles all contesting their right to this unimaginable wealth. One thing must incidentally be said about every one of these armies: they are marvellously disciplined, responding instantly, en masse, to shouted commands which the furthest soldiers must surely hear very faintly.

But there’s one battle that’s been lost before a single arrow has been nocked: the battle for HFR, or high frame rate. Peter Jackson unveiled the 48-frames-per-second shooting innovation with huge fuss for his first Hobbit movie. The awful truth, however, is that this innovation just made everything look like an outside broadcast on video for daytime TV. Early screenings of this film and the previous one were in conventional 24 FPS. The reactions were markedly warmer. And although the third movie is officially getting shown in both 24 and 48, it seems that 24 is far more widespread. Normal service has been quietly restored. The HFR armies are hoping no one notices them sheepishly sidling off the field of battle. It leaves us to ponder if or how the slower 24 rate itself creates something vitally cinematic, that lag from frame to frame, which constitutes the subliminal, imperceptible visual “hum” which endows reality with something extra. As for HFR, it may be a lost novelty, the Sensurround of the 21st century.

SEE ALSO:  Guardians of the Galaxy – Movie Trailers

As the story reaches its operatic conclusion, a number of factors are in play: Gandalf the Grey, played with gusto by Ian McKellen, has been released from his enchantment and now journeys across country to warn Bilbo (Martin Freeman) and the others that battalions of fantastically ugly subtitled orcs are marching towards them. The elves have come to the rescue of Lake Town’s shivering refugees, horribly let down by their greedy and cowardly Master (Stephen Fry), but the elves’ diplomatic relations with the dwarves – they maintain a certain pointy-eared Vulcan dignity – threatens to break down over agreed access to the gold, and effectively split their anti-orc united front. A romantic drama plays out in tandem with this military scenario: the comely elf Tauriel (Evangeline Lilly) is transgressively in love with the dwarf, Kili (Aidan Turner), making them the Romeo and Juliet of Middle Earth.

 

Evangeline Lilly as Tauriel in The Hobbit: The Battle of the Five Armies Photograph: Allstar/New Line Cinema

But it is Thorin (Richard Armitage) who is the star of this movie, because of his internal crisis. Simply wading waist-high in these piles of gold has turned his head, infected him with “dragon sickness” and sent him delirious with power and greed. He is basically turning into something like Fred C Dobbs, Humphrey Bogart’s paranoid prospector in The Treasure of the Sierra Madre (1948): suspicious of everything and turning on all his friends. It is humble Bilbo who must break the toxic spell.

The Hunger Games
The three Hobbit films have worn down my Tolkien agnosticism. Although watching them now, in sequence, might disconcertingly mean that the Hobbit prelude seems of equal power and weight to the supposedly more important Rings saga. The modest subtitle to Tolkien’s original book was There and Back Again. The films have pumped this up to: “There. And there! ALSO THERE!” A multi-movie adaptation of The Silmarillion – with the last one naturally split into two parts – might test my newfound enthusiasm. For now, Bilbo Baggins’ adventures have a winning innocence and buoyancy.

SEE ALSO: Star Wars: The Force Awakens Trailer #1

News Source: The Guardian


Out of the Furnace – Indie Film Review

By Tanya Blake – Follow on Twitter @eotmonline

It’s Scott Cooper’s directorial debut, the critically-acclaimed writer and director of Crazy Heart unleashes Out of the Furnace. A gripping and gritty drama about family, fate, circumstance, and justice.

Out of the Furnace - Photo credit Relativity

The story focuses on Russell Baze, played by Christian Bale, a hard-working, morally and ethically sound man who works at a steel mill that’s soon to shut down, ends up in prison after making one bad choice, is absent for his sickly father’s funeral, is his brother’s keeper — Rodney (played by Casey Affleck) and..notably… loses his girlfriend to a cop…yep, you guessed it, Baze has a really…really rough life.

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The two brothers are close, but you feel it’s a relationship based more on one-sided financial dependence, at least initially.

Affleck, a fidgety young man who opted for military life over the mills, and now faces a “stop-loss” order for a fourth tour in Iraq.

What seems like 5 years pass in the film’s first 30 minutes, and it makes a point to show that the change being touted hasn’t come—or has it?

As Russell drives home from the bar one night, he T-bones a reversing car pulling out and kills all inside, including children; the drunken manslaughter charge condemns him to a brutal prison stay while Rodney witnesses his own horrors overseas. When years later the siblings finally reunite—sunken-eyed, tattooed, and with news of their father’s death—both are hollow and degraded, but only one is still optimistic.

Cooper shoots these leaps in time with a tremendously assured eye for storytelling. Bale’s lingering look back upon the prison when he’s released says more about his stay than any flashback, while Affleck—without his character saying a word of his actions in Iraq (which he eventually does reveal)—restlessly thunders around the small town with a barely contained fury.

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Bale embodies Russell with perhaps his best performance to date, letting his drawled lines fall from his mouth with a trembling smile as matters quickly turn grim—a scene between him and Zoe Saldana (who otherwise gains little traction in her role) as he realizes their new relationship after prison is especially affecting.

What happens next offers few surprises: Rodney returns home he gets lured into one of the most ruthless crime rings in the Northeast and mysteriously disappears. The police fail to crack the case, so – with nothing left to lose – Russell takes matters into his own hands, putting his life on the line to seek justice for his brother (yes..the brother’s keeper thingy holds true).
Getty Images

Most of the movie is set against the backdrop of Rust Belt Pennsylvania, which, along with a mid-film hunting sequence.

The setting, and its place in time, give the movie’s title a metaphorical meaning as well: the Baze brothers are also coming out of the furnace of the recession, which decimated the local economy and their livelihoods.

The ever-magnetic Bale accentuates the character’s complexities, and carries the film with an easy, watchable intensity. If that seems like a contradiction, keep in mind that few movie stars can execute such nuance. (shrugs) As Russell’s temp rises on a low simmer, Cooper nurtures the suspense with methodical pacing and an eye for visual detail. The film is well-made and well-acted – and terrifically downbeat. But at least it’s a thoughtful journey into despair.

Out of the Furnace is powered by an amazing trio of performances by Bale, Woody Harrelson, Affleck, Forest Whitaker, Willem Dafoe, Saldana and Sam Shepard — all of which are unique, unpredictable and constantly re-frames the action in a compelling way.

★★1/2

TITLE: “Out of the Furnace”

CREDITS: Directed by Scott Cooper, screenplay by Mr. Cooper and Brad Ingelsby

RATING: R for violence, language

RUNNING TIME: 116 minutes

MAXIMUM RATING: FOUR STARS

Check out the trailer now.

Good Year for African Americans in Film | Box Office

Jacob Latimore (left), Angela Basset, Jennifer Hudson and Forest Whitaker power through the season in Kasi Lemmons' Black Nativity, a Christmas movie musical based on Langston Hughes' gospel oratorio. -- Photo credit: Phil Bray/Fox Searchlight Pictures

Good Year for African Americans in Film (via AP Video)

The stars of the holiday film ‘Black Nativity’ say it’s been a good year for African Americans in movies. (Nov. 22)

 

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Trailer Shows Off New (?) ‘RoboCop’ and Samuel L. Jackson’s Funky Hairpiece

First Full Trailer Shows Off New (?) ‘RoboCop’ and Samuel L. Jackson’s Funky Hairpiece (via Fandango Movie Blog)

By: Derrick Deane on September 5, 2013 at 5:06PM On the list of classic ’80s movies that shouldn’t be touched, RoboCop certainly ranks as one of them. Granted the two sequels that the original film spawned weren’t very good, but the first film remains…

 

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Indie Horror “Found” receives 2 EOTM Award Nominations | Film News

New Awards to recognize the best Indie Horrors of 2012

 

The EOTM Award film nominations in the horror genre are steadily being submitted and according to the Executive Producer, Carla B., the EOTM’s “plan on showcasing horror in a big way,” offering nods in the over 9 categories.

Credit: IMDB

And one thing you can count on for sure (or almost) in all the hum-bug of it all….is horror fans will more than likely see many of their favorites honored at the EOTM’s inaugural event.

Scott Schirmer’s film “Found” is up for two nominations, Best Director in a indie horror and Ethan Philbeck received a Best Actor nod. The movie won for best Picture, Best Director and Best Actor at Elvira’s Horror Hunt last year.

According to IMDB, Found is based on the novel by Todd Rigney, centering around Marty, a shy, bullied fifth-grader who takes refuge in horror films… until his life turns into one.

After finding a human head in his brother’s closet, Marty fears for the safety of his family while making a desperate effort to reconnect with Steve, the big brother whose homicidal cravings threaten to destroy life as Marty knows it.

Order Away from the World today from the Dave Matthews Band Store!Other horrors that are up for nominations are SLINK, which is up for two, Best Director & Best Scream Film. Director James Cullen Bressack is in the running in two categories as well, Best Scream Indie Film – My Pure Joy and Best Director for Hate Crime and Gregory Blair for the indie horror ‘Deadly Revisions.’

 

Check out a partial list of the categories:

  • Award for Best Director
  • Best Scream Film
  • Best Villain
  • Best Horror Film
  • Outstanding leading Actress in a Horror Film
  • Outstanding leading Actor in a Horror Film
  • Best supporting Actress in a Horror
  • Best supporting Actor in a Horror
  • Best Horror Soundtrack

The EOTM Awards are an accolade presented by the EOTM Radio & TV Network celebrating entrepreneurial achievements and performances in business, philanthropy and the arts (recordings, television, radio, literature, film, directing and writing).

For more information on the EOTM Awards visit – www.eotmawards.com. If you are a legitimate industry taste-maker and would like to nominate a horror film please visit the awards site and click on the nomination process for details.

Follow the EOTM’s on Twitter @EOTMAwards and Facebook @EOTMAwards