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And Mocking Bird was actually very close to that for sure. Its that special. Don't know if anyone else shares my sentiments. Poor Quincey - he never gets a look in on these movies. The script it was based on had its original production at the Cherry Streey Theater, off-broadway, directed by Robert Hall. The very same Robert Hall, years earlier had directed me in my first three real plays, for the Omaha Junior Theatre. He later went on to draw for Marvel Comics- Godzilla among other titles. I thought 28 days later was absolutely terrific and 28 weeks had a bit of a different feel to it but still good, just not quite as good. Really brought something different to the post-apocalypse sub-genre and had some truly amazing moments. The Hurt Locker (2008) Good movie, but didn't quite live up to the hype for me. Lots of great performances (particularly Jeremy Renner) and some very intense moments, but the scenes just didn't seem to flow properly and it took me a long while to get interested.

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Bhagawan actions are those that are worthy of emulation and worship. They could be three columns (parallel vertical paths to walk on) or three levels (parallel horizontal paths to climb up from level to level). The eye spots the co-existence of A, B and C as three distinct possibilities in the same realm. So, in the realm of ethics, there is the co-existence of God-like, Human and Demonic behaviors. There are combinations that are valued as a valid third element e. . sweet-sour, bitter-sweet. Looking beyond Indian culture to global culture, the growth of the internet, social media, gaming and digital interfaces are blurring the lines between real and virtual and creating a third zone that exists simultaneously. The development of robotics and artificial intelligence is doing something similar to the human and machine binary. Due to its advantageous geographical location, Crimea has always been a subject of interest for neighbouring countries. A strategically important spot for Russia, where its Black Sea fleet is based, and a fully legitimate land of the sovereign Ukraine, torn either by revolution or by civil war, Crimea once again is the focus of the controversy and political tension.

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But they can't pull it off without awkward transitions and bridges, including the perfunctory inclusion of an intrepid reporter who conveniently breezes in and out of the movie long enough to explain Ray's back story aloud. Perhaps it doesn't aim at the social-issue heights of those more prestigious films, and the acting is uneven to say the least, but give this monster movie credit for trying to get in the smart, edgy vein of some of John Sayles's early scripts for Roger Corman. A cable-TV news crew travels to Burundi to capture footage of (and, if possible, just plain capture) the enormous crocodile that's been terrorizing the local landscape. Making things more complicated: the local landscape is also being terrorized by a civil war. The film does a clever job of weaving the two scourges together, and the script by John Brancato and Michael Ferris pays surprisingly explicit attention to the way the West has been slow to acknowledge human-rights disasters in Africa, calling out Rwanda and Darfur by name. And the script even provides Gustave some behavioral motivation that recalls the it's-not-their-fault-it's-man's-fault spirit of 1950s monster movies. Directed by John Musker and Ron Clements (The Little Mermaid, Aladdin), The Princess and the Frog moves the classic fairy tale to a snazzy version of 1920s New Orleans. Tiana (voice by Anika Noni Rose), the first African-American Disney heroine, is not a princess, but a young woman who hopes to fulfill her father's dream of opening a restaurant to serve food that will bring together people from all walks of life. Tiana may wish upon a star, but she believes that hard work is the way to fulfill your aspirations. Her dedication clashes with the cheerful idleness of the visiting prince Naveen (Bruno Campos). A voodoo spell cast by Dr.

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And her appreciation for morbidity keeps the film from giving the impression that it is exploiting violent imagery in the name of entertainment. Even though it prominently displays gruesome images, it does not do so without reason nor is it done for the sake of shock value. It is brilliantly directed, very well written, features an excellent cast of characters, and explores body horror in a way that is fascinating and completely unexpected. It is currently available on DVD and Digital Download from Anchor Bay. He has previously penned for Fangoria Mag, Rue Morgue Mag, FEARnet, Fandango, ConTV, Ranker, Shock Till You Drop, ChillerTV, ComingSoon, and more. He lives with his husband, his dogs, and cat hat(s). Shake, Rattle and Roll has had a successful 14-film run since its introduction in 1984, and is composed of a three-part segment, each tackling a horrific experience: ghosts and folk creatures in provincial and city settings. My paper maps out the narratives, and the social and political contexts of the series. Specif ically, the period beginning 1984 marks a series of national transition: The political crisis of the Marcoses, People Power 1, the rise of Corazon Aquino, the economic crises in 1997 and 2007, the ousting of Joseph Estrada, the rise of neoliberalism, the coming of Noynoy Aquino, and the incarceration of Gloria Arroyo. How might these films also be read as analog of the anxieties of the nation. Shake, Rattle and R oll has had a successful 14-film run since its introduction in 1984, and is c omposed of a three-part segment, each tackling a horrific experience: ghosts and folk creatures in provincial and city settings.