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Stranger Things Tribute Movie Posters of the 70s and 80s

As the much-anticipated second season of Stranger Things is nearing, Netflix continues promoting it. This time, however, they have really outdone themselves. The company unveiled a set of movie posters, paying tribute to some of the most iconic films from the '70s and '80s, and it's an amazing nostalgic delight.

The famous paranormal series that received eighteen 69th Primetime Emmy Awards nominations returns October 27. If you haven't watched the first season yet, there's still time to catch up. Until then, scroll down to enjoy the aesthetic homage to Steven Spielberg's 'Jaws', Ridley Scott's 'Alien', and other classics that heavily influenced the events and atmosphere in both Hawkins and the Upside Down.

#strangerthings #netflix #paranormal #horror #1970s #movies #films

7 Photos - View album

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My brother turned me on to this film, and I'm watching it tonight, as it's my night to stay up all night before my next graveyard shift. It's beautifully filmed, lyrical, full of magic and haunting images, and a film that will stay with you for a while. Newcomer Sunny Pawar is nothing less than astonishing and you will not be able to understand how great is acting is until you reflect on this film later.

Lion is a 2016 biographical film directed by Garth Davis (in his feature debut) and written by Luke Davies, based on the non-fiction book A Long Way Home by Saroo Brierley with Larry Buttrose. The film stars Dev Patel, Rooney Mara, David Wenham and Nicole Kidman.

The film, which had its world premiere at the Toronto International Film Festival on 10 September 2016, was given a limited release in the United States on 25 November 2016, by the Weinstein Company before opening generally on 6 January 2017. It was released in Australia on 19 January 2017 and in the United Kingdom on 20 January 2017.

Lion received six Oscar nominations at the 89th Academy Awards, including Best Picture, Best Supporting Actor (Patel), Best Supporting Actress (Kidman) and Best Adapted Screenplay. It won two BAFTA Awards for Best Supporting Actor (Patel) and Best Adapted Screenplay.


In 1986, Saroo, a five-year-old boy lives with his elder brother Guddu, his mother and his younger sister in Khandwa, India. Guddu and Saroo steal coal from freight trains to trade for milk and food. One day, Saroo follows his brother to a job and they arrive at a nearby train station, where Saroo decides to stay back and take a nap. Guddu tries to wake him up, but Saroo is too tired. When Guddu does not return, Saroo searches for him and boards a train presuming Guddu is aboard. He falls asleep again in one of the compartments, and wakes up to find the train in motion. After several days, it arrives in faraway Calcutta, where he does not understand the local Bengali language. He stands at a ticket counter and tries to obtain a ticket home, but the attendant does not recognise the name of his village, which Saroo says is "Ginestlay".He spends the night in the station with some streetchildren, but is then woken up and forced to run when a group of men try to kidnap them.

Saroo continues to wander around the city before coming across Noor, a seemingly friendly woman who brings him back to her apartment. She tells Saroo that a man, Rama, will help him find his way home. Saroo runs away, sensing that Noor and Rama may have sinister intentions, and escapes Noor when she chases after him. After two months of living near the Howrah Bridge, Saroo is taken to the police by a young man. Unable to trace his family, they put him in an orphanage. Three months later, Saroo is introduced to Mrs. Sood, who tells him she has placed an advertisement about him in several local newspapers, but no one has responded. She then tells him that an Australian couple is interested in adopting him. She begins to teach Saroo English and he moves to Hobart, Tasmania in 1987, under the care of Sue and John Brierley, where he slowly starts to settle in. A year later, they adopt another boy, Mantosh, who has trouble adjusting to his new home and suffers from rage and self-harm.

Twenty years later, Saroo, now a young man, moves to Melbourne to study hotel management. He starts a relationship with Lucy, an American student. During a meal with some Indian friends at their home, he comes across jalebi, a delicacy he remembers from his childhood. He confides that he is adopted, and his friends suggest he use Google Earth to search for his hometown in India. Saroo begins his search, but over time disconnects from Lucy, overwhelmed by the thought of emotions his family must have gone through when he was missing.

Saroo visits Sue, whose health is deteriorating, and learns that she is not infertile, but had chosen to help others in need through adoption, believing that there were already too many people on Earth. Saroo spends a long time searching fruitlessly for his hometown. One evening, while scanning Google Earth, he notices the rock formations where his mother worked, and then finds the area where he lived: the Ganesh Talai neighborhood of the Khandwa district. He finally tells his adoptive mother about his search, and she fully supports his efforts.

Saroo returns to his hometown, where he has an emotional reunion with his biological mother and sister, but learns that Guddu is dead. Guddu was killed by a train the same night that they went to the station as children. Saroo's mother never gave up hope and believed that one day her missing son would return, and never moved away from the village. The film ends with captions about the real Saroo's return to India in February 2012. Photos of the real Australian family are shown, as well as a video of Saroo and Sue meeting his biological mother in India, who deeply appreciates Sue's care for her son. Saroo later learned that he had been mispronouncing his own name, which was actually Sheru, a diminutive for sher, the Hindi word for "lion".

#lion #film #movie #india #australia #orphan #lifestories #biography


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I don't bother much lately with the news. I'd prefer to watch a binge session of classic Benny Hill episodes right now. He keeps me laughing, the 'ol bugger!

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I always enjoy the films of Christopher Nolan, and this film was no exception. Sometimes, it takes me years to catch up with so many great films, and I re-watched this again tonight with my brother. I think it was beautifully crafted and acted, and it was another fascinating tale from the minds of the Nolan brothers.

Thoughts? What did you think?

Review by Matt Zoller Seitz on (spoilers!)

Christopher Nolan’s "Interstellar," about astronauts traveling to the other end of the galaxy to find a new home to replace humanity’s despoiled home-world, is frantically busy and earsplittingly loud. It uses booming music to jack up the excitement level of scenes that might not otherwise excite. It features characters shoveling exposition at each other for almost three hours, and a few of those characters have no character to speak of: they’re mouthpieces for techno-babble and philosophical debate. And for all of the director’s activism on behalf of shooting on film, the tactile beauty of the movie’s 35mm and 65mm textures isn’t matched by a sense of composition. The camera rarely tells the story in Nolan’s movies. More often it illustrates the screenplay, and there are points in this one where I felt as if I was watching the most expensive NBC pilot ever made.

And yet "Interstellar" is still an impressive, at times astonishing movie that overwhelmed me to the point where my usual objections to Nolan's work melted away. I’ve packed the first paragraph of this review with those objections (they could apply to any Nolan picture post "Batman Begins"; he is who he is) so that people know that he’s still doing the things that Nolan always does. Whether you find those things endearing or irritating will depend on your affinity for Nolan's style.

In any case, there’s something pure and powerful about this movie. I can’t recall a science fiction film hard-sold to a director’s fans as multiplex-“awesome” in which so many major characters wept openly in close-up, voices breaking, tears streaming down their cheeks. Matthew McConaughey’s widowed astronaut Cooper and his colleague Amelia Brand (Anne Hathaway) pour on the waterworks in multiple scenes, with justification: like everyone on the crew of the Endurance, the starship sent to a black hole near Jupiter that will slingshot the heroes towards colonize-able worlds, they’re separated from everything that defines them: their loved ones, their personal histories, their culture, the planet itself. Other characters—including Amelia's father, an astrophysicist played by Michael Caine, and a space explorer (played by an un-billed guest actor) who’s holed up on a forbidding arctic world—express a vulnerability to loneliness and doubt that’s quite raw for this director.

The film’s central family (headed by Cooper, grounded after the dismantling of NASA) lives on a corn farm, for goodness’ sake, like the gentle Iowans in "Field of Dreams" (a film whose daddy-issues-laden story syncs up nicely with the narrative of "Interstellar"). Granted, they're growing the crop to feed the human race, which is whiling away its twilight hours on a planet so ecologically devastated that at first you mistake it for the American Dust Bowl circa 1930 or so; but there's still something amusingly cheeky about the notion of corn as sustenance, especially in a survival story in which the future of humanity is at stake. (Ellen Burstyn plays one of many witnesses in a documentary first glimpsed in the movie's opening scene—and which, in classic Nolan style, is a setup for at least two twists.)

Read the entire review here:

#interstellar #scifi #space #spaceexploration #dustbowl #films #hollywood #movies#matthewmcconaughey #annehathaway #christophernolan

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Saw this a few nights ago and I'm still not sure what to think of it. The visuals were stunning, amazing, and any one of a hundred other superlatives. But I suppose a story with a true heart was missing in this film, at least imho. I wanted so much more of this film...

Passengers is a 2016 American science fiction adventure film directed by Morten Tyldum and written by Jon Spaihts. It stars Jennifer Lawrence, Chris Pratt, Michael Sheen, Laurence Fishburne and Andy García. The film tells about two people who wake up 90 years too soon from an induced hibernation on board a spaceship bound for a new planet.

The film was released in the United States on December 21, 2016 in 2D and RealD 3D by Columbia Pictures. It has grossed $294 million worldwide. The film was nominated for Best Original Score and Best Production Design at the 89th Academy Awards.

Plot (Spoilers)

The starship Avalon is transporting over 5,000 colonists and crew in hibernation pods to the planet Homestead II, a journey that takes 120 years. Thirty years into its journey, the ship encounters an asteroid belt, in which it collides with a large asteroid. As a result of the collision, the ship's protective energy shield is weakened enough to allow a piece of it to pass through the shield, impacting the ship. This causes a malfunction that awakens one passenger, mechanical engineer Jim Preston (Chris Pratt), 90 years too early.

After a year of isolation, with no company except Arthur (Michael Sheen), an android bartender, Jim contemplates suicide. One day he notices beautiful Aurora Lane (Jennifer Lawrence) in her pod. Her video profile reveals she is a writer with a humorous personality. After struggling with the morality of manually reviving Aurora for companionship, he awakens her, claiming her pod malfunctioned like his. The only one knowing about what Jim did, is Arthur. He promises Jim to not tell Aurora about why she really woke up. Aurora, devastated she may grow old and die before the ship reaches Homestead II, attempts a fruitless effort at re-entering hibernation, just as Jim had tried. Eventually, she accepts her situation and begins writing a book about her experiences. Jim and Aurora grow closer, becoming lovers...


#scifi #scifimovies #passengers #chrispratt #jenniferlawrence #hollywood #space

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The Prestige

I always found this a fantastically nuanced film, full of magnificent cinematography and all the deft touches C. Nolan is known for. His movies fascinate me, and this film is worth watching a few times to see what you've missed.

The Prestige is a 2006 mystery thriller drama film directed by Christopher Nolan, from a screenplay adapted by Nolan and his brother Jonathan from Christopher Priest's 1995 World Fantasy Award-winning novel of the same name. The story follows Robert Angier and Alfred Borden, rival stage magicians in London at the end of the 19th century. Obsessed with creating the best stage illusion, they engage in competitive one-upmanship with tragic results.

The American-British co-production features Hugh Jackman as Robert Angier, Christian Bale as Alfred Borden, and David Bowie as Nikola Tesla. It also stars Michael Caine, Scarlett Johansson, Piper Perabo, Andy Serkis, and Rebecca Hall. The film reunites Nolan with actors Bale and Caine from Batman Begins and returning cinematographer Wally Pfister, production designer Nathan Crowley, film score composer David Julyan, and editor Lee Smith.

A co-production between Touchstone Pictures and Warner Bros. Pictures, the film was released on October 20, 2006, receiving positive reviews and strong box office results, and received Academy Award nominations for Best Cinematography and Best Art Direction. Along with The Illusionist and Scoop, The Prestige was one of three films in 2006 to explore the world of stage magicians.

Themes are important in this film, and many roads are explored in this film...

Themes (*SPOILERS)

The rivalry between Borden and Angier dominates the film. Obsession, secrecy, and sacrifice fuel the battle, as both magicians contribute their fair share to a deadly duel of one-upmanship, with disastrous results. Angier's obsession with beating Borden costs him a great deal of money and Cutter's friendship, while providing him with a collection of his own suicide victims; Borden's obsession with maintaining the secrecy of his twin leads Sarah to question their relationship, eventually resulting in her suicide when she suspects the truth. Angier and one of the twins both lose Olivia's love because of their inhumanity.

Finally, Borden is hanged and the last copy of Angier shot. Their struggle is also expressed through class warfare: Borden as The Professor, a working-class magician who gets his hands dirty, versus Angier as The Great Danton, a classy, elitist showman whose accent makes him appear American. Film critic Matt Brunson claimed that a complex theme of duality is exemplified by Angier and Borden, that the film chooses not to depict either magician as good or evil.

Angier's theft of Borden's teleportation illusion in the film echoes many real-world examples of stolen tricks among magicians. Outside the film, similar rivalries include magicians John Nevil Maskelyne and Harry Kellar's dispute over a levitation illusion. Gary Westfahl of Locus Online also notes a "new proclivity for mayhem" in the film over the novel, citing the murder/suicide disposition of Angier's duplicates and intensified violent acts of revenge and counter-revenge. This "relates to a more general alteration in the events and tone of the film" rather than significantly changing the underlying themes.

Nor is this theme of cutthroat competition limited to prestidigitation: the script incorporates the popular notion that Nikola Tesla and Thomas Edison were directly engaged in the War of Currents, a rivalry over electrical standards, which appears in the film in parallel to Borden and Angier's competition for magical supremacy. In the book, Tesla and Edison serve as foils for Borden and Angier, respectively.

Den Shewman of Creative Screenwriting says the film asks how far one would go to devote oneself to an art. The character of Chung Ling Soo, according to Shewman, is a metaphor for this theme. Film critic Alex Manugian refers to this theme as the "meaning of commitment." For example, Soo's pretense of being slow and feeble misdirects his audience from noticing the physical strength required to perform the goldfish bowl trick, but the cost of maintaining this illusion is the sacrifice of individuality: Soo's true appearance and freedom to act naturally are consciously suppressed in his ceaseless dedication to the art of magic.

Nicolas Rapold of Film Comment addresses the points raised by Shewman and Manugian in terms of the film's "refracted take on Romanticism":

Angier's technological solution—which suggests art as sacrifice, a phoenix-like death of the self—and Borden's more meat-and-potatoes form of stagecraft embody the divide between the artist and the social being.

#theprestige #movies #Hollywood #movies #magic #magician #christophernolan


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Zombies and Marital Strife: The Santa Clarita Diet

The Netflix show stars Drew Barrymore and Timothy Olyphant as a couple thrown off course when one of them becomes undead.

Okay, let me say this right up front. This series seems to elicit two main responses (and only two, apparently). Either you will love this, and find yourself frequently lol'ing, or you will hate this with a passion. I haven't seem too many reviews/responses in the gray area in between. I fu&^in love this show (as does my brother, who binge-watched it with me). The writing is amazing, the amount of comedy seems endless, and this is truly a show with a unique take on the zombie world. But it is definitely not a show everyone will love, and it takes a few episodes to reach it's stride. But at 1/2 hour each epi, binge-watching will fly by, and certain episodes (and scenes) will stick in your mind for a loooong time! (Trying to superglue a toe. Just sayin' ...)

SANTA CLARITA DIET Official Trailer (2017) Comedy, Horror, Netflix Series HD

#santaclaritadiet #comedy #zombies #netflix #tvshows #bingewatching

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United Artists Created on 5 February 1919

By 1919, Charlie Chaplin, Mary Pickford, Douglas Fairbanks and D.W. Griffith were all heavyweights in the rapidly growing motion-picture industry.

Chaplin was a British actor and former vaudeville performer whose “Little Tramp” persona had made him one of the biggest stars of silent film. Pickford, silent film’s favorite ingenue, and Fairbanks, her leading man on-screen and off, were equally familiar to American audiences, and Griffith’s controversial feature Birth of a Nation (1915) had become Hollywood’s first blockbuster, establishing the director as a pioneer in filmmaking techniques.

All four, however, were seeking to gain more financial and artistic control over producing and distributing their films. On February 5, 1919, they joined forces to create their own film studio, which they called the United Artists Corporation.

United Artists quickly gained prestige in Hollywood, thanks to the success of the films of its stars, notably Chaplin’s The Gold Rush (1925), as well as the work of actors such as Buster Keaton, Rudolph Valentino and Gloria Swanson. Chaplin directed UA films as well as acted in them, and Pickford concentrated on producing after she retired from acting in the 1930s. With the rise of sound during that decade, UA was helped by the talents (and bankrolls) of veteran producers like Joseph Schenck, Samuel Goldwyn, Howard Hughes and Alexander Korda. The corporation began to struggle financially in the 1940s, however, and in 1951 the production studio was sold and UA became only a financing and distributing facility.

By the mid-1950s, all of the original partners had sold their shares of the company, but UA had begun to thrive again, releasing such films as The African Queen (1951), High Noon (1952), Witness for the Prosecution (1957), Some Like It Hot (1959), The Apartment and The Magnificent Seven (both 1960) and West Side Story (1961). In addition, the company was responsible for the James Bond and Pink Panther film franchises. UA went public in 1957 and became a subsidiary of the TransAmerica Corporation a decade later.

UA films garnered a slew of Best Picture Academy Awards over the course of the 1970s, for Midnight Cowboy (1969), One Flew Over the Cuckoo’s Nest (1975), Rocky (1976) and Annie Hall (1977). Soon after that, however, five top executives left the company in a disagreement and formed the Warner Brothers-backed Orion Pictures. UA sustained an even more devastating blow in 1980, when it released the big-budget flop Heaven’s Gate, directed by Michael Cimino. Two years in the making and way over budget, the film earned less than $4 million at the U.S. box office. After that debacle, UA struggled throughout the 1980s. In 1981, MGM bought the company, merging with it in 1983 to become MGM/UA Entertainment. In a highlight of those relatively dark years, UA did release another Best Picture winner, Rain Man, in 1988.

In 1992, the French bank Credit Lyonnais acquired the corporation and changed its name back to Metro-Goldwyn-Mayer Inc., abandoning the United Artists name altogether. The James Bond and Pink Panther franchises were revived, with varying degrees of success. MGM changed hands and was reorganized repeatedly over the next decade and a half, during which UA was repositioned as a boutique producer of smaller, so-called “art house” films such as Bowling for Columbine (2002), Hotel Rwanda (2005) and Capote (2006). In November of 2006, MGM gave the actor/producer Tom Cruise (star of Rain Man) and his production partner, Paula Wagner, control over the United Artists production slate, announcing the decision as a “reintroduction” of the UA brand in the spirit of its founders. Cruise and Wagner, whose former deal with Paramount Pictures ended amid reported acrimony earlier in 2006, released their first co-production with UA, Lions for Lambs, in 2007.

Chaplin, Pickford and Fairbanks signing United Artists contract

#ua #unitedartists #hollywood #filmmaking #hollywoodstudios #charliechaplin #douglasfairbanks #dwgriffith #marypickford


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In Order of Disappearance (Kraftidioten)

Just finished watching this with my brother, and it definitely is a dark, black comedy with ample violence. Think of the death count in 'John Wick' and this is that on a smaller scale. Or think of Tarantino or The Cohen Brothers, and this gets close. This film has many comic touches, and is subtitled in English.

In Order of Disappearance (Norwegian: Kraftidioten) is a 2014 Norwegian black comedy action film directed by Hans Petter Moland and starring Stellan Skarsgård. The film had its premiere in the competition section of the 64th Berlin International Film Festival.


Nils (Stellan Skarsgård) is a snow plough driver somewhere in Norway. He learns that his son has died, supposedly of a heroin overdose. Nils knows his son was no addict but does not know what happened. While grieving he learns the local drug gang is behind the crime. He hunts down the two killers and kills both of them, but not before they confess. Based on this information, he goes after their boss. But a retaliation killing by the local boss puts him in the crossfire between two rival gangs: one local, one "imported" from Serbia.

#blackcomedy   #foreignfilm   #norway   #thriller   #vengeancethriller

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Is anyone watching this Syfy series? I just discovered it tonight. My brother just hooked up Vudu, Hulu, and Netflix via Roku and we stumbled on this show. It looks kind of fascinating to me, but I'm sure we must be in the middle of a season. The future tech is wildly cool so far. Thoughts?

Set in the year 2074, when corporations have unlimited power, this sci-fi thriller follows young executive Ben Larson, who hides his true identity to infiltrate a dangerous world to save the love of his life. Through a surprising turn of events, he is forced to compromise his position as he takes on the whole corporate system and discovers that climbing the corporate ladder can prove to be a deadly game. "Incorporated" has a strong behind-the-scenes pedigree, with Oscar winners Matt Damon and Ben Affleck among the show's executive producers.

And, of course, any show with Dennis Haysbert immediately captures my imagination!


The series takes place in a dystopian Milwaukee in the year 2074, where many countries have gone bankrupt due to a number of crises and climate change. In the absence of effective government, powerful multinational corporations have become de facto governments, controlling areas called Green Zones. The remaining territories are called Red Zones, where governance is weak or non-existent.


Ben Larson is a manager at Spiga Biotech, the largest corporation in the world. He works for Elizabeth, the estranged mother of his wife, Laura. In reality, he is a climate refugee from the Red Zone outside Milwaukee whose real name is Aaron. Aaron has infiltrated the Green Zone, assuming the identity of Ben Larson to search for his childhood love Elena, who through a series of unfortunate circumstances has become an executive club companion—a high-end, indentured prostitute who works at a Spiga "executive club" called Arcadia. Arcadia is an exclusive brothel for senior Spiga executives.

Aaron resolves to work his way up to a senior position in order to access Arcadia and rescue her. After framing his boss Chad for stealing classified information and ensuring his dismissal from the company, Aaron endeavours to get promoted to the now-vacant position and rescue Elena, all while maintaining his Ben Larson cover in the face of increasingly paranoid Spiga security scrutiny and competitive coworkers. He is assisted by Theo, Elena's brother who is still living in the Red Zone, and Reed, another Red Zone denizen who managed to assume a Green Zone persona years before Aaron managed the same feat.

INCORPORATED Comic Con Trailer SEASON 1 (2016) SyFy Series

#incorporated   #tvseries   #syfy   #dystopian   #futuristic   #corporations   #futuretech  
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