The 3. 0 Best Movies Set in a Single Location « Taste of Cinema. One of the most rewarding and contrasting cinematic detours for audiences is the chamber piece, sometimes referred to as a chamber drama or chamber film. This diversified genre is discernible by its use of a small cast of characters, often meshed over a short period of time, and in a limited environment, often times just a single location. Also, though not always, chamber films are based off of plays and/or have their derivation due to a modest or micro budget. Because of these impediments, which can also be very creatively vitalizing, the resulting films are often subversive, risky, and incredibly innovative.

But many more should not be forgotten. Cult classics: Brazil Donnie Darko Big Trouble in Little China This is Spinal Tap Repo Man The Adventures of. All-Time (Domestic) Box-Office Hits and Top Films By Decade and Year: Box-office earnings have often been a. Yes, Google Uses Its Power to Quash Ideas It Doesn’t Like—I Know Because It Happened to Me.

• Certified Fresh. Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for.
• One of the most rewarding and contrasting cinematic detours for audiences is the chamber piece, sometimes referred to as a chamber drama or chamber film.
• By Walid Shoebat. For all Christians, Jesus being Messiah, is the central key issue for the faith. This is also true for the Hebrew Roots Movement who use The Hebrew.
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Clerks (1. 99. 4)The film that started it all for Kevin Smith and his View Askewniverse, this shoestring budgeted, foul- mouthed entr. Shot at the convenience store and neighboring video store where Smith worked, the DIY inventiveness, crass humor, matter- of- fact black- and- white photography, and deadpan comic panache is hard to traverse. A film that helped define the slacker tenets of sarcasm and censure, with loads of pop culture posturing, Clerks is a welcome sale, and a cult classic. Cube (1. 99. 7)Like a Twilight Zone episode dreamed up by the likes Jorge Luis Borges, Canadian filmmaker Vincenzo Natali’s psychological thriller/horror/sci- fi pastiche is the ultimate in high- concept and low- budget. A small group of strangers awaken in an elaborate prison maze of joining cubic cells that seem to go on to infinity, each with no memory of how they arrived in such strange perplexity. As they traverse the cube they soon find that each cell is booby- trapped, the meaning behind their impasse is scrutinized intelligently, and the allegorical and metaphysical payoff is as satiating as it is fist- pumping.

Cult Classics Movies Welcome To Me (2015) Imdb

This week has seen ’70s crime classic and Playlist favorite “The Friends Of Eddie Coyle” get the Criterion upgrade to Blu-Ray. Peter Yates’ film has been. These are our top 25 greatest cult films, from Kubrick classics to Tarantino blood baths and a few surprises in between. Did your favourite make the list?

Hours (2. 01. 1)Danny Boyle’s zero cool telling of the real- life survival tale of Aaron Ralston (James Franco), an experienced mountaineer who, while exploring a far- flung canyon in Utah, becomes immobilized by a boulder that has crushed and pinned his arm. Stylish and visually stunning, despite it’s fixed locale, 1. Hours is a rush of adrenaline, and a euphoric blast of beauty that’s sure to leave audiences open- mouthed and astonished. Pontypool (2. 00. A fright flick in the vein of genre gods John Carpenter and George Romero, Bruce Mc. Donald’s take on the zombie uprising is shockingly unconventional, as well as brazenly literate and erudite. Adapted from the Tony Burgess novel, “Pontypool Changes Everything” (Burgess also wrote the screenplay), it’s set in a rural Ontario radio station where shock jock Grant Mazzy (Stephen Mc.

Hattie) broadcasts his show during an incident of apocalyptic proportions. Centering on William S, Burroughs’ “word virus” dictum, here used to breathtaking and bloody extremes, Grant and his dwindling team must outthink the undead hordes fighting to overcome them, if such enterprise is even possible, with results that are equal parts visceral and cerebral. Rope (1. 94. 8)Based off Patrick Hamilton’s play, Alfred Hitchcock’s film certainly has the feel of live theater as it’s essentially one fluid, continuous take, in real time, during a dinner party hosted by Philip Morgan and Brandon Shaw (Farley Granger and John Dall, respectively). Shortly before their guests arrive, Brandon and Philip commit a murder and hide the body in their apartment, viewing their act as a psychological treatise, they antagonize their guests, suspiciously dropping clues which Rupert Cadell (James Stewart) begins to elucidate. Hitchcock’s long takes are a wonder to watch, technically very adventurous, and while experimental and not considered one of his classics, Rope is still  polished and inventive. Misery (1. 99. 0)Populist director Rob Reiner, adapting Stephen King’s 1.

Romance novelist Paul Sheldon (James Caan), famous for trashy novels featuring his fictional creation, Misery Chastain, is vacationing in a remote area of Colorado when a snow squall sends him careening off the road, where he’s rescued by one Annie Wilkes (Kathy Bates, in an Oscar- winning performance). Annie takes Paul home where he is essentially made a prisoner, as Annie’s super fandom for the Misery series is made preternaturally clear. Paul’s recovery is determined by Annie’s deranged whims, the ensuing ordeal is in turns harrowing, hilarious, and grievously life- threatening (there’s a scene with a sledgehammer that’s unforgettable), making Misery a demented delight. Coherence (2. 01. An elegant middle- class dinner party in the Santa Monica suburbs is the seemingly banal setting for James Ward Byrkit’s mind- winding debut, Coherence.

The night of the fete, hosted by Lee (Lorene Scafaria) and Mike (Nicholas Brendon) coincides with a cosmic phenomena, Miller’s Comet, a mysterious night sky aberration last seen over Finland in 1. As this subtly adverse tale unfolds, Lee, Mike, and their guests are soon and startlingly made aware of an exact duplicate house, matching their own, just down the lane. This carbon copy casa comes complete with doppelg. A web of complex time- travel paradoxes arise, as does a friable and touching love story, making Coherence a shrewd showpiece and a promising debut.

However, the criticism leveled against Crowe's choice to cast . That is because Air Force pilot Allison Ng isn't just Asian, just like how Barack Obama isn't just black. She is a quarter Hawaiian, a quarter Chinese, and half Swedish, and when Asian- Pacific is diluted down to 1/2, blond hair and blue eyes are within the realm of possibility. The criticisms are problematic because in terms of checking the ethnicity census box, when we identify mixed race people only by the non- white descriptor, it perpetuates the idea that white is the default - unnecessary to mention because it's so normal and not .

East Asians have a slang term for those who are too assimilated into white culture: Twinkies - yellow on the outside, white on the inside. Hd Movies Ipod Kingdom Of Shadows (2015) here. Allison would be called (perhaps pejoratively) an egg - white on the outside, yellow on the inside - and she does mention her heritage so much in the movie that it hints at some self- consciousness about her white outer appearance clashing with her mixed DNA, and she overcompensates by announcing her Hawaiian pride to whomever will listen.

That juxtaposition makes for a really compelling character. Not necessarily more compelling than a Hawaiian/Chinese character who looks Hawaiian/Chinese and could be portrayed by a deserving Hawaiian and/or Chinese actress, but that's probably why Olivia Munn, Janel Parish, or Sandrine Holt, talented part- Asian- Pacific AND . Munn, Parish, and Holt are part- Asian- Pacific, and there's probably an actress out there who IS a quarter Hawaiian, a quarter Chinese, and half Swedish. Cult Comedy Movies Faults (2015). Does that mean they are all more deserving of this mixed role?

Do they understand the complex duality of in- group inclusion and out- group alienation more than Emma Stone does just by virtue of their skin color? We generally accept the fact that actors are actors, stepping into characters who may or may not share varying degrees of similarity with themselves, so why can't we accept that convention for multi- ethnic roles? We don't mind so much when Australian actors adopt American accents or when Black British actors play African American historical figures; we only mind if the attempt is unconvincing. However, when it comes to ethnic characters beyond black and white, we still need the ethnic character to conform to that congruous visual identification of being .

Non- white actors walk a thin line when it comes to portraying non- white characters. They understand that . All any working actor wants is a meaty role, and in a truly diverse and equal world, Asians can play non- Asian roles and whites can play non- white roles (barring historical figures perhaps, or roles that redefine race out of spite, or reinterpretive roles that are merely star- making vehicles not in service of a strong story and authentic portrayals). After all, every person has ethnicity and every culture is ethnic; diversity doesn't just mean non- white.

I didn't find her undeserving of the role because she played the plucky, goofy, sassy role as written and was fairly competent at it, charming even. Allison isn't a bad role, but it's not a great role either. She is Crowe's epitome of the cute and clever supporting MPDG, and beyond the cool first shot of her donning her Aviators, we don't actually get to see Allison in her professional element; her flying competency is only ever complimented by men of high brass. If anything, we are blaming him for not writing a fully Asian- Pacific female romantic interest to begin with, but then we'd be asking for blanket affirmative action and not what we ask of artists: to make the piece of art they set out to make. If this is the movie he intended, well, maybe we should just blame him for making an uneven movie.

Woody's angsty hissy- fit over Brian coming to town is sudden and inexplicable considering Tracy had been suffering Woody's radio silence for a while now. Brian's plan to foil the launch doesn't make much sense, and the nature of his entire contracting job is cloudy (another example of Crowe not doing his research on the occupations about which he writes *see or don't see . My favorite moment does get a kudos though: Grace sees Brian outside her hula dancing studio, and she slowly realizes why he's there. The dawning look on young Danielle Rose Russell's face and her cathartic crying as she's simultaneously dancing is touching and impressive.