‘Someone From Nowhere’ – Variety – Sharing Variety Magazine

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Thai filmmaker Prabda Yoon delivers suspense with a surreal touch in this gripping domestic psychodrama.

An injured man turns up in a woman’s apartment and claims he’s its real owner in “Someone from Nowhere,” a gripping existential psychodrama by multitalented Thai filmmaker Prabda Yoon. In a stylistic backflip from his flashy, trashy and occasionally inspired debut feature “Motel Mist,” Yoon delivers a precision-tooled two-hander that begins as a home invasion thriller and turns into a tense and sometimes surreal discourse on identity, memory and survival. Armed with a killer final line of dialogue that’s sure to get many viewers thinking and talking about what they’ve just seen, this quality item should notch plenty of festival mileage and has theatrical art house potential locally and regionally. Domestic release details are pending.

A noted multimedia artist, novelist and scriptwriter whose credits include the Pen-ek Ratanaruang-directed features “Last Life in the Universe” and “Invisible Waves,” Yoon sets almost the entire film inside a well-appointed apartment within the fictional Liberty Land complex. On the rare occasions his camera ventures outside it’s for seemingly mundane or apparently unrelated matters that assume much greater significance as the drama unfolds.

Yoon’s first scene is set with such normality and neutrality that it becomes quietly compelling. A long sequence showing the apartment’s twentysomething occupant, Napatsorn Ponnapa (Chayanit Chansangavej), going about her unremarkable morning routine of exercise, breakfast, hair and make-up. Eight minutes of dialogue-free activity passes before Napatsorn takes uneventful phone calls from her mother and a female friend who’s visiting later in the day.

Just as viewers might be wondering where all this is heading Napatsorn finds an unconscious and injured young man (Peerapol Kijreunpiromsuk) lying in the hallway. In the time it takes her to call building supervisors for assistance the man enters her apartment and stretches out on the sofa. The stranger might possibly be dangerous, but he’s been badly roughed-up and is carrying a severe hip wound that surely would prevent him from overpowering Napatsorn. But physical threats are not what this smiling and polite intruder is about.

As the wait for help becomes uncomfortably long, the man turns his attention to Napatsorn’s print of Henri Rousseau’s “The Snake Charmer.” After declaring it to be his favorite and commenting on Rousseau’s ability to depict exotic places even though he never left Paris, the man casually says it’s actually his print hanging on the wall and this is his apartment. What’s more, he’s come to reclaim it from “trespasser” Napatsorn and challenges her to provide proof of ownership.

Naturally, Napatsorn thinks the guy is deranged and calls the cops. More annoyed than angry, she agrees to show him the relevant paperwork if he’ll immediately leave afterward. Tension ramps up when Napatsorn discovers her deed contains only blank pages. Attempts to call her mother and police produce static at the other end of the line. Her name has suddenly disappeared from letters and envelopes. For all his talk about having his possessions taken and life ruined by a now-rattled Napatsorn, the man remains controlled, as if this process is merely rectifying a fault in the natural order of things.

Things get creepier and the stakes become potentially deadly when the man describes tiny details of the apartment only the owner could possibly know. The film’s meticulously filmed and edited final third incorporates a trippy rewind and remix of selected prior events while answering the question of whether this is an elaborate hoax or something far more complex.

An intimate two-hander such as this demands excellent performances, and that’s exactly what Chansangavej and Kijreunpiromsuk deliver under Yoon’s precise direction. Kong Pahurak’s sleek camerawork and a terrific score by Jitivi Banthaisong that combines crunching industrial noise and other-worldly electronica are highlights of a first-class craft package.

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‘Drink the Kool-Aid’ Introduces a Whole New Ally – Variety – Sharing Variety Magazine

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SPOILER ALERT: Do not read on unless you’ve seen Season 7, episode 9 of “American Horror Story,” titled “Drink the Kool-Aid.”

Now that we’re all the way into episode 9, this is where “American Horror Story: Cult” is starting to get really interesting. It’s not just for Kai’s (Evan Peters) cartoonish quest for power — though that’s fun, too — but “Drink the Kool-Aid,” masterfully directed by “AHS” vet Angela Bassett, introduces us to an entirely different version of Ally (Sarah Paulson). And also, sassy Oz. Sassy Oz is a lot of fun.

Kai kicks off the episode by telling his followers a fairytale of sorts. With admiration, he retells the exploits of cult leaders like Heaven’s Gate’s David Koresh, interspersed with childish interjections like “Isn’t that cool?”… and of course, he had “divine semen,” and so forth. But Kai seems especially taken with Jim Jones, the man from which the phrase “drink the Kool-Aid” comes from. Peters is almost unrecognizable as he plays Jones in a reenactment of the gruesome scene in which his followers commit suicide, and Kai’s army eats it up — until they realize what they’ve gotten themselves into.

“Wait, are we a cult?,” asks one of the followers, who have been given names like Tripod, Heart Attack, and Speedwagon. “I thought we were a political movement.” It’s not labels that Kai values, though, but loyalty. He asks his followers if they would die for him, and many say they would. And Kai’s power is extending beyond his wayward guards.

On the city council, he champions a ban on websites by the “left-wing propagandists” of the media. One councilman opposes him, strongly at that, but the others vote in favor — it almost seems as though they’re under his thumb. There, he announces his run for Senate, but the councilman who’s not-so-friendly toward him reminds Kai that he’d be running against a popular incumbent. But I think it would be safe to say that Kai has his own way of dealing with tough competition (RIP Sally Kefler).

Getting back to the thoroughly troubled Mayfair-Richards, Ally confronts Ivy (Alison Pill) over joining the cult, putting their son in danger, actual murder… you know, typical married-couple quarrels. Ivy, though, seems genuinely remorseful for what she’s done, explaining that she at least thought she hated Ally. But Ally’s returned for the family, and Oz arrives with Winter (Billie Lourd). Ally, whose fears are a thing of the past, presents Oz with a Twisty comic before Winter apologizes to her. Rudy’s (Cheyenne Jackson) murder, it seems, has snapped her out of her trust for Kai.

Winter wants to plot an escape, getting her advice from WikiHow, no less (in case you forgot that Winter is a millennial). They all seem to agree that running is the way to go, but before they can make a break for it, Kai’s guards arrive and demand that they come with them — Oz included. At what could be called the Cult Headquarters, Beverly (Adina Porter) is unleashed on Winter, attacking her for lying to Kai about Samuels’ (Colton Haynes) murder. But Kai enters and reminds them that they need to get past the “petty s—” of politics and enter the “power space.”

He sets a bowl of punch in front of them, and they protest as he pours them all cups of the liquid. It’s not just the women, however — the men have to go through with it, too. When one of the guards, Puss Bucket, refuses, Gary (Chaz Bono) shoots him dead. Realizing their lack of choices, they all down the hatch, the women terrified and most of the men grandstanding. Don’t worry, though. It was all a test! It really is just punch, but now they’ve proven their loyalty. Plus, why kill his followers when Kai’s running for office?

With that wake-up call, though, Ally and Ivy are officially running for the hills. They go to pick up Oz from school, but to their horror, find out that he’s already been picked up by his “nanny,” Winter. Kai has Oz, almost taunting him with talk of how “two mommies can’t make a baby.” Oz is generally unimpressed, however, until Kai tells him that he’s actually his father. Once Ally and Ivy arrive, he repeats the same story to them — he used to donate pretty frequently to the sperm bank they went to to conceive, so it’s not impossible. Fearing for Oz’s life, they leave him with Kai for a sleepover.

On the bright side, that allows Ally and Ivy to have a romantic evening alone. The scene is a role reversal for the two: Ally tries to calm Ivy down, becoming the perfect wife as she makes pasta and pours her wine. But as Ally starts to tell what happened to her in the psych ward, how Ivy left her all alone, Ally’s motives become clearer. Her need for revenge, she said, replaced her phobias, and Ivy insists that this new bada– Ally is just a “passing phase.” But then she starts to choke on her dinner and Ally reveals, as she watches Ivy die on the ground in agony, that she poisoned the meal. And now she’s out to save Oz.

Meanwhile, it’s storytime once again at the cult. Kai picks up his Jones story, giving it a different ending: Jesus Christ himself comes to resurrect Jones’ followers, and they all live happily ever after. Oz, however, notes the many holes in his story, citing Wikipedia, of course. Kai accuses him of being a “doubter” and resorting to “fake news,” and one of the officers drags the child into time out.

Ally has a plan, though. She goes to the sperm clinic and finds out that Kai was not, in fact, their donor… but she wants him to think he is. After swapping out a photo of the actual father for one of Kai in the file, she invites him to dinner, where she gleefully tells him she killed Ivy. Once she tells him he’s Oz’s father, Kai is overcome with joy over his “messiah baby.” She uses his own trick against him, making him feel special and loved. After they drag Ivy’s body into Kai’s parents’ room, now they can “be a real family,” Kai proclaims. We’ll just have to see how this dysfunctional family works out, especially given Ally’s desire to kill Kai. For once, she has the upper hand.

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What’s Your Favorite Marvel Movie Series? – Variety – Sharing Variety Magazine

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As “Thor Ragnarok” hits theaters this weekend (likely generating a massive box office take in the process), now’s as good a time as any to look back at the Marvel Cinematic Universe as a whole.

There was the one that started it all, “Iron Man,” which launched the MCU in 2008. Robert Downey Jr. defined — and continues to, in the Avengers movies — the snarky Tony Stark as it went on to spawn two sequels and break box office records.

And then, of course, there’s Thor, everyone’s favorite God of Thunder, with Chris Hemsworth headlining movies ahead of “Ragnarok” in 2011 and 2013. Speaking of the Hollywood Chrises: Chris Evans made his debut as Captain America in his own movie ahead of the release of “The Avengers,” which started its own series.

“Guardians of the Galaxy” added a new flavor to the movie universe in 2014, with Star-Lord, Gamora, Rocket, Groot, and Drax capturing the hearts of fans and starting its very own series within the MCU.

Which Marvel series is your favorite? Weigh in below! (Note: This poll does not include movies that didn’t spawn a sequel, like “The Incredible Hulk,” or movies that haven’t seen their sequels debut yet, like “Ant-Man,” “Doctor Strange,” and “Spider-Man: Homecoming.”)

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Peace is in Stillness

Whenever a rough patch comes, clouds cover the sun. When I feel I need to overcome negativity around me, peace is in stillness. Balance of reflection and engaging in a quite cheerful hobby or sometimes a loud past-time so stillness is possible later whether soaking in the negative ions in nature, meditating in solitude or yoga pose under the sun and trees.
DiLee - stay in sage side

PS4 Software Sales, Stronger Movie and TV Earnings Boost Sony’s Second Quarter Earnings – Variety – Sharing Variety Magazine

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TOKYO — Sony today announced increases in revenues and net profit in the second quarter of the current fiscal year.

Net profit increased $1.11 billion (¥126.0 billion) year-on-year to $1.19 billion (¥130.9 billion), while operating profit gained $1.4 billion (¥158.5 billion) year-on-year to $1.81 billion (¥204.2 billion). Revenues rose by 22.1% compared to the same quarter of the previous fiscal year to $18.25 billion (¥2,062.5 billion).

One big contributor to positive results was the Games and Networks Service segment, which reported a 35.4% year-on-year sales gain to $3.83 billion (¥433.2 billion), with strong PlayStation4 software sales driving growth.

Sales in the Pictures segment rose 27.0% year-on-year to $2.16 billion (¥244.0 billion). Both higher movie and media network earnings contributed, led by brisk ticket sales for the global hit “Spider-Man: Homecoming” and higher ad and subscription sales for SPE’s Indian sports network.

Meanwhile, for the six months ending on Sept. 30, operating profit rose $2.3 billion (¥259.9 billion) year-on-year to $3.2 billion (¥361.8 billion) with the semiconductors segment making a major contribution. Sales for the same period gained 18.7% year-on-year to $34.69 billion (¥3,920.6 billion).

Sony has boosted its forecast figures for the 2017 fiscal year from the outlook announced in August. The company now expects net profit to total $3.36 billion (¥380 billion), compared to the previous $2.26 billion figure (¥255 billion), for a gain of $2.72 billion (¥307 billion) year-on-year. It also raised its revenue forecast from $73.45 billion (¥8,300 billion) to $75.22 billion (¥8,500 billion) for a year-on-year increase of 12%. Exchange rate shifts, as well as higher-than-expected sales in the Music and the Home Entertainment and Sound segments, helped prompt the corrections.

The outlook for the Pictures segment remains unchanged from August, however, with operating profit for the fiscal year expected to total $350 million (¥39 billion) for a year-on-year gain of $1.06 billion (¥120 billion) and revenues forecast to grow 13% year-on-year to $9.03 billion (¥1,020 billion).

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DILEE Performs House of Blues Before They Close!

DILEE is performing live with an acoustic band Cori Jacobs, fellow Grammy member and Trevor Coppola, distant relative of Francis Ford Coppola in the Voodoo Lounge at the House of Blues, Saturday night, April 25th 6:30pm – 7:30pm. Pre-sale tickets from band members are discounted but $10 at door.

DILEE Ticketmaster House of Blues Apr 2015 small kbHouse of Blues closes their doors in July of this year after being there for almost 2 decades. The site has been approved to build a hotel and condominium complex. Catch one of the last shows at this venue EVER!

DILEE CORI TREVOR HOB FLYER

Paramount Finds ‘Pet Sematary’ Directors (EXCLUSIVE) – Variety – Sharing Variety Magazine

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Following the huge success of summer blockbuster “It,” Paramount is ready to get the gears moving on another Stephen King classic.

“Starry Eyes” helmers Kevin Kolsch and Dennis Widmyer have been tapped to direct a “Pet Sematary” remake at the studio.

Lorenzo di Bonaventura is producing the remake to the 1989 horror classic, which was directed by Mary Lambert and written by King, along with Steven Schneider. Matt Greenberg and David Kajganich wrote the script.

The original “Pet Sematary” was based on the King novel, which follows the travails of a family who moves into a new home next to a cemetery endowed with powers that allow the creatures buried in it to come back from the dead.

The original brought in $57 million on an $11 million budget, which led to a less commercially successful 1992 sequel starring Edward Furlong and Anthony Edwards.

Paramount had been ramping up its director search since the success of “It,” with directors like Shawn Carter and “47 Meters Down” helmer Johannes Roberts also meeting to possibly take on the role.

Kolsch and Widmyer first gained notoriety with their 2014 indie horror pic “Starry Eyes,” which caught the eyes of various studio execs and was partly funded by a successful Kickstarter campaign.

The duo is repped by WME.

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Battle Ballad on iTunes and Tribute Video Interview

Dilee Battle Ballad tribute video interview 6:30am PST 9/11/13 Live TV NSS with Bryan Angus

www.nextsportstar.com

Battle Ballad Feat. Tina Guo, Cello available 9/10/13 on iTunes

DiLee iTunes

Watch “Battle Ballad” with military stats

Written by Dilee and Nel Gerome © 2013 available on iTunes: https://itunes.apple.com/us/album/battle-ballad-feat.-tina-guo/id701025363

A special tribute, Battle Ballad is dedicated to our U.S. troops and any and all victims of war everywhere including 9/11 victims and survivors as well as any and all individuals involved in domestic violence. It is a tear jerker with hope and a message to live and embrace in peace today for there are ripples of negative energy on both sides for and from every violent act. Chorus lyric “kiss me now you fool…” is a metaphor in saying it is up to us in living for today and loving one and all who are important in our lives.  Storyboard & Directed by J.R. Griffin (former US military), D.P. Laura Beth Love, Co-starring Tina Guo as Grim Reaper & Angel, Will McMichael former US military as husband soldier, and Jarrald Ingram former US military as enemy soldier. Edited by Brian Porter.  Beaded Jewelry by Lea Ingram.  Special thanks to the Ingrams for the use of their home to film this project.

Abigail Breslin, Denise Richards to Star in ‘Saturday at the Starlight’ (EXCLUSIVE) – Variety – Sharing Variety Magazine

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Abigail Breslin, Denise Richards, and Michael Madsen are starring in the independent comedy “Saturday at the Starlight,” currently shooting in Los Angeles.

The project is an ensemble comedy, in the vein of Richard Linklater’s 1993 comedy “Dazed and Confused,” set in a roller rink on a single night in the mid-’90s. The story traces a canceled prom, a tween birthday bonanza, and a drug money pick-up gone awry.

The cast that includes Tony Cavalero (“School of Rock”), Booboo Stewart (“Twilight”), Brec Bassinger (“Bella and the Bulldogs”), Brenna D’Amico, and veteran comedian Brian Huskey along with newcomers Dylan Summerall and Breaker Novogratz.

Phillip Clark Davis is directing from a screenplay by Jake Disch and Nick Gligor. Producers on the project include Lee Eisenberg (“Bad Teacher,” “The Office”), Linne Radmin, and Jimmy Summerall.

The project is the first feature film from Brat, a digital company that’s released more than a dozen series on YouTube with recognizable players including Annie LeBlanc, Hayden Summerall, MaeMae Renfrow, Meghan McCarthy, Madeleine Byrne, and Cristian Oliveras. Founded by Rob Fishman — who previously started Niche, a digital marketing company acquired by Twitter — the company is backed by Lerer Hippeau Ventures, Shari Redstone’s Advancit Capital, and the Chernin Group.

“This generation of teens deserves the sort of iconic, sophisticated films that we grew up watching in the Eighties and Nineties,” said Asher Levin, a partner at Brat.

Breslin received an Academy Award nomination for 2006’s “Little Miss Sunshine.” Other credits include “Signs,” “August: Osage County,” and Fox’s “Scream Queens.” Richards has credits on “Wild Things,” “The World Is Not Enough,” and “Blue Mountain State.”

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‘House of Cards’ Set to End With Season 6; Netflix Silent on Kevin Spacey Assault Claim – Variety – Sharing Variety Magazine

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Netflix drama “House of Cards” will end with its upcoming sixth season, Variety has learned. Production has begun on what will be the final season of the drama series, which is set to premiere in 2018.

Word of the series’ end comes in the wake of sexual-assault allegations against its star, Kevin Spacey. On Sunday in an interview with Buzzfeed, “Star Trek: Discovery” star Anthony Rapp claimed that Spacey had sexually assaulted him at a party in 1986 when he was 14. Spacey later apologized to Rapp in a statement released hours after the interview was published in which he said he was “beyond horrified” by Rapp’s story, saying he did not recall the incident. Spacey was criticized Monday by GLAAD and gay activists for including in his apology a statement saying that he was choosing “to live as a gay man” from now on — a move critics said appeared intended to deflect attention from Rapp’s accusation.

Spacey is the star and executive producer of “House of Cards,” the drama series that put Netflix on the map as a destination for original programming. Since 2013, the series has been nominated for 53 Primetime Emmy Awards — including five nominations for outstanding drama series.

Starring alongside Robin Wright, Spacey plays Frank Underwood, a devious congressman who ascends to the role of President of the United States through a series of complex machinations.

Filming for season six began in Maryland this month. No premiere date has yet been set by Netflix. Season five premiered May 30 on the streaming service.

Unlike leaders at most media and entertainment companies, Netflix executives have been largely silent about the issue of sexual harassment since a wave of allegations engulfed frequent Netflix collaborator Harvey Weinstein earlier this month. Netflix spokespersons have declined repeated requests to comment on the Weinstein situation. During an interview pegged to the company’s quarterly earnings report this month, chief content officer Ted Sarandos dismissed the idea that Netflix might by the Weinstein Company, the embattled production company that Harvey Weinstein and his brother Bob Weinstein founded.

“Our business with the Weinstein Company is pretty arm’s distance,” Sarandos said. but in reality the relationship between Netflix and Weinstein has been much closer, with multiple creative partnerships and joint appearances. Netflix and the Weinstein Company also hosted a Golden Globes party together for the last three years.

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