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221 results for “robcreber”
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The Tyee: What the ‘Freedom Convoy’ Taught Us About Ourselves (in Culture) https://thetyee.ca/Culture/2023/04/14/Freedom-Convoy-Taught-Ourselves/ #bcnews #TheTyee - via @[email protected] #AnEmergencyinOttawa:TheStoryoftheConvoyCommission #OPPIndigenousPolicingBureau #InspectorMarcelBeaudin #RouleauCommission #Ipperwashcrisis #EmergenciesAct #JoëlLightbound #MarcoMendicino #freedomconvoy #RobertBernier #DavidLametti #RobStewart #PaulWells
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The Tyee: What the ‘Freedom Convoy’ Taught Us About Ourselves (in Culture) https://thetyee.ca/Culture/2023/04/14/Freedom-Convoy-Taught-Ourselves/ #bcnews #TheTyee - via @[email protected] #AnEmergencyinOttawa:TheStoryoftheConvoyCommission #OPPIndigenousPolicingBureau #InspectorMarcelBeaudin #RouleauCommission #Ipperwashcrisis #EmergenciesAct #JoëlLightbound #MarcoMendicino #freedomconvoy #RobertBernier #DavidLametti #RobStewart #PaulWells
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The Tyee: What the ‘Freedom Convoy’ Taught Us About Ourselves (in Culture) https://thetyee.ca/Culture/2023/04/14/Freedom-Convoy-Taught-Ourselves/ #bcnews #TheTyee - via @[email protected] #AnEmergencyinOttawa:TheStoryoftheConvoyCommission #OPPIndigenousPolicingBureau #InspectorMarcelBeaudin #RouleauCommission #Ipperwashcrisis #EmergenciesAct #JoëlLightbound #MarcoMendicino #freedomconvoy #RobertBernier #DavidLametti #RobStewart #PaulWells
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Kotaku: Your Favorite Musician Just Went Live On Twitch https://kotaku.com/mainstream-video-games-twitch-musicians-tpain-mag-bay-1850056288 #gaming #tech #kotaku #entertainment2cculture #videogamelivestreaming #technology2cinternet #sarahmidoriperry #videogameculture #nappyboygaming #kerokerobonito #humanbehavior #micatenenbaum #videohosting #matthewlewin #magdalenabay #midoriperry #nerdculture #supermario #rogerebert #twitchtv #cultures #culture #gaohang #twitch #breath #gamer #space #tpain
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Kotaku: Your Favorite Musician Just Went Live On Twitch https://kotaku.com/mainstream-video-games-twitch-musicians-tpain-mag-bay-1850056288 #gaming #tech #kotaku #entertainment2cculture #videogamelivestreaming #technology2cinternet #sarahmidoriperry #videogameculture #nappyboygaming #kerokerobonito #humanbehavior #micatenenbaum #videohosting #matthewlewin #magdalenabay #midoriperry #nerdculture #supermario #rogerebert #twitchtv #cultures #culture #gaohang #twitch #breath #gamer #space #tpain
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Kotaku: Your Favorite Musician Just Went Live On Twitch https://kotaku.com/mainstream-video-games-twitch-musicians-tpain-mag-bay-1850056288 #gaming #tech #kotaku #entertainment2cculture #videogamelivestreaming #technology2cinternet #sarahmidoriperry #videogameculture #nappyboygaming #kerokerobonito #humanbehavior #micatenenbaum #videohosting #matthewlewin #magdalenabay #midoriperry #nerdculture #supermario #rogerebert #twitchtv #cultures #culture #gaohang #twitch #breath #gamer #space #tpain
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Kotaku: Your Favorite Musician Just Went Live On Twitch https://kotaku.com/mainstream-video-games-twitch-musicians-tpain-mag-bay-1850056288 #gaming #tech #kotaku #entertainment2cculture #videogamelivestreaming #technology2cinternet #sarahmidoriperry #videogameculture #nappyboygaming #kerokerobonito #humanbehavior #micatenenbaum #videohosting #matthewlewin #magdalenabay #midoriperry #nerdculture #supermario #rogerebert #twitchtv #cultures #culture #gaohang #twitch #breath #gamer #space #tpain
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I enjoyed “Landscape with Invisible Hand” this weekend. The film is based on M.T. Anderson’s young adult sci-fi novel. The teens in the story cope with a world taken over by corporations partnering with a domineering alien presence. Lots of good concepts being explored and the mom is Tiffany Haddish.
https://www.rogerebert.com/reviews/landscape-with-invisible-hand-movie-review-2023
#LandscapeWithInvisibleHand #TiffanyHaddish #movies -
I enjoyed “Landscape with Invisible Hand” this weekend. The film is based on M.T. Anderson’s young adult sci-fi novel. The teens in the story cope with a world taken over by corporations partnering with a domineering alien presence. Lots of good concepts being explored and the mom is Tiffany Haddish.
https://www.rogerebert.com/reviews/landscape-with-invisible-hand-movie-review-2023
#LandscapeWithInvisibleHand #TiffanyHaddish #movies -
I enjoyed “Landscape with Invisible Hand” this weekend. The film is based on M.T. Anderson’s young adult sci-fi novel. The teens in the story cope with a world taken over by corporations partnering with a domineering alien presence. Lots of good concepts being explored and the mom is Tiffany Haddish.
https://www.rogerebert.com/reviews/landscape-with-invisible-hand-movie-review-2023
#LandscapeWithInvisibleHand #TiffanyHaddish #movies -
I enjoyed “Landscape with Invisible Hand” this weekend. The film is based on M.T. Anderson’s young adult sci-fi novel. The teens in the story cope with a world taken over by corporations partnering with a domineering alien presence. Lots of good concepts being explored and the mom is Tiffany Haddish.
https://www.rogerebert.com/reviews/landscape-with-invisible-hand-movie-review-2023
#LandscapeWithInvisibleHand #TiffanyHaddish #movies -
I enjoyed “Landscape with Invisible Hand” this weekend. The film is based on M.T. Anderson’s young adult sci-fi novel. The teens in the story cope with a world taken over by corporations partnering with a domineering alien presence. Lots of good concepts being explored and the mom is Tiffany Haddish.
https://www.rogerebert.com/reviews/landscape-with-invisible-hand-movie-review-2023
#LandscapeWithInvisibleHand #TiffanyHaddish #movies -
Film Review: KARATE KID: LEGENDS (2025): A Fun Throwback to the Original Movie in a Franchise That Has Spanned Five Decades
#AramisKnight #BenWang #Columbia #JackieChan #JonathanEntwistle #JoshuaJackson #KarateKidLegends #MingNaWen #MovieReview #NicholasCarella #OliviaYangAvis #RalphMacchio #RobLieber #RobertMarkKamen #SadieStanley...
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Watched #EscapeFromLA last night, and wow has that film aged well - the satire hits, the special effects are frequently practical and the over the top elements (surfing a tsunami through Wilshire canyon, hang gliding over fires into Disneyland) are perfectly absurd - its peak #JohnCarpenter, with distance and the modern perspective, its one of his best. #Movies
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#TheReturn, a new #movie, peers deeply at the uneasy return of a humbled, unrecognised King Odysseus (Fiennes) to his ruined homeland and family decades after hollow triumph in Troy - his Queen (Binoche) and son now surrounded by lethal plots. Cue deep psychological resonance.
I saw it tonight in a #wellingtonnz festival. It's an instant classic.
Fiennes & Binoche shine among an excellent cast. It's a superbly restrained yet raw, award-worthy film. Go see it!
https://www.rogerebert.com/festivals/tiff-2024-the-return-riff-raff-the-friend
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#TheRapture is one of those serendipitous finds that used to make #CableTV so satisfying for me.
The best thing (along with #FullBodyMassage) that I've seen #MimiRogers in, and also my introduction to #DavidDuchovny.
The post-80's #evangelical theme is, sadly, still timely. I don't know if the rest will hold up.
I do know that ending has stuck with me more than 30 years and is why #TheCriterionChannel has it in 90's #horror.
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#TheRapture is one of those serendipitous finds that used to make #CableTV so satisfying for me.
The best thing (along with #FullBodyMassage) that I've seen #MimiRogers in, and also my introduction to #DavidDuchovny.
The post-80's #evangelical theme is, sadly, still timely. I don't know if the rest will hold up.
I do know that ending has stuck with me more than 30 years and is why #TheCriterionChannel has it in 90's #horror.
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#TheRapture is one of those serendipitous finds that used to make #CableTV so satisfying for me.
The best thing (along with #FullBodyMassage) that I've seen #MimiRogers in, and also my introduction to #DavidDuchovny.
The post-80's #evangelical theme is, sadly, still timely. I don't know if the rest will hold up.
I do know that ending has stuck with me more than 30 years and is why #TheCriterionChannel has it in 90's #horror.
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#TheRapture is one of those serendipitous finds that used to make #CableTV so satisfying for me.
The best thing (along with #FullBodyMassage) that I've seen #MimiRogers in, and also my introduction to #DavidDuchovny.
The post-80's #evangelical theme is, sadly, still timely. I don't know if the rest will hold up.
I do know that ending has stuck with me more than 30 years and is why #TheCriterionChannel has it in 90's #horror.
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#TheRapture is one of those serendipitous finds that used to make #CableTV so satisfying for me.
The best thing (along with #FullBodyMassage) that I've seen #MimiRogers in, and also my introduction to #DavidDuchovny.
The post-80's #evangelical theme is, sadly, still timely. I don't know if the rest will hold up.
I do know that ending has stuck with me more than 30 years and is why #TheCriterionChannel has it in 90's #horror.
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The #wellingtonnz 'British And Irish Film Festival is running at present. 'The Return' stars Ralph Fiennes in one of his best ever performances, plus another superb performance from Juliette Binoche.
It is a slow burn, tense and psychologically driven period Greek tale covering a segment of Homer's 'Odyssey'. It's so new it doesn't even have a trailer yet, but go see it anyway. It is *beautifully* made, a bit Game of Thrones, and Oscar worthy.
https://www.rogerebert.com/festivals/tiff-2024-the-return-riff-raff-the-friend
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Starz's Blindspotting Returns to Stake Claim to Television's Top Tier
"The series captures the same bold spirit & urbanized beat... it presents a new conversation about modern Black culture & the criminal justice system's effect on inmates & their families. "Blindspotting"’s sophomore season doubles down on its new #Oakland ordeal with stronger confidence & lyricism & bold unforgettable episodes, more powerful than the film it spun off from."
https://www.rogerebert.com/streaming/blindspotting-tv-review
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https://www.nytimes.com/1994/10/19/movies/film-review-vanya-on-42d-street-spare-chekhov-begins-sneakily.html The actors and spectators for "Vanya on 42d Street" make their entrances casually...evolved into #Chekhov almost before a movie audience is ready to notice.. the furniture and scenery are stripped away. Instead, there are only wayward emotions and deep regrets, the raw essentials of a #psychodrama that has been coaxed forth here with illusory ease...
https://www.rogerebert.com/reviews/vanya-on-42nd-street-1994 ..the #drama seems to take place outside time.. A #film by #LouisMalle
https://www.imdb.com/title/tt0111590/ -
Because I love #JohnPrine sooo much, I'm just gonna go ahead and follow the last song with the first of his songs I ever heard, at least performed by him. And, as is usual, he's got a story. Half of his appeal is the stories he tells.
In Spite of Ourselves with #IrisDement
https://www.youtube.com/watch?v=P8tTwXv4glY
Also a great story for the ages, is how Roger Ebert probably launched John's career: https://www.rogerebert.com/features/john-prine-american-legend
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All in all, I think one of the fulcrums of a person's reaction to "I Spit On Your Grave" (1978), and the genre as a whole, is a question of who one is identifying with and whose eyes one is vicariously experiencing the story through.
I find Roger Ebert's review of the movie actually quite interesting on this (https://www.rogerebert.com/reviews/i-spit-on-your-grave-1980). I often find Ebert misses the mark in a huge way on horror films, but this one is interesting in a lot of ways.
One of the things he notes is how different members of the audience reacted. He described how many middle-aged men were vocally celebrating the depiction of SA in a way that was disturbing (fair, that's creepy as fuck), and how this switched when Jennifer goes on her revenge spree, with a woman in the audience celebrating and cheering her on (which Ebert is actually curious about, to his credit).
Ebert talks about leaving the film feeling "unclean, ashamed, and depressed." He earlier describes the heroin as "simply a girl" with no character development, which is weird because we learn she is writer from NYC, we see her working hard and also taking pleasure in her peaceful breaks, and we find out she is a religious Catholic when she visits a church to ask for forgiveness for the revenge she plans to carry out. We also see development in her attitudes towards violence, as she first encounters a gun in a drawer in the cabin, quickly closing the drawer in discomfort towards the idea of violence it implies, and later see her pick up the gun when her attitude towards violence develops, justifiably so.
Part of Ebert's discomfort seems to come from the lack of an explicit editorial voice clearly passing judgment on these things, since we are often presented these scenes without dialogue or exposition. He is not a fan of ambiguity in film, or relying primarily on show don't tell.
But there's more to it than that in my opinion...
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All in all, I think one of the fulcrums of a person's reaction to "I Spit On Your Grave" (1978), and the genre as a whole, is a question of who one is identifying with and whose eyes one is vicariously experiencing the story through.
I find Roger Ebert's review of the movie actually quite interesting on this (https://www.rogerebert.com/reviews/i-spit-on-your-grave-1980). I often find Ebert misses the mark in a huge way on horror films, but this one is interesting in a lot of ways.
One of the things he notes is how different members of the audience reacted. He described how many middle-aged men were vocally celebrating the depiction of SA in a way that was disturbing (fair, that's creepy as fuck), and how this switched when Jennifer goes on her revenge spree, with a woman in the audience celebrating and cheering her on (which Ebert is actually curious about, to his credit).
Ebert talks about leaving the film feeling "unclean, ashamed, and depressed." He earlier describes the heroin as "simply a girl" with no character development, which is weird because we learn she is writer from NYC, we see her working hard and also taking pleasure in her peaceful breaks, and we find out she is a religious Catholic when she visits a church to ask for forgiveness for the revenge she plans to carry out. We also see development in her attitudes towards violence, as she first encounters a gun in a drawer in the cabin, quickly closing the drawer in discomfort towards the idea of violence it implies, and later see her pick up the gun when her attitude towards violence develops, justifiably so.
Part of Ebert's discomfort seems to come from the lack of an explicit editorial voice clearly passing judgment on these things, since we are often presented these scenes without dialogue or exposition. He is not a fan of ambiguity in film, or relying primarily on show don't tell.
But there's more to it than that in my opinion...
-
All in all, I think one of the fulcrums of a person's reaction to "I Spit On Your Grave" (1978), and the genre as a whole, is a question of who one is identifying with and whose eyes one is vicariously experiencing the story through.
I find Roger Ebert's review of the movie actually quite interesting on this (https://www.rogerebert.com/reviews/i-spit-on-your-grave-1980). I often find Ebert misses the mark in a huge way on horror films, but this one is interesting in a lot of ways.
One of the things he notes is how different members of the audience reacted. He described how many middle-aged men were vocally celebrating the depiction of SA in a way that was disturbing (fair, that's creepy as fuck), and how this switched when Jennifer goes on her revenge spree, with a woman in the audience celebrating and cheering her on (which Ebert is actually curious about, to his credit).
Ebert talks about leaving the film feeling "unclean, ashamed, and depressed." He earlier describes the heroin as "simply a girl" with no character development, which is weird because we learn she is writer from NYC, we see her working hard and also taking pleasure in her peaceful breaks, and we find out she is a religious Catholic when she visits a church to ask for forgiveness for the revenge she plans to carry out. We also see development in her attitudes towards violence, as she first encounters a gun in a drawer in the cabin, quickly closing the drawer in discomfort towards the idea of violence it implies, and later see her pick up the gun when her attitude towards violence develops, justifiably so.
Part of Ebert's discomfort seems to come from the lack of an explicit editorial voice clearly passing judgment on these things, since we are often presented these scenes without dialogue or exposition. He is not a fan of ambiguity in film, or relying primarily on show don't tell.
But there's more to it than that in my opinion...
-
All in all, I think one of the fulcrums of a person's reaction to "I Spit On Your Grave" (1978), and the genre as a whole, is a question of who one is identifying with and whose eyes one is vicariously experiencing the story through.
I find Roger Ebert's review of the movie actually quite interesting on this (https://www.rogerebert.com/reviews/i-spit-on-your-grave-1980). I often find Ebert misses the mark in a huge way on horror films, but this one is interesting in a lot of ways.
One of the things he notes is how different members of the audience reacted. He described how many middle-aged men were vocally celebrating the depiction of SA in a way that was disturbing (fair, that's creepy as fuck), and how this switched when Jennifer goes on her revenge spree, with a woman in the audience celebrating and cheering her on (which Ebert is actually curious about, to his credit).
Ebert talks about leaving the film feeling "unclean, ashamed, and depressed." He earlier describes the heroin as "simply a girl" with no character development, which is weird because we learn she is writer from NYC, we see her working hard and also taking pleasure in her peaceful breaks, and we find out she is a religious Catholic when she visits a church to ask for forgiveness for the revenge she plans to carry out. We also see development in her attitudes towards violence, as she first encounters a gun in a drawer in the cabin, quickly closing the drawer in discomfort towards the idea of violence it implies, and later see her pick up the gun when her attitude towards violence develops, justifiably so.
Part of Ebert's discomfort seems to come from the lack of an explicit editorial voice clearly passing judgment on these things, since we are often presented these scenes without dialogue or exposition. He is not a fan of ambiguity in film, or relying primarily on show don't tell.
But there's more to it than that in my opinion...
-
All in all, I think one of the fulcrums of a person's reaction to "I Spit On Your Grave" (1978), and the genre as a whole, is a question of who one is identifying with and whose eyes one is vicariously experiencing the story through.
I find Roger Ebert's review of the movie actually quite interesting on this (https://www.rogerebert.com/reviews/i-spit-on-your-grave-1980). I often find Ebert misses the mark in a huge way on horror films, but this one is interesting in a lot of ways.
One of the things he notes is how different members of the audience reacted. He described how many middle-aged men were vocally celebrating the depiction of SA in a way that was disturbing (fair, that's creepy as fuck), and how this switched when Jennifer goes on her revenge spree, with a woman in the audience celebrating and cheering her on (which Ebert is actually curious about, to his credit).
Ebert talks about leaving the film feeling "unclean, ashamed, and depressed." He earlier describes the heroin as "simply a girl" with no character development, which is weird because we learn she is writer from NYC, we see her working hard and also taking pleasure in her peaceful breaks, and we find out she is a religious Catholic when she visits a church to ask for forgiveness for the revenge she plans to carry out. We also see development in her attitudes towards violence, as she first encounters a gun in a drawer in the cabin, quickly closing the drawer in discomfort towards the idea of violence it implies, and later see her pick up the gun when her attitude towards violence develops, justifiably so.
Part of Ebert's discomfort seems to come from the lack of an explicit editorial voice clearly passing judgment on these things, since we are often presented these scenes without dialogue or exposition. He is not a fan of ambiguity in film, or relying primarily on show don't tell.
But there's more to it than that in my opinion...
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"[Noah Kahan: Out of Body is] not a typical hagiographic music doc in that it actually tears down as much as it elevates, revealing the insecurities, uncertainties, and even body dysmorphia of its subject. ... It works as well as it does because it refuses to just be fan service." -Brian Tallerico, RogerEbert.com
Noah Kahan: Out of Body is out today on Netflix, via the doc team, including my wife.