Grace (Jane Fonda) and Frankie (Lily Tomlin) have a problem. Their husbands (played by Michael Sheen and Sam Waterston) are in love—with each other. When the two men announce their intentions to leave their wives and be with each other, Grace and Frankie’s world gets taken for a spin, and no small one, at that.
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French-Iranian artist Marjane Satrapi is best known for her role as the creator of Persepolis (2000), the brilliant graphic novel that would later go on to be made into a stellar animated film of the same name in 2007. With The Voices, she remains as inventive as ever, although things are much different here than they are with the autobiographical Persepolis.
Following the first teaser for Spectre, the latest installment of the James Bond series, the studio has now made available a video giving a brief glance behind the scenes of the flick’s cars, undoubtedly an integral part of any Bond picture. (“Integral” in that there are things that need to be made to blow up, cars ranking chiefly among them.) Below you can view the video, which shows some of the high-tech, exclusively-designed cars that will be seen in Daniel Craig’s latest turn as the MI6 rogue.
In case you haven’t noticed, the summer movie season is upon us. In fact, many would argue that, with its stranglehold on the box office over the last four weeks, Furious 7 began what traditionally occurred between May and August of every year. Of course, when money talks, no one connected to the studio system walks; they run to the nearest script doctor and demand their piece of the plentiful pot.
This makes the months between spring and fall a free for all of repeats, remakes, sequels, serializations, copycats, and crap. The times both before and after those periods are dumping grounds, places for pictures that don’t have an easy selling point, an obvious (or appreciative) demographic, or enjoy a contractual obligation regarding a release, and/or any old write-off sitting up on the shelf.
In the second and third parts of The Charnel House Trilogy, the screen effectively gets black bars at the top and bottom of the screen. The effect conforms the field of view to match that of the train car by highlighting the length of the place and it’s enclosed nature. In doing so, the game creates a portal by which we look at the action through, highlighting how everything is framed as a performance to whomever is looking through that portal. Which is true of any game, really.