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rating: 3,4 of 10 star; 2019; creators: Sophia Takal; review: A group of female students are stalked by a stranger during their Christmas break. That is until the young sorority pledges discover that the killer is part of an underground college conspiracy; Directed by: Sophia Takal; 1 h 32m.

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• 7 of 10
• Score - 102 Vote
• Duration - 93m
• Even for those who know little about dance, Merce Cunningham is a recognizable name - an iconic figure in his field. His mid-20th century collaborations with composer John Cage (his lifelong partner) and visual artist Robert Rauschenberg were central to an era of transformation. Cunningham resisted "avant-garde" or any other label. "I don't describe it. I do it," he once said. Now, with Cunningham, we have a chance to experience what he did. Filmmaker Alla Kovgan assembles the last generation of Cunningham dancers (led by Merce Cunningham Dance Company assistant director of choreography Jennifer Goggans) to present landmark works from the Cunningham repertoire. The film concentrates on the three decades from 1942 to 1972 when Cunningham was making his reputation. Gorgeously shot in 3D, Cunningham brings us closer to these works than any audience has ever been before. Taking an inventive approach with locations, the film places dancers in evocative backdrops such as a tunnel, a high-rise rooftop, and a forest. These current-day performances are interlaced with archival footage of Cunningham speaking and moving. We also hear illuminating interviews with Cage, Rauschenberg, and members of the original Merce Cunningham Dance Company, who endured years of rejection and outrage before they slowly won over audiences. "I never believed that idea that dancing was the greatest of the arts," said Cunningham. "But when it clicks, there's the rub. It becomes memorable. And one can be seduced all over again." Whether you come to Cunningham as a neophyte or an aficionado, you'll leave with a rich experience of his art
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Cunningham & associates. Cunningham funeral home bridgeport il. Cunningham and nelson funeral home. Movies | ‘Cunningham’ Review: Exploring Space, Time and Dance in 3-D Critic’s Pick Alla Kovgan’s documentary about Merce Cunningham shows aspects of his choreography that can be difficult to convey on conventional film. Credit... Mko Malkhasyan/Magnolia Pictures Published Dec. 11, 2019 Updated Dec. 13, 2019 Cunningham NYT Critic's Pick Directed by Alla Kovgan Documentary, Biography, Music PG 1h 33m The screen is flat, but the space is round, both infinite and enveloping. The human figures in it, camouflaged, should blend in with the background. But they stick out in every direction, moving every which way. This thrilling fragment of the choreographer Merce Cunningham’s 1958 dance “Summerspace” is sufficient justification to make a documentary about Cunningham in 3-D. The technology conveys aspects of his radical aesthetic that are otherwise difficult to suggest on film. And that’s only one reason that Alla Kovgan’s “Cunningham” is an excellent introduction to a great body of work that can be hard to get a handle on. One of Cunningham’s many innovations was to dissolve the spatial organization and frontal focus of the proscenium stage, making all parts equal, with dancers facing and moving in any orientation and often several things happening at once. Kovgan’s film doesn’t reproduce this so much as find a vivid equivalent. The camera, choosing what you see, diminishes the feeling of simultaneity. But by moving into and through the dances in 3-D, it offers an immersive sense of what Cunningham called “a space in which anything can happen. ” It helps you see how the air around a dancer can seem as alive as the flesh. If 3-D helps put Cunningham across, it isn’t required. Some of the most seductive footage here isn’t the new performances of old works (1942-1972) that Kovgan filmed in 3-D, like “Summerspace, ” but lower-resolution, 2-D archival footage, much of it rare and irreplaceable. What makes it irreplaceable are the original performers, especially Cunningham himself, surely one of the greatest dancers of all time. His longtime muse Carolyn Brown speaks of his “quiet center” and “animal authority”; we see all that and more. It’s another strength of the film that the voices we hear are hers and his and those of other company members, recorded long ago. No current-day experts are needed to establish the core ideas of the Cunningham aesthetic, from the use of chance in composition to the independence of dance and music. The choice not to use new or outside voices keeps us in the period, and it helps preserve a Cunningham-like tact around personal facts. Although much of the film proceeds in chronological order, there’s almost no biographical back story; the long-shrouded relationship between Cunningham and the composer John Cage is delicately (and moving) presented in a single exchange of inexplicit letters. Likewise, tensions between Cunningham and his dancers aren’t hidden, but they’re not over-explained, either. Emotion roils beneath a deceptively placid surface. A story accrues. The same tact extends to questions of meaning. Cunningham’s practical-gnomic explanations illuminate without shutting down options. Kovgan doesn’t follow Cunningham’s courage all the way, though. As if to compensate for the lack of 3-D in the archival material, she collages it, splitting the screen into many panels. It’s artful but effortful, drawing too much attention to itself. That’s also true of much of the new footage. The elegant camera movements and dramatic settings chosen by Kovgan — dance in a formal garden that the camera glides away from, over a pond, like a dragonfly — are beautiful but often distract from what they are intended to display. The 90-minute film excerpts 14 works, which means that the snippets are quite short. This excerpting has a precedent in Cunningham practice. He liked to mix up pieces of many works in one-off performances called Events. Formally and philosophically, his focus was on each moment, with little linear development. The well-chosen selections in “Cunningham” reproduce the variety of a Cunningham Event, and give the Cunningham experience of luminous instants. But what the film doesn’t give is an accurate sense of Cunningham time. In a Cunningham dance, the mind can wander, experience different rates of change, be baffled, engrossed, astonished, bored. The price of Kovgan’s efficiency is impatience, always cutting away and moving on. “Cunningham” registers the resistance that its subject encountered: the puzzlement, the thrown fruit. But as a film, it doesn’t take comparable risks, so it precludes the possibility of certain rewards, ones you have to see the full dances to get. That’s what makes it a good introduction. Cunningham Rated PG. Running time: 1 hour 33 minutes.

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• Great to see a film about dancing! A relatively unexplored sub-genre of documentary, and Cunningham was welcome for this alone. It adds to a hole that I suppose Wenders' Pina opened.

 

• On that note, this film should not have been shot in 3d, which added nothing but nausia. We expect the 3d was entirely for the purpose of (a) copying Pina and, relatedly, b) getting funding. But Cunningham's dances are far less spectacular and their presentation here likewise. The 3d only distracts from the movement in all but one Warhol-involved set, especially when edited with 2d archival.

 

• First half entertaining, second boring. The film progresses at a monotonous pace: one thing happens and then another and then another. No real conflict or tension.

Which is a problem. Because there evidently was plenty of this, but only in reality. The movie, on the other hand, brushes past unconvincingly. No one in the film is given space apart from Cunningham - everyone else speaks to convince the audience how great he is. I wanted to hear from one of his female dancers honestly, in long form, of the darkness of Cunningham. This would help to flesh out his character, give us something to chew on, and organise the film into a narrative. As is, we grew progressively distrusting and disengaged with the Greatest Hits/ Victory Lap tone, before the film ends suddenly with the news that all his dancers left.

• Ultimately we were left unconvinced that Cunningham (the dancer) was all that interesting. Fashionable certainly, he's attached to the right people, and I'm sure it would be great to be dancing as him, but the just-over-half-full prime-time-at-the-festival cinema was an endless circuit of yawns.

 

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Cunningham peaches. Cunningham cemetery. Cunningham's towson. | Glenn Kenny February 14, 2020 The minute Bill Cunningham starts talking in this charming documentary is the minute you fall in love with him. Mark Bozek ’s far-reaching but concise film about the New York Time s correspondent who considered himself not a photographer at all but a fashion historian—this despite the fact that the photographs that were the main part of his weekly “On The Street” column in that newspaper were exquisite—is structured around a 1994 interview Bozek made with Cunningham in 1994, when Cunningham was in his mid-sixties. (He died in 2016 at the age of 87, and was still riding his bicycle around New York City snapping shots for his column until that time. ) Advertisement In the interview he’s still boyish, with an excited voice and almost buck teeth. He’s still curious and animated about everything and laughs easily and often. He recounts being raised in Boston by strict conservative Catholic parents and discusses their befuddlement in his interest in fashion—no one else in his family, either immediate or extended, ever had a sou of an inclination in that arena. Cunningham moved to New York in the ‘40s to be a milliner. He worked for the store Bonwit Teller, he made hats for Ginger Rogers and Marilyn Monroe, he fell in with the fashion house Chez Ninon. He dyed a Balenciaga dress black so that Jacqueline Kennedy could wear it to her husband’s funeral. He had a deep knowledge of couture lore and semiotics, especially in relation to high society. He remembers being disappointed that Hollywood figures in real life had no “style” in their personal lives, as opposed to people such as “Mrs. Astor” and such, who would, I presume, fall out of bed in Dior or whoever. He’s so ingratiating that when he outlines this stuff, classism seems amiable. Which is not to say he was an uncritical classist. He discusses how his work on the streets sensitized him to homelessness and other sufferings the city held for people. Constantly self-deprecating, Cunningham recalls how employers and friends were constantly encouraging him to do something else. After being gifted with a camera, he found it. Setting himself up in a spartan studio-with-loft at the Carnegie Apartments—where he lived, sleeping on a twin bed mattress placed atop a row of storage crates—he got on his bike and rode, taking pictures of what people were wearing on the street. Then flying across the Atlantic, his changes of clothes in plastic deli bags, to shoot Paris runway shows. He was an unusual person. He keeps up a cheerful front but can break down in tears in less than two seconds when asked a question that hits him a certain way. He survived the AIDS crisis—he never actually addresses his personal life, or even whether he had one, in the movie, and neither does the narration affectionately provided by Sarah Jessica Parker —but is broken up remembering it. It is revealed that he donated most of what he earned over the years to AIDS charities, and to the Catholic Church. We won’t see his like again. Which is a good reason to rejoice for this engaging portrait of him, the second documentary about him in the space of a decade. The first was 2010’s “ Bill Cunningham New York. ” He didn’t see that one. He did go to the premiere, and photograph the attendees, though. Reveal Comments comments powered by.

Critics Consensus Cunningham may frustrate viewers hoping for a purer distillation of its subject's work, but it remains a solid tribute to a brilliant talent. 87% TOMATOMETER Total Count: 52 100% Audience Score User Ratings: 6 Cunningham Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Cunningham Videos Movie Info CUNNINGHAM traces Merce's artistic evolution over three decades of risk and discovery (1944-1972), from his early years as a struggling dancer in postwar New York to his emergence as one of the world's most visionary choreographers. The 3D technology weaves together Merce's philosophies and stories, creating a visceral journey into his innovative work. A breathtaking explosion of dance, music, and never-before-seen archival material, CUNNINGHAM is a timely tribute to one of the world's greatest modern dance artists. Rating: PG (for some smoking) Genre: Directed By: In Theaters: Dec 13, 2019 limited On Disc/Streaming: Mar 24, 2020 Runtime: 93 minutes Studio: Magnolia Pictures Cast News & Interviews for Cunningham Critic Reviews for Cunningham Audience Reviews for Cunningham Cunningham Quotes Movie & TV guides.

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But I know that if I stay stunting All these girls only gon' want one thing I can spend my whole life goodwill hunting Only good gon' come is this good when I'm cumming She got a ass that'll swallow up a G-string And up top, ungh, two bee stings And I'm beasting off the Riesling And my nigga just made it out the precinct We give a damn about the drama that your dude bring I'm just tryin' to change the color on your mood ring Reebok, baby, you need to try some new things Have you ever had shoes without shoe strings? "What's that, Ye? " "Baby, these heels. " "Is that a May— what?! " "Baby, these wheels. " You trippin' when you ain't sippin', have a refill You feelin' like you runnin', huh? Now you know how we feel [Outro: Jay Z & Rihanna] Whassup! Yeah, yeah, whassup! We gon' run this town tonight About “Run This Town” The three principal artists of Jay-Z’s newly-formed Roc Nation record label—Kanye West, Rihanna, and the Hov himself—announce to the world that they “run the town. ” Jay explained the clear nature of the track in an interview with Tim Westwood, saying: We basically run this town. It’s myself, Rihanna and Kanye. [That’s] pretty much it. The song made its radio debut on July 24, 2009 at 9:11am to coincide with the album’s planned release date of September 11, 2009. Rihanna’s contribution was her first musical appearance following a domestic violence altercation with her ex-boyfriend Chris Brown earlier that year. “Run This Town” was a highly successful single for Hov, peaking at #2 on the Billboard Hot 100 and topping the charts in the United Kingdom. Officially it has been certified 2x Platinum by the RIAA, with Billboard estimating sales of 3, 490, 000. RTT won two Grammy Awards in 2010, for “Best Rap/Sung Collaboration” and “Best Rap Song. ” The video game Battlefield 4 used the track as its theme song in 2013. What has Jay-Z said about the track? The Def Jam contract had run its course —ending in a great way, which never happens—and this felt like the right message to send on The Blueprint 3. The song is about the formation of Roc Nation —planting our flag in the ground. Me, aligned with the two greatest artists that I’ve found—Kanye West and Rihanna. The growth of us. It was originally a Rihanna demo but I took it in another direction. I wanted the whole song to feel like a march, a battle cry. Muhammad Ali had the shortest poem ever: ‘Me: We! ’ My statement was ‘We Are! ’ Maybe you didn’t hear me? We Are. Yeah I said it. We Are. How did Kanye feel about the track's place as a single? At a Watch the Throne listening session in 2011 Jay explained how Kanye had originally argued against releasing “Run This Town” as a Blueprint 3 single, when he became convinced that the song wasn’t a hit after watching the reaction to the record at a barbecue hosted by the Heavy Hitters. What has No I. D. said about the song? That was initially a Rihanna record. She came down to Hawaii and we did it. We did a few records for her—and two of them became ‘Run This Town’ and Drake’s ‘Find Your Love. ’ She came down and cut the record and then she passed on it. We were all like ‘What? You’re passing? ’ Jay heard it and said ‘This is my record now. ’ Then Kanye heard it and said ‘Nah, don’t give Jay that record—that’s my record. ’ [Laughs] Then Jay hits me and says, ‘Don’t let Kanye get that record. ’ So Jay got it, and Kanye ended up doing a verse. It was a memorable moment. We won a Grammy, but when you have those three on a record, you’re supposed to win a Grammy. That was a monster that didn’t sound like a commercial record. It was a pure hip-hop beat, and darker than a traditional pop record. via Complex. "Run This Town" Track Info Recorded At Roc The Mic Studios (New York City, New York); Westlake Recording Studios (Los Angeles, California); Avex Honolulu Studios (Honolulu, Hawaii) Release Date September 8, 2009.

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• Release year: 2020
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• Théodore Pellerin
• 1H 41 Minute
• Liked It: 51 vote
• Eliza Hittman

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Free movie never rarely sometimes always full movie. Free movie never rarely sometimes always imdb. Watch the Official Trailer from English movie 'Never Rarely Sometimes Always' starring Sidney Flanigan, Talia Ryder, Théodore Pellerin, Ryan Eggold, and Sharon Van Etten.. 'Never Rarely Sometimes Always' movie is directed by Eliza Hittman and produced by Lia Buman. To know more about 'Never Rarely Sometimes Always' trailer watch the video. Check out the latest English trailers, new movie trailers, trending English movie trailers, and more at ETimes - Times of India Entertainment. Read More.

I was born in 1966 and in Australia and heard of this from my parents growing up. It was a different time, but there was no way my parents, Mum in particular would have let my older siblings be responsible for me. They weren't old enough to take care of themselves. We did play outside but we stayed in the yard, or rode our bikes around the block. We were taught never to go with anyone even those we knew unless Mum or Dad had told us before hand. We were never allowed to go to friends places without making arrangements and that the parents were home. We had rules and we followed them. These children should never have been alone, times may have been different but the person/ people who took these children are the same, now as then. But ultimately the parents are the ones who let their children go off alone.

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What we see in a work of art depends on how we look at it. That’s certainly true of Eliza Hittman’s “Never Rarely Sometimes Always. ” The subject is explosive—a pregnant 17-year-old, Autumn (Sidney Flanigan), travels with her cousin and best friend Skylar (Talia Ryder) from rural Pennsylvania to New York City in search of a safe abortion. And the filmmaker’s point of view is quietly but passionately pro-choice. Still, this tough-minded, forthright and exquisitely tender film transcends polemics. It’s the odyssey of a lost child in poorly charted territory. When...
I just watched the trailer for this movie and offered a prayer for every girl, and her baby) who finds themselves in this situation. I genuinely hope things turn out well for everybody; including the girls in the movie.
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Free Movie Never Rarely Sometimes always. Sidney Flanigan in "Never Rarely Sometimes Always" (Focus Features) Eliza Hittman spoke to Salon about focusing her film on a teenager seeking an abortion & her New York journey Mary Elizabeth Williams March 13, 2020 9:00PM (UTC) "Great, " cracks Eliza Hittman. "My most hated place on earth at the moment. " We are in the back seat of car, crawling through early rush hour traffic past one of the grimmest structures in New York City — the Port Authority. The busy writer and director is running behind on a press day for her new film, so our conversation is being conducted as she's en route from one engagement to another. Yet it feels entirely fitting to be here, on the move and in front of the bus station, with the director of an abortion road movie that uses that site as a crucial film location. "We wrapped our movie right in there, " she says. "We drank beer in the parking lot at 6 a. m. " "Never Rarely Sometimes Always, " Hittman's third feature-length drama, follows taciturn Pennsylvania teen Autumn (the revelatory newcomer Sidney Flanigan) as she traverses state lines to enter New York for an abortion. It's a dark, picaresque story, with Autumn's resourceful cousin Skylar (Talia Ryder) along for the ride to help her terminate her pregnancy in a state where parental consent is not required. Hittman has referred to the movie as the anti-"Juno, " though it is not without its currents of satire. It pointedly opens on a '50s-style school talent show, and Autumn strumming The Exciters' "He's Got the Power. " To create the story, Hittman herself journeyed by Greyhound bus from a small former coal town in the Keystone State to New York. "It was a way to look for inspiration and to try to immerse myself in the characters' point of view and experience and to feel my writing process, " she says. "The only bus that comes through is actually known for dropping off on heroin. Someone gets off and does a pass off of heroin and gets back on the bus. It's a very dark place, and I didn't capture the darkness of that place — but we felt it for sure. " She adds, "I just got on the bus and wanted to see what the characters saw and I wanted to see who got on the bus. I wrote from those moments and made little video sketches on my iPhone to document my own trip. It was a fun way to discover the story. " That story is an enigmatic one. The details of Autumn's life emerge slowly, and much is left for us to figure out. We see her toss a a glass of water in a taunting male classmate's face. We meet her sneering stepfather (or maybe father? ), who calls the family dog "a little slut. " We watch her work as a cashier with her cousin, where the two are subjected to the gross approaches of men far too old, and an end of shift transfer of cash that comes with a creepy kiss on the hand from the boss. The girls bear it all with a disgust the males around them seem entirely oblivious to — but they also know that confident cluelessness is one of the few tools they have in their defense, and they use it to their advantage. Early on, Autumn goes to a "women's health center" that soon reveals itself to be an anti-abortion front, where she confirms that she's pregnant. She goes home and promptly pierces her nose, a defiant act of simultaneous self-harm and self-care. "It shows her taking agency over her body, " says Hittman, "but it also alludes to the past. There's something violent and sexual about watching her push this needle through her skin. I wanted it to be both, and for the audience to cover their eyes as they watch it. " Autumn listens to the gentle coercion from the kindly folks at the center. She Googles. She desperately tries to self-abort. Finally, she and Skylar wind up in New York, lugging an enormous suitcase block after often rainy block, through turnstile after turnstile. That suitcase serves as a metaphor; it's the weight the girls carry around this world, the burden that makes it hard for them to move freely. It's also a prop, of course. "I read an article a long time ago about women who travel to New York for abortions and there was one small detail in it that women overpack, " says Hittman. "It planted an image in my mind that I couldn't shake. Because on some level I think there's this delusional expectation that you're going to go to New York and maybe have some tourist experience while you're there. But the reality is that you're just going there for an abortion. " What the girls assumed would be a quick procedure soon turns into a days-long odyssey, with nowhere to stay and rapidly dwindling funds. That they are managing this, emotionally and physically, through one person's second trimester abortion and the constant shadow of harassment and worse is enough to make you leave the theater and go donate some money to Planned Parenthood right away. I know I did. In the pivotal scene that gives the film its name, (and yes, Hittman is aware there's technically a missing "Often" in there) a clinic counselor goes through a checklist with Autumn about her about sexual history. The two females go back and forth, as the questions become more intimate and Autumn starts to hint at the circumstances of her pregnancy. The counselor is played by real life social worker Kelly Chapman, who worked with Hittman on developing the scene, and her reassuring steadiness grounds the whole encounter. It's a difficult and moving dialogue, one in which the stoic girl lets her facade crack just a little, even as she's trying to compose herself. The film never reveals any more than Autumn's minimalist responses, including the identity of the father. "I wanted to focus on the environment as being antagonistic toward her, rather than having an antagonist, " explains Hittman. "I always knew from the beginning that it was her story, and that it wasn't about her confronting this person. " What it does instead is show, unwaveringly, Autumn's strong sense of what is the right action for her, and her determination to do just that in spite of a punitive, misogynistic legal system eager to make it as difficult and humiliating and expensive as possible. There is much about "Never Rarely Sometimes Always" that is intensely unsettling and enraging. It should be. It is an unsettling and enraging state of things when a young girl who has been sexually victimized has to run a near impossible gauntlet of manipulation, misinformation and barricades to have a constitutionally protected procedure. It is unsettling and enraging that this scenario is being played out again and again in towns all across our country. But please don't think the film is a downer, or too hard to bear. It is also an affecting testament to resilience, and to the power of female bonds. Throughout much of the story, Autumn and Skylar endure the unasked-for touches of males whose sense of entitlement extends all the way to their bodies. The girls, however, use touch in a different way — to communicate their support and loyalty. In a moment at the bus station, they can't speak, but no words are necessary. Our country fails our girls and women in so many ways. But there is also quiet grace and love to be found and held on to, when we need it most, when we reach out for it. Even in the darkest hours. Even in the Port Authority. "Never Rarely Sometimes Always" is currently playing in select theaters. Mary Elizabeth Williams is a staff writer for Salon and the author of "A Series of Catastrophes & Miracles. " MORE FROM Mary Elizabeth Williams • FOLLOW embeedub.

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Free movie never rarely sometimes always movie. James Stewart. Rear Window. I love this story so far! Can't step away from it. ❤. 9:54. these guys are standing awfully close to each other 🤔. Holy fuck! Its amazing! Cant wait for the next part! DAMN THIS IS GOOD! Ahaha I hope they make a series of Andrew and the aviserating matchs. Free Movie Never Rarely Sometimes always love. View photos Click here to read the full article. The basic plot of “ Never Rarely Sometimes Always ” is easy enough to describe. A 17-year-old girl named Autumn (Sidney Flanigan) winds up pregnant in a small Pennsylvania town. Prevented from seeking an abortion by the state’s parental consent laws, she takes off for New York City with her cousin Skylar (Talia Ryder), where what they’d assumed would be a one-day procedure winds up proving considerably more complicated. But that synopsis, and the polemical “issue movie” treatment it might suggest, hardly does justice to the surgically precise emotional calibration of writer-director Eliza Hittman ’s exceptional film, which is both of a piece with, and a significant step forward from, her prior youth-in-crisis works “Beach Rats” and “It Felt Like Love. ” At once dreamlike and ruthlessly naturalistic, steadily composed yet shot through with roiling currents of anxiety, “Never Rarely Sometimes Always” is a quietly devastating gem. More from Variety 'Promising Young Woman' Blows Away Sundance by Taking On Toxic Masculinity (and Britney Spears' 'Toxic') 'Dick Johnson is Dead': Film Review 'Timmy Failure: Mistakes Were Made': Film Review When we first meet Autumn – introverted, morose, standoffish – she’s singing a confessional folk take on “He’s Got the Power” at her high school talent show, only for a boy in the audience to interrupt her with a shout of “slut! ” A tense exchange in a pizza place with her ineffectually supportive mother (Sharon Van Etten) and openly hostile step-father (Ryan Eggold) follows, and the fact that her heckler is casually sitting a few tables over tells us everything we need to know about the claustrophobia of her hometown. When she gets back to her bedroom, she takes a look at herself in the mirror, and her eyes naturally turn to the growing bump in her lower abdomen. Autumn finds little help at the women’s clinic downtown, where the nurses are outwardly warm and reassuring, though a close read of their word choices makes it fairly clear where they come down on the Roe v. Wade debate. Since an abortion in the state requires a parent’s permission anyway, Autumn makes some hesitant, though plenty harrowing, attempts to end the pregnancy herself. Fortunately her cousin Skylar, with whom she works at a run-down grocery store, quickly figures out Autumn’s secret. Slipping some $10s from the register into her pocket, she wordlessly agrees to accompany her to New York for an abortion, and they hop on a Greyhound the next morning. Once they get there, they find themselves shuttled back and forth through the labyrinthine corridors and roadblocks of the American health care system, which forces them to remain in the city much longer than they’d bargained for. Not having anywhere to stay, they spend the rest of their trip slogging sleeplessly from one station to another, lugging their shared suitcase up staircase after staircase, and though both girls are in way over their heads, Hittman never portrays the city as a menacing urban wasteland – like so much of the adult world, it’s simply indifferent to them. (Which is not to say that the film is without threats. Throughout, Hittman makes us feel the weight of pervasive male attention. Whether it’s a creeper on the subway, a flirtatious older supermarket customer, or even an ostensibly harmless college kid (Theodore Pellerin) who tries to talk up Skylar on the bus, the fear of men barging their way uninvited into these girls’ lives hangs heavy over everything. ) Hittman’s screenplay is a marvel of economy, never wasting time filling in relationship details or backstories when they can be more powerfully hinted at. Most obviously, we never learn the father of Autumn’s unborn child, though the film subtly offers two possible candidates – neither are good, and one is particularly bad. The scene that provides the film’s title is a gut-churning back-and-forth at a clinic that opens several new doors into even darker chapters in Autumn’s past, all of which are left purposefully, and hauntingly, unexplored. We may not quite get under Autumn’s skin, but that’s by design. It isn’t just that she holds everyone at arm’s length, but that she’s a girl for whom survival is contingent upon compartmentalizing trauma, and Flanigan – a first-time actor – has a disarming way of parceling out tiny fragments of Autumn’s inner life, only to quickly raise her defenses again as soon as she realizes that she’s doing it. Skylar is considerably more outgoing, though she knows her cousin too well to try and draw her out. Indeed, the most eerily magical moments in the film are the ones that show Autumn and Skylar’s almost telepathic communication. With just a shared glance, a squeeze of the hand, or a minute spent applying one another’s makeup in a bathroom, Flanigan and Ryder are able to speechlessly convey things to which other films might devote pages of dialogue – not just reactive emotions, but complex decisions, explanations, assurances. Both performances are outstanding. But what’s most remarkable about “Never Rarely Sometimes Always” is the way it manages to honor the gravity of Autumn’s experience without ever sensationalizing it, or allowing the film to veer toward melodrama. It’s clear that taking this trip is one of the biggest, scariest things she’s ever done, but once the film fades to black, it’s easy to imagine Autumn resuming her life more or less the same way it had been before. It’s easy to imagine her never mentioning the experience again, consigning it to yet another of the emotional lockboxes she keeps deep inside. This may as well be the sort of thing that happens to teenage girls all the time. Because, of course, it is. Sign up for Variety’s Newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram. View photos.

 

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Release Year 2019
scores 8122 votes
directed by Wilson Yip

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Publisher: Donna Dolittle
Resume: Animal Communicator, Medium, Reiki Master, Intuitive Healer and Course Facilitator.Empowering People and Animals to heal themselves and others 💕🙏🐾

Release Year - 2020 writed by - Stephen Gaghan Duration - 101 Minutes Genres - Comedy UK. ————————.

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Doctor Dolittle was great by disney in the 60's, Eddie did a great job but it wasn't needed. No more remakes of this tribble please. Find Out More Choose a format and edition 4K Ultra HD Standard Edition 4K Ultra HD + Blu-ray + Digital 4K Ultra HD + Blu-ray + Digital Buy Now Blu-ray Standard Edition Blu-ray + DVD + Digital DVD Standard Edition DVD Digital Digital Original Version On Demand On Demand. Die fantastische reise des dr. doolittle village. Die fantastische reise des dr. doolittle la. Die fantastische reise des dr dolittle casting. Die fantastische reise des dr. doolittle mo. Die fantastische reise des dr. dolittle full. Die fantastische reise des dr dolittle soundtrack. Die fantastische reise des dr. dolittle characters. Die fantastische reise des dr. dolittle 5.

Die fantastische reise des dr. doolittle movie. Doctor Dolittle may refer to: Doctor Dolittle, the central character of a series of 14 books written by Hugh Lofting between 1920 and 1952 Doctor Dolittle (1967 film), a 1967 Rex Harrison film musical Doctor Dolittle (TV series), a 1970 DePatie-Freleng animated television series Doctor Dolittle (musical), a 1998 stage musical with book, music and lyrics by Leslie Bricusse, based on the 1967 movie Dolittle (film), a 2020 film primarily based on The Voyages of Doctor Dolittle or, a series of films remaking the 1967 original: Dr. Dolittle (1998 film), a 1998 film starring Eddie Murphy Dr. Dolittle 2, a 2001 sequel to the 1998 film and Eddie Murphy's last in the series Dr. Dolittle 3, a 2006 direct-to-video (DTV) sequel starring Kyla Pratt, the original daughter throughout the series Dr. Dolittle: Tail to the Chief, a 2008 direct-to-video (DTV) sequel Dr. Dolittle: Million Dollar Mutts, a 2009 direct-to-video (DTV) sequel See also [ edit] Dolittle (programming language) Doolittle (disambiguation).

Die fantastische reise des dr dolittle tiger. Die fantastische reise des dr. dolittle besetzung. Sometimes you just want more for someone, even if they are rich, famous, and probably doing fine. Today, that person is Robert Downey Jr., star of Dolittle, in which he plays an eccentric doctor who can talk to garish, computer-generated animals. Dolittle is Downey’s first big feature film after retiring from the Marvel Cinematic Universe, yet he exhibits none of the trademark charisma audiences might hope for after ten years of Tony Stark (and a few years as a pretty fun Sherlock Holmes). Like a good fairy tale, the movie delivers Doctor Dolittle’s backstory via storybook illustrations: how John Dolittle and his wife devoted their lives to helping animals, could speak their languages, and how her death during a voyage at sea caused him to retreat from the world, becoming a hermit in his manor / nature preserve. He’s forced to abandon his agoraphobic lifestyle when two children intrude to tell him the Queen of England is sick, and if she dies, the successor to the throne has plans to take Dolittle’s estate from both him and the animals he safeguards. It’s perfectly inoffensive stuff, until Robert Downey Jr. opens his mouth and starts speaking with a bizarre Welsh accent, one that you’ll refuse to accept for about a third of the movie and yet somehow he just keeps doing it. It’s a performance that’s a bummer in more ways than one. Downey Jr. has excellent manic energy that makes him well-suited to playing weirdos and misanthropes, and plenty of folks are probably hoping to see him loosen up a little post-Marvel. Unfortunately, that’s very hard to do when you barely share the screen with another human being. This is where it helps to remember that Dolittle is a very expensive, high-profile kids’ movie, and that these days it’s quite rare to get such an expensive failure in this realm. The movie is mostly a vehicle for talking animals, and like any movie with talking animals, the menagerie talks too much. Some of this is mitigated by the fact that their voices are recognizable — Kumail Nanjiani voices a stubborn ostrich, Jason Mantzoukas plays a very annoying dragonfly — but the movie is also aggressively unfunny. The biggest laughs come from surprise at completely bizarre swings: a barely euphemistic dick joke; goofs about divorce and abortion (the ostrich’s dad says he “should’ve been an omelet”); and a bizarre dragon colonic, where Dolittle reaches into the giant lizard’s (obscured) rectum to pull out bagpipes and a set of armor. The best stuff is from human actors who briefly appear in somewhat villainous roles. Antonio Banderas plays the king of a foreign land with a bone to pick with Dolittle, and Michael Sheen is the doctor’s longtime rival. Both actors are no strangers to being the best part of whatever they’re in, and they continue the streak here. Unfortunately, this movie was a disaster before the cameras even started rolling. It was initially written and directed by Stephen Gaghan, a filmmaker mostly known for serious adult dramas like Syriana. Dolittle — then called The Voyage of Doctor Dolittle, much like the classic novel it’s based on — was retooled by two different filmmakers with more family-friendly bona fides, a process that works for some big-budget films, but absolutely did not help this one. It’s a mess. Dolittle is repeating history. The original 1967 Doctor Dolittle was a legendary flop that was also a notoriously troubled production, a bizarre role for its star Rex Harrison to choose and a questionable choice for all involved parties. Dolittle is much the same, a big disaster on a scale that’s rarely seen — although this time it’s not because movies are rarely this expensive. It’s because they’re often too expensive to really be a complete failure. These days, money doesn’t buy quality, but it often does buy competence. Just not all of the time. I do not regret my time spent with Dolittle. No one, as my editor reminded me, made me see it. This was entirely my decision. I do, however, feel preemptive regret on behalf of others, namely the parents who will be made to see Dolittle for what’s likely to be a total of 87 times come December. The movie is dreck made just acceptable enough for children with still-developing frontal lobes, one that would bore most adults to tears if it didn’t stop to do things like give a dragon a colonic. I will think a lot about the Monday night I spent watching it for another two weeks, and then I will likely forget it ever happened.

Critics Consensus Dolittle may be enough to entertain very young viewers, but they deserve better than this rote adaptation's jumbled story and stale humor. 14% TOMATOMETER Total Count: 209 76% Audience Score Verified Ratings: 11, 451 Dolittle Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Dolittle Videos Photos Movie Info After losing his wife seven years earlier, the eccentric Dr. John Dolittle (Robert Downey Jr. ), famed doctor and veterinarian of Queen Victoria's England, hermits himself away behind the high walls of Dolittle Manor with only his menagerie of exotic animals for company. But when the young queen (Jessie Buckley, Wild Rose) falls gravely ill, a reluctant Dolittle is forced to set sail on an epic adventure to a mythical island in search of a cure, regaining his wit and courage as he crosses old adversaries and discovers wondrous creatures. The doctor is joined on his quest by a young, self-appointed apprentice (Dunkirk's Harry Collett) and a raucous coterie of animal friends, including an anxious gorilla (Oscar (R) winner Rami Malek), an enthusiastic but bird-brained duck (Oscar (R) winner Octavia Spencer), a bickering duo of a cynical ostrich (The Big Sick's Kumail Nanjiani) and an upbeat polar bear (John Cena, Bumblebee) and a headstrong parrot (Oscar (R) winner Emma Thompson), who serves as Dolittle's most trusted advisor and confidante. Rating: PG (for some action, rude humor and brief language) Genre: Directed By: Written By: In Theaters: Jan 17, 2020 wide On Disc/Streaming: Mar 24, 2020 Runtime: 106 minutes Studio: Universal Pictures Cast News & Interviews for Dolittle Critic Reviews for Dolittle Audience Reviews for Dolittle Dolittle Quotes Movie & TV guides.

Die fantastische reise des dr. dolittle cast. I GOT A FREAKING HEART ATTACK WHEN I SAW MICHAEL SHEEN! XDD So there's gonna be three of my most fave actors in here SHUT UP AND TAKE MY MONEY. So this is where Sherlock Holmes ended up after his death, and found little Iron Boy Jr too.

I'm gonna tell my children this was Captain America

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The Witcher Pitch Meeting. Die fantastische reise des dr. dolittle 3. Pitch Meetings have far more replay value than the actual movie they are about. There's a hint of vin diesals voice when Bane says with no survivors. Dublaj çok kötü. Die fantastische reise des dr. doolittle park. Die fantastische reise des dr dolittle drache. Lets be real here, we all thought Dolittle would flop. However i have seen it. It is magical and wonderful. Good for all the family. 9/10. Robert Downey Jr doing a Welsh accent is awesome! 🏴󠁧󠁢󠁷󠁬󠁳󠁿.

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I personally loved Dolittle. I family movie with lots of laughter and joy. I recommend

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