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Cinematic Releases: Empire of Light (2022) - Reviewed

Posted By themoviesleuth 9 hours ago on Entertainment

Courtesy of Searchlight PicturesThe end of 2022 is shaping up to be the year of movies about movies.  Whether it be dark exposes of its abuses ala Blonde or She Said, celebratory ala Spielberg’s The Fabelmans, disoriented ala Iñárritu’s Bardo and the upcoming swan dive into Old Hollywood bacchanal and debauchery Babylon, it is clearly the year all the clean as well as dirty laundry of the film industry was hung out to dry before moviegoers on a huge silver screen.  Movies about the industry that generates them are hardly new but rarely has such a film year seen so many of them.  The latest paean to the moving image is American Beauty and 1917 director Sam Mendes’ Empire of Light: a semi-autobiographical drama about a small-town English movie theater running sometime in the early 1980s starring white Olivia Colman as Hilary, a troubled neurotic theater lobby worker who finds herself falling for younger black newly hired Stephen (Michael Ward) who quickly ascends the ranks to become the theater’s main projectionist. Partially a light fluffy love letter to the flickering image while also exposing the darker weathers of its abuses committed by upper management as well as particularly turbulent racial tensions, Empire of Light mostly follows Hilary who is all smiles tearing tickets at the box office when she isn’t performing sexual favors for her womanizing manager Donald Ellis (Colin Firth).  Her daily routine of “performing” in front of and behind the curtain is upended by the arrival of Stephen, an intelligent and sensitive man who initially starts as the object of Hilary’s scorn but soon winds up stealing the unbalanced woman’s heart.  As their relationship blossoms and longstanding resentments and anger towards her predatory boss start to crop up in outbursts, their relationship as coworkers and secret lovers grows more fraught with anxiety and a measure of dysfunction Stephen finds himself increasingly at odds with. Written (his first), produced and directed by Sam Mendes, this impassioned schmaltzy/ugly portrait of the old movie palace dedicated to Arclight film projection and those who ran it is a technically brilliant powerfully acted and achingly beautifully scored piece that given all of its dramatic weight oddly lands with the soft lightness of a feather.  Despite dramatizing intense psychotic breaks with the Oscar winning Olivia Colman at her most bug-eyed fever pitched mad, strong supporting performances from the always good Colin Firth and the sensitive, nuanced performance by Michael Ward, somehow it doesn’t add up to much more than learning something about yourself and being all the better for it.  Somewhat disappointing considering the technical and professional pedigree of the piece. What can be said that hasn’t been said already about Roger Deakins?  The man is one of the greatest living cinematographers, so much so even casual moviegoers who don’t pay close attention to such ‘insignificant’ details seem to know the name of Deakins.  Paired with Sam Mendes in his fourth collaboration with the director, the two make the interior decorum of the very real Dreamland Margate Cinema building which was remodeled for the film into a palace filled with magic.  Replete with all the splendor and deterioration mixed, Deakins’ camera almost lovingly prances through this kind of wonderland with joyous glee.  Then there’s the film’s score by Trent Reznor and Atticus Ross, their second effort geared towards movie experiences of the past following David Fincher’s divisive Mank.  Stoking the awe and wonderment of their score for Pixar’s Soul while scratching abrasions in heavier scenes reminiscent of their Nine Inch Nails music, the soundscape of Empire of Light has the unique temperature of chilly warmth, saccharine when it isn’t sad. Performance wise, everyone gives top notch work with Olivia Colman naturally attacking her role with fire and passion, making Hilary a soft spoken withdrawn yet chipper figure who is harboring deep seated displaced anger.  Rising to the task of standing up to this hot mess of a woman is Michael Ward as a man who is aware of the prejudices of the world against him who nevertheless possesses a drive and determination to succeed.  Unlike her lecherous boss cheating on his wife with Hilary for office “visits”, played with icky relish by the always great Colin Firth, Ward makes Stephen into a caring and even heroic figure who grows steadily unsure of how to deal with Hilary’s unraveling meltdown.  Turning over a nice if not overqualified bit of casting is Toby Jones as Norman the theater’s main projectionist who takes Stephen under his wing and passes on the knowledge of running two Arclight film projectors. Everyone’s entitled a lark if not a confessional and Sam Mendes picked the year Tinseltown took a good hard look at itself, but for all the high quality filmmaking, music and top tier acting Empire of Light ends up being somewhat of a yawn.  Yes the film is rife with tributes to everyone from Kubrick (look at the theater lobby carpet for The Shining patterns) to posters for The Day of the Locustand The Elephant Man to mentions of the world gala premiere of Chariots of Fire taking place at the film’s titular theater.  And yet for all of its likes and dislikes about what goes on behind the scenes at a movie palace, Empire of Light winds up being much ado about not much at all in the end unfortunately.  A light/heavy personal yarn that offers up strong technical suits and great acting, Mendes’ love letter to the movies that shaped who he is as an artist today doesn’t do a whole lot other films about films from this year did with greater emotional impact.  But it might make you feel cozy and leave you with a smile on your face.--Andrew Kotwicki (function() { var zergnet = document.createElement('script'); zergnet.type = 'text/javascript'; zergnet.async = true; zergnet.src = (document.location.protocol == "https:" ? 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Stay Focused On Your Dream: Jon Landau Says Alita: Battle Angel Sequel Talks Are Happening

Posted By themoviesleuth 1 day 3 hours ago on Entertainment

Image courtesy 20th Century FoxAlthough Alita:Battle Angel was not a massive box office success, it did go on to gross $404 million worldwide against a $170 million budget. Ever since its release in theaters, fans have been clamoring for the planned sequels to the film with little to no word on what was happening with the franchise. Now, producer Jon Landau says that there are ongoing talks about continuing the saga and that he's been in contact with Robert Rodriguez about bringing the concluding chapters to cinemas:"There's a little film called Alita: Battle Angel that we'd love to circle back and do a sequel to. We're talking to Robert about that; hopefully it comes to fruition."With no official word from Disney (who now owns all the 20th Century branded properties), it isn't officially slated but seems to be of interest. Landau says that conversations are happening but it is ultimately up to the execs at Disney to decide if it happens or not. The film was based on an original manga series and was initially a James Cameron project before it was handed off to Rodriguez and crew. -CG  (function() { var zergnet = document.createElement('script'); zergnet.type = 'text/javascript'; zergnet.async = true; zergnet.src = (document.location.protocol == "https:" ? "https:" : "http:") + '//'; var znscr = document.getElementsByTagName('script')[0]; znscr.parentNode.insertBefore(zergnet, znscr); })();

Christmas Wonderland 2022 | Gardens by the Bay

Posted By ScribblingGeek 1 day 7 hours ago on Entertainment - The post Christmas Wonderland 2022 | Gardens by the Bay appeared first on The Scribbling Geek.
Visiting the festive fairground of Christmas Wonderland 2022, and appreciating how we’ve made it to another Christmas.
The post Christmas Wonderland 2022 | Gardens by the Bay appeared first on The Scribbling Geek.

Blu-ray Releases: Imprint: Whore (1991) - Reviewed

Posted By themoviesleuth 1 day 21 hours ago on Entertainment

Courtesy of ImprintThe late idiosyncratic godfather of the French New Wave cinema movement Jean-Luc Godard once remarked the best form of film criticism possible is to not respond with words like I’m doing here but rather for people to break down and make a movie in response.  While that sentence remains debatable in theory, in practice the concept of answering one film with another is common in the film business.  From Howard Hawks’ Rio Bravo answering Fred Zinnemann’s High Noon to Andrei Tarkovsky’s Solaris answering Stanley Kubrick’s 2001: A Space Odyssey, the notion of one filmmaker criticizing or reinterpreting another’s work by presenting their own new work in response is as old as the medium itself. Which brings us to the movie title you ‘can’t say but see’, Ken Russell’s 1991 NC-17 prostitution drama Whore.  A snarky rebuke of Garry Marshall’s hit Julia Roberts’ starring romantic comedy Pretty Woman which Russell felt trivialized the hardships endured by sex workers, the arguably last great film of Ken Russell and second take on prostitution (Crimes of Passion being the first) is perhaps the usually flamboyant provocateur’s tamest and most grounded film to date.  Where earlier Russell’s tended towards absurdist detours ala Altered States, Gothic or The Lair of the White Worm, Whore adapted by Russell and Deborah Dalton from David Hines’ monologue play Bondage is a fourth wall breaking matter of fact exchange with the film’s titular heroine trying to survive in a dangerous netherworld.   Starring a bravura Theresa Russell (Nicolas Roeg’s Bad Timing and Insignificance) as LA street hooker Liz, the film follows her exploits and degradations for survival in the past through flashback and the present where she’s trying to escape the clutches of her domineering pimp Blake (Benjamin Mouton).  Throughout this mostly dialogue driven stage-play-to-film transposition, the jaded battered Liz looks into the camera and addresses the audience directly, leaning onto our shoulder giving us the gory details with the earnestness of a confessional.  In between clients she encounters a homeless man named Rasta (Antonio Fargas) more keen on friendship than transaction, Liz recounts her difficult childhood while trying to evade the pursuits of her nefarious pimp. A bit garrulous and episodic with a combination of graphic dialogue and sometimes explicit sexual content, Russell’s immodest yet honest look at the life of a sex worker on the run from her pimp shies away from the director’s usual forays into excesses like The Music Lovers or The Devils, instead getting to know this woman and her imprisonment out in the open world like a documentarian.  Though consistently snarky with occasional trademark Russellian campy acting, this might be the late provocateur’s most straightforward picture which for all of its illicit subject matter and especially its title manages to somehow refrain from being exploitative itself.   Shot handsomely by Iranian cinematographer Amir Mokri, best known for his work with Michael Bay, the film captures the rugged city terrain and alleyways with a near-stagey artifice, reminding viewers of the film’s theatrical stage play roots.  Amazingly the film garnered the compositional talents of John Woo’s Hard Boiled composer Michael Gibbs who offers up a serviceable synthesized score augmenting the dialogue driven proceedings.  Theresa Russell’s energetic, impassioned and somewhat sleazy performance doesn’t quite climb the walls like she did with Bad Timing but nevertheless makes this resourceful bad girl someone we invariably empathize with over the course of the movie.  With her expressive face, her deliberately clunky delivery and foul-mouthed abandon, Russell makes Liz into a hot mess with a mountain of baggage and dirty laundry to air out. Though less showy than typical Ken Russell who himself cameos in the piece alongside former porn star Ginger Lynn Allen, Danny Trejo and even David Lynch regular Jack Nance, Whore by title and rating invariably found itself crippled by the curse of the NC-17 rating.  While a heavily edited version of the film in R rated form was released at chains like Blockbuster Video, few viewers actually got to see the film in its original theatrical release.  Despite tanking at the box office and garnering middling reviews from critics who almost always get their backs up around Ken Russell, Whore enjoyed enough of a cult following through viral videos and revival screenings that eventually the good folks at Australian based blu-ray boutique label Imprint have finally granted this long sought-after Russell gem a home video release after years of languishing on tape and laserdisc. Not necessarily the starting point for uninitiated Ken Russell viewers who will go in expecting raunch and come away underwhelmed by the film’s straightforwardness, Whore is perhaps the last time we saw a major film from the late British master.  Afterwards, Russell moved into making films for television again, reuniting with the BBC before eventually going on to make films in his own estate grounds’ backyard.  Though Whore is far beneath what the grandmaster was truly capable of, his 1971 film The Devils ascending to untold artistic heights, it nevertheless remains the last time the director’s impish provocative personality was in full widescreen 35mm bloom and Imprint have given this film a truly loving treatment replete with newly filmed as well as archival extras.  The title isn’t necessarily sayable yet Whore remains a forthright example of how one film can generate a sharp fanged riposte in the form of another film full of snark as well as sincerity.  A good final theatrical bow from arguably Britain’s greatest and perhaps most brazen filmmaker.--Andrew Kotwicki (function() { var zergnet = document.createElement('script'); zergnet.type = 'text/javascript'; zergnet.async = true; zergnet.src = (document.location.protocol == "https:" ? 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Shaken Not Stirred: Aaron Taylor-Johnson is Reported Frontrunner For Next James Bond

Posted By themoviesleuth 2 days ago on Entertainment

Image courtesy Marvel Studios The ever evolving rumor mill for James Bond casting seems to be active again. Today, there's a rumor swirling that Aaron Taylor-Johnson has all but signed on to join the next iteration of the action heavy spy series. He would be taking over after Daniel Craig recently retired from the role after the highly successful No Time to Die which was his final outing as the character. While nothing has been finalized or confirmed, it looks like the news may have some truth behind it. Apparently, he auditioned for the role and Barbara Broccoli and her execs were highly impressed with his skills. He recently tried out for the part at Pinewood Studios. Johnson is definitely used to starring in big budget box office hits. He previously starred in Godzilla, the Kick Ass trilogy, and Avengers: Age of Ultron as Quicksilver. His reps have not confirmed the potential casting news. However, it seems that those behind the 007 series are looking to go for a much younger version of James Bond as its said that this will once again reboot and retool the character to a greener, less experienced secret agent. Obviously, we'll update as we hear more about their next step in bringing Bond back to the screen yet again. There has been no official announcement on when the character will be back in cinemas. -CG (function() { var zergnet = document.createElement('script'); zergnet.type = 'text/javascript'; zergnet.async = true; zergnet.src = (document.location.protocol == "https:" ? "https:" : "http:") + '//'; var znscr = document.getElementsByTagName('script')[0]; znscr.parentNode.insertBefore(zergnet, znscr); })();

Cinematic Releases: The Silent Twins (2022) - Reviewed

Posted By themoviesleuth 3 days ago on Entertainment

Courtesy of Focus FeaturesThe strange but true story of Welsh identical twin sisters June and Jennifer Gibbons, dubbed The Silent Twins after investigative journalist Marjorie Wallace’s 1986 nonfiction book brought their tale into the public eye, told of two girls who made a lifelong pact to remain totally dead silent and only speak to each other in private and/or in code.  The story of two Black children living with their parents, sisters Greta, Rosie and brother David who found themselves ostracized at the largely White school they attended, the two eventually began speaking in increasingly unintelligible idioglossia no one else could understand and grew more withdrawn from their fellow classmates and siblings.   After failed attempts at therapy and separating the duo, June and Jennifer tried their hand at writing books and soon pooled together enough unemployment benefits to publish a novel entitled The Pepsi-Cola Addict.  Despite their minor successes, the two eventually got involved in drugs, alcohol and vandalism landing them in infamous Broadmoor Hospital (where Bronson stayed at one point) for eleven years.  During that time, Marjorie Wallace caught up with the twins and made national headlines.  Soon after The Silent Twins became something of a media sensation and on the BBC a 1986 TV film based on the book was made.  Years later a documentary film Silent Twin – Without My Shadow came about and around 2011 a stage play was made. When the time came for a major motion picture to be made of this stranger-than-fiction coming-of-age tale awash in still unexplained neuroses and mental health disorders, The Silent Twins big screen adaptation penned by Andrea Seigel could’ve been another by the numbers dramatic procedural destined for awards bait before eventually languishing on repeat telecasts on the Lifetime Network.  But in the hands of Polish director Agnieszka Smoczyńska, best known for her comedy-horror mermaid musical The Lure followed by the surreal identity crisis drama Fugue, this British-Polish co-production represents the director’s third (and first English language) feature simply put is one of the best films of the year next to no one saw or talked about.  A crying shame as it cements Smoczyńska arguably as the best Polish film director working today. Opening on a playful stop-motion animated title-sequence that soon becomes a recurring bookending motif throughout the picture, The Silent Twins plunges us into the colorful, bright and talky world shared between June (Letitia Wright) and Jennifer Gibbons (Tamara Lawrance) before violently yanking us back into the cold, sterile, sickly blue-green reality inhabited by their fellow humans.  Their parents Gloria (Nadine Marshall) and Aubrey (Treva Etienne) have their hands in the as to what to do with more troubling news from parent-teacher conferences and soon school therapist Tim Thomas (Ben Wheatley stalwart Michael Smiley) tries unsuccessfully to communicate with The Silent Twins and/or separating them.  Eventually their foray into drugs, sex and vandalism landing them in an asylum makes the film a steady descent into surreal madness with distinct callbacks to the director’s previous works that are as dark as anything she’s ever rendered. Winner of the Golden Lions Award at the Gdynia Film Festival and a top-to-bottom cinematic tour-de-force from the new Polish master featuring arresting and dynamic camerawork from right hand man Jakub Kijowski (The Lure; Fugue) in their first 1.66:1 film together, visually The Silent Twins is stunning.  Featuring many of the director’s dark blue-green lit asides throughout peppering her first two features interspersed with bright and colorful vistas of the titular Silent Twins frolicking in fantasyland, the film’s visual aesthetic like the director’s prior features is striking in the contrast between warm saccharine dream and cold near-colorless reality.  There’s a wealth of camera movement that will remind some viewers of Benoit Debie’s rotating top-down camerawork for Gaspar Noe’s Enter the Void and soon even the film’s stop-motion animated sequences take on darker tones. Then there’s the film’s electronic score by Marcin Macuk and Zuzanna Wronska who both contributed to the iconic soundtrack to The Lurewhich is just as powerful of an artistic and dramatic component to The Silent Twins as is the chilly cinematography.  Much like The Lure, the score flirts with playful candy-colored dreamland, itching to burst into song and leaving an overall character over the proceedings.  Contributing original songs as well, some of which play over key montages which somehow or another end up in that same Polish nightclub that opened The Lure and cameoed in Fugue, Smoczyńska’s unrelenting uncompromising yet nonjudgmental observance of this most unusual twosome takes on a musicality that further blurs our expectations of what the drama or the escapist musical should offer. Performance-wise Letitia Wright and Tamara Lawrance all but completely submit themselves to the roles of June and Jennifer who are alive, cheerful and talkative in secret but forlorn and mute out in public.  Both actresses are tasked with taking on heavy portrayals of anxiety and distress with more than a few painful-to-watch borderline psychotic fits of hysteria and/or violence.  The grief and frustration on the parents played by Treva Etienne and Nadine Marshall is palpable and soon their dilemma becomes ours as we watch helplessly as The Silent Twins start to fall in with the wrong people.  Michael Smiley is always dependably good though he’s far more subdued here than his craggy scruffy alchemist in A Field in England.  Still, debatably the film’s real star is the director who doles out every eye-defying cinematic trick up her sleeves while making the surreal exercise affecting and involving. Despite the pedigree of the cast and production and relevance of the subject matter, Agnieszka Smoczyńska’s third entry into the Polish Film Institute came and went quickly without much noise at all.  Drifting under the radars of filmgoers thanks to a miniscule release not helped much with a user-friendly trailer hiding the film’s bold idiosyncratic attitude, The Silent Twins disappeared quickly from the public eye before being forgotten.  Whether or not the film finds an audience remains to be seen but for me personally Smoczyńska is something of a filmmaking black angel: a brooding auteur keen on evoking the adolescent female experience onscreen while wallowing in darkness desperately searching for the light.  Despite the minimal returns and absence of dialogue among most filmgoers, this is another brilliant, confident and daring cinematic exercise from the young Polish master cementing her reputation as one of the most exciting and visionary visual artists working today.--Andrew Kotwicki (function() { var zergnet = document.createElement('script'); 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Singapore Christmas Gift Ideas 2022

Posted By ScribblingGeek 3 days ago on Entertainment - The post Singapore Christmas Gift Ideas 2022 appeared first on The Scribbling Geek.
Have you decided what to give to your loved ones or yourself this December? If not, here are 15 Christmas gift ideas for your consideration!
The post Singapore Christmas Gift Ideas 2022 appeared first on The Scribbling Geek.

Arrow Video: Two Witches (2021) - Reviewed

Posted By themoviesleuth 4 days ago on Entertainment

Courtesy of Arrow FilmsIn addition to unearthing obscure cult gems or restoring renowned classics rereleased in deluxe limited editions, Arrow Video has tended towards highlighting the efforts of unique first-time newcomers from around the world.  Rather than stay entrenched in the past, Arrow continues to introduce new independent or otherwise underground filmmakers whose works likely wouldn’t be seen or be made easily available.  Their latest limited-edition package comes in the form of Parisian writer-director Pierre Tsigaridis’ feature-film debut: the bilateral semi-anthological scare fest Two Witches.  While not necessarily a prime-rib cut, this colorful and atmospheric stab at indie-horror filmmaking does offer its own flavorful share of cutlets of a more bloody-gory kind. Split cleanly in half narratively but sharing the same chronological space and timeline, this lean-mean spine-tingler zeroes in on two different women whose lives are intersected by what appear to be the actions of witchery.  In the first half, pregnant young mother Sarah (Belle Adams) is dining with her boorish unfeeling boyfriend Simon (Ian Michaels) when she gets the evil eye from a creepy old woman first inside the restaurant and then again outside.  Dismissing her fears, the couple convenes with their hip friends Dustin (Tim Fox) and Melissa (Dina Silva) who make the hairbrained mistake of screwing around with a Ouija board, further conjuring occult forces.   In the meantime, the film crosscuts to graduate school student Rachel (Kristina Klebe) frustratedly contending with her troubled sex-kitten roommate Masha (Rebekah Kennedy) who claims she’s set to inherit supernatural powers from her witch grandmother currently on her deathbed.  Eventually the flaky Masha visits Rachel’s workplace and decides to steal Rachel’s personal stories of an abusive former relationship and pass it off as her own, sowing further division as what seems to be a form of demonic possession taking hold of Masha.  Though divided nearly in half replete with title cards designating each chapter, in time these two disparate plot threads and co-existing characters will invariably cross paths in a grisly battle to the end. Shooting, editing and scoring much of it himself with the help of Gioacchino Marincola, Pierre Tsigaridis puts himself out front and center as a new voice in horror to keep your eyes on.  Co-written by Maxime Rancon and fellow co-star Kristina Klebe, this homegrown joint family effort represents a taut shoestring debut with reliance on practical makeup effects rather than succumbing to the shortcomings of CGI rendering.  Operating a bit like a one man band, Pierre Tsigaridis’ debut shows a startling amount of confidence, pushing ahead with potential sequels that may or may not happen while giving his own unique spin on the tried but true witch horror subgenre. Shot and edited in 2.35:1 on the Arri Alexa, Tsigaridis shows an astute hand for handling the camera while making the most of the limited budgetary means, also channeling a subtle re-rendering of Dominic Harlan’s Grey Clouds from Stanley Kubrick’s Eyes Wide Shut peppered throughout the otherwise electronica soundscape.  Performance wise the ensemble cast of newcomers is mostly fine with Belle Adams making her pregnant mother vulnerable and afraid while Rebekah Kennedy finds her inner succubus as we see the evolution of characters like Tim Fox’s Dustin starting out as an idiot forced by the situation to rise to the occasion.  Though nothing spectacular, horror aficionados will be suitably entertained by this first-time one-man wonderment stoking horror elements of the past while looking ahead to the future.  Though not nearly as strong as some of the other occult cinematic newborns (Jill Gevargizian’s debut The Stylist being a vastly superior comparison), Two Witches is a good way to kill two hours as a horror fan and Arrow Video have assembled a most handsome looking limited package for such an unknown title.  Yes some fans may gripe the efforts of Arrow could’ve been spent on furthering their archaeological dig through the land of cult cinema but Two Witches is a nice little frightener well worth sharing in the company of other like-minded boutique releases tailored towards new release movies we’d likely not know of otherwise.  --Andrew Kotwicki (function() { var zergnet = document.createElement('script'); zergnet.type = 'text/javascript'; zergnet.async = true; zergnet.src = (document.location.protocol == "https:" ? "https:" : "http:") + '//'; var znscr = document.getElementsByTagName('script')[0]; znscr.parentNode.insertBefore(zergnet, znscr); })();

Definitely Not Like The Rest: Tim Burton's Wednesday Topples Stranger Things Season Four Premiere Numbers

Posted By themoviesleuth 4 days ago on Entertainment

Image courtesy NetflixAfter decades, interest is still high for The Addams Family. Years after they had their last live action film and after a successful animated movie, the Addams return for a new series on Netflix from the king of goth, Tim Burton. Fortunately for Burton, the show is doing massive numbers on the streaming outlet and is filling a void that was left by Sabrina after its cancellation. These new tales of Wednesday Addams seem to be ready to also fill in a blank while viewers await the final season of Stranger Things. The brand new show has toppled Stranger Things premiere numbers by debuting with over 341.23 million hours logged in its first week. Season four of Stranger Things previously held that record with 335 million hours in its first week of streaming. However, Wednesday still has an uphill battle to beat Squid Game's  massive record of 571.9 million hours of viewing during its premiere. Wednesday was also able to break into the top 10 in 93 different countries and has been viewed in over 50 million homes. When speaking with TVLine, creators Al Gough and Miles Millar said they are really hoping for a second season:"The series is really about a girl who sees the world in black and white and learning there are shades of gray. I think like any relationship or any friendship it can get complicated by other factors. It's never going to be smooth sailing." said Gough. -CG  (function() { var zergnet = document.createElement('script'); zergnet.type = 'text/javascript'; zergnet.async = true; zergnet.src = (document.location.protocol == "https:" ? "https:" : "http:") + '//'; var znscr = document.getElementsByTagName('script')[0]; znscr.parentNode.insertBefore(zergnet, znscr); })();

Movie Review – Violent Night

Posted By ScribblingGeek 5 days ago on Entertainment - The post Movie Review – Violent Night appeared first on The Scribbling Geek.
Violent Night review. A “classic” Christmas movie with a wicked twist. One that the naughty at heart will deeply enjoy.
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