52nd Cinema Audio Society Awards Nominations

The Cinema Audio Society has announced the nominees for the 52nd Annual Cas Awards for Outstanding Achievement in Sound Mixing for 2015 in six categories and the Cas Technical Achievement Award Nominations. "The Hateful Eight" joins "Bridge of Spies," "Mad Max: Fury Road," "The Revenant," and "Star Wars: The Force Awakens" in the Motion Picture - Live Action category.

In the animated category, nominees were .The Good Dinosaur,. .Hotel Transylvania 2,. .Inside Out,. .Minions. and .The Peanuts Movie..

Winners will be revealed on February 20th. Here are the nominees of the 52nd annual Cinema Audio Society Awards:

Motion Picture . Live Action

.Bridge of Spies.

Production Mixer: Drew Kunin

Re-recording Mixer: Andy Nelson, Cas

Re-recording Mixer: Gary Roger Rydstrom, Cas

Scoring Mixer: Thomas Vicari, Cas

Adr Mixer: Bobby Johanson, Cas

Foley Mixer: Chris Manning

.The Hateful Eight.

Production Mixer: Mark Ulano, Cas

Re-recording Mixer: Michael Minkler, Cas

Re-recording Mixer: Chris Minkler

Scoring Mixer:
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The Bloody Angle – The Bloody Angle Review

Rating: 2 out of 5 stars

Release date: 16th October


The impression I got when listening to The Bloody Angle’s eponymous debut was that they very much live for traditionalism. Aside from channeling the sort of ‘meat and potatoes’ generic southern American rock, the band pride themselves on recording the entire of this album using analogue techniques. Front man Matt Singleton: “This album was a direct backlash against the modern style of making music…no edits, no grid, no auto-tune”. Now I have some friendly advice for Mr Singleton: good music is less how and more what – as an avid music fan I could not care less which recording technique you used in the studio, as long as it sounds good.

Next time boys, more focus on songwriting and less on production.

The core problem with this record is it has no identity. When it’s not busy nodding to other musical stylings and expressions,

Alcatraz – Pilot Promo Pics

Alcatraz is the latest buzzy upcoming show connected to J.J. Abrams – the executive producer of Alcatraz – and Boomtron has some promo images for you from Fox of the pilot. There are only a few in this initial batch, but you do get looks at Sarah Jones along with Sam Neil and Lost big man Jorge Garcia. Jones was cast as the lead at the end of last yea, who will have a shot at becoming the latest in a line of female leads that break out under the bad Robot/Abrams banner (Jennifer Garner (Alias), Evangeline Lilly (Lost) and Keri Russell (Felicity).

Accompanying the images from Fox is this synopsis for the show overall: The chilling new thriller centered on America’s most infamous prison and the mysterious return of its most notorious criminals will premiere midseason on Fox.

Boomtron has been keeping you up to date with Alcatraz casting updates,
See full article at Boomtron »

Carey Mulligan scores raves for “Darkly” stage play

By Sean O’Connell Before audiences will be able to see her in Baz Luhrmann’s “The Great Gatsby,” Oscar nominee Carey Mulligan (“An Education”) has taken to the stage for an production of “Through a Glass Darkly,” and the reviews so far are spectacular.

A stage adaptation of Ingmar Bergman’s 1961 film, “Darkly” casts Mulligan as a schizophrenic young girl on vacation with her family who’s slowly going insane.

In the N.Y. Times, Ben Brantley spoke of Mulligan’s captivating performance, writing that the 26-year-old actress “more than confirms her promise as one of the finest actresses of her generation.”

The Hollywood Reporter also sings Mulligan’s praises, saying “the play belongs to Mulligan’s [character]. … The performance is volatile yet restrained, poignantly underscored by a hopeless yearning to recreate the perfect family that exists only in her head.”

If you are in New York, but “Darkly” on your calendar.
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Sam Neill Cast In A Lead Role On J.J. Abrams Alcatraz


Sam Neill joined the cast of  J.J. Abrams Alcatraz and will star alongside Sarah Jones, Jorge GarciaJonny Coyne and Jason Butler.

Alcatraz is set to air on Fox and is from Warner Bros. TV and Bad Robot. Liz Sarnoff will serve as the executive producer and showrunner.  

The show follows the efforts of a cop (Jones) and team of FBI agents tracking down a group of missing Alcatraz prisoners and guards who reappear in the present day. Neill will star as Emerson Hauser, the head of a government agency who radiates authority and piercing intelligence.

Anything coming from J.J. Abrams and Bad Robot I always am excited to see.  It is good to see Garcia in a lead role and Sam Neill makes a great addition the cast.  What are your thoughts of this news?
See full article at GeekTyrant »

Sam Neill Nabs A Lead Role in Abrams' Alcatraz

Every time I see or hear about Sam Neill, I can't help but think about "Jurassic Park" and his role as Dr. Alan Grant. Well that's all about to change as Mr. Neill has scored a major gig to go explore another famous island by another creative genius.

Deadline's Nellie Andreeva has announced that Mr. Neill is the latest actor to join 'Alcatraz', J.J. Abrams' new pilot for Fox, which is in contention for a slot on Fox's 2011-2012 Fall Schedule, which we would be surprised if it didn't given the excellent plot and cast being round up.

"Alcatraz" will follow a team of FBI agents and Alcatraz experts who are assembled after a group of prisoners and guards from the infamous prison reappear in present day after disappearing without a trace a long time ago. The special team is then tasked to track each individual down for answers to the phenomenon.
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Episode 1: Larry & Burt’s Gut Rot

Let’s get the warning out of the way first: The first episode of Jason and Brett Butler‘s web series, Larry & Burt’s Gut Rot, is way Nsfw. Frankly, I can’t imagine the Butler brothers making anything that was Sfw. But, what I can tell you is that Gut Rot is offensive, profane and pretty much hilarious. Larry (Brett Butler) is the most pissed-off pizza delivery guy you’ll ever meet while Burt (Jason Butler) is a stay-at-home loser. Their adventures trying to bring order and common sense to a chaotic world is a futile battle not worth waging. But, luckily they do because it’s funny watching them try.

For those familiar with the Butlers’ previous work, such as the film Confusions of an Unmarried Couple, one of the more surprising aspects of Gut Rot is that — odd enough as it is to say — the series is
See full article at Underground Film Journal »

Film review: Changeling

Film review: Changeling
Changeling, Cannes In Competition

For only the second time in his filmmaking career, Clint Eastwood's celebration of the loner who bucks the system, the "cowboy" who demands justice without concern for personal jeopardy, settles on a heroine. Like Hilary Swank's boxer in Million Dollar Baby, Angelina Jolie's single mother, Christine Collins, takes every punch thrown at her and comes back fighting. Her combat is not in a boxing ring -- where fighting is supposed to take place -- but rather in a corrupt police department, psychiatric ward and the court of justice where she demands to know one thing: What happened to her son?

A true story that is as incredible as it is compelling, Changeling brushes away the romantic notion of a more innocent time to reveal a Los Angeles circa 1928 awash in corruption and steeped in a culture that treats women as hysterical and unreliable beings when they challenge male wisdom.

Jolie puts on a powerful emotional display as a tenacious woman who gathers strength from the forces that oppose her. She reminds us that there is nothing so fierce as a mother protecting her cub.

The combination of Jolie and Eastwood would ordinarily mean boffo boxoffice, but Changeling is a tricky movie to market as it touches on every parent's greatest fear -- the disappearance of a child -- and is a period film that deals with a situation unimaginable in contemporary American society. Universal's challenge is to make the film's concerns connect with an audience more interested in the kind of police corruption usually found in Scorsese films.

In March 1928, Christine Collins' nine-year-old son Walter vanishes. Five months later, the LAPD, already under the gun for other unsolved crimes, calls out the press and delivers to Christine a boy who claims to be her son but is not. To avoid embarrassment, Captain Jones (Jeffrey Donovan) demands she take the boy home on a "trial basis." When she continues to insist that the LAPD needs to find her real son, Jones does what the department always does with troublesome citizens -- he locks her up in a psycho ward.

A radio minister, Gustav Briegleb (John Malkovich), takes up her cause and challenges the police version of events. Meanwhile, another officer, Detective Ybarra (Michael Kelly), launches an investigation into a potential serial killer (Jason Butler Harner) that not only proves Christine's contention but exposes the force, its chief and the mayor to the wrath of a citizenry feed up with living in a police state.

This story, uncovered by screenwriter J. Michael Straczynski in the city's own records and newspapers, adds a forgotten chapter to the L.A. noir of Chinatown and Hollywood Confidential. Christine's utter intransigence and true-seeking in the face of absolute corruption does what no newspaper in that city is willing to do -- challenge the official stories of City Hall.

Sticking fairly closely to the facts, the movie necessarily drags us through a couple of courtrooms that cause the drama to sag momentarily. But Straczynski and Eastwood are good at cutting to the chase. Seldom does a 141-minute movie feel this short.

Jolie completely shuns her movie star image to play a woman whose confidence in everything she thinks she knows is shaken to its very core. She can appear vulnerable and steadfast in the same moment. This woman has a depth she herself has never explored.

Save for another incarcerated police victim played by the fabulous Amy Ryan, most other roles tend toward righteousness or badness without too many shades in between.

The movie draws considerable strength from Eastwood's own melodic score that evokes not only a period but also the mood of a city and even a country nervously undergoing galvanic changes. The small-town feel to the street and sets, seeming oh-so-quaint to modern eyes, captures a society resistant to seeing what is really going.

So in Changeling Eastwood continues to probe uncomfortable subjects to depict the individual and even existential struggle to do what is right. Christine sees no other option. And in pursuing the truth, she forces a city to take a stand and demand accountably from its politicians and police. Her boy has been changed under her horror-stricken nose. But then again, so has she.

Cast: Angelina Jolie, John Malkovich, Jeffrey Donovan, Michael Kelly, Colm Feore, Jason Butler Harner, Amy Ryan. Director/music: Clint Eastwood. Screenwriter: J. Michael Straczynski. Producers: Brian Grazer, Ron Howard, Robert Lorenz. Executive producer: Tim Moore, Jim Whitaker. Director of photography: Tom Stern. Production designer: James Murakami. Costume designer: Deborah Hopper. Editor: Joel Cox, Gary Roach.

Production companies: Universal Pictures presents an Imagine Entertainment/Malpaso Prods.

Sales: Universal Pictures.

No MPAA rating, 141 minutes.

Film Review: 'Juno and the Paycock'

Tale of 'Paycock' Doesn't Always Shine / But Crowley version of classic boasts some fine-feathered performances

By Frank Scheck

Sean O'Casey's 1924 classic about a poor Irish family caught up in the "troubles" is a notoriously difficult theatrical work to pull off, and the Roundabout's estimable but flawed revival exemplifies the hurdles. It is running indefinitely at the Gramercy Theatre in New York.

Some productions of "Juno and the Paycock" emphasize the comic aspects in the story of a family experiencing a financial windfall that is suddenly taken away from them, while others focus on the drama's political and tragic elements. Director John Crowley's rendition concentrates more on the latter, with mixed results.

Although powerfully moving at times, the production has a dissociated, removed quality that prevents it from coming fully to life. Still, the quality of the piece shines through, and several excellent performances more than make up for any deficiencies.

Set in 1922, the play deals with the travails of the Boyle family, headed by the dissolute Capt. Jack Boyle (Jim Norton), who is more interested in pursuing opportunities for drunkenness than employment. He is accompanied in these pursuits by his best friend, the equally shiftless Joxer (Thomas Jay Ryan).

The real head of the family is the matriarch, Juno (Dearbhla Molloy), who tries to keep the household running despite the lack of income. She must contend with her son, Johnny (Jason Butler Harner), who lost an arm during the civil war and who recently was shot in the hip during a riot, and her unmarried union-organizing daughter, Mary (Gretchen Cleevely), who, it turns out, is pregnant.

The Boyles' lot promises to improve with the news of a large financial inheritance, but, as with the general political situation in Ireland, their good fortune is short-lived. By the play's end, tragedy has revisited their lives. The turmoil is summed up by a famous line delivered by the captain: "The whole world's in a terrible state o' chassis."

Crowley's production begins by projecting archival film footage illustrating the turmoil of 20th-century Irish history, and it emphasizes the bleakness of the work, which is indeed considerable. But the director is less successful in capturing the comic richness that is also a large part of it. This is particularly evident in the scenes between Jack and Joxer, which never really come to life.

On the other hand, Molloy, as the aggrieved but strong-willed Juno -- she played the role in an acclaimed Donmar Warehouse production last year, also directed by Crowley -- is wonderfully moving, conveying with fierce intensity her character's indomitable spirit and love for her family.

Norton, an Irish actor seen on Broadway last season in "The Weir", is nearly as fine. But in general, the American cast members, including Ryan, are less effective.


Presented by the Roundabout Theatre Co.

Credits: Playwright: Sean O'Casey; Director: John Crowley; Set and costume designer: Rae Smith; Lighting designer: Brian MacDevitt; Original music and sound designer: Donald DiNicola. Cast: Juno Boyle: Dearbhla Molloy; Capt. Jack Boyle: Jim Norton; Joxer Daly: Thomas Jay Ryan; Jerry Devine: Norbert Leo Butz; Mary Boyle: Gretchen Cleevely; Charles Bentham: Liam Craig.

See also

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