Box office is laboring this weekend; that’s par for the Labor Day holiday course. This year, the weakness stems almost entirely from the failure of new studio releases, with “The Light Between Oceans” (Disney) and “Morgan” (20thCentury Fox) flailing.
Holdovers, however, are doing better. Also helping the cause are two limited-release films, CBS Films’ “Hell or High Water” and Pantelion’s “No Manches Frida,” both handled by Lionsgate for their partners.
See More‘White Girl’ Opens Strong, Kevin Smith and Jerry Lewis Not So Much: Arthouse Audit
The Top Ten
Don’t Breathe (Sony) Week 2 – Last weekend #1
$15,700,000 (-41%) in 3,051 theaters (no change); PTA (per theater average): $5,146; Cumulative: $51,124,000
The Suicide Squad (Warner Bros.) Week 5 – Last weekend #2
$10,005,000 (-18%) in 3,292 theaters (-290); PTA: $3,039; Cumulative: $297,422,000
Pete’s Dragon (Disney) Week 4 – Last weekend #6
$6,471,000 (-13%) in 3,272 theaters (+28); PTA: $1,978; Cumulative: $64,223,000
3 (tie) Kubo and the Two Strings (Focus) Week 3 – Last weekend #3
$6,467,000 (-18%) in 2,985 theaters (-294); PTA:...
Holdovers, however, are doing better. Also helping the cause are two limited-release films, CBS Films’ “Hell or High Water” and Pantelion’s “No Manches Frida,” both handled by Lionsgate for their partners.
See More‘White Girl’ Opens Strong, Kevin Smith and Jerry Lewis Not So Much: Arthouse Audit
The Top Ten
Don’t Breathe (Sony) Week 2 – Last weekend #1
$15,700,000 (-41%) in 3,051 theaters (no change); PTA (per theater average): $5,146; Cumulative: $51,124,000
The Suicide Squad (Warner Bros.) Week 5 – Last weekend #2
$10,005,000 (-18%) in 3,292 theaters (-290); PTA: $3,039; Cumulative: $297,422,000
Pete’s Dragon (Disney) Week 4 – Last weekend #6
$6,471,000 (-13%) in 3,272 theaters (+28); PTA: $1,978; Cumulative: $64,223,000
3 (tie) Kubo and the Two Strings (Focus) Week 3 – Last weekend #3
$6,467,000 (-18%) in 2,985 theaters (-294); PTA:...
- 9/4/2016
- by Tom Brueggemann
- Indiewire
Simon Brew Rob Leane Nov 22, 2016
A video that reveals the missing scenes of Jared Leto's The Joker from even the extended cut of Suicide Squad...
It’s pretty well known by now that Jared Leto’s take on The Joker got a little bit stuck in the editing suite of Suicide Squad. That a notable amount of his footage didn’t make the final cut of the film, much to the surprise and disappointment of Leto himself.
See related The Missing series 2 chronological timeline of events so far The Missing series 2: the writers on episode 5’s revelation The Missing series 2 episode 6 review: Saint John The Missing series 2 episode 5 review: Das Vergessen
But what was missing? Well, an enterprising YouTuber by the name of RedDawnHanger77 has answered that question. They’ve used photos, footage, and conversations of other scenes that Leto featured in, to try and bridge the gap...
A video that reveals the missing scenes of Jared Leto's The Joker from even the extended cut of Suicide Squad...
It’s pretty well known by now that Jared Leto’s take on The Joker got a little bit stuck in the editing suite of Suicide Squad. That a notable amount of his footage didn’t make the final cut of the film, much to the surprise and disappointment of Leto himself.
See related The Missing series 2 chronological timeline of events so far The Missing series 2: the writers on episode 5’s revelation The Missing series 2 episode 6 review: Saint John The Missing series 2 episode 5 review: Das Vergessen
But what was missing? Well, an enterprising YouTuber by the name of RedDawnHanger77 has answered that question. They’ve used photos, footage, and conversations of other scenes that Leto featured in, to try and bridge the gap...
- 1/20/2016
- Den of Geek
Fans of the Insidious films from James Wan and Leigh Whannell have likely never listened to “Tiptoe Through the Tulips” quite the same way since they followed Josh Lambert into the fire-face demon’s lair and heard the classic song bouncing off the walls. But now you can hear the tune sung with a new twist by the indie rock band Cherry Glazerr.
“Los Angeles, October 28th, 2014 – The indie rock band Cherry Glazerr has recorded a lushly seductive new version of the classic song “Tiptoe Through the Tulips,” which audiences worldwide know as a disturbing recurring tune in the hit Insidious movies. Heard in part in the just-released first theatrical trailer for next summer’s Insidious: Chapter 3, Cherry Glazerr’s fresh interpretation, produced by the band’s frequent collaborator Carlos de la Garza, is being issued in full today on the official Insidious Facebook page (www.facebook.com/InsidiousMovie...
“Los Angeles, October 28th, 2014 – The indie rock band Cherry Glazerr has recorded a lushly seductive new version of the classic song “Tiptoe Through the Tulips,” which audiences worldwide know as a disturbing recurring tune in the hit Insidious movies. Heard in part in the just-released first theatrical trailer for next summer’s Insidious: Chapter 3, Cherry Glazerr’s fresh interpretation, produced by the band’s frequent collaborator Carlos de la Garza, is being issued in full today on the official Insidious Facebook page (www.facebook.com/InsidiousMovie...
- 10/29/2014
- by Derek Anderson
- DailyDead
The indie rock band Cherry Glazerr has recorded a lushly seductive new version of the classic song “Tiptoe Through the Tulips,” which audiences worldwide know as a disturbing recurring tune in the hit Insidious movies.
Heard in part in the just-released first theatrical trailer for next summer’s Insidious: Chapter 3, Cherry Glazerr’s fresh interpretation, produced by the band’s frequent collaborator Carlos de la Garza, is being issued in full today on the official Insidious Facebook page (www.facebook.com/InsidiousMovie); fans can also visit the movie’s Twitter page (www.twitter.com/InsidiousMovie) for more information.
Insidious: Chapter 3 stars Dermot Mulroney and Stefanie Scott alongside Lin Shaye, Angus Sampson, and Leigh Whannell, with the latter trio reprising their roles from the first two movies in the franchise. The newest chapter in the terrifying horror series is written and directed by franchise co-creator Leigh Whannell.
This chilling prequel,...
Heard in part in the just-released first theatrical trailer for next summer’s Insidious: Chapter 3, Cherry Glazerr’s fresh interpretation, produced by the band’s frequent collaborator Carlos de la Garza, is being issued in full today on the official Insidious Facebook page (www.facebook.com/InsidiousMovie); fans can also visit the movie’s Twitter page (www.twitter.com/InsidiousMovie) for more information.
Insidious: Chapter 3 stars Dermot Mulroney and Stefanie Scott alongside Lin Shaye, Angus Sampson, and Leigh Whannell, with the latter trio reprising their roles from the first two movies in the franchise. The newest chapter in the terrifying horror series is written and directed by franchise co-creator Leigh Whannell.
This chilling prequel,...
- 10/29/2014
- by Michelle McCue
- WeAreMovieGeeks.com
Andrew Stern, the husband of model Katie Cleary, committed suicide weeks after pictures emerged of Cleary with Leonardo DiCaprio at Cannes sparked cheating rumors.
Katie Cleary's Husband Andrew Stern Commits Suicide
Stern, 40, reportedly shot himself in the head while at a San Fernando Valley shooting range on Sunday, according to TMZ. Law enforcement officials apparently learned from Cleary that the two were having marital problems and were in the process of getting a divorce. Furthermore, Stern allegedly struggled with depression and had financial issues.
At the Cannes Film Festival last month, photos emerged of Cleary and DiCaprio getting close at Gotha nightclub. The two were pictured leaning into each other, trying to have a conversation in the loud club. It was speculated that the two may have hooked up, but a source has said that DiCaprio left the event with his girlfriend, model Tony Gairn.
During her time at Cannes,...
Katie Cleary's Husband Andrew Stern Commits Suicide
Stern, 40, reportedly shot himself in the head while at a San Fernando Valley shooting range on Sunday, according to TMZ. Law enforcement officials apparently learned from Cleary that the two were having marital problems and were in the process of getting a divorce. Furthermore, Stern allegedly struggled with depression and had financial issues.
At the Cannes Film Festival last month, photos emerged of Cleary and DiCaprio getting close at Gotha nightclub. The two were pictured leaning into each other, trying to have a conversation in the loud club. It was speculated that the two may have hooked up, but a source has said that DiCaprio left the event with his girlfriend, model Tony Gairn.
During her time at Cannes,...
- 6/24/2014
- Uinterview
Los Angeles native Ariana Delawari's documentary We Came Home follows her father's return to his homeland of Afghanistan to build the new financial system after the fall of the Taliban in 2001, yet this story goes far beyond politics and war. It's Ariana's moving journey of love and understanding for her family, the music of Afghanistan, and the beauty of the Afghan people. It was a blessing to interview Ariana, considering how much is unfolding with the success of her film on the international festival circuit, her career as a musician, and an activist with a voice for peace and intercultural understanding.
Erin: Please talk about the inspiration that fueled the making of We Came Home.
Ariana: I think as citizens in the world right now we can get so frustrated or feel powerless with government. And then when you actually start meeting people one on one, you realize there are human beings within these systems. If we (as storytellers) do the work and create something that can penetrate, it actually can touch hearts and affect people to create changes.
Afghanistan has its own timing, and it's sort of an energetic thing. We got called to do something and put this effort into it, but the film will be born when it serves Afghanistan the most. I really feel in my heart that it's such an important year for Afghanistan. I could've finished this film four years ago. It would have been a different story, but there was something inside saying, "It's not ready yet. There's more to the story. Keep going." So many things changed as we kept shooting, and all of that was meant to be in the film. I believe that it's a crucial time. We don't know what's going to happen with the withdrawal and with the elections. We're in this precious moment. Why I've done any of this art about Afghanistan is to serve Afghanistan. There's a surrender knowing that there was something that called me in the first place to make this whole thing and go on this journey. That is continuing to guide me.
Erin: What were the main challenges of your creative process?
Ariana: The first few years of going to Afghanistan were pure joy. It was thrilling, beautiful, soul opening and an expansive experience of finding my love, of finding my long lost home and the part of my heart that was waiting to blossom. I was just in love with Afghanistan: everyone I met, every face, every bit of the landscape, and everything about it. I couldn't stop capturing it in photos and film. I didn't have a plan of what the film would be or anything. I was just capturing my journeys.
When I started to see it fall apart, the first challenge came, which was an emotional challenge. As I was coming of age in a way, I was realizing the gravity of what it would mean for all these friends that I've met and for this country. What would it mean for these people if it went backwards? Suicide bombings started to emerge in 2005. I was there in Kabul and I felt a change. I came back and started frantically writing all these songs about Afghanistan. It was interesting because at the time I was an actress. I had been acting for many years and my career was just starting to blossom. I had just done 'The Sopranos', 'Entourage', and all these things that are exciting as an actor. I came back from Afghanistan and had this moment of "Wow, just as this is blooming, I have to let it go because I have to make this album here. I have to make a film about it." I had this call that said, "Now you have to put all your energy into Afghanistan, because who else is going to do it the way that I'm supposed to do it?" That's when I decided that I wanted to make an album there. I started writing all this music about it, while seeing it get worse and worse.
When we decided to record there, lots of doors opened. We got the musicians on board quickly. My dad was practically an executive producer in Kabul. He was helping to arrange that part of it. We had the equipment promised to us. Within three months we had pre-produced everything. We were on the plane, and then we get there and everything is hard. The promises with the equipment changed. It went from "You have three weeks with the equipment" to "You have four days."
Once we started recording, everything you could imagine went wrong. We couldn't get the equipment to work. We were supposed to have an engineer the whole time, but we only had him for a day. Neither my band mate nor I had ever produced an album, so we had to learn on the fly. Then the electricity blew and the generator died. Then all of the sudden it's the weekend; the traffic was horrendous and we had to nail dusty carpets (for sound proofing) to every single wall in my parents house.
At that point we weren't getting along as well because we were so stressed out, so the energy in the room was different. Finally, when we finished the recordings and said goodbye to the musicians, we had a few more days in Kabul. We played a live show at this French Expat party. I had a bite of a tomato and got deathly sick. During the last few days in Kabul, I was the sickest that I had ever been in my life. We couldn't enjoy it after all that work. When you're recording like that, you're in a compound; you're not getting fresh air. You're not going for walks. It's hard enough when you're recording an album. You need those breaks. There were no breaks. We had stress and armed guards at the compound. After all of this was said and done, we didn't get to see much of the country. We left Afghanistan, and then my producer loses her passport in Dubai. Finally at the end of seven days of sitting in Dubai, she finds it, just as she was issued a new one.
Erin: Is the final edit of "We Came Home" what you expected?
Ariana: We thought the footage was basically going to be about the music and the trials and tribulations of making an album. I showed my producer five years of footage of my journey and these interviews of my parents; I had also thought about making just a feature film about my parents. When she saw all of this, she said, "All of this is the film!" It dawned on me that this thing had been coming through me that I didn't realize was being made. My parents didn't think their interviews would be used for the film, so there was a rawness in doing it this way; they didn't know this would end up on a screen. You can't recreate that. That's so special. It was two in the morning. I was just drinking tea with my mom in Kabul asking her to tell me stories without the thought of "this is going to be a film".
The ascetic of this film had to be so raw, because it happened so organically. I started going through the garage after that trip in 2009 and digitizing so much footage--vhs tapes, super 8mm film, and everything that we had in our family archive. When it came to these VHS tapes, we could’ve gotten the real footage from the news station, but for 20 years, my dad had blank VHS tapes next to the Vcr player. Anytime there was news about Afghanistan, he'd hit record. So there was our archive. We didn't have to go looking. It was there, and when we digitized it, it looked so gritty, grainy and bleached out. I didn't want the real footage. I thought, "I want the audience to watch this and have the feeling of what 20 years in the garage meant because that's the silence of what my dad experienced.
Erin: And that's Afghanistan. Afghanistan has been in the garage for more than 20 years.
Ariana: Exactly, so those were the kinds of decisions that I made. On that trip in 2009, I really hit rock bottom. The energy there felt grim. I came back and I was a mess for a year. We assembled the post team, and in the summer of 2010, we started a Kickstarter fund that ended up raising 23 grand. It was a full year of editing. When the film was finally done, I felt the heaviness lift. I felt "Finally, I'm telling this story and maybe it can do something! Maybe this story can help the situation in Afghanistan."
Erin: Watching your film, I really felt the spirit of the Afghan people. You captured them in a way that I haven't seen with other films about the country. Was this your intention?
Ariana: That was my main goal. You experienced the spirit of Afghanistan and that was what changed my life. Afghanistan brought so much joy to my life, and I wondered how do I go on with my life and my opportunities when these people I love so much ... they're so generous. How do I not give it back? They gave me so much.
As we were editing, a big challenge was making sure that the spirit of the people was always in the film. Especially because I'm in the film, I felt really sensitive about any kind of vanity. I just wanted to be the pied piper. I wanted to take the audience on this journey and really wanted the film to be more about my dad, the musicians, and the country. I wanted to be a doorway for the essence to come through and really this land of people, the spirit of generosity and love that has been the most important part of my entire life. I wanted to give a gift to the audience, so that no matter what happens, they walk out of this film and they feel the generosity of Afghanistan has given them something for their life.
Erin: What do people who haven't been to Afghanistan say about your film?
Ariana: They all say that they want to go to Afghanistan. They all thank us for telling the true Afghanistan. I hear that so often, and Americans always say, "The whole world has to see this film. They have to see this film because this is the true Afghanistan. They need to know how beautiful it is." This is the biggest message. I wanted people to get excited from the journey and go on it with us so they're like, "Wait a minute. I want to go there now!” On a universal level, I wanted people to say, "Well if that's Afghanistan, I wonder what all these other countries are. What is this world we're living in? What are these different places?" All of them are magical. All of them are beautiful, and there are gifts everywhere. We're not here to fight over it. We're here to celebrate it.
Erin: Please talk about the power of film to shift consciousness on the global scale.
Ariana: I feel that story is something that transcends logic. When a story is told well, we enter a reality, and yes we can absorb facts and information more easily because we've entered another reality. More than anything, it's an education of the heart if storytelling is done right. I think that reaching people's hearts is more transformative than just facts. Another thing is that when we watch a story, and when we go on a journey, it becomes a part of us. It becomes personal and experiential, without even having to go experience it. I think it's the ultimate form of empathy in a time when there's so much changing in the world. There's so much to change. Systems are breaking down, and we don't have all the answers. No one does, but we have a tool that we can share and use to educate each other. The solutions can emerge, the more that we share through film. We're in a time of this exponential explosion of communication in the world. It's a part of our transformation, to create the new systems, to create the new narrative. We're essentially writing our new story together. We're telling our stories and the stories of our past to write a new one together. If we embrace what's happening with this opening of communication, then maybe the new story of the world is a story of peace and equality.
Erin: Please talk about the inspiration that fueled the making of We Came Home.
Ariana: I think as citizens in the world right now we can get so frustrated or feel powerless with government. And then when you actually start meeting people one on one, you realize there are human beings within these systems. If we (as storytellers) do the work and create something that can penetrate, it actually can touch hearts and affect people to create changes.
Afghanistan has its own timing, and it's sort of an energetic thing. We got called to do something and put this effort into it, but the film will be born when it serves Afghanistan the most. I really feel in my heart that it's such an important year for Afghanistan. I could've finished this film four years ago. It would have been a different story, but there was something inside saying, "It's not ready yet. There's more to the story. Keep going." So many things changed as we kept shooting, and all of that was meant to be in the film. I believe that it's a crucial time. We don't know what's going to happen with the withdrawal and with the elections. We're in this precious moment. Why I've done any of this art about Afghanistan is to serve Afghanistan. There's a surrender knowing that there was something that called me in the first place to make this whole thing and go on this journey. That is continuing to guide me.
Erin: What were the main challenges of your creative process?
Ariana: The first few years of going to Afghanistan were pure joy. It was thrilling, beautiful, soul opening and an expansive experience of finding my love, of finding my long lost home and the part of my heart that was waiting to blossom. I was just in love with Afghanistan: everyone I met, every face, every bit of the landscape, and everything about it. I couldn't stop capturing it in photos and film. I didn't have a plan of what the film would be or anything. I was just capturing my journeys.
When I started to see it fall apart, the first challenge came, which was an emotional challenge. As I was coming of age in a way, I was realizing the gravity of what it would mean for all these friends that I've met and for this country. What would it mean for these people if it went backwards? Suicide bombings started to emerge in 2005. I was there in Kabul and I felt a change. I came back and started frantically writing all these songs about Afghanistan. It was interesting because at the time I was an actress. I had been acting for many years and my career was just starting to blossom. I had just done 'The Sopranos', 'Entourage', and all these things that are exciting as an actor. I came back from Afghanistan and had this moment of "Wow, just as this is blooming, I have to let it go because I have to make this album here. I have to make a film about it." I had this call that said, "Now you have to put all your energy into Afghanistan, because who else is going to do it the way that I'm supposed to do it?" That's when I decided that I wanted to make an album there. I started writing all this music about it, while seeing it get worse and worse.
When we decided to record there, lots of doors opened. We got the musicians on board quickly. My dad was practically an executive producer in Kabul. He was helping to arrange that part of it. We had the equipment promised to us. Within three months we had pre-produced everything. We were on the plane, and then we get there and everything is hard. The promises with the equipment changed. It went from "You have three weeks with the equipment" to "You have four days."
Once we started recording, everything you could imagine went wrong. We couldn't get the equipment to work. We were supposed to have an engineer the whole time, but we only had him for a day. Neither my band mate nor I had ever produced an album, so we had to learn on the fly. Then the electricity blew and the generator died. Then all of the sudden it's the weekend; the traffic was horrendous and we had to nail dusty carpets (for sound proofing) to every single wall in my parents house.
At that point we weren't getting along as well because we were so stressed out, so the energy in the room was different. Finally, when we finished the recordings and said goodbye to the musicians, we had a few more days in Kabul. We played a live show at this French Expat party. I had a bite of a tomato and got deathly sick. During the last few days in Kabul, I was the sickest that I had ever been in my life. We couldn't enjoy it after all that work. When you're recording like that, you're in a compound; you're not getting fresh air. You're not going for walks. It's hard enough when you're recording an album. You need those breaks. There were no breaks. We had stress and armed guards at the compound. After all of this was said and done, we didn't get to see much of the country. We left Afghanistan, and then my producer loses her passport in Dubai. Finally at the end of seven days of sitting in Dubai, she finds it, just as she was issued a new one.
Erin: Is the final edit of "We Came Home" what you expected?
Ariana: We thought the footage was basically going to be about the music and the trials and tribulations of making an album. I showed my producer five years of footage of my journey and these interviews of my parents; I had also thought about making just a feature film about my parents. When she saw all of this, she said, "All of this is the film!" It dawned on me that this thing had been coming through me that I didn't realize was being made. My parents didn't think their interviews would be used for the film, so there was a rawness in doing it this way; they didn't know this would end up on a screen. You can't recreate that. That's so special. It was two in the morning. I was just drinking tea with my mom in Kabul asking her to tell me stories without the thought of "this is going to be a film".
The ascetic of this film had to be so raw, because it happened so organically. I started going through the garage after that trip in 2009 and digitizing so much footage--vhs tapes, super 8mm film, and everything that we had in our family archive. When it came to these VHS tapes, we could’ve gotten the real footage from the news station, but for 20 years, my dad had blank VHS tapes next to the Vcr player. Anytime there was news about Afghanistan, he'd hit record. So there was our archive. We didn't have to go looking. It was there, and when we digitized it, it looked so gritty, grainy and bleached out. I didn't want the real footage. I thought, "I want the audience to watch this and have the feeling of what 20 years in the garage meant because that's the silence of what my dad experienced.
Erin: And that's Afghanistan. Afghanistan has been in the garage for more than 20 years.
Ariana: Exactly, so those were the kinds of decisions that I made. On that trip in 2009, I really hit rock bottom. The energy there felt grim. I came back and I was a mess for a year. We assembled the post team, and in the summer of 2010, we started a Kickstarter fund that ended up raising 23 grand. It was a full year of editing. When the film was finally done, I felt the heaviness lift. I felt "Finally, I'm telling this story and maybe it can do something! Maybe this story can help the situation in Afghanistan."
Erin: Watching your film, I really felt the spirit of the Afghan people. You captured them in a way that I haven't seen with other films about the country. Was this your intention?
Ariana: That was my main goal. You experienced the spirit of Afghanistan and that was what changed my life. Afghanistan brought so much joy to my life, and I wondered how do I go on with my life and my opportunities when these people I love so much ... they're so generous. How do I not give it back? They gave me so much.
As we were editing, a big challenge was making sure that the spirit of the people was always in the film. Especially because I'm in the film, I felt really sensitive about any kind of vanity. I just wanted to be the pied piper. I wanted to take the audience on this journey and really wanted the film to be more about my dad, the musicians, and the country. I wanted to be a doorway for the essence to come through and really this land of people, the spirit of generosity and love that has been the most important part of my entire life. I wanted to give a gift to the audience, so that no matter what happens, they walk out of this film and they feel the generosity of Afghanistan has given them something for their life.
Erin: What do people who haven't been to Afghanistan say about your film?
Ariana: They all say that they want to go to Afghanistan. They all thank us for telling the true Afghanistan. I hear that so often, and Americans always say, "The whole world has to see this film. They have to see this film because this is the true Afghanistan. They need to know how beautiful it is." This is the biggest message. I wanted people to get excited from the journey and go on it with us so they're like, "Wait a minute. I want to go there now!” On a universal level, I wanted people to say, "Well if that's Afghanistan, I wonder what all these other countries are. What is this world we're living in? What are these different places?" All of them are magical. All of them are beautiful, and there are gifts everywhere. We're not here to fight over it. We're here to celebrate it.
Erin: Please talk about the power of film to shift consciousness on the global scale.
Ariana: I feel that story is something that transcends logic. When a story is told well, we enter a reality, and yes we can absorb facts and information more easily because we've entered another reality. More than anything, it's an education of the heart if storytelling is done right. I think that reaching people's hearts is more transformative than just facts. Another thing is that when we watch a story, and when we go on a journey, it becomes a part of us. It becomes personal and experiential, without even having to go experience it. I think it's the ultimate form of empathy in a time when there's so much changing in the world. There's so much to change. Systems are breaking down, and we don't have all the answers. No one does, but we have a tool that we can share and use to educate each other. The solutions can emerge, the more that we share through film. We're in a time of this exponential explosion of communication in the world. It's a part of our transformation, to create the new systems, to create the new narrative. We're essentially writing our new story together. We're telling our stories and the stories of our past to write a new one together. If we embrace what's happening with this opening of communication, then maybe the new story of the world is a story of peace and equality.
- 11/15/2013
- by Erin Grover
- Sydney's Buzz
Submit your vote for Reviewer of the Year!
Every year, the Classic Horror Film Board recognizes the best in the horror/sci-fi/fantasy realm with the Rondo Hatton Classic Horror Awards. Fans of the genre can vote for their favorites in over thirty categories, and this year, Cinelinx would like to ask you to vote for one of our own, staff writer Victor Medina, as Reviewer of the Year (Category 29)! We've even included the ballot below so you can vote!
Votes must be submitted by copying and pasting the ballot into your personal email, making your choices, including your name, and sending it in. Votes for Reviewer of the Year are write-in only, so you must be sure to include Vic's name yourself under Category 29 when you vote. Pre-filled ballots are not allowed, so we can't do it for you! Remember, you must write in "Victor Medina, Cinelinx.com" yourself.
Every year, the Classic Horror Film Board recognizes the best in the horror/sci-fi/fantasy realm with the Rondo Hatton Classic Horror Awards. Fans of the genre can vote for their favorites in over thirty categories, and this year, Cinelinx would like to ask you to vote for one of our own, staff writer Victor Medina, as Reviewer of the Year (Category 29)! We've even included the ballot below so you can vote!
Votes must be submitted by copying and pasting the ballot into your personal email, making your choices, including your name, and sending it in. Votes for Reviewer of the Year are write-in only, so you must be sure to include Vic's name yourself under Category 29 when you vote. Pre-filled ballots are not allowed, so we can't do it for you! Remember, you must write in "Victor Medina, Cinelinx.com" yourself.
- 2/26/2013
- by feeds@cinelinx.com (Jordan Maison)
- Cinelinx
It’s Monday, so we all know what that means! Yes, it’s time for another rundown of DVDs and Blu-ray’s hitting stores online and offline this week. It’s a jam-packed week, with plenty of movies waiting to take you money, so let us breakdown the new releases and highlight what you should – and shouldn’t – be buying from today, October 8th 2012.
Pick Of The Week
Nash Bridges: The First Season (DVD)
In the first season of this action-packed police drama, Don Johnson stars as Nash Bridges, the charming street-smart inspector for San Francisco’s elite Special nvestigations Unit. Always behind the wheel of his signature yellow ‘Cuda,’ Nash often goes undercover to track down the city s most vile criminals, from drug dealers and smugglers to the Russian mob. Never far behind is Nash’s loyal partner Joe Dominguez (Cheech Marin), a retired cop who’s...
Pick Of The Week
Nash Bridges: The First Season (DVD)
In the first season of this action-packed police drama, Don Johnson stars as Nash Bridges, the charming street-smart inspector for San Francisco’s elite Special nvestigations Unit. Always behind the wheel of his signature yellow ‘Cuda,’ Nash often goes undercover to track down the city s most vile criminals, from drug dealers and smugglers to the Russian mob. Never far behind is Nash’s loyal partner Joe Dominguez (Cheech Marin), a retired cop who’s...
- 10/8/2012
- by Phil
- Nerdly
The Fighter, Black Swan, and the other nominations for the 2011 Prism Awards have been announced. The 15th Annual Prism Awards are presented by the Entertainment Industries Council (Eic) “for outstanding accomplishments in the accurate depiction of substance abuse and mental health disorders: prevention, treatment and recovery, in film, television, interactive, comic book, music, and DVD entertainment…The ceremony for the 15th Annual Prism Awards will be held on April 28, 2011 at the Beverly Hills Hotel.” The full listing of the 2011 Prism Awards is below.
Feature Film – Substance Use
The Fighter
Holy Rollers
Iron Man 2
White Irish Drinkers
Winter’s Bone
Feature Film – Mental Health
All Good Things
Black Swan
Frankie and Alice
Lbs.
Mother and Child
Performance in a Feature Film
Christian Bale, The Fighter
Halle Berry, Frankie and Alice
Ryan Gosling, All Good Things
Jennifer Lawrence, Winter’s Bone
Natalie Portman, Black Swan
Comedy Series Episode or Multi-Episode Storyline
The Big C – “Happy Birthday,...
Feature Film – Substance Use
The Fighter
Holy Rollers
Iron Man 2
White Irish Drinkers
Winter’s Bone
Feature Film – Mental Health
All Good Things
Black Swan
Frankie and Alice
Lbs.
Mother and Child
Performance in a Feature Film
Christian Bale, The Fighter
Halle Berry, Frankie and Alice
Ryan Gosling, All Good Things
Jennifer Lawrence, Winter’s Bone
Natalie Portman, Black Swan
Comedy Series Episode or Multi-Episode Storyline
The Big C – “Happy Birthday,...
- 2/19/2011
- by filmbook
- Film-Book
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