Alternative Title: Krovavoye Voskresenye Bloody Sunday, Russian Krovavoye Voskresenye, (January 9 [January 22, New Style], 1905), massacre in,, of peaceful demonstrators marking the beginning of the violent phase of the. At the end of the 19th century, industrial workers in Russia had begun to organize; police agents, eager to prevent the Labour Movement from being dominated by revolutionary influences, formed legal labour unions and encouraged the workers to concentrate their energies on making economic gains and to disregard broader social and political problems. In January 1905 a wave of strikes, partly planned by one of the legal organizations of workers—the Assembly of Russian Workingmen—broke out in St. The leader of the assembly, the priest Georgy, hoping to present the workers’ request for reforms directly to Emperor, arranged a mass demonstration. Having told the authorities of his plan, he led the workers—who were peacefully carrying religious icons, pictures of Nicholas, and petitions citing their grievances and desired reforms—toward the square before the. Nicholas was not in the city. The chief of the security police—Nicholas’s uncle, Grand Duke Vladimir—tried to stop the march and then ordered his police to fire upon the demonstrators. More than 100 marchers were killed, and several hundred were wounded. The massacre was followed by a series of strikes in other cities, peasant uprisings in the country, and mutinies in the armed forces, which seriously threatened the tsarist regime and became known as the Revolution of 1905. Thousands of people are expected to travel to Selma, Alabama, this weekend for the 50th anniversary of “Bloody Sunday,” when hundreds of peaceful voting rights activists were attacked by police crossing the Edmund Pettus Bridge as they attempted to march to Montgomery on March 7, 1965. Bloody Sunday was the first of three attempted marches from Selma to Montgomery, which was finally completed under federal protection and led by Dr. Martin Luther King Jr. One of the protesters beaten on Bloody Sunday was Rep. John Lewis of Georgia, then a 25-year-old organizer with the Student Nonviolent Coordinating Committee. “I was hit in the head by a state trooper with a nightstick. I had a concussion at the bridge,” Lewis said. “My legs went out from under me. I felt like I was going to die. I thought I saw Death. All these many years later, I don’t recall how I made it back across that bridge to the church.”. Bloody Sunday occurred on January 1972 when the parachute regiment of the British army shot dead 13 people on the streets of Derry.
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SUBSCRIBE: From director Gus Van Sant and starring Matthew McConaughey, Ken Watanabe, and Naomi Watts. THE SEA OF TREES – Coming Soon. RELEASE DATE: Coming Soon DIRECTOR: Gus Van Sant CAST: Matthew McConaughey, Ken Watanabe, and Naomi Watts Visit The Sea Of Trees WEBSITE: Like The Sea Of Trees on FACEBOOK: NOW AVAILABLE FOR RENT OR PURCHASE! Rent or buy it on iTUNES: Rent or buy it on AMAZON: Buy it on DVD/BLU-RAY: Rent or buy it on YouTube: ------ ABOUT A24: Official channel for A24, the people behind Moonlight, The Lobster, The Witch, Ex Machina, Amy, Spring Breakers & more Coming Soon: Free Fire, A Ghost Story, How to Talk to Girls at Parties, It Comes at Night, Woodshock, Slice, Good Time Subscribe to A24's NEWSLETTER: Visit A24 WEBSITE: Like A24 on FACEBOOK: Follow A24 on TWITTER: Follow A24 on INSTAGRAM. 3/5 2,170 votes 2016 PG-13. The Forms of To Be The Greek sea god, Proteus, was (like the sea) capable of changing form in an instant. In order to get any decent information out of him, you had to grab him and hold on tight while he went through his various forms lion, wild boar, snake, tree, running stream it wasn't easy. The verb To be is said to be the most protean of the English language, constantly changing form, sometimes without much of a discernible pattern. Considering that we use it so often, it is really too bad that the verb To be has to be the most irregular, slippery verb in the language. Present Tense I am We are You are You are He/She/It is They are Past Tense I was We were You were You were He/She/It was They were Perfect Form (past participle) I have been, etc. Progressive Form (present participle) I am being, etc. We must choose carefully among these various forms when selecting the proper verb to go with our subject. Singular subjects require singular verbs; plural subjects require plural verbs. That's usually an easy matter. We wouldn't write The troops was moving to the border. But some sentences require closer attention. Do we write The majority of students is (or are) voting against the referendum'? Review carefully the material in our section on, and notice how often the choices we make require a familiarity with these forms of the To be verb. Simple Questions We create simple yes/no questions by inverting the order of subject and the To be verb. • Is your brother taller than you? • Am I bothering you? • Were they embarrassed by the comedian? How to Be Black [Baratunde Thurston] on Amazon.com. *FREE* shipping on qualifying offers. The Onion's Baratunde Thurston shares his 30-plus years of expertise in being black, with helpful essays like “How to Be the Black Friend. The same inversion takes place when To be is combined with verbs in the progressive: • Am I working with you today? • Is it snowing in the mountains? • Were your children driving home this weekend? The Linking and Existential 'To Be' The verb To be most frequently works in conjunction with another verb: He is playing the piano, She will be arriving this afternoon. Occasionally, though, the verb will stand by itself, alone, in a sentence. This is especially true in simple, brief answers to questions. Who's going to the movies with me? I am Who's responsible for this mess in the bathroom? She is. In sentences such as these, the subject usually receives the intonation stress and the voice falls off on the verb. An auxiliary can be combined with the base form of To be to provide simple answers to questions that use forms of to be. Is Heitor in class this morning? Well, he might be. Is anyone helping Heitor with his homework? I'm not sure. Suzanne could be. The verb To be also acts as a linking verb, joining the sentence subject with a. A linking verb provides no action to a sentence: the subject complement re-identifies the subject; the adjective complement modifies it. (For further information and additional vocabulary in dealing with linking verbs, visit the hyperlinks in this paragraph.) • Professor Moriber is the Director of Online Learning. • Our trip to Yellowstone was fantastic! In Passive Constructions A form of the verb To be is combined with a past participle to form the passive. Are useful when the subject of an action is not as important as what the subject did (the action of the sentence) or when the subject is unknown. For instance, the police might report that The professor was assaulted in the hallways because they do not know the perpetrator of this heinous crime. In technical writing, where the process is more important than who is doing the activity, we might report that Three liters of fluid is filtered through porous glass beads. Regardless of the verb's purpose, only the auxiliary form of To be changes; the participle stays the same. The To be will change form to indicate whether the subject is singular or plural: • The foundation is supported by enormous floating caissons that keep it from sinking into the swamp. • They were constructed by workers half submerged in the murky waters. Notice how the information about who did the action is frequently found in a prepositional phrase beginning with by. Passive constructions do not always include this information: • Wooden caissons were used until fiberglass structures were developed in the 1950s. • Caissons were also designed to function under water in the construction of bridges. The To be will also change to indicate the time of the action and the aspect of the verb (simple, progressive, perfect). • Water is pumped out of the caisson to create an underwater work chamber. (simple present) • Some caissons were moved to other construction sites. (simple past) • While the water was being pumped out, workers would enter the top of the waterproof chamber. (past progressive) • Many other uses of caisson construction have been explored. (present perfect) • Caissons had been used by the ancient Romans. (past perfect) • Other uses will be found. (future) The To be verb can be combined with other modal forms (along with the past participle of the main verb) to convey other kinds of information. See the section on for the various kinds of information conveyed by modals (advisability, predictability, guessing, necessity, possibility, etc.). • The wall joints may be weakened if the caissons can't be rebuilt. • Perhaps the caissons should be replaced; I think they ought to be. • These ancient, sturdy structures might have been rotted by constant exposure to water. Visit our section on for advice on when to use the passive and when to substitute more active verb forms. When To be verbs are combined with modal forms in this manner, the construction is called a phrasal modal. Here are some more examples: • Rosario was able to finish her degree by taking online courses. • She wasn't supposed to graduate until next year. • She will be allowed to participate in commencement, though. • She is about to apply to several graduate programs. • She is going to attend the state university next fall. Sometimes it is difficult to say whether a To be verb is linking a subject to a participle or if the verb and participle are part of a passive construction. In Certain behaviors are allowed, is 'are linking behaviors to 'allowed' (a participle acting as a predicate adjective) or is are allowed a passive verb? In the final analysis, it probably doesn't matter, but the distinction leads to some interesting variations. Consider the difference between • The jurists were welcomed. And • The jurists were welcome. In the first sentence, the participle welcomed (in this passive construction) emphasizes the action of welcoming: the smiles, the hearty greetings, the slaps on the back. In the second sentence, the predicate adjective welcome describes the feeling that the jurists must have had upon being so welcomed. Progressive Forms Click for a thorough discussion of the progressive verb forms. Progressive forms include a form of To be plus a present participle (an -ing ending). Directed by Victor Salva. With Stan Shaw, Gabrielle Haugh, Brandon Smith, Meg Foster. Sheriff Dan Tashtego and a team of creeper hunters enlist the help of officer. Nov 15, 2017. Jeepers Creepers 3 only played on two dates in September, but fans who missed its limited theatrical run were able to catch the flick twice last month during Syfy's 31 Days of Halloween. After waiting over a decade for another sequel, fans were anxious to learn more about the titular Creeper. 'Jeepers Creepers 3' Poster Artwork The portrays the silhouette of The Creeper, with the same jagged font as the previous two movies. A swarm of ravens or crows form a black '3' across a darkening sky. Teaser poster for 'Jeepers Creepers 3' [Credit: Bloody Disgusting] I have to say, however, that I prefer the fan-made poster created by DeviantArt resident.. Fan-made 'Jeepers Creepers 3' poster [Credit: NetoRibeiro89 on DeviantArt] 'Jeepers Creepers 3' Release Date The Jeepers Creepers 3 release date is sometime in 2017, with no more concrete details emerging no matter how frantically horror fans google it. Still, at least they've considerately released Jeepers Creepers 1 & 2 on so we can enjoy recapping the first two movies in excellent quality while we wait for Jeepers Creepers 3! 'Jeepers Creepers 3' Trailer We're still waiting on an official Jeepers Creepers 3 trailer: watch this space! The Creeper Lives! Despite news that Jeepers Creepers 3 director had, the movie has. You can't kill The Creeper. What do you want to see in 'Jeepers Creepers 3'? Jeepers Creepers 3 Trailer #2 (2017): Check out the new trailer starring Meg Foster, Gina Philips, and Jonathan Breck! Be the first to watch, comment, and share trailers and movie teasers/clips dropping soon @MovieclipsTrailers. ► Buy Tickets: Watch more Trailers: ► HOT New Trailers Playlist: ► What to Watch Playlist: ► Horror Trailer Spotlight Playlist: Sergeant Tubbs assembles a task force hellbent on destroying The Creeper. About Movieclips Trailers: ► Subscribe to TRAILERS: ► We’re on SNAPCHAT: ► Like us on FACEBOOK: ► Follow us on TWITTER: The Fandango MOVIECLIPS Trailers channel is your destination for hot new trailers the second they drop. The Fandango MOVIECLIPS Trailers team is here day and night to make sure all the hottest new movie trailers are available whenever, wherever you want them. ½ A fascinating movie that centralizes on the companionship and budding romance between two women. Tala and Leyla are first introduced to each other during a visit, and the two instantly connect. They begin spending more time together, and attraction motivates these two when they decide to take a trip together where the two fall in love. Although Tala is engaged, and will soon marry Hani. More I Can't Think Straight videos. Shamim Sarif's autobiographical novel serves as the inspiration for this film directed by the author, and concerning two women from deeply diverse backgrounds who. Watch I Can't Think Straight Online Full Free. I can't think straight full movie with English subtitle. Stars: Lisa Ray, Sheetal Sheth, Antonia Frering. The Paperback of the I Can't Think Straight by Shamim Sarif at Barnes & Noble. FREE Shipping on $25 or more! Leyla is dating Tala's friend Ali, and hopes to become a writer someday. Despite these differences, Leyla admits her love and Tala is indecisive about what path in life to follow. With the help of loved ones, the two find their way to each other. Great cast- Lisa Ray, Sheetal Sheth, Antonia Frering, Dalip Tahil, Nina Wadia, Ernest Ignatius, Amber Rose Revah, Siddiqua Akhtar, and Anya Lahiri. Funny, heartwarming and downright sexy. Yes, technically this would probably not entirely deserve 5 stars (the dialogue seemed a bit forced at times, the low budget shone through very occasionally), but I had so much fun, I loved the chemistry between the actresses and this was more than just a romantic comedy. The humour is clever, the romance believable and the characters are lovable and well-rounded. And, to come to my most valid argument: This is hands down the lesbian romantic comedy with the hottest couple. A brief moment where Nala stands on top of a staircase in heels and looks at Leyla prompted spontaneous gasps from the almost exclusively female audience. You will know which moment I mean. Hot, funny, endearing film. Synopsis Tala, a London-based Palestinian, is preparing for her elaborate Middle Eastern wedding when she meets Leyla, a young British Indian woman who is dating her best friend. Spirited Christian Tala and shy Muslim Leyla could not be more different from each other, but the attraction is immediate and goes deeper than friendship. But Tala is not ready to accept the implications of the choice her heart has made for her and escapes back to Jordan, while Leyla tries to move on with her new-found life, to the shock of her tradition-loving parents. ½ I honestly wanted to really like this movie, it's energetic and it, at the very least, unlike a lot of films, seems to really try to be telling fairly unique and different from everything else that's out there. And I have to say that it does succeed at what it sets out to do, it does at the expense of the film's consistency and pacing. When you have a film that's as ambitious as this, that's par for the course, and part of me likes to see the fact that, even if it might not hit on all cylinders, that this film exists because, as a blurb on here states, this has 'cult favorite' written all over it. The flaws are readily apparent. Perhaps the biggest one is the fact that I think this concept is better suited for a short film instead of a full-length one. Not saying that the film stretches things out past their breaking point, but there's long instances of the film where there's not a laugh to be had. The film does have its funny moments, but they're spread far and wide, if the movie was a little shorter then that might not have been a problem. I did, however, like the fact that the movie very much felt, from the look to the costume design, to some of the psychedelic moments, like it came from the 60s. It's clearly not shot with 60s camera, which would've been the only thing that might've made the movie cooler. The cast is more than good. Rupert Grint, a guy that I literally grew up watching, he's only 6 months younger than me, has grown into a pretty good actor. Really, all of the leads from Harry Potter have grown up to be real good actors. They might not be respected as actors yet, but they've grown and matured to be reliable leads on their own without any gimmicks. Well, I mean, this movie is kind of gimmicky, but you know what I mean. The film plays with the supposed moon hoax theory, which I think is bullshit, in a fun fashion. It might not go as far as it possibly could with the concept, but it does make up for it with its lively approach. This is a pretty shitty review, all things considered, but this movie is an enjoyably average movie. It's unlike anything you've ever seen and that's not necessarily reason enough to watch it, because the execution in parts isn't great, but I'd recommend it if you want something that's different and offers some enjoyable stuff. The generation of NASA astronauts who traveled beyond Earth orbit is now in their 80s. Directed by Antoine Bardou-Jacquet. With Rupert Grint, Ron Perlman, Robert Sheehan, Stephen Campbell Moore. After failing to locate the legendary Stanley Kubrick, an. It might not be consistently enjoyable, but there's some fun to be had here. It's on Netflix, so you know how it is. The ultimate deception produced in quality of Youtube prank. If one is going for the awkward duo shtick, Rupert Grint and Ron Perlman might fit the bill. Their chemistry is slightly off at times, but the gap between characters could offer a few chuckles. Unfortunately the humor is neither The ultimate deception produced in quality of Youtube prank. If one is going for the awkward duo shtick, Rupert Grint and Ron Perlman might fit the bill. Their chemistry is slightly off at times, but the gap between characters could offer a few chuckles. Unfortunately the humor is neither amusing nor witty, it's a long arduous exhibition of people failing extraordinarily or ridiculously diving into hippie lifestyle, cursing and confused the entire time. Its better jokes are, ironically, from show of gore and blood. Jonny (Rupert Grint) is a manager down on his luck, he serendipitously meets with Kidman (Ron Perlman) in a silly 'mistaken identity” plot. Kidman is tasked by CIA to falsely the moon landing and he's stuck with Jonny to produce a film to such effect. The events and people they meet are increasingly more bizarre than the last one. Perlman and Grint make for decent duo, although in some parts they just don't seem to click. This is juvenile and slapstick humor without much restrained, everyone is the parody of stereotype in drug overdose, and that's not figuratively. Half the movie is people getting high or simply having personality equal of a person in intoxication. Yelling and complaining go hand-in-hand, misery loves company and all that jazz. Among these rambunctious bunch, probably only one or two characters would stick, because their silliness get old incredibly fast. Expect a lot of people messing up, in fact this might just be homage for people failing at their mission. The clash of culture wanes after one or two jokes since it's merely a comical version of hippies. Strangely, the brutal parts are pretty enjoyable. It's just as outrageous as the rest, yet the sudden eruption of blood is done very well, could even pass for horror flick. The humor used is shady and corny, it may present some amusement over the silliness but the loud bantering eventually loses its voice. It's July 1969, the world's eye on the US, but they're one step and one man away from the humiliation. This is really a brilliant concept, but lacks the production quality since it is a small budget film. At least they got some decent actors where Ron Perlman and Rupert Grint led it with It's July 1969, the world's eye on the US, but they're one step and one man away from the humiliation. This is really a brilliant concept, but lacks the production quality since it is a small budget film. At least they got some decent actors where Ron Perlman and Rupert Grint led it with full responsibility. The story of a CIA agent Kidman, who was sent to London to make some fake video clips of moon landing from a renowned filmmaker when pentagon thought the NASA mission might fail. But he meets the wrong men and loses the money. Now he got no time, but to find a quick solution and accomplish his mission, where some fun filled adventures follows in the remaining narration. It is a French production, almost everything shot in England in the English language, but there is a bit of American flavour in it. Based on the speculation on the Apollo 11 mission, but it never took seriously on that topic, other than narrating humorously. Only the theme was new, but most of the jokes weren't. Overall, an average film, directed by some totally unknown guy, but as a B movie, it is acceptable. If you know what kind of film you're about see and anticipate according to that, then the time you spend for it won't end badly, except you're not going to give it a perfect score. A map showing the wards of Paddington Metropolitan Borough as they appeared in 1916. The earliest extant references to Padington, a part of, appear in documentation of purported 10th-century land grants to the monks of Westminster by as confirmed. However, the documents' provenance is much later and likely to have been forged after the 1066. There is no mention of the place (or Westbourne or Knightsbridge) in the of 1086. It has been reasonably speculated that a Saxon settlement was located around the intersection of the northern and western Roman roads, corresponding with the () and the and Roads. A more reliable 12th-century document cited by the cleric (1697–1759) establishes that part of the land was held by brothers 'Richard and William de Padinton'. In the later and early era, the rectory, manor and associated estate houses were occupied by the Small (or Smale) family. Read the Paddington movie synopsis, view the movie trailer, get cast and crew information, see movie photos, and more on Movies.com. Paddington 2 2018 Full Movie Watch Online or Download paul king instant free on your Desktop, Laptop, notepad, smart phone, iPhone, Apple, all others. Welcome to the official website of Westminster City Council. Find information about Council Tax, planning, parking, licensing, libraries, recycling and more. Buy Paddington: Read 1988 Movies & TV Reviews - Amazon.com. Nicholas Small was a clothworker who was sufficiently well connected to have paint a portrait of his wife,. Nicholas died in 1565 and his wife married again, to Nicholas Parkinson of Paddington who became master of the. Jane Small continued to live in Paddington after her second husband's death, and her manor house was big enough to have been let to Sir John Popham, the attorney general, in the 1580s. They let the building that became in this time Blowers Inn. As the regional population grew in the 17th century, Paddington's ancient of was split into divisions; replaced the hundred for most administrative purposes. By 1773, a felt and wrote that 'London may now be said to include two cities, one borough and forty six antient [ancient] villages [among which]. Paddington and [adjoining] Marybone ().' Roman roads formed the parish's north-eastern and southern boundaries from: (later ) and; (the) Uxbridge road, known by the 1860s in this neighbourhood as. They were in much of the 18th century, before and after the dismantling of the permanent at their junction in 1759 a junction now known as Marble Arch. By 1801, the area saw the start-point of an improved and an of the () - these remain.: p.174 Tyburnia [ ]. Mainline station. Paddington lies within the area and has the usually array of taxi, bus, rail and bicycle facilities associated with a central London area. Road [ ] The east of the district is bounded by the () which also is a main route out for connections to the and. The Marylebone flyover carries the over Edgware Road and thereafter continues as the elevated towards the through the north of the district. Rail [ ] is the terminus for mainline and regional services towards the and. As well as the premium service it is also the London terminus for ferry connections to south east via. The station provides commuter services to the west of london and and should be supplemented by (crossrail) services which are expected to open in stages from May 2018. The district has two London Underground stations: one on Praed Street served by the and one at Paddington Basin served by the. Redevelopment [ ]. Main article: Commercial traffic on the (which became the in 1929) dwindled because of railway competition in the late-19th and early-20th centuries, and freight then moved from rail to road after World War II, leading to the abandonment of the goods yards in the early 1980s. The land lay derelict until the Partnership was established in 1998 to co-ordinate the regeneration of the area between the Westway, Praed Street and Westbourne Terrace. This includes major developments on the goods yard site (now branded Paddington Central) and around the canal (). As of October 2017 much of these developments have been completed and are in use. Renewal Proposal 2018-2023 [ ] PaddingtonNow BID put forward a renewal bid in 2017 covering the period April 2018 to March 2018, which would be supported by a levy on local businesses. Development schemes for St. Mary’s Hospital and Paddington Square are likely to commence in this period, and the impact of the opening of the in 2018 would be soon felt. Religion [ ] Paddington has a number of churches, including, and St Peter's. In addition, there is a large Muslim population in and around Paddington. People from Paddington [ ]. For education in Paddington, see. In literature and film [ ] Paddington in the 17th century is one of the settings in the fiction-based-on-fact novel A Spurious Brood, which tells the story of, whose children were transported to America on board the ' ship, the. [ ] Timothy Forsyte of 's and other relatives resided in Bayswater Road., from 'deepest, darkest ', emigrated to England via Paddington station. The films (1950) and (1960) depict many Paddington streets, which suffered bombing in World War II and were subsequently demolished in the early 1960s to make way for the and the housing redevelopment. Image gallery [ ] •. Retrieved 27 May 2014. • • • • Holbein's Miniature of Jane Pemberton – a further note. Author: Lorne Campbell. Source: The Burlington Magazine, Vol. • at •, 1773; Online edition sponsored by Centre for Metropolitan History: (Book 2, Ch. 1: Situation and general view of London) Date accessed: 6 July 2009. • ^ Elrington C. (Editor), Baker T. T., Bolton D. (1989) (Access page number from the Table of Contents]) • Walford, Edward.. Old and New London: Volume 5. British History Online. Retrieved 27 September 2013. Retrieved 27 September 2013. • Robins, William Caxton Steam Printing (1853), pp.iv-v •, pp.110-111 • at Open Domesday • p.114 • Brooks, C. In Internet Surname Database • at Open Domesday • Grose, Francis in A Classical Dictionary of the Vulgar Tongue, 3rd edn, Hooper and Wigstead, London 1796. Online copy at archive.org • Brewer, Rev. Cobham A Dictionary of Phrase and Fable p.869, revised edn., Cassell 2001 • ^. London Canals. From the original on 2 Feb 2017. Retrieved 1 October 2017. Paddington Waterside Partnership. Archived from on 28 September 2017. Retrieved 1 October 2017. The Paddington Partnership. Retrieved 1 October 2017. British Land. Retrieved 2 October 2017. British Land. Retrieved 2 October 2017. Transport for London. From the original on 30 September 2017. Retrieved 30 September 2017. Retrieved 2 October 2017. 68 names, accessed 17 February 2014 •. Retrieved 10 August 2014. 23 October 2015. • From differences in the following two sources, it may be inferred that Mrs Siddons lived in Desborough House, not Desborough Lodge. The former was destroyed before 1853, the latter a few years later when Cirencester and Woodchester streets were built. • Robins, William Caxton Steam Printing (1853) • entry in London Gazette, 28 May 1981 • Bundock, Mike (2000). Herne Bay Clock Tower: A descriptive history. Herne Bay: Pierhead Publications. • 'Ann Thwaytes' by Rosemeary Pearson, p.11. •, 1966 • • • Debray, C. Lucian Freud: The Studio (2010) • Galsworthy, J. P.441, Heinemann edn 1922 • at paddington.com External links [ ] Wikivoyage has a travel guide for. • Media related to at Wikimedia Commons. Drama As her family falls apart, seventeen year old Sweetness O'Hara is left to fend for herself in a neighborhood where her survival is uncertain. Yelling to the Sky is a 2011 American drama film written and directed by Victoria Mahoney. The film premiered In Competition at the 61st Berlin International Film Festival, were it competed for the Golden Bear. 1 Plot; 2 Cast; 3 Reception; 4 References; 5 External links. The film starts out with quiet,. Yelling to the Sky is a 2011 American drama film written and directed by Victoria Mahoney. The film premiered In Competition at the 61st Berlin International Film. Check out the exclusive TVGuide.com movie review and see our movie rating for Yelling To The Sky. Dec 12, 2012 - 2 min - Uploaded by Movieclips TrailersSubscribe to TRAILERS: Subscribe to COMING SOON: bit.ly/H2vZUn. In the first moments of Victoria Mahoney’s directorial debut, Yelling to the Sky, 17 year-old Sweetness O’Hara ( Zoe Kravitz) is hanging with a friend when a menacing group, led by Sweetness’ nemesis Latonya ( Gabourey Sidibe) approaches. The girls attempt to flee but Sweetness is caught, tripped and beaten. The switch from carefree levity to overt physical violence feels predictable, even hackneyed, until an older girl drags Sweetness’ assailant away and begins to systematically pound his face and body. The girl is Sweetness’ sister Ola ( Antonique Smith). When she eventually heaves herself up from where she has squatted over the boy, the camera swings to her bunched fists and her heavily pregnant belly looms into view. The sweetness of thoroughly delivered retribution sours. The moment is jarring and typical of Mahoney’s directorial approach–in which tenderness wrestles constantly with violence. The film doesn’t give its viewers an easy ride, but the reward is that no character is stock, and the scenes are (mostly) unpredictable. When Sweetness attempts to kiss her friend Roland- the tender-hearted man who supplies the community with drugs, food and money for funerals, subtly played by Tariq “Black Thought” Trotter – he steps back, saying “don’t make me ‘that guy’.” His words are the film’s lodestar. Yelling has issues – addiction, abuse, racism, teen-pregnancy, depression, poverty – but they are part of, not the sum of the characters’ lives. Sweetness’ abusive Irish-American father Gordon O’Hara ( Jason Clarke) is not an outright villain but a flawed person striving and failing and to deal. His daughter’s benders are interspersed with domestic moments: in one scene she places her head in the lap of her catatonically depressed mother (impeccably played by Yolonda Ross) telling her ‘You can come out now’; in another she holds up a pair of mirrors to help her dad stitch up his busted head. The ending isn’t flowers and rainbows. Although there’s some uplift, there are no guarantees. The limited number of coming-of-age films that focus on black and brown characters means critics tend to reach for the closest comparison – in this case Lee Daniels’ Precious (also starring Gabourey Sidibe). But there are other ways of thinking about Yelling. After the Harlem screening, Mahoney recalled complaints from viewers who felt they didn’t understand the characters’ motivations: who was Ola’s baby father? And where does the mother disappear to for almost a year? Mahoney points out that in life, unlike in a Hollywood blockbuster, problems are hardly ever neatly resolved, straggly untied ends abound. The film’s elliptical style reaches for a kind of realism that is welcome in an industry that often consigns non-white characters to documentary, sidekick, or caricature. Yelling to the Sky is out now in NYC. As part of its multi-platform release the film is also available on demand with select cable providers, and via digital download. See more exclusive pics of stars Zoe Kravitz and Tariq Trotter on the set of the film after the jump. Photos: Kirsten Johnson & Andre Lamberston. In this gripping urban drama, rising star Zoe Kravitz plays 17-year old Sweetness O'Hara, the daughter of an African American mother and a white father, who is struggling to find her place in a rough inner city neighborhood. Her father is either absent or abusive; her mixed race background makes her an outsider; and drugs and violence abound. Sweetness finds herself in a downward spiral of drug dealing, shoplifting and fights with a bully (played by Gabourey Sidibe, PRECIOUS) before a series of events leads her to rethink her life and to explore her options for a fresh start. 'Castle in the Sky' is considered to be the first ever film released from this filmmaker (Hayao Miyazaki) and to be perfectly honest, it's a sheer masterpiece in storytelling and in it's visuals. There were portions that actually made me tear up, just listening to the music along with the scenery, which was brilliant beyond belief. The American voice acting fits very well into the Dubbed version and the overall atmosphere is just so loveable. Many films have definitely been influenced by this, and I would be shocked if they denied that, because the filmmaking (mostly in post) is breathtaking. I have absolutely no complaints about this film whatsoever. It is funny, well written, well directed, and beautifully animated. With no flaws in sight, this film is incredible! Also known as Laputa: Castle in the Sky Inspired by one chapter of, Castle in the Sky is a 1986 fantasy action-adventure tale raised to standards. Two orphans battle sky pirates and evil government forces trying to seize the legendary floating city of Laputa. This was 's third film, and the first to be created at Studio Ghibli, which was formed to produce the film. Castle in the Sky could be considered a fairy tale. One with Steam Punk, flying castles, secret princesses, and magic. The film opens with a family of Sky Pirates led by the matriarch Dola attacking an airship intent on stealing a blue crystal amulet from a girl named Sheeta. Sheeta, who had already been kidnapped by the. Looking for information on the anime Tenkuu no Shiro Laputa (Castle in the Sky)? Find out more with MyAnimeList, the world's most active online anime and manga. Castle in the Sky could be considered a fairy tale. One with, flying castles, secret princesses, and magic. The film opens with a family of led by the matriarch Dola attacking an airship intent on stealing a from a girl named Sheeta. Sheeta, who had already been kidnapped by the evil Colonel Muska, uses the opportunity to escape and falls to what appears to be certain death until her pendant ignites and starts gently floating her back to Earth. Her descent is spotted by a young miner named Pazu, who catches her and takes her home, eager to determine if this mysterious floating girl is somehow connected with the fabled, which his father once saw, though or his photograph. Dodging another attempt by Dola's gang to capture Sheeta's crystal, the kids manage to escape. Right into the hands of the military. Taking the children prisoner in a castle, Muska convinces Sheeta to cooperate in his search for Laputa by threatening harm to Pazu. Sent back to his village, Pazu is immediately captured by Dola's gang who immediately set off on yet another attempt to seize the crystal. Reluctantly making common cause with Dola in order to rescue Sheeta, Pazu joins the pirates. Meanwhile a despondent Sheeta recites a 'magic spell' her grandmother taught her to recite in times of trouble. The spell activates her pendant, triggering a beam which points the way to Laputa and a dormant Laputian robot hidden in the dungeons below. Responding to Sheeta's request for aid the robot that Pazu and Dola manage to rescue Sheeta in the confusion but Muska ends up with the pendant. Muska and the local Army commander promptly set out for Laputa aboard the Goliath, an enormous. Seriously outgunned and outnumbered but armed with Sheeta's description of the location of Laputa, the kids and the pirates nevertheless try to head off the government agents aboard Dola's own airship, the Tiger Moth, hoping that fair winds and a little luck will allow them to beat the army to the prize. What will they find in Laputa? Will it be filled with treasure or danger? What does Muska want with Laputa, and why is he so obsessed with it? As part of their distribution deal, Disney has brought this film to America with a voice cast which includes, James Van Der Beek,,,, and Andy Dick as well as a new score provided by (who wrote the original soundtrack). This latter decision caused controversy with fans and critics more familiar with the more silent Japanese version,. The dub, originally recorded in 1998, was initially scheduled for a 1999 video release, but continually delayed for unexplained reasons (though the re-scoring and a sudden shift from direct-to-video to theatrical release that never happened are the most commonly cited). It was screened at select children's festivals before finally debuting on VHS and DVD in April 2003, alongside and, gradually garnering new fans. This dub is one of only two Ghibli films (the other being Kiki's Delivery Service) which Disney 'Americanized'; future Ghibli releases only featured new voicework instead of the extensive musical reworking that Castle in the Sky and Kiki's Delivery Service underwent. A 2010 re-release of the film replaced the re-scored soundtrack with the original and also removed some of the additional chatter added to the dub (again to fill-in some of the more silent moments). Inexplicably, though, the faithful subtitle track on the 2003 DVD release was mysteriously replaced with a. Even more strangely, the Japanese, Australian, and UK Blu Rays contain the extended score on the English track — sans the extra dialogue and rerecorded sound effects from the 2003 release — but the American BD release does not. This has been rectified when GKids reissued the movie on BD and DVD in 2017, providing fans with the choice to see the Disney dub with either score (minus extra dialogue and redone sound effects) — as well as a literal subtitle track for fans of the Japanese version. A little known fact: there also exists a rare English dub distributed, but not produced, by Carl Macek's company, dubbed by Streamline regulars, apparently as an exclusive for Japan Air Lines as an in-flight movie. Pirates: 'Yes, Mom!' •: Dola is no longer the stunner she, but she still leads her pirate clan consisting of mostly her sons, and she's no either. •: Laputa is a relic of an earlier, but more advanced, civilization. The environment on the Earth's surface also seems to display signs of past violence - see. •: The Goliath, and to a lesser extent the Tiger Moth. Although they are very different in concept, the Tiger Moth relies solely on its smaller aircraft for combat whereas the Goliath is not shown to carry fighters but has enough guns and infantry on board to invade a small country (or ancient airborne city state). •: The film blends legends and myth with that of biblical events. Muska references the blast from Laputa with that of Sodom and Gomorrah's destruction in the bible. •: Sheeta's necklace's is made of Aetherium. This means it has anti-gravity effects and is needed for spells involving Laputa. •: Any kind of or magic like Aetherium has both benign and destructive uses, and you can't have one without the other. It will inevitably be coveted by evil people who want to abuse it, and can only be protected and used wisely by someone like Sheeta whose heart is pure. •: The general technology level is roughly that of 1920-1925: radios are used as wireless telegraphs, television seems unknown, long-range air travel is done with dirigibles, and automobiles have not yet become commonplace. Pazu's rural village (in what seems to be a post-war area) lags a couple decades behind. Laputan technology (or magic) was obviously at least a century ahead, with highly adaptable robots and energy weapons. Even within these split tech levels, there are technological anachronisms: all of which was probably intentional to add to the fairy-tale atmosphere. •: Dola and the pirates. They aren't the nicest of people - self-centered and thieving - but they're eager to oppose real villainy. •: Aetherium (or Volucite, depending on which version you watch), which Sheeta's necklace is made of, has anti-gravity powers. It has other powers that are activated by incantations. •: Sheeta, having grown up in a pastoral lifestyle, explains at the climax that Laputa had been abandoned because their ancestors had learned that it cut them off from nature, and an Arcadia was truly a better place to live. •: The army is a ruthless antagonist in the movie. •: Musca dropping all the soldiers who came with him to the floating city thousands of feet to their deaths is a ruthless betrayal, but it's hard to feel sorry for all those assholes. •: Loads of flying scenes, fantastical aircraft, and precipitous heights; all typical of. •: How Sheeta determines the direction to Laputa. Dola: But the beam from the crystal was pointing directly due east. Are you sure about this? Sheeta: Yes, I'm sure I could see the sun rising from the tower. You know, it's the end of grass-cutting season, so the sun rose not from due east, but a little further south. The light was pointing to the left of the hill from which the sun rose, you see? •: Sheeta's spells are both positive ('Save me and revive the eternal light [that shows the way home]') and negative ('one she told me I must never use. The spell of destruction'), and her grandmother taught her that the good ones would be useless without also having the bad ones. Ultimately, the spell of destruction. •: Sheeta tries this on board the zeppelin in the beginning to evade capture. She ends up falling from the sky. •: The pirates happily arm themselves with gigantic grenade launchers. •: Colonel Muska (A.K.A. Romuska Palo Ul Laputa), who plots to use Laputa's powers to. •: All the pirates (whom Dola describes as having five meals a day), which means that when Sheeta is tasked with cooking for them. •: Muska's final words while Laputa. •: When Pazu is hanging from the roots of the tree at Laputa, he suddenly gets blown into a by some explosives going off beside him. •: Sheeta makes a deal with Muska to free Pazu. It involves telling Pazu to return to his home town and forget about her, which he reluctantly does. Dola discusses this later. •: How Pazu holds Sheeta after in the beginning. Although he visibly strains while trying to carry her. •: Played with. When running from the pirates, Sheeta slips over a stone and loses her cap, exposing her pigtails and hence blowing her. •: Muska does this to Sheeta when he takes her hostage so as to better control her. •: Sheeta reveals some of her past to Pazu while they relax and eat by the light of his oil lamp in a cave. •: Muska and one of the soldiers after the robot escapes. They're falling! •: The final confrontation shows Sheeta and Pazu as light figures against a dark background. •: Pazu and Sheeta are treated as being pure-hearted if a little naive. •: Happens to Sheeta in the climax, when Muska shoots off both her pigtails as a threat, telling her that her ears are next. It's lampshaded by Dola when they reunite (she also wears her hair in pigtails). •: One of Dola's sons tries to intimidate Pazu's boss by flexing his muscles enough to burst his shirt, only for the boss to burst his own shirt (read: exploded into shreds) in response, much to his wife's displeasure. 'I'm not mending that, I hope you know.' •: The film jumps right into the action by showing Dola's attempt to steal Sheeta from a passenger airship. Cue the opening credits. •: Laputa collapses due to the spell of destruction. •: Sheeta's dress is purple, foreshadowing her. •: After Sheeta, he lays her down and covers her with his jacket. •: Both the children. Pazu's mother isn't mentioned and his father is implied to have taken his own life when he was called a liar about Laputa. Sheeta's parents were said to have died in her backstory. Thus there is no one to help the latter in the beginning, and no one to stop the former from going after her. •: The Tiger Moth, controlled by the Dola and her pirates. It even has a crow's nest that can turn into a kite. The Goliath is a much bigger one, controlled by the army and has enough firepower to take out just about anything that challenges it. Aside from the robots from Laputa, of course. The implication is that dirigible technology is the default for air travel. •: The army employs a scout plane that was used to track down Pazu and Sheeta. •: The armored train controlled by the army, and the little mining shunter that helps Pazu and Sheeta escape. •: The spell of destruction that Sheeta's grandmother taught her. •: Pazu and his quest to find the city his father told him about. He also will stop at nothing to save Sheeta from Muska and the army, even if it means teaming up with pirates. •: Pazu's father, the only man who had seen Laputa with his own eyes. It's implied that after his neighbors mocked him for his glimpse of 'a city in the sky', Pazu's father went on an expedition (to get proof) and never returned. Sheeta's parents are explicitly said to be dead. •: Muska by dropping them from Laputa into the ocean, after the city is destroyed. •: A strange girl drops out of the sky with a mysterious pendant and she's getting chased by suspicious-looking men and the army. •: Even though the pirates ransacked his house, Pazu teams up with them to save Sheeta and stop Muska. •: We first see Sheeta trapped in a room on an airship surrounded by military folks, looking an awful lot like a. Until the part where they stop watching her, and she left in her room and of the moving blimp. •: Though Dola and her boys, they are still pirates and it is clear that they have a lot of respect for their mom. •: During Sheeta's dream where she remembers her grandmother teaching her spells, the subtitles suddenly go silent when the spell is spoken. Justified, as the spell is muttered in the forgotten Laputa language. •: Sheeta turns out to be a princess, technically, since she descends from Laputa's royal family. However, it is in-name only. •: General Muoro despises Muska.and this proves to be not without reason when Muska causes him and his crew to die a. •: Muska, when he takes control of Laputa's power and uses it to dispose of the General and his army (and their almighty battleship). Although the performance is pretty subdued overall, at this point is clearly channeling. •: Muska wants to using Laputa as a. To this end he enlists a local military and kidnaps Sheeta so he can find and use the place. •: Sheeta falling out of the sky into Pazu's arms. •: Muska's plan is to take over and convert Laputa into a of sorts. Luckily the robots that guard the city aren't having any of it. Until Muska takes control of them and kills every one of the soldiers on Laputa. •: Sheeta has a dream where she remembers her grandmother teaching her spells. •: Laputa, the titular Castle in the Sky. •: Sheeta mentions to Pazu that her pendant has a spell of destruction that her grandmother taught her, but told her never to use. Guess what they wind up using at the end? •: Near the end of the movie when Laputa starts to fall apart, if you pause at the right time you will actually see Muska in the debris falling to his death. •: The Laputan robots are all-terrain war machines of terrible power, but if left to their own devices, they care for innocent birds' nests, befriend small animals and put flowers on an ancient grave. •: Naturally. Although it's worth noting that the landscape looks like it's slowly recovering from something terrible. Pazu's hometown is a mining village, surrounded by deep chasms riddled with tunnels and endless wooden scaffolding, and the green grass on the surface is punched full of craters. It is another Ghibli film that references an apocalyptic past — particularly obvious when one considers the parallels between the in the heart of the Castle and nuclear weaponry. •: Sheeta and Dola both style their hair this way. It is a point of bonding. •: does this to protect him and Sheeta from the mooks chasing them. •: Sheeta smashes a champagne bottle over Muska's head at the beginning of the film. •: • Subverted in the initial scene. There the guards are fending off the Dola Gang, and even then they leave Muska (a full-grown man) in charge of watching the girl. (Yet Muska later lays the blame for Sheeta's escape on the military, without a trace of shame.) • At Laputa, when the pirates are overpowered and bound, the soldiers forget to search Dola. She loans Pazu a grenade launcher she had hidden in her puffy pants. •: Pazu jokes about having one, saying it's harder than his boss' fists. (In the dub, he jokingly says that if it were any harder it could be used for a cannonball.) •: After one of the pirates get into a fistfight with Pazu's boss, a member of the watching crowd suddenly does this to him. This quickly turns the fight into a full-blown mob. •: Pazu and Sheeta do this often, either for emotional support or so they're less likely to be separated. •: Dola, when discussing with Sheeta the distance to Laputa. It is ultimately subverted. The weather shifts, making Dola's calculations incorrect. •: Apparently, the best a trained army can do against an unarmed boy is slightly graze his cheek. •: Muska is a great shot. He manages to shoot off both of Sheeta's pigtails mid-range. •: Sheeta rescues herself in the first scene of the film. Later, she throws a coal shovel at Dola's boys during the memorable train chase sequence. •: Arguably the backdrop mining city. The place is not exactly polluted, but people do live in squalor and there's not much more than a struggling silver/tin mining industry to keep it afloat. Mentions it's inspired by Welsh mining towns. •: One of the Sky Pirates warns Pazu that Pa is even harder on people than Dola. On the contrary, he's shown to be far more mellow. Though that might have to do with the fact Pazu actually, unlike his sons. •: The chapter of Jonathan Swift's dealing with a floating island by the name of 'Laputa' was actually a scathing satire on scientists and the British royal family, both of whom Swift cordially despised. The name was intentionally derived from one of the worst Spanish epithets—'la puta,' which loosely translates as 'the whore'—partly as a further insult, and partly for the sake of an etymological joke. His idiot-savant scientists, when its true origin was obvious to the readers. However, given that this work was centuries old and in another language, Miyazaki when he decided to base his movie on the works of Swift and Jules Verne. Consequently, many international releases drop the 'Laputa:' from the beginning of the title. •: Dola has a portrait of herself as a young lady in her bedroom. She was very pretty. •: Dola and the pirates. They are pirates, after all. They don't have much use for polite eating. Pazu even comments at one point that Dola 'is much nicer than she pretends to be.' (At which Dola herself does a brief double-take, although by that point she has warmed up to both Pazu and Sheeta.) •: Pazu is quite happy to get dragged into a seat-of-your-pants adventure by the arrival of Sheeta. To him, it just means that he won't have to wait 'till he's finished building his flyer before heading out on an adventure. •: • In Disney's dub, some of the pirates or incidental characters may qualify (not that it's a bad thing), but most definitely Cloris Leachman's performance as Dola in general (to good effect, as she arguably makes the character the most memorable in the whole movie); likewise, when Muska goes crazy at the end, Mark Hamill really gets to have fun, laughing maniacally and spouting a very memorable 'Goodbye! Enjoy the ride!' Prior to sending the soldiers to their deaths. There are even places where he sounds like. • The pirate trio of Louie, Charles/Shalulu, and Henri all sound like they are obviously enjoying themselves. They're voiced by,, and. • 'Where are you MUSKA?!' The General shouts. You can tell is having a blast doing that line, and the role in general. • The General in the Japanese version definitely fits this trope. Ichiro Nagai was practically the go-to guy for hammy villains in his day. Muska wanted to restore Laputa and use it to rule from on high as he looked down upon the people of the earth. At the climax of the film, he's blinded, falls to his death, and Laputa crumbles away. •: From the very start, Pazu believes the mythical city of Laputa exists. He's not wrong. •: Disney included widescreen picture on the 2003 VHS, even though they rarely released widescreen videotapes of their own movies. •: Anything made by the Laputean people. They abandoned Laputa and their other floating cities and castles fell back to Earth at some point, though what is accessible is still far above anything else seen in the movie. •: Although faithful in spirit overall, some aspects of the original script didn't survive in the script for the Disney dub. The references to 'Gulliver's Travels' and 'Treasure Island' are both omitted, and the last part of Sheeta's speech at the end of the film is changed from 'you can't survive without mother Earth' to 'the world cannot live without love,' which feels out of place with the actual song. • Oddly enough, even though the forgotten '80s JAL dub maintains the last part of Sheeta's speech and the 'Treasure's Island' reference, it too omits the 'Gulliver's Travels' reference. •: To many purists, the extra lines of dialogue, particularly the Dola gang's banter, qualifies. However, other viewers see them as and/or fleshing out the characters' personalities. To the point that it proved jarring to such viewers when Disney removed the additional lines for its 2010 reissue. (The same is true of Jiji's oneliners in.) •: Pazu takes some pretty astounding punishment and bounces right back. •: The 'spells' Sheeta uses are commands that activate her Aetherium pendant's mysterious powers. •: Sheeta's pendant, when activated with the right spell, will shine a thin beam of light in the direction where Laputa is. •: All of Dola's adult sons act more like boys. Blame it on their. •: Done by Dola to Sheeta through overt concern and enthusiasm. Played for laughs, see below. •: Sheeta's pendant, which was passed down from her grandmother and is an heirloom of the Laputian royal family. •: Those two henchmen of Muska's dress in the style and are indeed mysterious. •: Uncle Pom drops about the origin of the glowing necklace. •: A minor example: One of the trailers for the 2003 dub included a brief scene that looked like Pazu and Sheeta in a hanglider, flying towards Laputa. This scene is from the end of the film, and in actuality they're flying away from it. The arrival on the floating island is nowhere near as smooth. •: Dola's speech to Pazu about him choosing to forget about Laputa and leaving Sheeta behind is enough to snap him out of his. •: Dola and her boys are typical Miyazaki heavies who eventually get won over to the good side.They weren't really evil, just goofy pirates. This is Averted with Muska. He is actually the most unusual villain for a Miyazaki movie as he is totally malevolent with no redeeming qualities whatsoever. The only other Miyazaki villain that even comes close is the very similar Count Cagliostro from, but that was really more Miyazaki playing around in someone else's universe. •: The robot at the castle is shot down and seems dead, but then it gets a second wind and gets up to destroy the entire place before finally passing away. •: Laputa's ruins, the robots, and the superweapon inside all make it mysterious and dangerous place aside from the fact that, of course, it is a flying castle. •: 'Ma' Dola, pirate family boss. •:, who voices Sheeta in the English dub, slips into her New Zealand accent frequently. This works to the benefit of the character though, since Sheeta is supposed to be from somewhere far away. •: Papa is the only one of his family to wear glasses and he is an engineer. His eyes can't be seen but this doesn't make him sinister. •: Sheeta's pendant is a momento from her deceased parents. •: The Laputian robot escaping the castle through fire; it is driven by a desire to protect its creator's princess. •: Muska refers to himself as the government's top agent to a roomful of a people. •: The robots, one of which was able to single-handedly devastate the army's fortress despite its own damage from when it fell from the sky. Thankfully, they're •: • Dola, the only female pirate, has pink hair. • Sheeta's outfit is blue at the beginning of the film, but once she joins the pirates' crew she gets a new outfit that includes a pair of pink pants. •: Dola pulls out a German 'potato masher' style stick grenade and pulls the pin with her teeth. Potato masher grenades didn't have pins. They used a pull cord in the handle instead. Dola's sky pirates begin the movie when they skyjack an airship, although they pass up the chance to rob the passengers in favor of finding Sheeta. They favor gas grenades and other non-lethal weapons, and seem pretty casual about violence and kidnapping. However, they're definitely Type 2: they're in it for action, excitement, and treasure. While they're just as greedy as the Army, Dola points out that pirates should be held to a different standard than soldiers. Being a Miyazaki heroine, she has plenty of determination and optimism. •: Aetherium (Volucite/Levitation), the of the story, glows brightly whenever its active. The Spell of Destruction at the end caused a glow bright enough to leave Muska blind. •: Muska's 'Goodbye! Enjoy the ride!' Quip in the Disney dub before dropping the soldiers to their deaths. •: Laputa plays on the audience's acrophobia, as there are many places where the characters could easily fall off. This is especially emphasized in Pazu's moments, as he makes daring leaps and hangs onto tight ledges for dear life. •: When the army begins looting Laputa, Pazu reacts with disgust, calling them thieves. Dola and the gang receive no such reprimand when it's revealed they snagged some golden goodies for themselves before Laputa floated away.. The army was shown ripping apart a good chunk of Laputa in their rush to get the gold. While the army is destroying priceless gold forged artwork while ripping it off the walls, what Dola and her gang have appears to be mostly jewelry and loose gems or gold coins - gold they'll need to get a new ship. •: The General and his army. They're all too willing to plunder Laputa's treasures, but they turn on Muska once his plan is revealed. •: Sheeta and later also Pazu are chased by Muska, the army, and the pirates. Uncle Pom: My, my. •: The Army becomes this once Muska gains control of Laputa; when they resist, they are absolutely massacred as Muska sends them all falling to their deaths, and finishes off the survivors on Goliath when they flee the scene and try to destroy the dome beneath the city. •: Pazu and Sheeta fly off into the sunset in the end. •: The railroad chase scene in the first part of the movie. •: Sheeta and Muska are both descendants of the Laputian royal family. This is necessary for using Laputa's powers •: Colonel Muska's glasses do this on at least one occasion. He's a villain, after all. A blend of science fiction and noir detective fiction, Blade Runner (1982) was a box office and critical bust upon its initial exhibition, but its unique postmodern production design became hugely influential within the sci-fi genre, and the film gained a significant cult following that increased its stature. Harrison Ford stars as Rick Deckard, a retired cop in Los Angeles circa 2019. Has become a pan-cultural dystopia of corporate advertising, pollution and flying automobiles, as well as replicants, human-like androids with short life spans built by the Tyrell Corporation for use in dangerous off-world colonization. Deckard's former job in the police department was as a talented blade runner, a euphemism for detectives that hunt down and assassinate rogue replicants. Called before his one-time superior (M. Emmett Walsh), Deckard is forced back into active duty. A quartet of replicants led by Roy Batty (Rutger Hauer) has escaped and headed to Earth, killing several humans in the process. After meeting with the eccentric Eldon Tyrell (Joe Turkel), creator of the replicants, Deckard finds and eliminates Zhora (Joanna Cassidy), one of his targets. Attacked by another replicant, Leon (Brion James), Deckard is about to be killed when he's saved by Rachael (Sean Young), Tyrell's assistant and a replicant who's unaware of her true nature. In the meantime, Batty and his replicant pleasure model lover, Pris (Darryl Hannah) use a dying inventor, J.F. Sebastian (William Sanderson) to get close to Tyrell and murder him. Deckard tracks the pair to Sebastian's, where a bloody and violent final confrontation between Deckard and Batty takes place on a skyscraper rooftop high above the city. In 1992, Ridley Scott released a popular director's cut that removed Deckard's narration, added a dream sequence, and excised a happy ending imposed by the results of test screenings; these legendary behind-the-scenes battles were chronicled in a 1996 tome, Future Noir: The Making of Blade Runner by Paul M. ~ Karl Williams, Rovi •. 'Blade Runner' is the type of bizarre film that you really need to be in the mood to watch. Harrison Ford leads this film as a Blade Runner hired to track down replicants. The main story seems simple enough, and while it is, there is much more going on, most of which is not as interesting. However; the cast puts their heart and soul into these roles, making you really believe that you are watching a futuristic world gone terribly wrong. I love watching 'Blade Runner,' but there is the complexity of such a simple story that kind of turns me off each time. This film is brilliantly written, beautifully shot, the effects are ahead of it's time, and the direction by Ridley Scott is commendable as always. Watching this film is like taking a step into the worst possible future. That is why I can highly recommend it. It's weird tone and characters will turn some people off, but if you are willing to accept creativity at it's finest, you will enjoy this movie. The picture does drag on a little for me, but it is undeniably a great film. 'Blade Runner' is really, really good. ½ Ridley Scott's 'Blade Runner' is not only a sci-fi classic, but a classic neo-noir as well. The pace is slow, but an engaging climax, built alongside amazing production design is what makes 'Blade Runner' such a masterpiece. It's themes run deep, crafting a tale that requires its audience to think rather than just experience. The voiceovers are completely unnecessary as well, and kind of trample on the essence of the film, but later cuts of the film are devoid of them. 'Blade Runner' requires patience, but it is not hard to see why this film is praised as a classic for two different genres. The synopsis below may give away important plot points. Synopsis • The year is 2049. Blade Runner is a 1982 science fiction film directed by Ridley Scott, depicting a dystopic Los. The Tyrell cooperation has collapsed decades before in the wake of violent revolts involving their Nexus-6 through -8 Replicants, forcing Tyrell into bankruptcy. After the world's ecosystems collapsed, famine swept the Earth. With his invention of synthetic farming, Niander Wallace ended food shortages and acquired Tyrell's remaining assets. The Wallace Company has reinvigorated the Replicant industry by producing the Nexus-9 Replicants, a new generation of artificial humans with modified behavior to make them more obedient than the older models. These Replicants have implanted memories and open-ended lifespans, and are still used for slave labor on the off-world colonies, but some are also used as Blade Runners, hunting down and 'retiring' the few remaining older models that are still at large. Agent K, one of these Nexus-9 Replicants, travels to a protein farm outside Los Angeles in his flying Spinner, where he has tracked down an older model Replicant called Sapper Morton, who was part of a group of Series 8 Replicants that had gone AWOL. After a brief but violent fight, Morton tells him that as a newer model, K cannot come close to knowing what it means to be human. He implies that K would never help humans kill his own kind if he had ever witnessed the kind of miracle that he has. K retires him and is ready to leave, until he notices an old dying tree next to the farm. An investigation reveals a chest buried in front of it. He signals his office to send a team to unearth it. K returns to the LAPD office, where he undergoes a standard 'baseline test' for Replicants and passes it. He then goes home to his apartment in a seedy area of town. He spends his time at home with a holographic woman named Joi and has apparently formed a deep bond with her, despite the fact that they cannot physically interact. For this reason, he has bought her a mobile hologram projector which allows him to free her program from its home-based console. He can now take Joi outside, and it also allows her program to touch objects. Joi is extremely happy, but K is called back to the station before they can experiment with Joy's new capabilities any further. Downtown, a forensic has discovered that the chest contains a human skeleton and a lock of hair. They belong to a female who most likely had complications during childbirth thirty years before. Superficial cuts in the bones suggest an emergency Cesarean section as the cause of death. Upon closer inspection, K locates a serial number engraved on one of the woman's bones, indicating that the skeleton wasn't from a human, but a Replicant female. This causes great commotion, since Replicants were previously unable to reproduce. K's superior, Lieutenant Joshi, reminds him that if the public knew that the line between humans and Replicants is blurring, or disappearing altogether, it would tear apart what remains of civilization. She commands the team to destroy this evidence, and orders K to burn down the farm, track down the Replicant child, and retire it, despite the mixed feelings he may have about retiring something that was born - and has a soul. Before leaving, K takes some of the female Replicant's hair. K goes to the Wallace Company to inquire about the serial number and hair of the female replicant. It is housed in the old Tyrell pyramid, although now much more austerely lit. A clerk tells him that the number belongs to an older model Replicant; information may be hard to find, given the fact that an event called the 'Blackout' in 2022 destroyed almost every digital file the company had before that date. All that remains is some raw hard-copy data. Fortunately, there appears to be something left. K is helped by a Replicant woman called Luv, who gives him access to what appears to be an old audio file containing a memory recording. It belonged to an experimental Replicant named Rachael, who went missing 30 years ago. She can be heard talking to a Blade Runner called Rick Deckard. K detects a very strong connection between the two. Luv thanks K for finally being able to close the case on Rachael. K does some research on Deckard, and finds his old colleague Gaff in a retirement home. Gaff tells him that Deckard and Rachel fell in love, and eloped. K asks if Gaff knew that Deckard would one day leave society; Gaff confirms, saying that there was something in Deckard's eyes that told him he was finished hunting Replicants. Luv reports what she has learned to Wallace, who is blind but can see with the help of small drones. He is just witnessing the activation of a new female Replicant. He seems sympathetic to his creation, yet he also carelessly slices the woman's abdomen, apparently frustrated by the fact that she cannot bear children. He laments that humanity has only founded less than ten off-world colonies; in order to spread out, much more Replicants will be necessary. The only way he can meet the ever-growing demand for more Replicants is to engineer specimens who can procreate. Tyrell learned how to do this, but his records were destroyed in the Blackout. The only way to learn Tyrell's secrets is to find Rachael's child. He commands Luv (who is emotionally shaken by his actions but remains obedient) to obtain Rachael's remains and follow K to locate the child. K is walking through the city's entertainment district to buy dinner, where a mysteriously cloaked woman commands three Replicant prostitutes to find out what he knows. One of them, Mariette, tries to seduce him for sex, but noticing he carries a holographic projector, she figures that he is not into 'real girls', and leaves. In the meanwhile, Luv has entered the police station to retrieve Rachael's remains, coldly killing the forensic who discovers her doing it. K returns to Sapper's farm and locates a baby sock and a picture of another woman holding the baby, implying that Sapper and several other Replicants have been protecting Rachael's secret for decades. He also finds a date carved into the bottom of the tree, 6-10-21, which visibly upsets him. He burns the farm and returns to LA. Reporting his findings to Joshi, she tells him about the disappearance of Rachael's remains, and asks him about his most precious childhood memory. Even though he knows that it must be an implanted one, K says that he clearly remembers being chased through an old factory as a kid by a group of older boys once. They wanted to take away his wooden carving of a horse, so he hid it inside an old furnace. K remembers that the horse had a date on it, the exact same date carved into the rock, but doesn't tell Joshi. Assuming that the date carved in the tree and the horse is meant to be a date of birth, K starts to dig into archives of birth certificates. Again, only raw data remains, but he finds records of two children born on 6-10-21, a boy and a girl. They have the same DNA which is impossible (even identical twins should be of the same gender), so K suspects that one has been faked. The girl later died in an orphanage from a genetic disease, so K theorizes that the boy may have been hidden by the Replicants in the orphanage, which is in the ruins of San Diego. He travels there in his Spinner but is shot down by a group of feral scavenger people who live among the ruins of the old Satellite Dish Array. They try to attack him, but Luv, who is keeping an eye on him from above through remote camera surveillance, uses precision bombs to repel them. K proceeds to the orphanage, an old abandoned factory, where the caretaker is clearly using the children as cheap laborers. He coerces the man into showing him the old administrative files, but finds that the sections he is looking for have been completely torn out. While exiting, he notices how familiar the surroundings feel to him. He walks deeper into the factory, and is shocked to find the location and the furnace from his memory; the wooden horse is still hidden inside it. Not knowing what to make of this, he returns home. Joi is convinced that this means that his childhood memory is real, and K is Rachael's son. This means that he was born instead of manufactured, and that he has a soul, as opposed to other Replicants who are thought to be 'soulless' and thus inferior to humans. She thinks he deserves a human name, and starts to call him 'Joe'. K is still not convinced that the memory is real, so Joi suggests that he should contact an expert on implanted memories. K arrives at the lab of Dr. Ana Stelline, who designs memory implants for Wallace's Replicants. Stelline is happy to see someone, being kept inside a dome at all times since she suffers from a compromised immune system, and can't be exposed to other people. Her parents left Earth for one of the off-world colonies, but she wasn't allowed to come along because of her disease. Her youth was lonely, but this has caused her imagination to flourish, making her one of the best creators of artificial memories. K asks how fake memories can be discerned from real ones. Stelline says that fake memories tend to be too detailed, since real memories are 'messy' as they tend to reflect emotional rather than photographic recollection; but a good fabricated memory always contains something personal of the maker. K asks her to take a look at his memory, and give her thoughts. A special device allows Dr. Stelline to see the memory in his head. Overcome by emotion, she says the memory is real; K leaves in a fit of anger. K returns to the LAPD station in his upset state for another baseline test, which he fails. K is confronted by an angered Joshi for failing his last baseline test, which may mean that he is going to be retired. K tells her that he is in his current state because he succeeded in his mission: he has killed Rachael's offspring, who was so well-hidden that even he didn't know who he was. Joshi agrees to suspend him, and gives him 48 hours to disappear. Going home, he finds Mariette in his room. Joi reassures him that this is her doing, because she needs Mariette for something. She synchronizes her holographic program with Mariette, so she is able to steer Mariette's body and make love to K this way. The next morning, K seems to feel awkward about this unexpected threesome. He is called to the station, and leaves without saying goodbye, but not before Mariette placed a tracking device in his coat. Joi tells Marietta to leave; Mariette scoffs that, having shared Joi's consciousness, holograms apparently are quite limited mentally (showing that Replicants are not above feelings of superiority either). K tells Joi that people will be coming for him. Joi insists on coming with him so that she cannot reveal what she knows; K is reluctant as transferring her to the mobile projector would put her at risk of being lost if the projector is damaged, but ultimately accepts. She instructs him to destroy the antenna in the projector so that she cannot be moved to another device and remove any chance of tracking it - this alerts Luv who is monitoring the position of the projector. In the meanwhile, Luv has arrived at the station, asking Joshi to cooperate and tell her where K is. Joshi refuses, even when Luv's initially friendly disposition changes drastically. She tortures Joshi for information, but to no avail, so Luv kills her and uses her computer to find the information she is looking for. K has taken the wooden horse to a specialist, Doc Badger, who finds traces of radioactive tritium in the wood. They deduce that there is only one area nearby that can account for the type of wood and such high radiation readings. K leaves the city, taking care not to be noticed, although Luv is unknowingly tracking him. K arrives in the abandoned remains of Las Vegas, and enters a deserted hotel/casino. Judging by the booby traps, he figures he is in the right place. It doesn't take long for Deckard to show himself, keeping K at gunpoint in the supposition that K is there to kill him. They fight for a while before Deckard becomes convinced that K is only there for answers. He confirms that Rachael was pregnant, but has never seen the child, nor does he know about its whereabouts. Deckard was still actively hunted, so out of love for her and the child, he left a still-pregnant Rachael in the care of people who could protect her, hoping that his ignorance was the best way to keep everyone safe. He taught the other Replicants how to temper with birth records and how to avoid capture. After a while, Deckard notices that someone has entered the area. Convinced that K has been followed, they proceed to Deckard's Spinner to flee, but a rocket grenade destroys the Spinner and incapacitates both Deckard and K. Luv enters with a few henchmen, and although K dispatches some of them, Luv fights back and badly injures him. She notices K's mobile projector and destroys it, effectively killing Joi to K's anguish. Leaving him for dead, she kidnaps Deckard and takes him back to Wallace. K's wounds are tended by a group of Replicants who have been tracking him as well. They include Mariette and are part of a Replicant freedom movement. Their leader, Freysa, reveals how she was there when Rachael died in childbirth, and how her group of rebellious Replicants, including Sapper, went to great lengths to hide the baby, as they saw the child as a living miracle. If Replicants could have children, the human world could no longer deny them their rights and freedoms. She confirms that the Blackout was their deliberate attempt to erase as many digital files as possible, in order to protect the secret of how Rachel was able to have children, and to prevent everyone, including the child, from being found. K tells her that he is Rachel's child, but Freysa tells him that the child was a girl. K is confused, and asks how he could have a real memory of Rachael's offspring if he isn't her son. Freysa answers enigmatically that this is also part of the puzzle. The memory of the wooden horse was implanted in other Replicants, as a unifying motivator for freedom. Thinking back on all he has discovered so far, K deduces that the memory must have originated with Dr. Ana Stelline herself (explaining her emotional response to it), and that she is Rachael's and Deckard's lost daughter. The Replicants urge K to return to LA; Wallace will do anything to get clues from Deckard about the Replicant resistance movement and the child. If he succeeds, he may be able to create Replicants with reproductive capabilities, which creates a self-perpetuating army of slaves. This must be prevented at all costs, even if it means killing Deckard. K finds himself back in LA, observing a giant three-dimensional ad for the Joi hologram with great sorrow, knowing that the Joi he loved is gone forever. Deckard is brought to Wallace, who shows him Rachael's remains, calling it the lock and Deckard the key to unraveling the mystery of Replicant reproduction. Deckard maintains that he has no idea who or where his child is. Wallace insinuates that Deckard's first meeting with Rachael was set up from the beginning, and that it was always the intention that they would end up together and reproduce. He starts a playback of the first conversation between him and Rachael, which emotionally affects Deckard, but he still refuses to cooperate. Wallace then tries to entice him with something that he really covets. A woman walks in from the shadows, and she appears to be an exact copy of Rachael as she appeared to Deckard 30 years ago, down to the clothing. Deckard is shocked and moved, but he ultimately dismisses this Rachael as a fake, stating that the real Rachael's eyes were green. Frustrated by his failure, Wallace immediately has Luv execute the fake Rachael. He orders Luv to take Deckard to one of the off-world colonies, where they have the means to make him talk. Luv takes off with a hand-cuffed Deckard in a Spinner with two escorting vehicles, and flies along the LA shoreline. Then K appears, using his Spinner to destroy the escorts and blow Luv's vehicle from the sky, forcing it to crash on the beach. K lands next to it and after an exchange of gunshots, he gets into a fight with Luv. Despite receiving severe wounds from Luv's relentless punches, gun and knife, K beats her down and enters the vehicle, trying to free Deckard from his cuffs as the Spinner is being dragged into the sea by tidal waves. Luv also enters in a desperate attempt to kill K, but he pushes her down under water with all his power, finally drowning the life out of her. He manages to release Deckard just before the vehicle sinks completely. K states that the world will believe that Deckard went down with the vehicle. He takes Deckard to Dr. Stelline's office. Deckard asks him why he did what he did; K answers that it was never about himself, but about her. He urges Deckard to enter the office. As Deckard goes in and meets his unsuspecting daughter who is enjoying a cloud of artificial snow, K lies down on the steps outside, slowly succumbing to his wounds. He looks at the real snow falling down, apparently at peace with the part he played. |
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