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Lloyd. But the doggery returned in May under new ownership. The beer prices have gone up slightly, and it's serving liquor now. Although the place has been cleaned up, the mural of a buck-naked female matador in black high heels has been re-created on canvas. It still feels like you've stepped into Robert Rodriguez's â€śDesperado. €ť â€” Benjamin Olivo. That goes for Barbaro, the recently opened pizza restaurant and bar from the same restaurateurs who brought The Monterey to Southtown. Now it's Monte Vista's turn, and oh, what an effort. On the corner of McCullough and Huisache avenues, Barbaro's food is great, the drinks are great, and the interior is beautiful, from the exposed brick walls covered in an assortment of paintings and portraits, to the gorgeous bar. This comment, overheard during a recent visit to the bar, pretty much sums it up: â€śI don't have to go all the way to Southtown. €ť â€” Vianna Davila. Award-winning, upscale Austin sports bar has opened a San Antonio branch in the former home of Roaring Fork. Think dark wood and cushy booths, not neon beer signs and NFL team schedules. Outside, industrial fans keep a spacious, smoke-free patio tolerable even on hot, late-summer nights. When it gets a little cooler, the conversation area in front of a longhorn skull-topped fireplace will be a very hot spot. â€” Jim Kiest. Vino newbies are always welcome, too â€” the well-trained staff is always happy to educate. The restaurant and bar celebrates its seventh year in business this month.
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With a runtime of over three hours, the lm explores a number of subplots and interactions between the various characters that sometimes push the psychic goings-on into the background. The Green Mile is basically a gritty prison picture that is as much about racial prejudice and capital punishment as it is about the paranormal. On a dramatic level, the lm is earnestly acted and ably directed, although Darabonts script sometimes descends into bathos about Mr. Jingles the pet mouse and suchlike. The lm was nominated for four Academy Awards, including Best Picture and Best Supporting Actor for Michael Clarke Duncan, whose dignied, understated performance drives the lm. Despite its extensive length, little in the way of backstory about John Coffey is revealed, obscuring the source or nature of his mystifying powers. He is portrayed as a simpleton with little memory of the events of his life. Bearing the initials J. . Coffey is meant to suggest Jesus Christ, who was also an innocent miracle-worker put to death by the power structure. Like many screen psychics, Coffeys outward appearance is unusual, even menacing, and marks him as being other. The workings of his paranormal powers are attended by arcing electric lights, the trembling of the earth and other melodramatic events. During his execution, confronted by the victims families for a murder he did not commit, he tells them, Im sorry for what I am a common lament for screen psychics. Horror maven Stephen King, whose serial novel provided the source material for the lm, had previously expressed ambivalent attitudes about ESP phenomena in his books Carrie, The Dead Zone and Firestarter. In this context, it should be noted that Coffeys powers are not all sweetness and light, as he uses his abilities to compel one man to shoot another dead. Premonition (2007) stars Sandra Bullock as suburban mom Linda Hanson, whose cozy domestic life is shattered by a string of inexplicable events. 48 Cinema of the Psychic Realm Julian McMahon and Sandra Bullock watch future storm clouds approach in Premonition (2007). First, her husband Jim (Julian McMahon), who is away on a business trip, leaves a cryptic message on the answering machine.
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Similar films include The Haunting in Connecticut, The Amityville Horror, The Exorcism of Emily Rose and Anabelle. For me at least, this was not nearly as creepy as the first film, but I was still in my element (half squinting through my fingers throughout! . Worth a watch is the exceptional 2015 British TV Series, The Enfield Haunting, starring Timothy Spall and Michael McFadden, from the director of The Killing). You might also find yourself Googling the true recorded Enfield events after watching The Conjuring 2, as I did. The film contained a number of iconic moments (the scene with the clapping game induces shivers just thinking about it), introduced extremely likeable protagonists in the form of real-life paranomal investigators Ed and Lorraine Warren (played by Patrick Wilson and Vera Farmiga respectively) and established some notable nasties (such as the possessed doll Annabelle, who has subsequently featured in her own sub-par spinoff). The Conjuring certainly didnâ€™t reinvent the wheel and relied heavily on well-worn tropes (some might say cliches), but it was all done so effectively that it didnâ€™t matter. To an extent, Wan plagiarises no one more than himself with The Conjuring 2, and this new entry feels increasingly like a crossover with his equally good Insidious franchise. The two demons who serve as the main antagonists in Conjuring 2 have more than a little in common with Insidious 1 and 2â€™s Bride in Black and Insidious 3 â€™s Man Who Canâ€™t Breathe; to be honest theyâ€™re even a little less interesting. The set pieces will feel extremely familiar to fans of Wanâ€™s previous films (double storey houses, noisy childrenâ€™s toys, long-suffering mothers etc) but what remains impressive is Wanâ€™s ability to keep it all fresh. Together with cinematographer Don Burgess, they keep The Conjuring 2 moving like a roller coaster, building escalating tension and suspense to unbearable levels before dropping the viewer into increasingly vast plunges. This isnâ€™t just tenuous metaphor, the way in which the camera moves throughout the house gives the audience a distinct impression of being strapped in to a moving vehicle. This is not to say that the film lacks scares, just that it devotes a bit more breathing room in between them to developing the central characters. Wilson and Farmiga very effectively bring across the sincerity of their characters and Madison Wolfe deserves special mention for her portrayal of the tormented young girl Janet Hodgson. However it will require more of a shake-up than simply moving things to a different country in order to avoid the onset of deja vu. As a teenager in the 70s I spent most of my time in the cinema where you bought a ticket for 50 cents and could watch movies all day long. It was here where my life was transformed by the tragic heroines and charming cavaliers from the Golden Era of cinema in Gothic Romance films like Great Expectations, Rebecca and Jane Eyre (from the 30s and 40s). uillermo Del Toroâ€™s masterful Crimson Peak gloriously celebrates this long-lost era of great classics, where epic intimacy, tragic romance, and beguiling horror provided ultimate entertainment.
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Pennâ€™s cast included Anne Bancroft, Pat Oâ€™Brien, and Ray Collins. Charleyâ€™s Aunt was the old Brandon Thomas cross-dressing comedy giving Art Carney a fling with the wardrobe and featuring Jeannette MacDonald and Tom Tryon. The Dark Side of the Earth marked Pennâ€™s crossroads with Rod Serling, and starred Van Heflin, Kim Hunter, Dean Jagger, and Earl Holliman in a drama about the Hungarian revolution of October 1956, after Soviet Premiere Nikita Krushchev revealed the enormity of Stalinâ€™s crimes to the world. Co-starring were Barbara Turner, Ned Glass, Elizabeth Patterson, and Rudy Bond. After his great cinema success in the 1960s, Penn came back to TV in 1968 for Flesh and Blood, a family drama by William Hanley set in an apartment in the Yorkville section of New York City after the yuletide season. NBC agreed to air the show during its January setting, pushing the envelope with its dialogue, which contained several words that had never before been heard on network TV. Penn produced as well as directed, and his ensemble included E. G. Marshall, Suzanne Pleshette, Edmond Oâ€™Brien, Robert Duvall, Kim Stanley, and Kim Darby. Pennâ€™s next encounter with TV was a quarter of a century later. He was in the directorâ€™s chair for the adaptation of Tina Howeâ€™s play, Painting Churches, about a womanâ€™s return to her childhood home amid its sale to complete a painting of her elderly parents. Warm-hearted generational jabbering, the re-titled The Portrait starred Cecelia Peck and her father, Gregory Peck, making the piece a family affair in the tradition of the Fondas starring in Mark Rydellâ€™s On Golden Pond (1981). Lauren Bacall played the mother, balancing the parental star luster, and Pennâ€™s cast included Paul McCrane, William Prince, Donna Mitchell, and Colin Wilcox. Inside was a drama of South African apartheid, in which a police interrogator of conspirators is himself interrogated a decade later. Eric Stoltz stars as the unfortunate academic who runs afoul of the government. In the flash-forward scenes, Louis Gossett Jr. plays the interrogator of Nigel Hawthorne, who had tortured Stoltzâ€™s character 10 years earlier. Ian Roberts, Janine Eser, and Jerry Mofokeng co-starred.
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