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Movie nights are a great way to get together with friends and family and have a fun time enjoying some much-loved favorites or discovering something entirely new. You might think that a night like this is a long time coming, so you will need to ensure that you make your movie night amazing for all those involved.
The do’s
There are a whole lot of dos for a movie night. Here are some that can really get you right in the mood to watch your all-time favorites and get yourself completely ready to be entertained.
#1 Pre-movie games
These can be a good way to get the buzz going, especially if everything is feeling a bit flat. You can do this with board games, group console games, or even something a little different. As this could be the first night together in a while, you might want to go for something completely new, such as online casino games. These can be table games like blackjack and video poker or other games you might find on Unibet’s online casino in the US. This can be a great way to get the excitement flowing, especially if you have something like a James Bond movie or one of the many movies in the ‘Oceans’ franchise.
#2 The mood
Of course, games are going to make things feel a bit more electric, but you might also want to think about things that are going to set more of an atmosphere. This can be:
Seating and layout
Lighting
Scents such as candles.
This can help you and your friends get more out of the films, and it can help you to feel more immersed in the whole experience.
The don’ts
There are a couple of don’ts to movie night. These can be real mood breakers or just frustrating. You need to make sure that everyone is having a good time, so these don’ts are things to avoid.
#1 Loud snacks
Loud snacks should be banned from movie nights. If you want to eat chips, you need to make sure they are out of that loud packet and in a bowl for you to eat. Overly messy or smelly foods are also a no-go, but if you have a group takeout, you might find that this bit doesn’t matter quite so much.
#2 Ban phones
Having a box for phones or getting people to turn off their cells can be a great way to make sure everyone is paying attention to the movie. There is little point in all of your friends coming over for a movie and no one actually watching the film. Having a no phones policy can be a great way to put a unique spin on the evening too.
To wrap everything up
When it comes to making movie night count, you want to make sure that you are getting the most out of it and that your friends have a great time too. You can do this by hosting some pre-movie games, banning phones, doing something about loud snacks, but above all, creating a fun atmosphere that matches the movie to help you enjoy it more.
For their 82nd episode, two feisty film critics, non-abusive dads, and glamorous school teachers Will Johnson and Don Shanahan welcome back guest Cati Glidewell of The Blonde in Front for a return to "awards season" with what is sure to be one of Netflix's biggest Oscar hopefuls. It's also likely the most polarizing movie of 2022. The three are talking about Andrew Dominik's Blonde starring Ana de Armas. Find out how the whole range of reactions in our trio from jaded and offended to inspired and impressed with this fictionalized biopic. Come for the shared challenge and tirade and stay for the mutual love and respect for the fun movies encapsulate. Enjoy our podcast!
ABOUT OUR GUEST
CATI GLIDEWELL
Cati Glidewell is a Chicago based freelance film journalist, reviewer, trivia expert, and prize-winning Oscar enthusiast. She is a lifelong cinephile who is trying everything and telling you all about it. Find her work across YouTube and social media at The Blonde in Front.
Cinephile Hissy Fits is a 25YL media podcast, brought to you by RuminationsRadioNetwork.com. Please visit, rate, review and subscribe. If you enjoyed this show, we have more where that came from, with interesting hosts, and wonderful guests. All available on iTunes, Spotify, and anywhere you find your favorite shows. Follow the show on Twitter at @CinephileFit and on Facebook. Also, find both Will Johnson and Don Shanahan on Letterboxd as the accumulate their viewings and build their ranks and lists.
Like other semi-casual Vietnam war movies that have come before it, the action comedy journey of Oscar winner Peter Farrelly’s The Greatest Beer Run Ever streaming on Apple TV+ reaches a momentum where it has to switch gears. Inevitably, the happy-go-lucky circumstances have dissolved away to the honest truths and horrors of war. That’s a hell of a shift to pull off. The success of the movie boils down to when and how it executes or fails that course correction.
Based on the book of the same name written by former New York Daily News gossip columnist Joanna Molloy and John “Chickie” Donahue, The Greatest Beer Run Ever is about the wild true story of the latter’s four-month civilian excursion to Vietnam across 1967 and 1968. That’s a kinder way of saying how a 26-year-old barfly (Zac Efron) from the Inwood neighborhood of Manhattan was dared by his buzzed buddies and patriotic World War II veteran elder bartender (an extended cameo from Bill Murray) to take New York beers to their younger buddies serving overseas. The flighty goal was a show of support from a tight-knit urban community where families are close and the grief, funerals, and protests have increased to weary levels
Representing Doc Fiddler’s Pub and the entitled demographic of pro-war supporters of President Lyndon Johnson, Chickie Donahue would fill a duffel bag of Pabst Blue Ribbon pull-tab cans and use his Merchant Marine status to get a engine room job on a supply ship departing New York for Saigon. After scheming the captain to get a three-day furlough to disembark, here goes a non-military dude dressed in jeans and a short-sleeved button-up shirt thinking he can hitchhike his way through a scattered warzone and find guys’ names off his list.
LESSON #1: THE BEAUTY OF REFRESHMENT– Fans of tasty adult beverages know the draw and appeal here with a “beer run.” When you’re the person of your friend circle tasked with hunting for the unattainable and leading the charge of satisfying a longing craving, you’re the borderline hero for lifting the mood and igniting the party. You’re the bringer of refreshment and, in Chickie’s case, a human postcard that hands a warrior friend a “good old American beer to let them know what they are fighting for.”
LESSON #2: THAT’S THE DUMBEST THING I EVER HEARD– Folks, the preposterousness of The Greatest Beer Run Ever is quite real, and every side character encountered by Efron’s Chickie audibly reminds us of that fact every chance the script allows them. The repetitive reaction questions like, “What the hell are you doing here?” and “You chose to be here?” pile up. Beer is great and all, but, one soldier may have put it best when he counters with a mug of reality to say “a goddamn beer is supposed to make it all OK?” When the men and their superiors hear it was because of a dare, the eyerolls get worse.
LESSON #3: THE VALUE OF A NOBLE GESTURE– Underneath the initial laughter and disbelief is the noble gesture core of what Chickie Donahue achieved. A warm and likely shook-up beer from home might seem like an item of low value, but the shared solidarity and personal presence behind the symbolic beverage offerings hit well when neighbors meet again in the most unlikely places. Combine the brave risks taken by Chickie to make the reunion moments happen and these deeds now matter more in support than the ale or lager itself. The strengthening hugs shared after those beers are empty and friends part ways again with hopes towards their shared home prove that importance mightily.
In those disarming moments between friends, The Greatest Beer Run Ever indeed has its appealing feel-good charm. Zac Efron is affable enough as an actor to pull off this borderline blockhead juiced by a sense of duty and honor. He plays up the enthusiasm of this quest, and who wouldn’t want to share a beer with Zac Efron? The buddies he finds, played by Jake Picking (Top Gun: Maverick), Kyle Allen (The Map of Tiny Perfect Things), Will Roop (The Way Back), and Archie Renaux (Morbius), thankfully never portray the same soldier. Each gives their unique assigned slice of the true Vietnam War experience to the lead character having his eyes opened.
Reaching this revelatory mindset brings The Greatest Beer Run Ever back to the tone shift that had to arrive. When director Peter Farrelly and his fellow Green Book Academy Award-winning screenwriter Brian Hayes Currie, along with a polish from Pete Jones (Hall Pass), break away from the deeper chronology and honorable actuality of Molloy and Donahue’s novel, the movie falls apart gradually. Gravity and seriousness were needed, and these were not the men to provide that properly.
The missing ingredient to that properness, as crazy as it sounds in a story this zany, is the truth. The novel is chock full of engaging and poignant encounters–noble gestures and all–in spades. Flexing dramatic license, The Greatest Beer Run Ever trades those detailed accounts for loony screenwriter inventions and a rushed narrative pace that presumably would make the Chickie Donahue yarn more cinematically compelling. Instead, they poke holes in believability and take away chances for the adventure to truly linger as it did in real life for these men.
The Greatest Beer Run Ever makes Donahue’s trip and the entire Tet Offensive look like a dangerous Spring Break weekend bender of dumb luck successes and heroic conveniences. The real Chickie spent over four arduous months in Vietnam finding his old friends, making new ones, appreciating local customs, holding down jobs, surviving guerilla warfare, and lending his resourceful union-trained dockside acquisition skills to supply hotels, restaurants, local residents, and even abandoned zoo animals with life-saving stockpiled food. Now that’s a grander story to tell than what is here.
Moreover, the real John Donahue was a savvy veteran with extensive international experience, sailing the world three times over, including previous stops across Asia. He is not the boomer doofus always fixed to a barstool the movie reduces Zac Efron to portray. For what could only be a move for marquee clout, Farrelly employed a tired Russell Crowe to play a war correspondent composite character found nowhere in the book. The actor’s caliber (and our time) is wasted on him speaking little bits of ominous insight and delivering backhanded compliments to a lead character adept enough on their own.
Somewhere, Farrelly and company thought audiences would not buy the integrity and scope of a solo artist story without injecting pretend dangers. The real ones Donahue survived were more than plenty, and that’s entirely a miscalculation of trust. For example, rather than respectfully including or positively representing fuller Vietnamese characters in the movie that were vital in the book, The Greatest Beer Run Ever kills off two of the three indigenous characters you spend any time with in falsified fashions of ambivalence or cruelty. Thank goodness there wasn’t a forced love interest to smear this story further.
By choosing such flippant and unnecessary storytelling inventions that favor theatrics over honesty, The Greatest Beer Run Ever says nothing new. Even with the rowdy beer premise, we’ve watched uninformed citizens or fringe participants have their hearts changed by war. We’ve seen dominant privilege brought down a peg by tragedy and white guilt become momentarily wiser. Farrelly’s movie softly pushes those repetitive messages that have been done better elsewhere, making The Greatest Beer Run Ever 30 years late in its relevance and topicality.
Entrepreneurs typically have a lot on their plate. They have to interact with clients, coordinate company operations and oversee employees. Whether you manage a huge team or a small one, you likely stay busy during the week, and maybe even on the weekend.
Some business owners feel like taking a break is a waste of time. They may believe that in order to triumph, they have to constantly live and breathe their work. In reality, this strategy can be counterproductive. Taking some time to watch a movie or have fun with friends can benefit small business owners and the companies they run.
Mental Health
There’s nothing wrong with enjoying entertainment, whether you’re into summer blockbusters, comedies, romantic films or dramas. The idea is to give your brain a rest from concentration for a while.
It shouldn’t come as a surprise that your mind needs rest to function optimally. It’s like any muscle. Doing exercise is healthy, but overdoing things can hurt you.
In the same way, focusing on your work during business hours is a good thing, but your brain also needs some time to cool down. Your mind can only analyze so many call center metrics or financial data points before it tires out. Order a pizza, catch a new movie, unwind a bit and wake up fresh the next day.
Mood Benefits
Have you ever noticed that solutions and great ideas seem to pop into your head when you feel great? That’s the effect of positive emotions on your creative process. Put simply, the better your outlook, the better your problem-solving abilities, imagination and brainstorming abilities.
Also, a positive mood is beneficial for your physical health. Lower stress levels are better for your heart. As a business owner, taking a breather to watch a movie is an excellent investment.
Of course, for people who work at home, it’s important not to swing to the other extreme, either. You need to stick to your schedule. Set aside time for relaxation, but don’t let it take over your day. If you have work to finish by a deadline, it’s not the time to binge-watch your favorite series.
Disconnection
Watching a movie is a great way to disconnect from the outside world. You can do this both literally and emotionally. While you’re engrossed in a film, the day’s worries and stresses get put on hold for a while. This is a good thing.
It’s also positive when you literally disconnect, especially if you’re spending time with family or friends. Clients and employees can wait a couple of hours. Your body and mind need time to recharge.
Productivity
Did you know that periods of rest can boost your productivity? Instead of hitting your head against the same wall for hours, set the project aside, watch a movie, and then come back to the problem with a fresh set of eyes.
This technique works for many successful business owners. Burnout is a real problem. Your goal isn’t to win a short race. It’s to run a marathon and be successful. Prioritize good relaxation habits and avoid burning the candle at both ends constantly.
Creativity
Movie watching can also benefit your business in ways you may not expect. This can happen because of the huge variety of things that occur during films. You may see a product, hear a line of dialogue or notice a concept that unleashes your spark of genius. If this happens, don’t feel bad about pausing the movie for a second, writing down your idea, and then getting back into it.
Don’t forget that work is supposed to support your lifestyle, not the other way around. Remember to stop and smell the popcorn sometimes. That way, you remember why you’re working hard, and it helps you reach your goals more easily.
Like many things in life and business, the secret to benefiting from entertainment and relaxation is to be balanced. A good balance makes you happier and helps you seize smart opportunities when they appear.
Fans of HBO/BBC series Gentleman Jack made a bold statement last week by displaying two campaign designs on the huge Nasdaq billboard in New York’s Times Square. In the two months since HBO ended its production partnership with the BBC, fans from around the world have developed a robust campaign to bolster the chances of […]
Movie Marker Magazine got up close with multi-talented actor Ye Zhong to talk about her latest project, ‘The Bet!’ Thank you for chatting with us today. Congratulations on all your incredible achievements. We are excited to learn more about the film, but first, can you tell us about life growing up? My life had nothing […]
Movies Lagging on Your Laptop? Here are 5 Reasons This May Be!
Getting the popcorn in the microwave and pouring the snacks into bowls are the first bit of preparation for preparing for the new movie you have been waiting to hit Netflix for months. With food at the ready and the couch enveloping you, what you don’t want is your Macbook being slow. The movie you have been anticipating is lagging and the snacks are almost gone from being stress-ate whilst you watched the film play out at a painfully slow speed. Do not fret! There are solutions to this and here are five!
1. Your Mac is Overheating
Check Your Activity Monitor!
Occasionally, apps may begin to malfunction, which can be tough on your laptop's CPU. This generates a lot more heat than usual and thus, overheating occurs. Simply going to Finder, Applications, and Utilities can help you source the problem. Opening the Activity Monitor and clicking the ‘stop’ button will instruct your laptop to close the apps that have the highest percentage. This should stop the apps from being such a burden on the functionality of your Mac and the slowness should decrease significantly!
2. You Have Unnecessary Browser Tabs Open
Close Them!
Having a lot of tabs open at the same time can take a heavy toll on the resources of your Mac. The tabs can begin to take up the majority of memory on your Macbook and this will cause it to lag significantly, making the film you want to watch run at an impossibly slow pace. Getting rid of tabs that you don't need open can fix this problem almost immediately. If your Mac only has to focus on running the movie you want to watch then it will put full effort into doing so if it does not have to do anything else, such as support the running of 10 other open tabs. This is easily fixable and you can be back to watching Netflix in no time!
3. You’re Running Low On RAM
Kill Background Processes!
The Random Access Memory on your Mac may be full. Much like your laptop’s hard drive, your RAM can become full too. Opening your activity monitor through Applications and then, Utilities, you can view your Memory and Memory Pressure Tab. If it is yellow, you are running low but if it is red, it's almost entirely full. You can quit apps that you don't need and quit their processes on the Activity Monitor to free storage on your RAM and speed up your Mac. If you have an older Mac, you can always add more RAM, though this proves slightly more difficult if your Mac is newer or Mini.
4. Your Hard Drive Is Full
Clear out your data!
When your hard drive is close to its full capacity, this could begin to affect the speed at which your Mac runs. Click on the Apple logo in the top left of your Mac, select ‘About This Mac’ and click the ‘Storage’ Tab to see the makeup of your disc. Hovering over the different colours will inform you what files are taking up how much storage. A common solution to this is to utilise the Cloud. Backing up files onto this means you can free space on your Mac to watch that film you've been anticipating without any lagging. If affording the Cloud is an issue, fear not, external storage is still an old but reasonable option. Backing up large files on a USB will allow you to keep these files stored externally whilst having your laptop run quickly and efficiently.
5. Your Cache Needs Clearing
Unclutter Your System Folders!
A lot of the time, your cache is supposed to enable your Mac to load sites quickly. Sometimes, your cache may become outdated and this means unnecessary files lay latent on your system, clogging up your cache and slowing down your Mac. To get your Macbook back in good shape, you need to clear your cache. Open your Finder, go to Folder and type in /Library/Caches/. Always back up the folders before you do this so you don't risk losing anything you don't want to lose. You can keep the folders but go into them and delete the files that are inside of them. This process can be long and exhaustive when decluttering your entire system. If you want extremely fast results without the effort of this, CleanMyMac X will locate your app caches and free up your system folders in a few simple clicks- a much faster option than clearing them manually.
Playing casinos can be very interesting and intriguing, depending on the game. It is especially exciting if you can observe the top matches with the best players.
If you are fond of casinos, this movie compilation is just for you. Because you can not only start playing today but also watch grand winnings and fails in the best casino-related movies of all time.
1. Ocean's Eleven
The first movie in our compilation is called Ocean's Eleven. There is a series of movies, which starts in 2001. Danny Ocean has a new member of his team in every new movie. Of course, the movie is not focused on casinos themselves, the attention is not paid to gambling, but Ocean's Eleven shows the most famous and luxurious casinos in Las Vegas. They include MGM Grand, Mirage, and Bellagio. Interesting fact: all the actors not only rested between scenes but also played in casinos.
2. Casino Royale
Casino Royale is a 2006 movie based on the book of the same name by Ian Fleming. The plot is centred on a famous agent who becomes a participant in a rather dangerous poker tournament that takes place in Montenegro. He will have to beat the main villain. Luckily, James Bond knows how to use his brains and will win thanks to the power of his mind.
3. The Grand
The Grand movie was released in 2007. The Grand is an original documentary-style comedy about a poker tournament where the player wins a very tempting prize. Many fans and people who are experienced in the gambling field claim that the movie covers a topic helpful for beginners. The movie is a good way to get acquainted with the poker game.
4. Croupier
The movie was released in Great Britain, in 1998. The plot of the movie is centred on the aspiring writer Jack Manfred, who gets a croupier job in a casino. The main characters of the movie are involved in a very dangerous scheme that will help them get rich. However, everything turns out to be far from being as good as it seemed from the very beginning.
5. 21
This 2008 movie tells about highly gifted students who, under the guidance of a professor of mathematics, make good money in a casino thanks to the calculations they make. However, everything is not so simple, because the stakes in the game will increase greatly, and the heroes will have to stake not only big money but also love, freedom, and life.
Conclusion
You can enjoy the five best movies about casinos. Thanks to these movies, you will know the intricacies and the consequences of the real game. All the films in our compilation have a grabbing plot and are shot in high quality. That is why you should not waste your time and choose the one you like the most right now.
While there are many movies you can watch on your laptop, projector, TV, and other devices, only a few have the term "yellow" in the title. In this article, we will take a look at the top movies with "yellow" in the title.
1. Dirty, Yellow, Darkness (2015)
Dirty, Yellow, Darkness is a Sri Lankan movie that follows the tale of Vishwa, a marketing executive suffering from OCD. He’s aware of his condition and takes medicine to help him manage it.
In the spirit of full transparency, he makes it known to his soon-to-be wife before they get married. However, after their wedding, things take a turn for the worse. His illness becomes unmanageable and Vishwa refuses to take his medicine.
He believes that his pee will contaminate him and his surroundings and begins to take showers every time he pees, after which he has a change of clothes.
As the condition worsens, Vishwa resigns from his marketing gig, and his relationship suffers. When his wife leaves, he realizes how bad the situation is and admits himself to a mental hospital. He hopes that treatment will get him back to good health and help save his marriage.
This movie may be sad, but it sheds some light on the struggles of those who suffer from OCD in our society.
2. Tie a Yellow Ribbon (2007)
Directed by Joy Dietrich, this award-winning movie lays bare the struggles of Asian American young women. It tells the story of Jenni (portrayed by Kim Jiang), a Korean adoptee in her 20s who lives in New York.
Trying to forget her past, she becomes friends with other Asian Americans residing in New York and eventually feels a sense of home. Then one day, her brother shows up at her door and brings back the old feelings she’s struggling to forget.
3. The Yellow Gloves (1960)
If you’re looking for a movie that makes you appreciate trust in a relationship, look no further than The Yellow Gloves.
This Greek movie revolves around Orestis, a husband who distrusts his wife and obsesses over finding signs that she’s having an affair. One such sign is a pair of lost yellow gloves (hence the title) that he later finds in a random restaurant.
While the movie may not be entirely accurate, it opens our eyes to the kinds of insecurities that exist in modern relationships.
4. The Cave of the Yellow Dog (2005)
If you love dogs, you’re in for a treat. The Cave of the Yellow Dog is a heartwarming story about Nansal, a young Mongolian girl who finds a dog and falls in love with him. Unfortunately, her father is not as enthused about the dog as she is and wants her to let him go.
With the family being nomadic, Nansal’s father believes that the dog may bring wolves that will feast on their sheep.
She decides to keep the dog hidden, and he remains so until winter approaches and the family has to move. As you would expect, Nansal’s father directs that they leave the dog behind, tied to a post. Luckily, he reconsiders when the dog saves his youngest child from vultures.
This movie illustrates the significance of pets, especially dogs, in our lives: from companionship to protection from danger.
5. Yellow Flowers on the Green Grass (2015)
Yellow Flowers on the Green Grass is a Vietnamese film that has won several awards. It revolves around brotherhood and relationships.
It follows the story of two young brothers, Thiều and Tường who have opposite personalities; the former is extroverted, while the latter is introverted. Their parents are strict, although with different methods of ensuring their children toe the line.
Thiều and Tường have a classmate, Mận, who they protect from another classmate who has a crush on her. Eventually, Tường and Mận become so close that Thiều gets jealous and fails to protect his brother’s toad from being taken and slaughtered for its meat. The jealousy grows to the point that Thiều hits his brother with an enormous wooden stick and paralyzes him.
He then realizes that Mận was actually interested in him and is filled with regret.
6. Yellow Fever (2017)
This movie provides a realistic look into the struggles of "yellow" Americans. It depicts the story of Asia, a Korean kid who was adopted by Americans and lives in New York. She doesn’t speak Korean, and New Yorkers assume she’s not American.
Luckily, she meets a man who has lived in Korea for over a decade and who helps her find her place in the world.
7. The Thin Yellow Line (2015)
If you think painting a road is boring, this film will prove you wrong. The Thin Yellow Line is about five financially-struggling men who must paint over 200 kilometers of road within 15 days under the sun.
They face danger from careless drivers, share meals, lie under a big bull sign for shade, experience a religious precession, amongst other things, all of which change their outlook on life.
While the movie may not be directly applicable to our lives, it indicates the thin line between laughter and tears, right and wrong, and life and death.
If you want to watch a high-quality movie starring the one and only Robert De Niro, then you have come to the right place. Here you can find out what the top movies are from Robert De Niro so you can have the best cinema experience possible from the comfort of your own home. Goodfellas […]
Directed: Brett Morgen Released: September 23rd, 2022 (UK) David Bowie was one of the most enigmatic musicians in pop history, a true rock n roll chameleon constantly changing his persona. Even after he died in 2016, it’s hard to know who the true Bowie was, but we are left with an unrivalled body of work […]
With a legend like Marilyn Monroe, it is easy to admire her beauty and the well-documented iconic poses and famous film roles. She was, and still is, an unmatched pinnacle of Hollywood stardom. But that’s the façade. That’s the persona masking unimaginable agony that was whispered by many, confronted by few, and healed by no one in thirty-six tumultuous years of life.
The controversial new Netflix film Blonde, adapted and directed by Andrew Dominik and based on the historical fiction novel of the same name by Joyce Carol Oates, swirls surreal cinematic brushstrokes meant to express the hushed nightmares beyond the celebrity dreams of Norma Jean Mortenson and compose a reminiscent and heartbreaking portrait of the legendary star. The audiences’ applause of adoration is replaced by cries of anguish and pain often unseen by anyone. It is those tears that paint this film. For better or worse, those tears are what you now remember more than the smiles when it comes to Marilyn Monroe.
LESSON #1: THE FORMATIVE RESULTS OF CHILDHOOD TRAUMA– Blonde opens in 1933 Los Angeles when Norma was a child spurned by her own mother Gladys (Julianne Nicholson) and fed a story that an unnamed matinee idol from a framed portrait hung on a symbolically cracked plaster wall was her absentee father. The vitriol and physical abuse from Gladys would become the first physical and mental scars of her life. Considering this background, our central historical figure really is a miracle creation, both as Norma Jean, an unwanted pregnancy and daughter surviving childhood, and as the semi-curated cultural icon she became. Both shouldn’t have made it as far as they did.
Project that trauma later in life when you see and hear Marilyn using “Daddy” as a repetitive pet name for her husbands and suitors. That warped obsession is telegraphed by Marilyn’s own cringe-worthy lyrics from “Every Baby Needs a Da-da-Daddy” from her 1948 film Ladies of the Chorus played over the movie’s montage of her pin-up modeling days. With that stitched transition, Blonde moves Marilyn to adulthood and the arrival of Ana de Armas.
LESSON #2: INVENTING AN ICON– The Knives Out actress’s first scene is Marilyn’s audition for Don’t Bother to Knock. It is here when de Armas bursts forth Marilyn’s talent (and very much her own as well) that will be showcased for two more hours where the camera rarely leaves her ethereal orbit. Like many of us with far smaller careers than those of Hollywood players, Marilyn would define herself through her work and the curated image that was made for maximum profitability. Unfortunately, her employing men in the industry would see her as a cash grab and a sex object. She was milked, mined, and used as such while constantly being underestimated for her intelligence, craft, independence, and determination.
Sadly, this is made harder for Norma Jean when life itself was another role. The degrading, and often graphically depicted, cycle of sexual domination and the abuses of power from men would expand to her personal romantic relationships. Like its source novel (which was adapted once before as a CBS TV mini-series starring Poppy Montgomery), Blonde observes Marilyn’s doting clinginess and longing desire to have a family through an ensemble of romantic partners cautiously named “The Ex-Athlete,” “The Playwright,” and “The President” and played respectively by Bobby Canavale, Adrien Brody, and Caspar Phillipson. Each has their chapters of differing concentrations of affection obscured by loss. The emotional pendulum of our voyeurism will swing from flashbulbs of fandom and sunny scampers on beaches to chandelier-rattling body blows and halogen-lit operating room lights of failed pregnancies.
Extended from Lesson #2, there is a rendered sense, exemplified through the presence of her longtime makeup artist Allan “Whitey” Snyder (Toby Huss, co-starring soon in Weird: The Al Yankovic Story), that Marilyn is “conjured” to appear if she wishes to be, through the mask of rouge and the calming sedation of drugs. For each beau of their given moment, there is a personalized version of an over-prepared Marilyn channeling manufactured happiness to become whatever object of desire would be deemed suitable, all as a way of compensating for her looming and increasing internal and external fears.
Blonde becomes a labyrinth with no exit when it comes to which people in Marilyn’s life are looking out for career and which are looking out for her well-being. They are not one and the same, especially when career goals clash with life’s trials and tribulations. There is a mystery to who understands this dichotomy and who does not, and where love intersects those two personal trajectories.
LESSON #3: YOU DON’T BELONG WITH PEOPLE WHO DON’T LOVE YOU– The only suitors of Norma Jean granted their true names in Blonde are the “cursed juniors” of Cass Chaplin (Love & Friendship’s Xavier Samuel) and Eddie Robinson (Evan Williams of Versailles) she meets at the L.A. Actors Circle in 1953, around the time of her Niagara breakout. Their tabloid-popping trio relationship seen by the rumor mill as vulgar would go on to be the closest thing Norma had to a “love of her life.” Cass, chiefly of the two, saw her and loved her as others did not. His soulfulness, far more than his manhood, would penetrate her life. For Marilyn’s final thoughts in the novel and in the film to be of Cass, and what could have been, shows the full scope–three horrible marriages, lost fetuses, escalating nightmares, and a mountain of debilitating chemical dependency later–of the many failed hopes for happiness that plagued her life all the way to a lonely end of utter despair.
LESSON #4: THE RATIO OF SMILES TO TEARS– This review opened on the notion of smiles exchanged for tears, and it comes through in the tormented performance of Ana de Armas. Those tallying at home could count the lovely grins and triple, no, make that quintuple, the total to equal the number of droplets shed that streak across her attractive cheek and broken visage. You feel every one of them, and that’s the power of de Armas. Not a single glandular release from her striking eyes seems disingenuous. In depicting one icon, Blonde may have just launched another with its lead actress.
One cannot help but appreciate the depth of de Arma’s layered portrayal of an actor acting to be an actor. Witness the conflicted fear she conveys in her eyes. Watch her put on that physical instability through her lithe figure to hit a mark and then crumble on another. With her voice, listen to exchanges of flutter and fluster between her Norma Jean and her Marilyn Monroe public front. Contemplate in the many moments of how Ana found the impossible places of darkness in her character and then pivot to either unfurl it or squash it with shame. The captured focus of it all is marvelous work and, far and away, the best of the 34-year-old Cuban native’s career to this point.
Like the star herself, it is very easy to be caught in the spectacle of Blonde as it selectively and economically recreates glorified images and scenes from Marilyn Monroe’s movies and public appearances. Made for a scant $22 million, the artistic efforts of Dominik’s keen collaborators are astounding. Because so much of the gaze is on de Arma, the 90+ outfits constructed by I, Tonya costume designer Jennifer Johnson and her department could fill hours of a making-of documentary on their own. Likewise, the shrewd production design and art direction of Florencia Martin (Licorice Pizza) and Peter Andrus (Being John Malkovich) follow the color shifts to emphasize interior details more than grand stages to embellish the intimate tightness on the actors and personal spaces.
Mood–somber, brutal, and all–is everything in Blonde. The film’s highlighted biographical periods are enhanced with a eloquently mindbending score from the composer team of Nick Cave and Warren Ellis (The Assassination of Jesse James By the Coward Robert Ford). Their musical motifs mixing strings and electronica have a yearning factor that shifts from auras of glow to sinking feelings of dread. It stands out as one of the best scores of the year.
The wide sweep of visual luster fleshed out by director of photography Chayse Irvin (BlacKkKlansman) followed suit. Delivered from directorial choices from Dominik, the limber camera steered by Irvin shifts between immersive color palettes, inventive POV angles, and varied aspect ratios seemingly at random will. Crossing into the 1960s, when the aspects of Marilyn’s life twist further from her control and darker in confusion, the colorlessness becomes more frequent. Astute and curious watchers will dissect and wonder if a color choice marks moments of documented truth compared to dramatized fiction or times that demarcate Norma Jean from the persona of Marilyn Monroe. Further examination is almost certain to reveal a purposeful and fascinating pattern of technique choices from the Australian filmmaker, his cinematographer, and his editor Adam Robinson (cutting his first feature film). The effect is euphorically sublime.
LESSON #5: DESTROYING AN ICON– The full result of Blonde is spellbinding and incredibly difficult. The movie pulls back on that fall into adoration and swerves towards the uncomfortable disquiet underneath. Every time you get a little hypnotized by de Armas’ Marilyn, a proverbial knife is twisted to slash down the mystique. Moments that should be lifts of spirit tailspin to torturous ordeals.
Folks, please understand that Blonde is fiction, straight from the author’s mouth. Take that and let the expression of compelling drama, even with its heavy triggers, develop before you. Joyce Carol Oates thematically likened her book’s subject to a hummingbird, beautiful on the outside and fighting with every moment to survive. Still, she drew from long-rumored findings and testimonies of many observers to invent a complicated narrative, one that Dominik molded successfully. The author praised Dominik’s work as “startling, brilliant, very disturbing and perhaps most surprisingly an utterly ‘feminist' interpretation” and for good reason. The support is earned and valid.
If even half of the things depicted in Blonde happened to Norma Jean Mortenson, they are monstrously too much. Imagine how much worse the full truth could be. That’s a crushing cloud over your head as a viewer of Dominik’s film. This is a mystic fable and a fever dream that becomes a suffocating nightmare. There is no cushioning this fall from grace for this damaged woman. There is no happy ending, and there is never going to be one, no matter how hard someone wishes or wills for one to arrive during the film’s sizable running time.
There is merely an end to the pain by way of a self-destructive escape. People need to be ready for all Blonde’s path implies and stirs up. That bleakness is going to be a hard trait for many viewers beholden to a celebrated public icon to accept versus those with the capacity and empathy to understand the damaged individual underneath the fame.
At one point in Blonde, the question is asked, “Where does dreaming end and madness begin?” Damn, that’s potent when absorbing the totality of this film and the consequences of popularity and idolization. When you see this fictionalized take, back when 15 minutes of fame were an eternity compared to the 15 seconds of today, you will no longer have the same celebrity dreams. We are supposed to be uncomfortable, disillusioned, and beset with regret and disgust over the controversial content and its destructiveness.
LESSON #6: WE DESERVE TO HAVE THIS LOSS RUBBED INTO OUR FACES– This may be harsh to say, but Blonde is allowed to rub this loss in our faces. Like the industry revelations and pushback hashtag movements of this last decade, people need to believe women like Marilyn Monore, say something when they see wrongdoings, and help these situations. Because, if this can happen so severely to the brightest we ever had, it can–and has–happened to hundreds of the smallest too who never made it like Norma Jean Mortenson did. If it means we need to witness a harsh fictionalized interpretation to remind us of the need to increase lasting accountability, so be it. Movies like Blonde that can weather that burden and evoke such responses deserve to be appreciated for their courage.
For their 81st episode, our two surfer dude film critics, punk survivor dads, and Big Kahuna school teachers Will Johnson and Don Shanahan welcome back special guest Ken Reid, host of the popular TV Guidance Counselor Podcast to the Cinephile Hissy Fit podcast. He returns to presents another cult classic, namely Back at the Beach from 1987 starring Frankie Avalon and Annette Funicello for the discussion. Who rides the wave and who wipes out for this nostalgic flick. Come for the shared challenge and tirade and stay for the mutual love and respect for the fun movies encapsulate. Enjoy our podcast!
ABOUT OUR GUEST
KEN REID
Each week Boston Comedian Ken Reid and his guests discuss a specific issue of TV Guide. They debate, consider and discuss the difficult viewing choices of our past. He loves horror movies, bronze age comic books, TV, punk rock, pie and pre-Millenium Popular Culture. You’ll like him. He has some stand up comedy records out, and has a weekly podcast called TV Guidance Counselor.
Cinephile Hissy Fits is a 25YL media podcast, brought to you by RuminationsRadioNetwork.com. Please visit, rate, review and subscribe. If you enjoyed this show, we have more where that came from, with interesting hosts, and wonderful guests. All available on iTunes, Spotify, and anywhere you find your favorite shows. Follow the show on Twitter at @CinephileFit and on Facebook. Also, find both Will Johnson and Don Shanahan on Letterboxd as the accumulate their viewings and build their ranks and lists.
Director: Olivia Wilde Cast: Florence Pugh, Harry Styles, Chris Pine, Olivia Wilde, Kiki Layne, Gemma Chan Release: September 23rd, 2022 (UK) If one were to look at Don’t Worry Darling strictly from the angle of gossipy online discourse, the verdict is clear: the film has become overshadowed by the black spot of its disastrous on-set drama. […]
In a move that had long been suggested, Netflix has announced the launch of a new ad-supported subscription tier. This new tier, while initially suggested for launch in early 2023, now looks set to be available on the platform from the start of November 2022. Full details about the option are not yet available, though […]
Movie Marker Magazine went behind closed doors with actress Davina Colaço to chat about the inspiration behind her career choice and some of her greatest achievements to date. Have you always lived in Dubai? What was that like and what are some of your favorite things to do in your hometown? Born and raised! I […]
The 2018 movie Game Changers introduced audiences to a behind-the-scenes look at the diets that a lot of noteworthy people follow to maintain their lifestyle as an injured martial artist interviewed them. While the documentary has inspired change, it may not have been as beneficial as it could have been. Keep reading to learn what you should keep in mind about the Game Changers movie.
There Is One Central Focus of the Documentary
The documentary does not go into everything that the interviewees go through to succeed. It only focuses on how plant-based diets affect their performances. With that being the case, you have no idea what else they have to do to get where they need to be. While a plant-based diet may indeed boost their performance, they need to do a lot of other things. Take skin care, for example. An actor might be asked about what they do to keep their skin up after all of that makeup is removed at the end of the day, and they might give a Thrive Skin review. However, when Arnold Schwarzenegger was interviewed, it just focused on his diet.
Not Everything Works For Everyone
There are a lot of people who think that they should change something about themselves because they saw one of their favorite celebrities do it. Most of the time, they do not even think about how it will affect them in the long run or how it would change everything around them. Also, they have to do the research alone. They do not have years of training in their idol's specialty nor access to the team of coaches that has worked for years to perfect everything that is involved with the athlete's training and performance. People need to be advised that there is a lot more work involved and that they need to talk to some professionals.
Experts Are Heavy Critics of the Film
A lot of experts across the board have been criticizing this documentary, even going so far as to say that it lends too much to pseudoscience to be comfortable or trustworthy. The athletes pretended to be experts on the general subject instead of confining it to their individual lifestyles, and the so-called experts on the project were making claims that could not exactly be backed up. There is also an issue in the document being one-sided. In order to make a well-rounded and convincing argument, there should be more of a presence of the other side.
In this case, there should have been more of a discussion about a meat-based or meat-heavy diet. Instead, meat is criticized and not given a voice at all. The people making the documentary also failed to point out that meat and plant-based diets share some similar production issues. One such issue is that deforestation would still occur even if the entire planet was put on a plant-based diet tomorrow, so not all of the blame can be put on livestock farms.
The Game Changers documentary can be seen as educational, and is a vital part in the curriculum of many institutions, many of which are medical schools. However, you should take this documentary with a grain of salt. The next time you watch Game Changers, think of all the factors that go into an athlete's performance, and remember that all of those factors work in tandem to make the athlete the best version of themselves that they can be. Keep this article in mind so you do not run out and buy up all of the vegetables without knowing what works best for you first. There is no one solution to a better life, and you should keep that in mind.
For their 80th episode, our two con artist film critics, alien-glowing dads, and punk-infused school teachers Will Johnson and Don Shanahan welcome a special guest and movie to the podcast. Boston-based Ken Reid, host of the popular TV Guidance Counselor Podcast joins the Cinephile Hissy Fit. He presents the 1984’s “Repo Man” starring Emilio Estevez which checks many oddball genre definition boxes. The three come it from many different angles and histories for a rich conversation. Come for the shared challenge and tirade and stay for the mutual love and respect for the fun movies encapsulate. Enjoy our podcast!
ABOUT OUR GUEST
KEN REID
Each week Boston Comedian Ken Reid and his guests discuss a specific issue of TV Guide. They debate, consider and discuss the difficult viewing choices of our past. He loves horror movies, bronze age comic books, TV, punk rock, pie and pre-Millenium Popular Culture. You’ll like him. He has some stand up comedy records out, and has a weekly podcast called TV Guidance Counselor.
Cinephile Hissy Fits is a 25YL media podcast, brought to you by RuminationsRadioNetwork.com. Please visit, rate, review and subscribe. If you enjoyed this show, we have more where that came from, with interesting hosts, and wonderful guests. All available on iTunes, Spotify, and anywhere you find your favorite shows. Follow the show on Twitter at @CinephileFit and on Facebook. Also, find both Will Johnson and Don Shanahan on Letterboxd as the accumulate their viewings and build their ranks and lists.
Life can be challenging for children with learning difficulties and choosing the right subject to study can be tricky. In this article, we’ll explore the reasons why film studies is a good subject for children with learning difficulties. Children with learning disabilities can often struggle when it comes to school and college learning without the […]
Within a swanky soundtrack of 1950s toe-tappers, the press materials from Warner Bros. for Don’t Worry Darling feature and favor lyrics from “Sh-Boom” by The Chords that read:
Life could be a dream (Sh-boom)
If only all my precious plans would come true (Sh-boom)
If you would let me spend my whole life loving you
Life could be a dream, sweetheart.
Just like when the song played during a small-town cruise in Pixar’s Cars 16 years ago, “Sh-Boom” tingles innocent hopeful feelings. Here in Olivia Wilde’s mindbender, the song is a varnish over a nightmare. The better and slicker early tune used in the film would be the Great American Songbook selection “Where or When” by Dion & The Belmonts serenading the introduction of the glossy setting of the film. Played for its lovely romantic style, the lyrics creep into your psyche if you listen closely:
It seems we stood and talked like this before
We looked at each other in the same way then
But I can't remember where or when
The clothes you're wearing are the clothes you wore
The smile you are smiling you were smiling then
But I can't remember where or when
Some things that happen for the first time
Seem to be happening again
And so it seems that we have met before
And laughed before and loved before
But who knows where or when?
When you're awake, the things you think
Come from the dreams you dream
Thought has wings
And lots of things
Are seldom what they seem
Sometimes you think you've lived before
All that you live today
Things you do
Come back to you
As though they knew the way
Oh, the tricks your mind can play!
Now, the varnish swirls with the dreamy deja vu vibes that are all over that old standard. In many ways, those two main verses of “Where or When” tell you all you need to know about the encroaching mystery to come. By the time Don’t Worry Darling calls back to “Where or When” again during its kaleidoscopic end credits, a smoky aftermath is exhaled from the intoxicating effects of the song and the film.
Little Women Oscar nominee Florence Pugh and One Direction Grammy winner Harry Styles are Alice and Jack. Their young couple is soaked in booze and flush with young love. They are one frivolous married pair of many that occupy a mid-century southern California cul-de-sac where the men go to work as synchronized commuters and the women embrace their homemaker zest pining for their returns and downing more cocktails. The slices of charmed lives these neighbors enjoy is afforded to them by the Victory Project, an isolated community organized by Chris Pine’s enigmatic Frank.
Spoken of with strict and unified devotion and living among them with his ballet instructor wife Shelley (Gemma Chan of The Eternals), Frank has recruited these handpicked men for undisclosed and ambiguous roles at the guarded worksite nestled in the surrounding desert hills. Stumping for his own cause any chance he gets, including his vocal commentary on the local radio channels, Franks preaches his aim for a “different and better way of life” that will “change the world.” He seeks people of “pure, unbridled potential” and warns how “chaos is the enemy of progress.” Meanwhile, the heads of the households work on the “development of progressive materials” and “seek a gem of immense value.” Heaven forbid they question the boss.
LESSON #1: KNOW WHO AND WHAT YOU ARE WORKING FOR– Just don’t mind the occasional ground tremor in town and ignore the frantically-frozen housewife Margaret (If Beale Street Could Talk’s KiKi Layne) who’s denying her meds. The vague importance pontificated by Frank and the whispers of portended doom from Margaret begin a myriad of question marks for the curious Alice. As she probes the limits and boundaries of their collective after witnessing what she thinks is a plane crash, Alice finds more secrecy and unwanted attention. Next thing you know, she’s the next target for the label of madness and nonconformity in Don’t Worry Darling.
All those quotations from Frank two paragraphs ago certainly lean on nefarious cliches. Chris Pine owns his scenes with charismatic snake oil that softens what would normally be blunter with either gross evil or panache that you cannot take seriously. His gaze lands somewhere in the middle to flatter the women and coaxes nodding loyalties out of the men. For his Frank, it’s all about containment because he knows he can.
LESSON #2: A WIFE’S ROLE– With this antiquated period setting, the outdated decorum is stressed early about a woman’s role in the family. By Frank’s edict, they are meant to maintain a supportive home and understand that discretion, above all else, is paramount as the men have their reasons for leaving work at work. With that allegiance at heart and echoing yet another stellar soundtrack choice of “To Know Him is to Love Him” by The Teddy Bears, Alice dotes on Jack every chance she gets. He reciprocates where can, only for that to become more challenging as she investigates for answers.
LESSON #3: “DON’T GET HYSTERICAL!”– By golly, how many women have been hit with that verbal warning shot, one commonly joined with “Get a hold of yourself!” as a second combination strike. More often than not, the women have their composure, but they’re patronized as lesser intellects. How much tone-policing occurs on drama deemed unallowed by someone else? How many issues get dismissed. At some point, those women do not get discredited like Chicken Little. They boil over because they were never fully acknowledged or quelled. That’s the dangerous predicament in Don’t Worry Darling for Alice made worse when Jack stops believing her for fear of losing their lavish lifestyle.
For example, there’s a sly scene of dichotomy later in the film typifying this divide. Jack, in a full tuxedo, is dancing on stage in his perceived rightful place at the top of his world after receiving a public promotion and endorsement from Frank. Self-gratifying adulation surrounds him. The moment is far different for Alice. Combined with the editing of frequent Todd Haynes and Jim Jarmusch collaborator Affonso Gonçalves, Jack’s gyrations are intercut with Alice on the ballroom sidelines writhing in an aching panic of her own contortions. Their emotions are split and will likely never be healed without drastic events to follow.
Don’t Worry Darling lives and dies by the convincing power of Florence Pugh portraying this tailspin. Much like his previous work on Darren Aronofsky’s mother!, cinematographer Matthew Libatique’s camera and blocking rarely leaves Pugh and encircle her mounting dread. The 26-year-old Brit exudes frazzled tenacity with the same measured exactness as her boundless passion. Her entire range of mettle in this film is captivating.
Director Olivia Wilde, no stranger to captivating screen presence herself as an actress, provides Florence Pugh every opportunity to shine through this sun-baked wringer. Harry Styles cannot keep up, but it matters little with this being Pugh’s showcase. She is more than strong enough to get behind. Still, the slow boil to Chris Pine’s puppeteering above would have been helped by more intimate strife from the loving man across from the lead.
Wilde’s past Booksmart and future Spider-Woman screenwriter Katie Silberman penned a twisting thriller with, admittedly, less confusion than a Jordan Peele film by comparison. A few large scripted surprises are easy to sniff out. Others, however, get impressively daring. Still, dabbling in this kind of heady territory will pose problems with the fickle levels of audience disbelief that demand more stamped out answers than dangling questions when it’s all said and done.
With that in mind, soften the scalpels of credulity with Don’t Worry Darling. You’re not going to get told everything, and, honestly, you shouldn’t be. Know that you are entering pure mindfuck territory. Wilde’s bold presentation is a worthy entry into that pantheon of rug pulls and repeat viewing potential, even if it’s to measure missteps versus successes.
