About A Teacher Hanan Harchol Productions Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten Director: Hanan Harchol Screenwriter: Hanan Harchol Cast: Leslie Hendrix, Dov Tiefenbach, Tibor Feldman, Aurora Leonard, Kate Eastman, Yan Xi, Hanan Harchol Screened at: Critics’ link, NYC, 3/26/20 Opens: April 7, 2020 As a guy who spent a […]
The post About A Teacher Movie Review appeared first on Shockya.com.
The post About A Teacher Movie Review appeared first on Shockya.com.
- 4/9/2020
- by Harvey Karten
- ShockYa
I'm just seeing this deleted scene from The Devil Wears Prada for the first time, and honestly it changed the whole movie for me pic.twitter.com/6Zkr6UxHQO
— Spencer Althouse (@SpencerAlthouse) August 28, 2017
It’s been 11 years since the film adaptation of Lauren Weisberger’s 2003 novel The Devil Wears Prada hit the big screen. And though the Meryl Streep / Anne Hathaway film is beloved by fans, an unearthed deleted scene appears to be clouding its legacy for some.
In the cut clip, which takes place at a gala Hathaway’s character Andy chooses to go to over her boyfriend’s birthday,...
— Spencer Althouse (@SpencerAlthouse) August 28, 2017
It’s been 11 years since the film adaptation of Lauren Weisberger’s 2003 novel The Devil Wears Prada hit the big screen. And though the Meryl Streep / Anne Hathaway film is beloved by fans, an unearthed deleted scene appears to be clouding its legacy for some.
In the cut clip, which takes place at a gala Hathaway’s character Andy chooses to go to over her boyfriend’s birthday,...
- 9/1/2017
- by Dave Quinn
- PEOPLE.com
The Good Wife, Season 6, Episode 3: “Dear God”
Written by Luke Schelhaas
Directed by Brooke Kennedy
Airs Sundays at 9pm Et on CBS
Remember its early seasons, when The Good Wife was a smart, but often pretty formulaic legal procedural that delighted in exploring odd, archaic, or simply rare avenues of legal practice just for the sheer novel kick of it? Long stretches of “Dear God” feel like a throwback to that simpler, less ethically fraught time, albeit with a much heftier dose of series memory. The episode’s relatively breezy tone makes for a nice tonal break in what is shaping up to be a heavy season, but some of the attempts to keep the broader season-arc pieces moving in the other parts of the episode are markedly less successful.
In the case of “Dear God,” the odd legal avenue of the week is arbitrary Christian arbitration, wherein an...
Written by Luke Schelhaas
Directed by Brooke Kennedy
Airs Sundays at 9pm Et on CBS
Remember its early seasons, when The Good Wife was a smart, but often pretty formulaic legal procedural that delighted in exploring odd, archaic, or simply rare avenues of legal practice just for the sheer novel kick of it? Long stretches of “Dear God” feel like a throwback to that simpler, less ethically fraught time, albeit with a much heftier dose of series memory. The episode’s relatively breezy tone makes for a nice tonal break in what is shaping up to be a heavy season, but some of the attempts to keep the broader season-arc pieces moving in the other parts of the episode are markedly less successful.
In the case of “Dear God,” the odd legal avenue of the week is arbitrary Christian arbitration, wherein an...
- 10/6/2014
- by Simon Howell
- SoundOnSight
Recently, CBS released the new,official synopsis/spoilers for their upcoming "The Good Wife" episode 3 of season 6. The episode is entitled, "Dear God," and it turns out we'll still see Cary sitting in jail, waiting for someone to set him free, and more. In the new, 3rd episode press release: Cary's freedom is going to lie in the hands of his pretrial service officer. Press release number 2: Cary’s freedom will lie in the hands of his pretrial service officer, Joy Grubick, as she interviews his colleagues to determine whether or not he should remain behind bars. Meanwhile, Alicia and Dean are going to find themselves in unfamiliar territory when a client’s case ends up in Christian Arbitration. Linda Lavin guest stars as pretrial service officer Joy Grubick. Robert Sean Leonard guest stars as Del Paul, an arbitrator. Taye Diggs returns as Dean Levine-Wilkins, an equity partner at Lockhart/Gardner.
- 9/28/2014
- by Andre
- OnTheFlix
Review by Dana Jung
Alexis Fish (a revelatory Gina Rodriguez) is a twenty-something widow who is slowly eroding away in Los Angeles; her husband left her in debt, she’s working menial jobs like dressing up as a giant panda for a restaurant, and she is taking medication to help her with feelings of depression, anxiety, anger, you name it. She misses her family in New York, especially her sister Kayla (the wonderful Ana Ortiz) and her father (Tibor Feldman). However, even the distance from East coast to West doesn’t seem to be enough to nullify the contentious relationship she has with her mother (Priscilla Lopez). The mother/daughter conflict is one of the main themes that propels the funny and moving new film Sleeping With The Fishes.
When a family funeral brings Alexis back to New York, things at first seem to go from bad to worse. As her freespirited sister explains,...
Alexis Fish (a revelatory Gina Rodriguez) is a twenty-something widow who is slowly eroding away in Los Angeles; her husband left her in debt, she’s working menial jobs like dressing up as a giant panda for a restaurant, and she is taking medication to help her with feelings of depression, anxiety, anger, you name it. She misses her family in New York, especially her sister Kayla (the wonderful Ana Ortiz) and her father (Tibor Feldman). However, even the distance from East coast to West doesn’t seem to be enough to nullify the contentious relationship she has with her mother (Priscilla Lopez). The mother/daughter conflict is one of the main themes that propels the funny and moving new film Sleeping With The Fishes.
When a family funeral brings Alexis back to New York, things at first seem to go from bad to worse. As her freespirited sister explains,...
- 11/23/2013
- by Movie Geeks
- WeAreMovieGeeks.com
Title: Trophy Kids Director: Josh Sugarman Starring: Ryan Eggold, David Gallagher, Tahyna Tozzi, Nathan Lee Graham, Tibor Feldman, David Thornton, Tania Raymonde A world premiere, in-competition title at the 14th annual Dances With Films festival, ‘Trophy Kids’ is that rare independent film that turns its lens on the moviemaking process itself, and doesn’t morph into a self-congratulating circle jerk of air-quote misunderstood artistic grievance. Instead, it’s ambitious and playful, flirty and mysterious, puffed-up and yet also nervous and candid about its ambivalence and uncertainty toward storytelling form, and what makes a film a true work of art. In short, it’s the sort of indie movie that, well, gives indie movies a good...
- 6/7/2011
- by bsimon
- ShockYa
This debut feature scores major points for its stylistic audaciousness alone. Forgoing sex, violence, mayhem and indeed even a defined plot, "A Day in Black and White" explores race relations in America through that rarest of commodities in today's American (even indie) cinema -- conversation.
A sort of "My Dinner With Andre" as influenced by Spike Lee, this uneven but provocative film marks the emergence of a new talent in writer-director Desmond Hall. The feature was recently showcased at the Nantucket (Mass.) Film Festival, where, because of the festival's emphasis on screenwriting, it was a particularly apt selection.
The director's playfulness is most apparent in a well-shot scene in which a black teenager is seen running desperately down a New York City street carrying a bag, with two white teenagers in hot pursuit. The resolution of the situation is not what one would expect, and it garners a delighted reaction from the audience.
The film largely consists of a series of conversations between mostly undefined characters who talk about various aspects of race relations. Setting the talks in motion is an impending speech about race that is to be delivered by a young black man (Harold Perrineau of TV's "Oz") at his schoolteacher girlfriend's high school. He asks a white friend (Anthony DeSando) for advice, and soon the pair are involved in a free-wheeling conversation that touches on, among other things: the lack of black quarterbacks in the NFL, gangster rap, the word "nigger" and, of course, O.J.
As the film progresses, we are introduced to other characters, including a pair of black women Lisa Louise Langford, Jozie Hill) at a cafe who talk about black women who "act white"; a white cabby (Joseph Siravo) who discusses interracial dating with a black female cook (Stephanie Berry) he's attracted to; a black teenager (Sharif Rashed) who visits his white father (Tibor Feldman) at work, interrupting his argument over affirmative action with two colleagues, (Lonette McKee, DeSando); and a militant black man (Ron C. Jones) who debates the speechmaker on what it means to be black.
Ultimately, the film's lack of a narrative deprives it of any momentum, and Hall's dialogue -- though generally believable and well-written -- lacks the true depth or wit that would lift the film to another level.
But "A Day in Black and White" is invigorating for its courage in abandoning formulas and for not condescending to the audience. The acting is fine all around, with the performers more than up to the challenge of delivering the extensive dialogue.
Tech credits for the low-budget exercise are fine, and Spike Lee fans will get a kick out the scene spoofing that director's distinctive camera movements.
A DAY IN BLACK AND WHITE
Director-screenplay: Desmond Hall
Producer: Jon Gold
Director of photography: Peter Konczal
Editor: John Laskas, Colby Parker Jr.
Music: Loris Holland
Production designer: Catherine Wint
Color/stereo
Cast:
Afro-Centric Man: Ron C. Jones
Black Man: Harold Perrineau
White Man: Anthony DeSando
Black Woman No. 1: Lisa Louise Langford
Black Woman No. 2: Jozie Hill
White Cabby: Joseph Siravo
Black Cook: Stephanie Berry
Black Woman in Office: Lonette McKee
Running time -- 86 minutes
No MPAA rating...
A sort of "My Dinner With Andre" as influenced by Spike Lee, this uneven but provocative film marks the emergence of a new talent in writer-director Desmond Hall. The feature was recently showcased at the Nantucket (Mass.) Film Festival, where, because of the festival's emphasis on screenwriting, it was a particularly apt selection.
The director's playfulness is most apparent in a well-shot scene in which a black teenager is seen running desperately down a New York City street carrying a bag, with two white teenagers in hot pursuit. The resolution of the situation is not what one would expect, and it garners a delighted reaction from the audience.
The film largely consists of a series of conversations between mostly undefined characters who talk about various aspects of race relations. Setting the talks in motion is an impending speech about race that is to be delivered by a young black man (Harold Perrineau of TV's "Oz") at his schoolteacher girlfriend's high school. He asks a white friend (Anthony DeSando) for advice, and soon the pair are involved in a free-wheeling conversation that touches on, among other things: the lack of black quarterbacks in the NFL, gangster rap, the word "nigger" and, of course, O.J.
As the film progresses, we are introduced to other characters, including a pair of black women Lisa Louise Langford, Jozie Hill) at a cafe who talk about black women who "act white"; a white cabby (Joseph Siravo) who discusses interracial dating with a black female cook (Stephanie Berry) he's attracted to; a black teenager (Sharif Rashed) who visits his white father (Tibor Feldman) at work, interrupting his argument over affirmative action with two colleagues, (Lonette McKee, DeSando); and a militant black man (Ron C. Jones) who debates the speechmaker on what it means to be black.
Ultimately, the film's lack of a narrative deprives it of any momentum, and Hall's dialogue -- though generally believable and well-written -- lacks the true depth or wit that would lift the film to another level.
But "A Day in Black and White" is invigorating for its courage in abandoning formulas and for not condescending to the audience. The acting is fine all around, with the performers more than up to the challenge of delivering the extensive dialogue.
Tech credits for the low-budget exercise are fine, and Spike Lee fans will get a kick out the scene spoofing that director's distinctive camera movements.
A DAY IN BLACK AND WHITE
Director-screenplay: Desmond Hall
Producer: Jon Gold
Director of photography: Peter Konczal
Editor: John Laskas, Colby Parker Jr.
Music: Loris Holland
Production designer: Catherine Wint
Color/stereo
Cast:
Afro-Centric Man: Ron C. Jones
Black Man: Harold Perrineau
White Man: Anthony DeSando
Black Woman No. 1: Lisa Louise Langford
Black Woman No. 2: Jozie Hill
White Cabby: Joseph Siravo
Black Cook: Stephanie Berry
Black Woman in Office: Lonette McKee
Running time -- 86 minutes
No MPAA rating...
- 7/22/1999
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.