O:9:"MagpieRSS":23:{s:6:"parser";i:0;s:12:"current_item";a:0:{}s:5:"items";a:10:{i:0;a:11:{s:5:"title";s:87:"Smaller films play vital role in tempting audiences back to cinemas, new research finds";s:4:"link";s:137:"https://latestmovies.debatepost.com/latest-movies/smaller-films-play-vital-role-in-tempting-audiences-back-to-cinemas-new-research-finds/";s:2:"dc";a:1:{s:7:"creator";s:14:"River Streeter";}s:7:"pubdate";s:31:"Wed, 20 Apr 2022 11:42:34 +0000";s:8:"category";s:55:"Latest MoviesAudiencescinemasFilmsplayroletemptingvital";s:4:"guid";s:43:"https://latestmovies.debatepost.com/?p=7326";s:11:"description";s:707:"Key blockbuster hits have been important in tempting audiences back to cinemas post-pandemic, but the long tail of other titles have played a vital role. And yet certain swathes of the audience have yet to return to the cinema, because seemingly there just hasn’t been the right film to tempt them. These are the key ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5243:"
Key blockbuster hits have been important in tempting audiences back to cinemas post-pandemic, but the long tail of other titles have played a vital role. And yet certain swathes of the audience have yet to return to the cinema, because seemingly there just hasn’t been the right film to tempt them. These are the key findings in separate pieces of research into cinemagoing in the US and UK, conducted by data analytics and campaign management company Movio.
Based on US customer behaviour tracked by ticketing software, and using a sample of 800,000 attendees who returned to the cinema post-pandemic in 2020 or 2021, Movio revealed that only 13% of this audience had returned to the cinema by the end of 2020.
In 2021, cinemas were largely closed in Q1, with only 2% making the first post-pandemic visit in these months; the numbers making their first visit in Q2, Q3 or Q4 are respectively 27%, 32% and 26%.
Black Widow, A Quiet Place Part II, Fast & Furious 9, Shang-Chi And The Legend Of The Ten Rings and Cruella collectively tempted back 46% of the audience that returned in Q2 and Q3. The next batch of films, ranking sixth to 10th in terms of first visits back, accounted for 16%, and films ranked 11 to 25 pulled in 23% of the returnees. The long tail of other titles were the films that represented a first cinema visit for the remaining 15% of this 2021 Q2 and Q3 returning audience.
For the audience aged 55-plus, those numbers were weighted more heavily in favour of the full range of films, with only 41% returning to see one of the top five titles, and 59% enticed back by another film.
Movio also analysed the audience that had attended the cinema in 2019, but had not returned by the end of 2021.
For infrequent cinemagoers (based on previous purchase activity), those whose last cinema visit was Downton Abbey were the ones least likely to have returned — indicating that for this audience section the post-pandemic release calendar simply didn’t offer a must-see title. (Downton Abbey: A New Era, arriving in US cinemas in May, will presumably plug this hole.)
Other titles that were the last cinema visit for this occasional/infrequent audience in 2019, and where at least half of cinemagoers had yet to return by the end of 2021, were Harriet,Black And Blue and Queen & Slim.
For the frequent and very frequent audience, the percentage that had yet to return by the end of 2021 was, unsurprisingly, lower. But audiences whose last cinema visit was Little, Tyler Perry’s A Madea Family Funeral and What Men Want were among those least likely to have returned.
It is hard to escape the conclusion that audiences attracted to the cinema in the past by films featuring Black protagonists have been ill‑served by films released in the post-pandemic era.
UK audiences
Movio’s UK research — which tracked the purchase patterns of 700,000 cinemagoers — revealed that blockbusters have been effective at enticing audiences back into cinemas, but not necessarily good at returning them there with frequency.
Of the audience induced back by Shang-Chi And The Legend Of The Ten Rings (released in the UK on September 3, 2021), 31% had yet to go again to the cinema by the end of March 2022. That number is even higher for the audience of No Time To Die — a whopping 59%, as might be expected for a film released later in the calendar (on September 30), and for one pulling in large swathes of infrequent cinemagoers.
Among the No Time To Die audience that did go again, Spider-Man: No Way Home predictably proved the most likely title (20.3%) to have tempted them back, followed by Dune (9%) and then Belfast (6%) —highlighting that diversity of films remains important for engaging audiences.
The top 10 titles that attracted the No Time To Die audience back again to the cinema collectively represented 60% of those return visits but titles ranked 11 to 100 in this list were responsible for 39% of return trips.
Blockbusters are vital for returning audiences to the cinema, says the Movio research, but they alone will not bring back the habit of regular cinemagoing and return admissions to their pre-pandemic levels.
We wish to give thanks to the writer of this write-up for this outstanding content
";}s:7:"summary";s:707:"Key blockbuster hits have been important in tempting audiences back to cinemas post-pandemic, but the long tail of other titles have played a vital role. And yet certain swathes of the audience have yet to return to the cinema, because seemingly there just hasn’t been the right film to tempt them. These are the key ... Read more";s:12:"atom_content";s:5243:"
Key blockbuster hits have been important in tempting audiences back to cinemas post-pandemic, but the long tail of other titles have played a vital role. And yet certain swathes of the audience have yet to return to the cinema, because seemingly there just hasn’t been the right film to tempt them. These are the key findings in separate pieces of research into cinemagoing in the US and UK, conducted by data analytics and campaign management company Movio.
Based on US customer behaviour tracked by ticketing software, and using a sample of 800,000 attendees who returned to the cinema post-pandemic in 2020 or 2021, Movio revealed that only 13% of this audience had returned to the cinema by the end of 2020.
In 2021, cinemas were largely closed in Q1, with only 2% making the first post-pandemic visit in these months; the numbers making their first visit in Q2, Q3 or Q4 are respectively 27%, 32% and 26%.
Black Widow, A Quiet Place Part II, Fast & Furious 9, Shang-Chi And The Legend Of The Ten Rings and Cruella collectively tempted back 46% of the audience that returned in Q2 and Q3. The next batch of films, ranking sixth to 10th in terms of first visits back, accounted for 16%, and films ranked 11 to 25 pulled in 23% of the returnees. The long tail of other titles were the films that represented a first cinema visit for the remaining 15% of this 2021 Q2 and Q3 returning audience.
For the audience aged 55-plus, those numbers were weighted more heavily in favour of the full range of films, with only 41% returning to see one of the top five titles, and 59% enticed back by another film.
Movio also analysed the audience that had attended the cinema in 2019, but had not returned by the end of 2021.
For infrequent cinemagoers (based on previous purchase activity), those whose last cinema visit was Downton Abbey were the ones least likely to have returned — indicating that for this audience section the post-pandemic release calendar simply didn’t offer a must-see title. (Downton Abbey: A New Era, arriving in US cinemas in May, will presumably plug this hole.)
Other titles that were the last cinema visit for this occasional/infrequent audience in 2019, and where at least half of cinemagoers had yet to return by the end of 2021, were Harriet,Black And Blue and Queen & Slim.
For the frequent and very frequent audience, the percentage that had yet to return by the end of 2021 was, unsurprisingly, lower. But audiences whose last cinema visit was Little, Tyler Perry’s A Madea Family Funeral and What Men Want were among those least likely to have returned.
It is hard to escape the conclusion that audiences attracted to the cinema in the past by films featuring Black protagonists have been ill‑served by films released in the post-pandemic era.
UK audiences
Movio’s UK research — which tracked the purchase patterns of 700,000 cinemagoers — revealed that blockbusters have been effective at enticing audiences back into cinemas, but not necessarily good at returning them there with frequency.
Of the audience induced back by Shang-Chi And The Legend Of The Ten Rings (released in the UK on September 3, 2021), 31% had yet to go again to the cinema by the end of March 2022. That number is even higher for the audience of No Time To Die — a whopping 59%, as might be expected for a film released later in the calendar (on September 30), and for one pulling in large swathes of infrequent cinemagoers.
Among the No Time To Die audience that did go again, Spider-Man: No Way Home predictably proved the most likely title (20.3%) to have tempted them back, followed by Dune (9%) and then Belfast (6%) —highlighting that diversity of films remains important for engaging audiences.
The top 10 titles that attracted the No Time To Die audience back again to the cinema collectively represented 60% of those return visits but titles ranked 11 to 100 in this list were responsible for 39% of return trips.
Blockbusters are vital for returning audiences to the cinema, says the Movio research, but they alone will not bring back the habit of regular cinemagoing and return admissions to their pre-pandemic levels.
We wish to give thanks to the writer of this write-up for this outstanding content
";s:14:"date_timestamp";i:1650454954;}i:1;a:11:{s:5:"title";s:91:"Netflix to Start “Pulling Back” Content Spend After Losing Subscribers In Earnings Miss";s:4:"link";s:136:"https://latestmovies.debatepost.com/latest-movies/netflix-to-start-pulling-back-content-spend-after-losing-subscribers-in-earnings-miss/";s:2:"dc";a:1:{s:7:"creator";s:7:"Susan P";}s:7:"pubdate";s:31:"Wed, 20 Apr 2022 08:46:40 +0000";s:8:"category";s:69:"Latest MoviesContentEarningsLosingNetflixPullingSpendStartSubscribers";s:4:"guid";s:43:"https://latestmovies.debatepost.com/?p=7315";s:11:"description";s:716:"Netflix lost 200,000 subscribers during its most recent quarter — a major setback for the streaming giant that has seen exponential user growth over the past decade — as the company disclosed that it fell far short of its own low expectations of 2.5 million subscriber adds for the start of 2022. The streaming giant ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5978:"
Netflix lost 200,000 subscribers during its most recent quarter — a major setback for the streaming giant that has seen exponential user growth over the past decade — as the company disclosed that it fell far short of its own low expectations of 2.5 million subscriber adds for the start of 2022.
The streaming giant lost subscribers in nearly every region except for the Asia Pacific market, where it saw a net add of over 1 million subscribers. Netflix lost around 640,000 subscribers in the U.S./Canada region during the first quarter — a larger drop than its previous subscriber loss in the region last year — and saw a 300,000 subscriber loss in Europe, the Middle East and Africa and 350,000 loss in Latin America. The losses are expected to continue into Q2, when Netflix predicts it will lose an additional 2 million subscribers.
During a pre-recorded interview, Netflix co-CEO Reed Hastings said the streamer will explore launching an ad-supported tier over the “next year or two” — a move that Netflix executives have previously spoken out against. “Those who have followed Netflix know that I have been against the complexity of advertising and a big fan of the simplicity of subscription. But as much as I’m a fan of that, I’m a bigger fan of consumer choice and allowing consumers who would like to have a lower price, and are advertising tolerant, get what they want makes a lot of sense,” Hastings said. “Think of us as quite open to offering even lower prices with advertising as a consumer choice.”
The streamer will also be “pulling back” some of its content spending over the next two years to increase its revenue growth, according to CFO Spencer Neumann. “We’re pulling back on some of our spend growth across both content and non-content spend,” Neumann said during the pre-recorded interview. “We’re trying to be smart about it and prudent in terms of pulling back on some of that spend growth to reflect the realities of the revenue growth of the business.”
Heading into Tuesday, when Netflix reported its earnings, Wall Street already had low expectations for the streaming giant due to the company’s weak performance in Q4 and its muted forecasts for the first quarter. Subscriber additions were also expected to be impacted by Netflix’s decision to suspend its service in Russia, where the streamer said it had around 700,000 subscribers, over the invasion of Ukraine. Not accounting for the losses in Russia, Netflix said in its shareholder letter that the streamer would have added 500,000 subscribers for the first quarter.
Netflix previously attributed its low subscriber expectations to a “back-end weighted content slate,” since the second season of Bridgerton and The Adam Project were released in March. Last quarter, the streamer also said in a letter to investors that “added competition” from rival streaming services “may be affecting [Netflix’s] marginal growth some,” though the company said it has seen continued growth in regions where other competing streamers have launched.
But with the weak performance in Q1, Netflix said its slowdown in growth was due to a variety of factors, including account sharing, continued disruption caused by the pandemic and, again, increased competition from rival streamers. In its shareholder letter on Tuesday, Netflix said that of its roughly 222 million paid subscriptions, more than 100 million were being shared with users outside of paying households, with 30 million shared accounts happening in the U.S./Canada region alone.
To address the problem of account sharing, Netflix began testing a new feature in March to monetize password sharing as another means to boost revenue as subscriber additions have stalled. The feature, unveiled in Chile, Costa Rica and Peru, charges primary account holders a small fee to add two users outside of their households onto their accounts, though it’s not immediately clear what kind of impact on revenue the test has led to thus far. Netflix has not yet rolled out the feature globally, though it appears that a widespread password crackdown may be imminent given its impact on Netflix’s growth.
To help address dwindling growth, Netflix continued its expansion into games during the quarter with the March acquisitions of Texas’ Boss Fight Entertainment and Finland’s Next Games, the latter of which created the Stranger Things puzzle game. The Next Games acquisition is expected to close in the second half of 2022.
The last time Netflix reported a subscriber loss, in late 2011, it spurred on the activist investor Carl Icahn to launch an activist hostile takeover effort. Netflix responded by instituting a poison pill to keep Icahn’s stake below 10%. Icahn would exit the company in 2015, making a $2 billion profit, though by selling so early, he missed out on $40 billion in gains as streaming video accelerated.
While Netflix’s bullishness on streaming video a decade ago was clearly warranted, the slowdown the company is seeing now could force investors and other entertainment companies to reevaluate the global market opportunity.
April 19, 1:15 pm PST Updated story to reflect that Netflix lost 200,000 subscribers in its latest quarter.
We wish to give thanks to the writer of this write-up for this awesome web content
";}s:7:"summary";s:716:"Netflix lost 200,000 subscribers during its most recent quarter — a major setback for the streaming giant that has seen exponential user growth over the past decade — as the company disclosed that it fell far short of its own low expectations of 2.5 million subscriber adds for the start of 2022. The streaming giant ... Read more";s:12:"atom_content";s:5978:"
Netflix lost 200,000 subscribers during its most recent quarter — a major setback for the streaming giant that has seen exponential user growth over the past decade — as the company disclosed that it fell far short of its own low expectations of 2.5 million subscriber adds for the start of 2022.
The streaming giant lost subscribers in nearly every region except for the Asia Pacific market, where it saw a net add of over 1 million subscribers. Netflix lost around 640,000 subscribers in the U.S./Canada region during the first quarter — a larger drop than its previous subscriber loss in the region last year — and saw a 300,000 subscriber loss in Europe, the Middle East and Africa and 350,000 loss in Latin America. The losses are expected to continue into Q2, when Netflix predicts it will lose an additional 2 million subscribers.
During a pre-recorded interview, Netflix co-CEO Reed Hastings said the streamer will explore launching an ad-supported tier over the “next year or two” — a move that Netflix executives have previously spoken out against. “Those who have followed Netflix know that I have been against the complexity of advertising and a big fan of the simplicity of subscription. But as much as I’m a fan of that, I’m a bigger fan of consumer choice and allowing consumers who would like to have a lower price, and are advertising tolerant, get what they want makes a lot of sense,” Hastings said. “Think of us as quite open to offering even lower prices with advertising as a consumer choice.”
The streamer will also be “pulling back” some of its content spending over the next two years to increase its revenue growth, according to CFO Spencer Neumann. “We’re pulling back on some of our spend growth across both content and non-content spend,” Neumann said during the pre-recorded interview. “We’re trying to be smart about it and prudent in terms of pulling back on some of that spend growth to reflect the realities of the revenue growth of the business.”
Heading into Tuesday, when Netflix reported its earnings, Wall Street already had low expectations for the streaming giant due to the company’s weak performance in Q4 and its muted forecasts for the first quarter. Subscriber additions were also expected to be impacted by Netflix’s decision to suspend its service in Russia, where the streamer said it had around 700,000 subscribers, over the invasion of Ukraine. Not accounting for the losses in Russia, Netflix said in its shareholder letter that the streamer would have added 500,000 subscribers for the first quarter.
Netflix previously attributed its low subscriber expectations to a “back-end weighted content slate,” since the second season of Bridgerton and The Adam Project were released in March. Last quarter, the streamer also said in a letter to investors that “added competition” from rival streaming services “may be affecting [Netflix’s] marginal growth some,” though the company said it has seen continued growth in regions where other competing streamers have launched.
But with the weak performance in Q1, Netflix said its slowdown in growth was due to a variety of factors, including account sharing, continued disruption caused by the pandemic and, again, increased competition from rival streamers. In its shareholder letter on Tuesday, Netflix said that of its roughly 222 million paid subscriptions, more than 100 million were being shared with users outside of paying households, with 30 million shared accounts happening in the U.S./Canada region alone.
To address the problem of account sharing, Netflix began testing a new feature in March to monetize password sharing as another means to boost revenue as subscriber additions have stalled. The feature, unveiled in Chile, Costa Rica and Peru, charges primary account holders a small fee to add two users outside of their households onto their accounts, though it’s not immediately clear what kind of impact on revenue the test has led to thus far. Netflix has not yet rolled out the feature globally, though it appears that a widespread password crackdown may be imminent given its impact on Netflix’s growth.
To help address dwindling growth, Netflix continued its expansion into games during the quarter with the March acquisitions of Texas’ Boss Fight Entertainment and Finland’s Next Games, the latter of which created the Stranger Things puzzle game. The Next Games acquisition is expected to close in the second half of 2022.
The last time Netflix reported a subscriber loss, in late 2011, it spurred on the activist investor Carl Icahn to launch an activist hostile takeover effort. Netflix responded by instituting a poison pill to keep Icahn’s stake below 10%. Icahn would exit the company in 2015, making a $2 billion profit, though by selling so early, he missed out on $40 billion in gains as streaming video accelerated.
While Netflix’s bullishness on streaming video a decade ago was clearly warranted, the slowdown the company is seeing now could force investors and other entertainment companies to reevaluate the global market opportunity.
April 19, 1:15 pm PST Updated story to reflect that Netflix lost 200,000 subscribers in its latest quarter.
We wish to give thanks to the writer of this write-up for this awesome web content
";s:14:"date_timestamp";i:1650444400;}i:2;a:11:{s:5:"title";s:70:"Doctor Strange 2 Actor Hints at Last-Minute Changes Enforced by Marvel";s:4:"link";s:121:"https://latestmovies.debatepost.com/latest-movies/doctor-strange-2-actor-hints-at-last-minute-changes-enforced-by-marvel/";s:2:"dc";a:1:{s:7:"creator";s:14:"Sally Thornton";}s:7:"pubdate";s:31:"Wed, 20 Apr 2022 08:11:13 +0000";s:8:"category";s:60:"Latest MoviesActorDoctorEnforcedHintslastminuteMarvelStrange";s:4:"guid";s:43:"https://latestmovies.debatepost.com/?p=7309";s:11:"description";s:698:"Doctor Strange in the Multiverse of Madness is just weeks away, and much of the movie-going world waits with bated breath for the Multiversal sequel. The Doctor Strange follow-up has been six years in the making with comic book movie vet Sam Raimi sitting in the director’s chair. Raimi was not always the man behind the Benedict Cumberbatch-starring ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4488:"
Doctor Strange in the Multiverse of Madness is just weeks away, and much of the movie-going world waits with bated breath for the Multiversal sequel. The Doctor Strange follow-up has been six years in the making with comic book movie vet Sam Raimi sitting in the director’s chair. Raimi was not always the man behind the Benedict Cumberbatch-starring MCU epic, but after Scott Derrickson left the project, Raimi took over directing duties.
Even after Raimi took a hold of the steering wheel from Derrickson, the project has been in a state of flux. MoM has seen multiple delays due to COVID-19 and lengthy reshoots, but Marvel has seemingly put the pieces together.
ADVERTISEMENT
The sequel will see Benedict Cumberbatch’s Stephen Strange traverse the Multiverse alongside Elizabeth Olsen’s Wanda Maximoff and Xochitl Gomez’s America Chavez. It is supposedly going to be a cameo-filled odyssey across various Marvel realities.
From the outside, it feels like Multiverse of Madness is full of secrets, that even the film’s stars/crew do not know about. And if a recent interview is to be believed, that may be the case even more so due to some last-minute revisions.
Down to the Last Minute for Multiverse of Madness
In an interview with Game Informer, Bruce Campbell, who filmed a part in Doctor Strange In the Multiverse of Madness, has commented on the last-minute changes that were made to the upcoming MCU blockbuster.
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The actor indicated that Marvel Studios had a heavy hand in the sequel’s reshoots, saying that director Sam Raimi “had to add scenes that [Marvel] told him he had to shoot.” Campbell clarified that this is because Marvel makes “eight of these movies at the same time” so the studio is “always updating storylines:”
“The Marvel guys, they make eight of these movies at the same time, so they’re always updating storylines. So, my buddy Sam [Raimi] has had to add scenes that [Marvel] told him he had to shoot, and he’s removed scenes that no longer apply. So until May rolls around I don’t think Benedict Cumberbatch even knows if he’s in this movie or not.”
No Need to Call the Doctor
The fact that it is coming down to the last minute for the final cut of Doctor Strange in the Multiverse of Madness to be turned in is no surprise. This is a film that feels as though it has a lot riding on it in terms of the future of the MCU.
Surely, Kevin Feige, Sam Raimi, and the rest of the Marvel Studios brass are going to keep this thing in the chamber as long as they can, making sure everything is lined up perfectly. This is just the price one must pay when creating the interwoven tapestry of storytelling that Marvel has with the MCU.
ADVERTISEMENT
What might be worrying to some is the news that Raimi himself doesn’t know what the final product is going to look like. These changes being made by Marvel at this point are likely fairly inconsequential to the actual plot of Multiverse of Madness.
If the studio were to be completely reassembling the five-course meal behind the back of the head chef, in Raimi, no matter the result, it could spell bad things for relations between Marvel Studios and their creatives.
Whatever these changes are, whether they be a last-minute cameo, or simply edits here and there, all will be revealed when Doctor Strange in the Multiverse of Madness hits theaters on May 6.
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FOLLOW MCU DIRECT
We would like to give thanks to the author of this post for this awesome content
";}s:7:"summary";s:698:"Doctor Strange in the Multiverse of Madness is just weeks away, and much of the movie-going world waits with bated breath for the Multiversal sequel. The Doctor Strange follow-up has been six years in the making with comic book movie vet Sam Raimi sitting in the director’s chair. Raimi was not always the man behind the Benedict Cumberbatch-starring ... Read more";s:12:"atom_content";s:4488:"
Doctor Strange in the Multiverse of Madness is just weeks away, and much of the movie-going world waits with bated breath for the Multiversal sequel. The Doctor Strange follow-up has been six years in the making with comic book movie vet Sam Raimi sitting in the director’s chair. Raimi was not always the man behind the Benedict Cumberbatch-starring MCU epic, but after Scott Derrickson left the project, Raimi took over directing duties.
Even after Raimi took a hold of the steering wheel from Derrickson, the project has been in a state of flux. MoM has seen multiple delays due to COVID-19 and lengthy reshoots, but Marvel has seemingly put the pieces together.
ADVERTISEMENT
The sequel will see Benedict Cumberbatch’s Stephen Strange traverse the Multiverse alongside Elizabeth Olsen’s Wanda Maximoff and Xochitl Gomez’s America Chavez. It is supposedly going to be a cameo-filled odyssey across various Marvel realities.
From the outside, it feels like Multiverse of Madness is full of secrets, that even the film’s stars/crew do not know about. And if a recent interview is to be believed, that may be the case even more so due to some last-minute revisions.
Down to the Last Minute for Multiverse of Madness
In an interview with Game Informer, Bruce Campbell, who filmed a part in Doctor Strange In the Multiverse of Madness, has commented on the last-minute changes that were made to the upcoming MCU blockbuster.
ADVERTISEMENT
The actor indicated that Marvel Studios had a heavy hand in the sequel’s reshoots, saying that director Sam Raimi “had to add scenes that [Marvel] told him he had to shoot.” Campbell clarified that this is because Marvel makes “eight of these movies at the same time” so the studio is “always updating storylines:”
“The Marvel guys, they make eight of these movies at the same time, so they’re always updating storylines. So, my buddy Sam [Raimi] has had to add scenes that [Marvel] told him he had to shoot, and he’s removed scenes that no longer apply. So until May rolls around I don’t think Benedict Cumberbatch even knows if he’s in this movie or not.”
No Need to Call the Doctor
The fact that it is coming down to the last minute for the final cut of Doctor Strange in the Multiverse of Madness to be turned in is no surprise. This is a film that feels as though it has a lot riding on it in terms of the future of the MCU.
Surely, Kevin Feige, Sam Raimi, and the rest of the Marvel Studios brass are going to keep this thing in the chamber as long as they can, making sure everything is lined up perfectly. This is just the price one must pay when creating the interwoven tapestry of storytelling that Marvel has with the MCU.
ADVERTISEMENT
What might be worrying to some is the news that Raimi himself doesn’t know what the final product is going to look like. These changes being made by Marvel at this point are likely fairly inconsequential to the actual plot of Multiverse of Madness.
If the studio were to be completely reassembling the five-course meal behind the back of the head chef, in Raimi, no matter the result, it could spell bad things for relations between Marvel Studios and their creatives.
Whatever these changes are, whether they be a last-minute cameo, or simply edits here and there, all will be revealed when Doctor Strange in the Multiverse of Madness hits theaters on May 6.
ADVERTISEMENT
FOLLOW MCU DIRECT
We would like to give thanks to the author of this post for this awesome content
";s:14:"date_timestamp";i:1650442273;}i:3;a:11:{s:5:"title";s:121:"Your Weekly Roundup of New Movies: “We’re All Going to the World’s Fair” Is a Distressing Game of Digital Chicken";s:4:"link";s:159:"https://latestmovies.debatepost.com/latest-movies/your-weekly-roundup-of-new-movies-were-all-going-to-the-worlds-fair-is-a-distressing-game-of-digital-chicken/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harold King";}s:7:"pubdate";s:31:"Wed, 20 Apr 2022 07:50:04 +0000";s:8:"category";s:71:"Latest MoviesChickenDigitalDistressingFairgamemoviesRoundupWeeklyworlds";s:4:"guid";s:43:"https://latestmovies.debatepost.com/?p=7303";s:11:"description";s:837:"TOP PICK OF THE WEEK We’re All Going to the World’s Fair *** Writer-director Jane Schoenbrun’s debut is a distressing game of digital chicken. Essentially alone in the world, teenage Casey (newcomer Anna Cobb) grows immersed in an online role-playing game called World’s Fair. It’s a horror RPG, and Casey crafts videos suggesting increasingly dark ... Read more";s:7:"content";a:1:{s:7:"encoded";s:16179:"
TOP PICK OF THE WEEK
We’re All Going to the World’s Fair
*** Writer-director Jane Schoenbrun’s debut is a distressing game of digital chicken. Essentially alone in the world, teenage Casey (newcomer Anna Cobb) grows immersed in an online role-playing game called World’s Fair. It’s a horror RPG, and Casey crafts videos suggesting increasingly dark personal fantasies and, like many users, plays at transforming into a new being. Both Casey and her online followers seem to know it’s all staged, but their joint push toward the terrifying cusp of believability adds to the game’s natural momentum. Even more, participatory concern is the movie audience’s role. Interspersed between YouTube and Skype collages, we glimpse a lonely girl packaging her unknown disturbance into a fantastical realm. The more we ask, “Wait, but could this part be real?” or “What actual trauma is driving this?” the more we’re also playing World’s Fair. It’s a fascinating investigation of the liminal space that fear inhabits once a filmmaker all but mediates reality out of scary movies, though that makes for a better concept than story. Likewise, Cobb’s terrifically vulnerable performance becomes more textual than emotional. Still, don’t doubt the psychological weight of a film this creative and intelligent. Zooming miles past Unfriended and its ilk, Schoenbrun’s work lives at the piercing edge of modern horror. NR. CHANCE SOLEM-PFEIFER. PAM CUT, April 22-23.
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Ambulance
*** Michael Bay’s Ambulance is stupid beyond belief, but it’s also thrilling, terrifying and impressively brutal. Jake Gyllenhaal stars as Danny, a career criminal who enlists his adopted brother Will (Yahya Abdul-Mateen II) to help steal $32 million from a Los Angeles bank in broad daylight. It’s an insultingly improbable setup—even if Will needs money for his wife’s “experimental surgery,” why would he agree to Danny’s delusional scheme in minutes? But once they steal an ambulance to escape the army of police officers on their trail, the movie gets into a volatile groove. By trapping a bleeding cop (Jackson White) and a hardened EMT named Cam (Eiza González) in the ambulance with the brothers, Bay creates countless possibilities for triumphant tension. When Cam has to use a hair clip to perform surgery, your heart skips a beat—and when snipers prepare to fire shots that could kill everyone in the ambulance, it nearly stops. Hyperactive editing and swooping camera movements make too much of the action a frantic blur, but there’s no denying Bay’s control over the exhilarating currents of fear that course through your mind and body as you watch. Based on a 2005 Danish film, Ambulance strikes its share of false notes, but unlike most modern action movies, it understands the difference between bombast and suspense. R. BENNETT CAMPBELL FERGUSON. Bridgeport, City Center, Clackamas, Division, Evergreen Parkway, Fox Tower, Living Room, Lloyd Center, Mill Plain, Pioneer Place, Progress Ridge, Studio One, Tigard, Vancouver Plaza.
Everything Everywhere All at Once
*** A hyperkinetic sci-fi/martial arts (kung fusion?) fever dream grounded in Asian American family dynamics, Everything Everywhere All at Once will be absolutely adored by some moviegoers from its very first moments. It’s a film made to be loved—and, given the sheer eye-popping technical wizardry at play throughout, nearly impossible to hate. Michelle Yeoh is typically dazzling as Evelyn Wong, a misanthropic laundromat owner called upon to save the multiverse from her daughter’s worst self (Stephanie Hsu, in a role intended for Awkwafina). Evelyn is an underwritten character, but Yeoh brings a welcome authenticity to the film, even if a performance of such finely shaded nuance isn’t the best fit for the DayGlo sensationalism of Daniel Kwan and Daniel Scheinert, the filmmaking duo known as Daniels (Swiss Army Man). As with Terry Gilliam, Edgar Wright or any other avant-garde sentimentalist pressing restless rhythms and visual inventiveness into the service of a wholly undeserving story, the directors effortlessly pep up the slow parts and paper over the plot holes, but when the pace calms and the fireworks die down for an emotional climax, the film moves glacially. Inevitable? Perhaps, but it’s still disappointing that Everything Everywhere All at Once is less than the sum of its dazzling parts. R. JAY HORTON. Bridgeport, Cinema 21, Clackamas, Eastport, Evergreen Parkway, Hollywood, Laurelhurst, Lloyd Center.
Fantastic Beasts: The Secrets of Dumbledore
*** When it was announced that J.K. Rowling was unleashing five films based on a faux-academic textbook that she had assembled for charity, Harry Potter fans instantly knew two things about the coming Fantastic Beasts pentalogy: An epic saga wrung from a whimsical taxonomy was a terrible idea, and that mattered not at all. Despite the irrelevance of the concept, the IP-that-lived held enough power to birth a third adventure for cryptozoologist Newt Scamander (Eddie Redmayne), despite the recasting of big bad Johnny Depp, the transphobic rants from Rowling, and the tonal sea change from earlier entries’ Dr. Dolittle-esque period travelogue toward a secret agent yarn about a failed affair between arch-mages. While replacement Grindelwald Mads Mikkelsen lacks Depp’s cartoonish self-regard—which provided a romantic counterweight to the incandescence of Jude Law’s Dumbledore—his Hannibal/Bond villain brand of drolly effete cruelty brings a necessary gravitas to a story that moves through a Disney-fied Weimar Berlin with bounce and verve. It also helps that the screenplay (by Rowling and Steve Kloves) expertly seeds the voluminous exposition with fan-servicing nods, but scarcely requires prior knowledge of the titular future headmaster. Yes, this is still the Potterverse, but to the film’s eternal blessing, it needn’t always be. PG-13. JAY HORTON. Academy, Bagdad, Cedar Hills, City Center, Clackamas, Evergreen Parkway, Eastport, Fox Tower, Pioneer Place, Lloyd Center, St. Johns, St. Johns Twin, Studio One, Tigard.
Memoria
*** The latest from “slow cinema” master Apichatpong Weerasethakul starts with a bang—but only literally. Jessica (Tilda Swinton), an orchid grower living in Medellín, Colombia, is awakened one night by a booming, unidentifiable sound. Along with insomnia, the noise becomes a fixture in Jessica’s life, heard only by her. In a long-term waking daze, she eventually heads into the mountains toward the sound’s origins. That said, to fixate on a Weerasethakul movie’s plot misrepresents its appeal; sensory exploration is the main attraction. In Memoria, time slows, stalls and reconstitutes itself in minuteslong unbroken takes of jazz quartets, hospital visits and even deeply poetic naps. Swinton is as committed as ever, giving a performance seemingly bare of desire, charisma and even makeup. Fans of Weerasethakul standouts like Uncle Boonmee Who Can Recall His Past Lives may be easily swept away in the Thai director’s first (partly) English-language film, but it’s difficult to speculate whether the uninitiated will find Memoria more transcendent or just tedious. There’s little spiritual enrichment to Jessica’s alienation—rather, the movie gradually positions her and the audience as infinitesimal, with identity and logic as mere blips and coincidences in spacetime. The metaphysical mysteries of the universe boom and then retreat. PG. CHANCE SOLEM-PFEIFER. Cinema 21.
The Northman
** If you like your men handsome, violent and oozing self-pity, you’ll get a kick out of The Northman, a new take on the Scandinavian legend that inspired Hamlet. It’s a satisfyingly brutish mystical epic directed by Robert Eggers (The Lighthouse, The Witch) starring Alexander Skarsgård as Amleth, a comically obsessive Viking prince. When Amleth was a boy, his father, King Aurvandil War-Raven (Ethan Hawke) was murdered by his uncle, Fjölnir (Claes Bang), who then married Amleth’s mother, Queen Gudrún (Nicole Kidman). By the time Amleth is old enough to seek revenge, Fjölnir has lost the kingdom to a rival ruler and become a farmer, which is one of the film’s many perverse jokes—Fjölnir can never fall far enough to sate Amleth’s fury. While Amleth’s macho theatrics could have been intolerable, they’re undercut by the film’s peculiar humor. There’s a charming self-amusement behind the exaggerated Scandinavian accents of the actors—they know they’re in a bonkers movie and they’re loving it. Plenty of audiences probably will too, but save for Queen Gudrún mocking her son with a beautifully mad cackle, Eggers is a director of divided loyalties—he rebukes toxic masculinity while reveling in it. Hypocrisy is by no means fatal, but despite a glorious climactic duel on a lava-drenched volcano, The Northman leaves weary familiarity in its wake. Critiquing men like Amleth and Fjölnir? Good. Leaving them behind? Better. R. BENNETT CAMPBELL FERGUSON. Clackamas, Cinemagic, Cinema 21, City Center, Eastport, Evergreen Parkway, Fox Tower, Hollywood, Lloyd Center, Mill Plain, Studio One, Tigard, Vancouver Plaza.
Sonic the Hedgehog 2
** For the past decade, film studios have chased the culture-shattering impact of The Avengers with mixed results. Yet Sonic the Hedgehog 2 understands what made Marvel’s 2012 superhero mashup a success: not apologizing for making a children’s movie starring a cast of shiny action figures that repeatedly get smacked together. Sonic’s latest adventure is unlikely to change the lives of anyone above the age of 12, but if Sega Sammy silliness is your jam, you’re in for a wild ride. Directed by Jeff Fowler, the sequel is dominated by a sense of exploration, earnestness and, above all, fun. The action is fast-paced and creative, some of the gags are genuinely funny, and the cast is game—Idris Elba in particular has a ball voicing the ever-stoic Knuckles the Echidna, making the character both an unflappable warrior and an overgrown child trying to convince everyone of his seriousness. Outside of Jim Carrey’s gleefully maniacal Dr. Robotnik, however, the film struggles to find a purpose for its human supporting cast, to the point you begin to wonder why they even bother. Ultimately, Sonic the Hedgehog 2 is at best a mostly harmless romp that keeps you entertained, or at least distracted. PG. MORGAN SHAUNETTE. Academy, Cedar Hills, City Center, Eastport, Evergreen Parkway, Joy Cinema, Lloyd Center, Pioneer Place, Roseway, St. Johns Twin, Studio One, Tigard, Wunderland, Wunderland Milwaukie.
We wish to say thanks to the writer of this post for this outstanding material
";}s:7:"summary";s:837:"TOP PICK OF THE WEEK We’re All Going to the World’s Fair *** Writer-director Jane Schoenbrun’s debut is a distressing game of digital chicken. Essentially alone in the world, teenage Casey (newcomer Anna Cobb) grows immersed in an online role-playing game called World’s Fair. It’s a horror RPG, and Casey crafts videos suggesting increasingly dark ... Read more";s:12:"atom_content";s:16179:"
TOP PICK OF THE WEEK
We’re All Going to the World’s Fair
*** Writer-director Jane Schoenbrun’s debut is a distressing game of digital chicken. Essentially alone in the world, teenage Casey (newcomer Anna Cobb) grows immersed in an online role-playing game called World’s Fair. It’s a horror RPG, and Casey crafts videos suggesting increasingly dark personal fantasies and, like many users, plays at transforming into a new being. Both Casey and her online followers seem to know it’s all staged, but their joint push toward the terrifying cusp of believability adds to the game’s natural momentum. Even more, participatory concern is the movie audience’s role. Interspersed between YouTube and Skype collages, we glimpse a lonely girl packaging her unknown disturbance into a fantastical realm. The more we ask, “Wait, but could this part be real?” or “What actual trauma is driving this?” the more we’re also playing World’s Fair. It’s a fascinating investigation of the liminal space that fear inhabits once a filmmaker all but mediates reality out of scary movies, though that makes for a better concept than story. Likewise, Cobb’s terrifically vulnerable performance becomes more textual than emotional. Still, don’t doubt the psychological weight of a film this creative and intelligent. Zooming miles past Unfriended and its ilk, Schoenbrun’s work lives at the piercing edge of modern horror. NR. CHANCE SOLEM-PFEIFER. PAM CUT, April 22-23.
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Ambulance
*** Michael Bay’s Ambulance is stupid beyond belief, but it’s also thrilling, terrifying and impressively brutal. Jake Gyllenhaal stars as Danny, a career criminal who enlists his adopted brother Will (Yahya Abdul-Mateen II) to help steal $32 million from a Los Angeles bank in broad daylight. It’s an insultingly improbable setup—even if Will needs money for his wife’s “experimental surgery,” why would he agree to Danny’s delusional scheme in minutes? But once they steal an ambulance to escape the army of police officers on their trail, the movie gets into a volatile groove. By trapping a bleeding cop (Jackson White) and a hardened EMT named Cam (Eiza González) in the ambulance with the brothers, Bay creates countless possibilities for triumphant tension. When Cam has to use a hair clip to perform surgery, your heart skips a beat—and when snipers prepare to fire shots that could kill everyone in the ambulance, it nearly stops. Hyperactive editing and swooping camera movements make too much of the action a frantic blur, but there’s no denying Bay’s control over the exhilarating currents of fear that course through your mind and body as you watch. Based on a 2005 Danish film, Ambulance strikes its share of false notes, but unlike most modern action movies, it understands the difference between bombast and suspense. R. BENNETT CAMPBELL FERGUSON. Bridgeport, City Center, Clackamas, Division, Evergreen Parkway, Fox Tower, Living Room, Lloyd Center, Mill Plain, Pioneer Place, Progress Ridge, Studio One, Tigard, Vancouver Plaza.
Everything Everywhere All at Once
*** A hyperkinetic sci-fi/martial arts (kung fusion?) fever dream grounded in Asian American family dynamics, Everything Everywhere All at Once will be absolutely adored by some moviegoers from its very first moments. It’s a film made to be loved—and, given the sheer eye-popping technical wizardry at play throughout, nearly impossible to hate. Michelle Yeoh is typically dazzling as Evelyn Wong, a misanthropic laundromat owner called upon to save the multiverse from her daughter’s worst self (Stephanie Hsu, in a role intended for Awkwafina). Evelyn is an underwritten character, but Yeoh brings a welcome authenticity to the film, even if a performance of such finely shaded nuance isn’t the best fit for the DayGlo sensationalism of Daniel Kwan and Daniel Scheinert, the filmmaking duo known as Daniels (Swiss Army Man). As with Terry Gilliam, Edgar Wright or any other avant-garde sentimentalist pressing restless rhythms and visual inventiveness into the service of a wholly undeserving story, the directors effortlessly pep up the slow parts and paper over the plot holes, but when the pace calms and the fireworks die down for an emotional climax, the film moves glacially. Inevitable? Perhaps, but it’s still disappointing that Everything Everywhere All at Once is less than the sum of its dazzling parts. R. JAY HORTON. Bridgeport, Cinema 21, Clackamas, Eastport, Evergreen Parkway, Hollywood, Laurelhurst, Lloyd Center.
Fantastic Beasts: The Secrets of Dumbledore
*** When it was announced that J.K. Rowling was unleashing five films based on a faux-academic textbook that she had assembled for charity, Harry Potter fans instantly knew two things about the coming Fantastic Beasts pentalogy: An epic saga wrung from a whimsical taxonomy was a terrible idea, and that mattered not at all. Despite the irrelevance of the concept, the IP-that-lived held enough power to birth a third adventure for cryptozoologist Newt Scamander (Eddie Redmayne), despite the recasting of big bad Johnny Depp, the transphobic rants from Rowling, and the tonal sea change from earlier entries’ Dr. Dolittle-esque period travelogue toward a secret agent yarn about a failed affair between arch-mages. While replacement Grindelwald Mads Mikkelsen lacks Depp’s cartoonish self-regard—which provided a romantic counterweight to the incandescence of Jude Law’s Dumbledore—his Hannibal/Bond villain brand of drolly effete cruelty brings a necessary gravitas to a story that moves through a Disney-fied Weimar Berlin with bounce and verve. It also helps that the screenplay (by Rowling and Steve Kloves) expertly seeds the voluminous exposition with fan-servicing nods, but scarcely requires prior knowledge of the titular future headmaster. Yes, this is still the Potterverse, but to the film’s eternal blessing, it needn’t always be. PG-13. JAY HORTON. Academy, Bagdad, Cedar Hills, City Center, Clackamas, Evergreen Parkway, Eastport, Fox Tower, Pioneer Place, Lloyd Center, St. Johns, St. Johns Twin, Studio One, Tigard.
Memoria
*** The latest from “slow cinema” master Apichatpong Weerasethakul starts with a bang—but only literally. Jessica (Tilda Swinton), an orchid grower living in Medellín, Colombia, is awakened one night by a booming, unidentifiable sound. Along with insomnia, the noise becomes a fixture in Jessica’s life, heard only by her. In a long-term waking daze, she eventually heads into the mountains toward the sound’s origins. That said, to fixate on a Weerasethakul movie’s plot misrepresents its appeal; sensory exploration is the main attraction. In Memoria, time slows, stalls and reconstitutes itself in minuteslong unbroken takes of jazz quartets, hospital visits and even deeply poetic naps. Swinton is as committed as ever, giving a performance seemingly bare of desire, charisma and even makeup. Fans of Weerasethakul standouts like Uncle Boonmee Who Can Recall His Past Lives may be easily swept away in the Thai director’s first (partly) English-language film, but it’s difficult to speculate whether the uninitiated will find Memoria more transcendent or just tedious. There’s little spiritual enrichment to Jessica’s alienation—rather, the movie gradually positions her and the audience as infinitesimal, with identity and logic as mere blips and coincidences in spacetime. The metaphysical mysteries of the universe boom and then retreat. PG. CHANCE SOLEM-PFEIFER. Cinema 21.
The Northman
** If you like your men handsome, violent and oozing self-pity, you’ll get a kick out of The Northman, a new take on the Scandinavian legend that inspired Hamlet. It’s a satisfyingly brutish mystical epic directed by Robert Eggers (The Lighthouse, The Witch) starring Alexander Skarsgård as Amleth, a comically obsessive Viking prince. When Amleth was a boy, his father, King Aurvandil War-Raven (Ethan Hawke) was murdered by his uncle, Fjölnir (Claes Bang), who then married Amleth’s mother, Queen Gudrún (Nicole Kidman). By the time Amleth is old enough to seek revenge, Fjölnir has lost the kingdom to a rival ruler and become a farmer, which is one of the film’s many perverse jokes—Fjölnir can never fall far enough to sate Amleth’s fury. While Amleth’s macho theatrics could have been intolerable, they’re undercut by the film’s peculiar humor. There’s a charming self-amusement behind the exaggerated Scandinavian accents of the actors—they know they’re in a bonkers movie and they’re loving it. Plenty of audiences probably will too, but save for Queen Gudrún mocking her son with a beautifully mad cackle, Eggers is a director of divided loyalties—he rebukes toxic masculinity while reveling in it. Hypocrisy is by no means fatal, but despite a glorious climactic duel on a lava-drenched volcano, The Northman leaves weary familiarity in its wake. Critiquing men like Amleth and Fjölnir? Good. Leaving them behind? Better. R. BENNETT CAMPBELL FERGUSON. Clackamas, Cinemagic, Cinema 21, City Center, Eastport, Evergreen Parkway, Fox Tower, Hollywood, Lloyd Center, Mill Plain, Studio One, Tigard, Vancouver Plaza.
Sonic the Hedgehog 2
** For the past decade, film studios have chased the culture-shattering impact of The Avengers with mixed results. Yet Sonic the Hedgehog 2 understands what made Marvel’s 2012 superhero mashup a success: not apologizing for making a children’s movie starring a cast of shiny action figures that repeatedly get smacked together. Sonic’s latest adventure is unlikely to change the lives of anyone above the age of 12, but if Sega Sammy silliness is your jam, you’re in for a wild ride. Directed by Jeff Fowler, the sequel is dominated by a sense of exploration, earnestness and, above all, fun. The action is fast-paced and creative, some of the gags are genuinely funny, and the cast is game—Idris Elba in particular has a ball voicing the ever-stoic Knuckles the Echidna, making the character both an unflappable warrior and an overgrown child trying to convince everyone of his seriousness. Outside of Jim Carrey’s gleefully maniacal Dr. Robotnik, however, the film struggles to find a purpose for its human supporting cast, to the point you begin to wonder why they even bother. Ultimately, Sonic the Hedgehog 2 is at best a mostly harmless romp that keeps you entertained, or at least distracted. PG. MORGAN SHAUNETTE. Academy, Cedar Hills, City Center, Eastport, Evergreen Parkway, Joy Cinema, Lloyd Center, Pioneer Place, Roseway, St. Johns Twin, Studio One, Tigard, Wunderland, Wunderland Milwaukie.
We wish to say thanks to the writer of this post for this outstanding material
";s:14:"date_timestamp";i:1650441004;}i:4;a:11:{s:5:"title";s:150:"Mountainfilm Festival Reveals First Wave Of Films And New Poster; Boast World Premieres Of Films ‘Surf Nation’, ‘Chasing’, And ‘The Holly’";s:4:"link";s:180:"https://latestmovies.debatepost.com/latest-movies/mountainfilm-festival-reveals-first-wave-of-films-and-new-poster-boast-world-premieres-of-films-surf-nation-chasing-and-the-holly/";s:2:"dc";a:1:{s:7:"creator";s:7:"Susan P";}s:7:"pubdate";s:31:"Wed, 20 Apr 2022 02:44:32 +0000";s:8:"category";s:91:"Latest MoviesBoastChasingFestivalFilmsHollyMountainfilmNationPosterpremieresrevealsSurfwave";s:4:"guid";s:43:"https://latestmovies.debatepost.com/?p=7292";s:11:"description";s:924:"EXCLUSIVE: The 44th annual Mountainfilm festival has announced its first wave of film titles and festival highlights. Festival-goers can look forward to more than 120 films as the festival takes over Telluride’s majestic box canyon Memorial Day weekend, May 26-30, 2022. The festival will include 31 features and nearly 100 shorts. Mountainfilm 2022 will highlight ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4911:"
EXCLUSIVE: The 44th annual Mountainfilm festival has announced its first wave of film titles and festival highlights. Festival-goers can look forward to more than 120 films as the festival takes over Telluride’s majestic box canyon Memorial Day weekend, May 26-30, 2022. The festival will include 31 features and nearly 100 shorts.
Mountainfilm 2022 will highlight 80+ North American, US, and Colorado premieres. Also celebrating world premieres are the highly-anticipated documentary, The Holly, based on the seven-year investigation into the high-profile shooting in Denver’s Holly neighborhood (film subject Terrance Roberts in attendance), and Chasing, a gripping tale of a 3,000-mile rowing race across the Atlantic Ocean (film subject Jason Caldwell in attendance).
The festival also boasts 18 world premiere short films traversing some of the most pertinent issues of the day — from the climate crisis to inclusion to border walls — while also providing film-goers with a dose of the adrenaline-packed, edge-of-your-seat excitement they crave from Mountainfilm.
“After over two years that have hit filmmakers and creatives particularly hard, Mountainfilm is honored to again be showcasing some of the strongest and most inspiring work of the past year, live and in-person! In our carefully curated film selections, we continue to move toward our goal of gender parity and uplifting distinct, underrepresented and emerging voices,” explains Festival Director Suzan Beraza.
This year’s guest director is filmmaker and activist Jeff Orlowski-Yang, known for his films Chasing Ice, Chasing Coral and The Social Dilemma. He will be hosting free talks and conversations throughout the weekend and mentoring the next generation of filmmakers as part of Mountainfilm’s DocTalks workshops series.
Additional featured special guests include author Cheryl Strayed, director Tom Shadyac, Native activist Len Necefer, surf legend Gerry Lopez, career documentary director Stacy Peralta, internationally acclaimed multi-instrumentalist Kishi Bashi, and world-class athletes from The North Face team, including Conrad Anker, Renan Ozturk and Jess Kimura, along with over 200 filmmakers, speakers and special guests.
This year’s jury members are powerhouses. Casting the votes for Best Documentary Feature this year will be Oscar, Peabody and Emmy Award-winning producer Sheila Nevins; Co-Founder and Co-President of Roadside Attractions’ Eric d’Arbeloff, and award-winning producer Kathryn Everett.
“This year’s lineup is unmatched and will inspire and push you to explore new perspectives through impactful storytelling.” states Executive Director Sage Martin, “We look forward to welcoming returning and first-time festival-goers to Telluride to experience that special magic of Mountainfilm.”
Passes for the festival are still available at www.mountainfilm.org. Palmyra, Ama Dablam and Patron passes include After the Fest Online access. For those unable to attend this year’s in-person festival, $99 After the Fest passes are available online, giving film lovers online screening access to nearly all films from May 31 through June 7, 2022.
Full event poster created by Anna Brones below.
Anna Brones
We wish to thank the writer of this post for this amazing web content
";}s:7:"summary";s:924:"EXCLUSIVE: The 44th annual Mountainfilm festival has announced its first wave of film titles and festival highlights. Festival-goers can look forward to more than 120 films as the festival takes over Telluride’s majestic box canyon Memorial Day weekend, May 26-30, 2022. The festival will include 31 features and nearly 100 shorts. Mountainfilm 2022 will highlight ... Read more";s:12:"atom_content";s:4911:"
EXCLUSIVE: The 44th annual Mountainfilm festival has announced its first wave of film titles and festival highlights. Festival-goers can look forward to more than 120 films as the festival takes over Telluride’s majestic box canyon Memorial Day weekend, May 26-30, 2022. The festival will include 31 features and nearly 100 shorts.
Mountainfilm 2022 will highlight 80+ North American, US, and Colorado premieres. Also celebrating world premieres are the highly-anticipated documentary, The Holly, based on the seven-year investigation into the high-profile shooting in Denver’s Holly neighborhood (film subject Terrance Roberts in attendance), and Chasing, a gripping tale of a 3,000-mile rowing race across the Atlantic Ocean (film subject Jason Caldwell in attendance).
The festival also boasts 18 world premiere short films traversing some of the most pertinent issues of the day — from the climate crisis to inclusion to border walls — while also providing film-goers with a dose of the adrenaline-packed, edge-of-your-seat excitement they crave from Mountainfilm.
“After over two years that have hit filmmakers and creatives particularly hard, Mountainfilm is honored to again be showcasing some of the strongest and most inspiring work of the past year, live and in-person! In our carefully curated film selections, we continue to move toward our goal of gender parity and uplifting distinct, underrepresented and emerging voices,” explains Festival Director Suzan Beraza.
This year’s guest director is filmmaker and activist Jeff Orlowski-Yang, known for his films Chasing Ice, Chasing Coral and The Social Dilemma. He will be hosting free talks and conversations throughout the weekend and mentoring the next generation of filmmakers as part of Mountainfilm’s DocTalks workshops series.
Additional featured special guests include author Cheryl Strayed, director Tom Shadyac, Native activist Len Necefer, surf legend Gerry Lopez, career documentary director Stacy Peralta, internationally acclaimed multi-instrumentalist Kishi Bashi, and world-class athletes from The North Face team, including Conrad Anker, Renan Ozturk and Jess Kimura, along with over 200 filmmakers, speakers and special guests.
This year’s jury members are powerhouses. Casting the votes for Best Documentary Feature this year will be Oscar, Peabody and Emmy Award-winning producer Sheila Nevins; Co-Founder and Co-President of Roadside Attractions’ Eric d’Arbeloff, and award-winning producer Kathryn Everett.
“This year’s lineup is unmatched and will inspire and push you to explore new perspectives through impactful storytelling.” states Executive Director Sage Martin, “We look forward to welcoming returning and first-time festival-goers to Telluride to experience that special magic of Mountainfilm.”
Passes for the festival are still available at www.mountainfilm.org. Palmyra, Ama Dablam and Patron passes include After the Fest Online access. For those unable to attend this year’s in-person festival, $99 After the Fest passes are available online, giving film lovers online screening access to nearly all films from May 31 through June 7, 2022.
Full event poster created by Anna Brones below.
Anna Brones
We wish to thank the writer of this post for this amazing web content
";s:14:"date_timestamp";i:1650422672;}i:5;a:11:{s:5:"title";s:91:"Amy Schumer bundles up in a plaid coat as she films the latest season of Inside Amy Schumer";s:4:"link";s:142:"https://latestmovies.debatepost.com/latest-movies/amy-schumer-bundles-up-in-a-plaid-coat-as-she-films-the-latest-season-of-inside-amy-schumer/";s:2:"dc";a:1:{s:7:"creator";s:14:"River Streeter";}s:7:"pubdate";s:31:"Wed, 20 Apr 2022 02:41:18 +0000";s:8:"category";s:50:"Latest MoviesAmybundlescoatFilmsplaidSchumerseason";s:4:"guid";s:43:"https://latestmovies.debatepost.com/?p=7286";s:11:"description";s:718:"Her acclaimed eponymous sketch comedy series last aired on Comedy Central nearly six years ago. But Amy Schumer was back to filming Inside Amy Schumer on Tuesday following the extended break. The 40-year-old comedian and actress was spotted in a park in New York City while staying warm in a thick coat as she filmed ... Read more";s:7:"content";a:1:{s:7:"encoded";s:11996:"
Her acclaimed eponymous sketch comedy series last aired on Comedy Central nearly six years ago.
But Amy Schumer was back to filming Inside Amy Schumer on Tuesday following the extended break.
The 40-year-old comedian and actress was spotted in a park in New York City while staying warm in a thick coat as she filmed the revival for Paramount+.
Back at it: Amy Schumer, 40, covered up in a plaid coat as she filmed the revived Inside Amy Schumer in a park in New York City on Tuesday
Amy looked cozy in a plaid coat, which she paired with low-key blue jeans.
She stayed casual with a set of sporty white trainers, and she added a splash of vibrant color to the ensemble with a scarlet handbag slung around her torso.
The Trainwreck star covered up her long blond hair, which was tied into braided pig tails, with a fluffy white beret.
Amy was also spotted the same day in another outfit as she filmed another scene for her comedy series.
Casual: She paired the coat with jeans, white trainers, a white beret and a vibrant scarlet handbag. Her blond hair was styled in braided pig tails
Back for more: Later, she changed into a red down jacket with black shoes. Inside Amy Schumer last aired in 2016, but she’s reviving it with five specials for Paramount+
She kept her hair in braids but changed into a puffy red down coat over a white patterned top.
The stand-up comic appeared to wear the same jeans, but she traded out her brilliant white shoes for black designs.
Amy was seen looking over notes or lines ahead of shooting.
The return of Inside Amy Schumer was announced more than a year ago in February 2021, though filming appears to have only recently commenced.
The series debuted on Comedy Central in 2013, following her earlier stand-up success and her 2012 special Mostly Sex Stuff, which highlighted her prototypical early material, which focused on sex-themed jokes and more offensive material that she has mostly jettisoned in recent years.
New show: After taking some time off following the birth of her son, Amy returned with her Hulu dramedy series Life & Beth, which costars Michael Cera as a stand-in for her husband
Whoops! On Tuesday, she reposted stills from the series that showed her diving into a lake to rescue Cera’s boat — though she learns after she drags it back to the dock that it’s not his boat
Amy is set to return with five Inside Amy Schumer specials, instead of a traditional season.
Prior to the show’s hiatus, it was reported that she was under contract for an additional season, so it’s unclear if she’s merely fulfilling an obligation, or if she’s interested in continuing with the show.
After taking some time off following the birth of her son Gene, two — whom she shares with her husband Chris Fischer, 42 — Amy recently returned with her Hulu dramedy series Life & Beth, which costars Michael Cera as a fictionalized stand-in for her husband.
The show currently boasts an impressive 91 percent fresh rating from critics surveyed by Rotten Tomatoes.
On Tuesday, she reposted stills from the show’s Instagram account to her page that showed her impulsively taking a dive into a lake to rescue Cera’s drifting boat — though she learns after she drags it back to the dock that it’s not his boat.
It’s a mess: She shared a humorous photo of herself in a hospital gown while standing in a what looked like an exam room that had been trashed, while potatoes were wedge into the stirrups
Festival fashion: In another post she joked about attending Coachella while wearing a Christmas tree costume and holding a sugar cookie decorated to look like a handgun
In contrast with her latest show’s often dark tone, Amy was feeling playful on social media.
She shared a humorous photo of herself in a hospital gown while standing in a what looked like an exam room that had been trashed, while potatoes were wedge into the stirrups.
‘Everyone has Covid,’ she wrote, adding, ‘I don’t yet,’ in her caption.
In another post she joked about attending Coachella while wearing a Christmas tree costume and holding a sugar cookie decorated to look like a handgun.
‘Having the best Coachella #guncookie,’ she wrote.
Amy wasn’t afraid to be a little self-deprecating when she shared a screenshot of herself with Katie Couric and the disgraced Theranos founder and convicted fraudster Elizabeth Holmes.
‘I miss us,’ she joked.
‘I miss us’: Amy wasn’t afraid to be a little self-deprecating when she shared a screenshot of herself with Katie Couric and convicted fraudster Elizabeth Holmes
We wish to give thanks to the author of this article for this outstanding material
";}s:7:"summary";s:718:"Her acclaimed eponymous sketch comedy series last aired on Comedy Central nearly six years ago. But Amy Schumer was back to filming Inside Amy Schumer on Tuesday following the extended break. The 40-year-old comedian and actress was spotted in a park in New York City while staying warm in a thick coat as she filmed ... Read more";s:12:"atom_content";s:11996:"
Her acclaimed eponymous sketch comedy series last aired on Comedy Central nearly six years ago.
But Amy Schumer was back to filming Inside Amy Schumer on Tuesday following the extended break.
The 40-year-old comedian and actress was spotted in a park in New York City while staying warm in a thick coat as she filmed the revival for Paramount+.
Back at it: Amy Schumer, 40, covered up in a plaid coat as she filmed the revived Inside Amy Schumer in a park in New York City on Tuesday
Amy looked cozy in a plaid coat, which she paired with low-key blue jeans.
She stayed casual with a set of sporty white trainers, and she added a splash of vibrant color to the ensemble with a scarlet handbag slung around her torso.
The Trainwreck star covered up her long blond hair, which was tied into braided pig tails, with a fluffy white beret.
Amy was also spotted the same day in another outfit as she filmed another scene for her comedy series.
Casual: She paired the coat with jeans, white trainers, a white beret and a vibrant scarlet handbag. Her blond hair was styled in braided pig tails
Back for more: Later, she changed into a red down jacket with black shoes. Inside Amy Schumer last aired in 2016, but she’s reviving it with five specials for Paramount+
She kept her hair in braids but changed into a puffy red down coat over a white patterned top.
The stand-up comic appeared to wear the same jeans, but she traded out her brilliant white shoes for black designs.
Amy was seen looking over notes or lines ahead of shooting.
The return of Inside Amy Schumer was announced more than a year ago in February 2021, though filming appears to have only recently commenced.
The series debuted on Comedy Central in 2013, following her earlier stand-up success and her 2012 special Mostly Sex Stuff, which highlighted her prototypical early material, which focused on sex-themed jokes and more offensive material that she has mostly jettisoned in recent years.
New show: After taking some time off following the birth of her son, Amy returned with her Hulu dramedy series Life & Beth, which costars Michael Cera as a stand-in for her husband
Whoops! On Tuesday, she reposted stills from the series that showed her diving into a lake to rescue Cera’s boat — though she learns after she drags it back to the dock that it’s not his boat
Amy is set to return with five Inside Amy Schumer specials, instead of a traditional season.
Prior to the show’s hiatus, it was reported that she was under contract for an additional season, so it’s unclear if she’s merely fulfilling an obligation, or if she’s interested in continuing with the show.
After taking some time off following the birth of her son Gene, two — whom she shares with her husband Chris Fischer, 42 — Amy recently returned with her Hulu dramedy series Life & Beth, which costars Michael Cera as a fictionalized stand-in for her husband.
The show currently boasts an impressive 91 percent fresh rating from critics surveyed by Rotten Tomatoes.
On Tuesday, she reposted stills from the show’s Instagram account to her page that showed her impulsively taking a dive into a lake to rescue Cera’s drifting boat — though she learns after she drags it back to the dock that it’s not his boat.
It’s a mess: She shared a humorous photo of herself in a hospital gown while standing in a what looked like an exam room that had been trashed, while potatoes were wedge into the stirrups
Festival fashion: In another post she joked about attending Coachella while wearing a Christmas tree costume and holding a sugar cookie decorated to look like a handgun
In contrast with her latest show’s often dark tone, Amy was feeling playful on social media.
She shared a humorous photo of herself in a hospital gown while standing in a what looked like an exam room that had been trashed, while potatoes were wedge into the stirrups.
‘Everyone has Covid,’ she wrote, adding, ‘I don’t yet,’ in her caption.
In another post she joked about attending Coachella while wearing a Christmas tree costume and holding a sugar cookie decorated to look like a handgun.
‘Having the best Coachella #guncookie,’ she wrote.
Amy wasn’t afraid to be a little self-deprecating when she shared a screenshot of herself with Katie Couric and the disgraced Theranos founder and convicted fraudster Elizabeth Holmes.
‘I miss us,’ she joked.
‘I miss us’: Amy wasn’t afraid to be a little self-deprecating when she shared a screenshot of herself with Katie Couric and convicted fraudster Elizabeth Holmes
We wish to give thanks to the author of this article for this outstanding material
";s:14:"date_timestamp";i:1650422478;}i:6;a:11:{s:5:"title";s:81:"Spring Game Film Review: First look at the new defense, new tweaks to the offense";s:4:"link";s:130:"https://latestmovies.debatepost.com/latest-movies/spring-game-film-review-first-look-at-the-new-defense-new-tweaks-to-the-offense/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harold King";}s:7:"pubdate";s:31:"Wed, 20 Apr 2022 00:25:20 +0000";s:8:"category";s:53:"Latest MoviesdefensefilmgameoffenseReviewSpringtweaks";s:4:"guid";s:43:"https://latestmovies.debatepost.com/?p=7275";s:11:"description";s:706:"This past weekend the Ohio State football team participated in their annual spring game. After a disappointing 2021 season and tumultuous offseason with major staff turnover, this was the first look we had at this new Buckeyes team. Jim Knowles led the Gray team, which represented the defense with his staff consisting of new additions ... Read more";s:7:"content";a:1:{s:7:"encoded";s:12487:"
This past weekend the Ohio State football team participated in their annual spring game. After a disappointing 2021 season and tumultuous offseason with major staff turnover, this was the first look we had at this new Buckeyes team. Jim Knowles led the Gray team, which represented the defense with his staff consisting of new additions Perry Eliano and Tim Walton as well as the longest tenured coach on the staff in Larry Johnson. Despite all the excitement, the game plan was, in their own words, very vanilla, but we still have quite a bit to look at.
On the offensive side it was more business as usual with the Scarlet team, but we did see a few tweaks in some spots. There were a couple of fresh faces at the receiver position and on the offensive line, but outside of that we only saw minimal changes. The offense was successful on Saturday because they didn’t do anything to raise any concerns, but the additions we saw could be a lot of fun. Ohio State’s wrinkles were nowhere to be seen last season, so any additional creativity by Ryan Day should be welcomed.
In spite of both sides playing coy with what they wanted to show, there was still a lot to learn, which is what we’re going to take a look at today.
Defense
Jim Knowles came into this game with a lot of eyes on his side. The expectation from fans is a quick return to the elite Silver Bullet defenses off the past. With many people believing a slightly above average defense can aid the offense to a potential national championship, the pressure will be on Knowles.
In the spring game we got to see the most basic version of Ohio State’s new defense. Knowles did not blitz, stunt, or change anything in the front-7 pre-snap, which we will see more of come August. What we saw though was an aggressive defense both in coverage and in pursuit of the football.
New Defensive Alignment
The Buckeyes did not show all that much in the spring game defensively, but one thing we can take a look at to get an initial grasp of what Knowles wants to do is by looking at the alignment. Ohio State’s defense is still aligning in a 4-2-5, meaning four down linemen, two linebackers, and five defensive backs. This is shown in the picture below with one of the main differences being the safeties.
The safety alignment shown below is not something we’ve seen the last few years, if ever for the Buckeyes, We can also see the linebackers aligned outside of the defensive ends, another new development. Lastly, we see Jack Sawyer on the right side of the defensive line getting into the “Jack” linebacker position as a stand up EDGE defender. Without knowing the methods to Knowles’ madness, the linebacker alignment here tends to be a disrupter in the quick passing/RPO game. They also take the responsibility of the outside run defenders, leaving the two safeties as inside run fillers.
Even with a vanilla output, we can see significant changes in the alignment alone.
Multiple Coverage Looks
At the spring game in person this play was one that got me incredibly excited and made me jump out of my seat. Ohio State dropped back Sawyer into coverage, and we got to see the new “Jack” position in its fullest form, which I did not think we would see this early on.
The play-action fake draws the linebackers in on this play, but this is an eight man coverage with Sawyer dropping to the flats. Having three deep with five under can be effective, especially if they have all three levels covered (which they do not on this play). Sawyer is a little too shallow in his drop, and the linebacker does not get out to the flats quick enough, leading to the over route being open coming across the formation. They will need to improve in execution, but seeing the inventiveness on display should get Buckeye fans excited.
Run Fills/Group Tackling
One of the issues with Ohio State’s defense last year was the team having incorrect run fits and trouble getting hats to the football. In the full contact periods in the spring game, this seemed to be a major point of emphasis for Jim Knowles and the staff.
In the play below, we do not see anything crazy, any spectacular effort, but we do see fundamental football. Miyan Williams (now donning No. 3) is a physical running back and the defense is in a short yardage situation. The offense hands the ball off on an inside run, and these short yardage situations gave the Buckeyes fits last season. At the snap the defensive line eats up blockers, allowing Steele Chambers and the other linebackers to flow freely to the football. A group of defenders meets Williams in the hole and stops him for little to no gain on the play.
The defense was not without issues in the run game, but these small positives are the difference between a bad defense and a serviceable one.
Offense
Ryan Day’s offense last season was statistically one of the best in the country, but still left a lot to be desired. Against teams with good fronts, Ohio State struggled to run the ball in short yardage situations, got stagnant in the passing game, and relied too much on their inside/outside zone running game.
In 2022, Day should be able to put a lot more on Stroud’s shoulders, which should make for a more prolific offense. There is a ton of returning talent, including two starters in the backfield, Jaxon Smith-Njigba, and four linemen who have starting experience. In the spring game there were some signs of Day getting into his bag of tricks, despite him saying they didn’t show much.
Running Backs in Passing Game
Last season the only time Ohio State utilized the running backs in the passing game was through check downs and screens. With the talent in the backfield this year – specifically Evan Pryor with his skillset and physical transformation – this should become a more regular fixture in the offensive game plan. If the Buckeyes add another dimension effectively, this can make the offense that much more dangerous.
In the next play that stood out, Devin Brown is at the helm playing quarterback with Evan Pryor in the backfield. Ohio State runs Kyion Grayes (No. 17) and the tight end on inside breaking routes. Grayes is used as a pick player to create some space for the running back. Pryor comes out of the backfield and has no defender on him due to the play design and Brown delivers a nice throw. This play turns into a big gain, and we saw them run this a couple of times last season. Having more plays like this will only make the offense better, and we saw how much damage it could do on Saturday.
Quarterback Under Center
In the first series Ohio State did a lot of different things with Stroud, but the most noticeable was the amount of work from under center. The Buckeyes’ offense ran four straight plays from under center, including a direct hand off, a straight drop back pass, a boot-action, and a play action drop back. This was an interesting development considering how much of last year’s passing game was executed from the gun.
The sequence on the first drive has two plays that were used to build off of each other. This is the chess game offensive coaches want to play with defense. In the first play, Ohio State runs a midline zone with TreVeyon Henderson. This has been utilized in the offense previously, but seeing more under center runs would be a nice addition an already dangerous offense. By creating play-calling diversity in different formations, teams won’t be able to find the patterns that they were keying in on at the end of last season.
In 2021, Ohio State’s offense was easy to scheme against because of formational tells. The Buckeyes showed on this drive that this might not be the case this year. Ohio State went under center four times consecutively with four different play types. The final play is a play-action pass built off the run game set up.
The play-action mirrors the run game that picked up the first down in the previous clip, and C.J. Stroud sells the fake well. The defenders collapse initially because in the same situation earlier in the drive Ohio State ran the ball. This allows Jaxon Smith-Njigba to get behind the defense, creates an easy window for Stroud to throw to, and ends up leading to a touchdown.
Young Quarterbacks Flash
Ohio State has a loaded barn of arm-talent in Columbus with Stroud, McCord, and the freshman Devin Brown. We got plenty of business as usual throws from Stroud, but that was to be expected with this being his third year in the program. We got to see what the young guys might bring to the table in the coming years though with their talents on full display.
In the first of two plays, this might have been the throw of the day when it came to completed passes. We did not see a high success rate on downfield passes, which makes this play that much better. McCord is the quarterback on this play and takes a straight drop back. The Buckeyes are running a verticals concept. Joe Royer (No. 84) runs the vertical inside, and after he clears the safety McCord has already released the ball. The pass is well placed and a laser of a throw leading to a touchdown. This was McCord putting his arm talent and accuracy on full display.
In the second play, we can not forget about Devin Brown. The Buckeyes are in the red zone in the next scenario. Ohio State runs a smash concept and the slot receiver Joop Mitchell (No. 83) comes out of his break and has the corner of the end zone. Brown hits him in stride with a throw that shows off his arm talent and touch. This was a throw we’ve come to expect from Ohio State quarterbacks, but the true freshman looked ahead of schedule on Saturday.
Ohio State didn’t give away any of their industry secrets on Saturday that weren’t already known by their opponents, but we did get to take our first look at the 2022 Ohio State team. The offense was clicking for the most part and was able to move the ball well. On the other side the defense was able to make some plays and come up with some big stops. Overall, this is exactly how you want a spring game to go.
We have a long way to go until week one of the college football season, but the spring game is a major checkpoint on the way there. We got to see Jim Knowles get a little creative, Ryan Day get in his play-calling rhythm at times, and we got to get excited about some players. Despite the vanilla nature of both Day and Knowles, we were still able to learn a lot about the state of this team.
The defense looked energized, the offense looked confident, and now it’s time for the Buckeyes to build on this come fall camp.
We wish to thank the author of this post for this remarkable material
";}s:7:"summary";s:706:"This past weekend the Ohio State football team participated in their annual spring game. After a disappointing 2021 season and tumultuous offseason with major staff turnover, this was the first look we had at this new Buckeyes team. Jim Knowles led the Gray team, which represented the defense with his staff consisting of new additions ... Read more";s:12:"atom_content";s:12487:"
This past weekend the Ohio State football team participated in their annual spring game. After a disappointing 2021 season and tumultuous offseason with major staff turnover, this was the first look we had at this new Buckeyes team. Jim Knowles led the Gray team, which represented the defense with his staff consisting of new additions Perry Eliano and Tim Walton as well as the longest tenured coach on the staff in Larry Johnson. Despite all the excitement, the game plan was, in their own words, very vanilla, but we still have quite a bit to look at.
On the offensive side it was more business as usual with the Scarlet team, but we did see a few tweaks in some spots. There were a couple of fresh faces at the receiver position and on the offensive line, but outside of that we only saw minimal changes. The offense was successful on Saturday because they didn’t do anything to raise any concerns, but the additions we saw could be a lot of fun. Ohio State’s wrinkles were nowhere to be seen last season, so any additional creativity by Ryan Day should be welcomed.
In spite of both sides playing coy with what they wanted to show, there was still a lot to learn, which is what we’re going to take a look at today.
Defense
Jim Knowles came into this game with a lot of eyes on his side. The expectation from fans is a quick return to the elite Silver Bullet defenses off the past. With many people believing a slightly above average defense can aid the offense to a potential national championship, the pressure will be on Knowles.
In the spring game we got to see the most basic version of Ohio State’s new defense. Knowles did not blitz, stunt, or change anything in the front-7 pre-snap, which we will see more of come August. What we saw though was an aggressive defense both in coverage and in pursuit of the football.
New Defensive Alignment
The Buckeyes did not show all that much in the spring game defensively, but one thing we can take a look at to get an initial grasp of what Knowles wants to do is by looking at the alignment. Ohio State’s defense is still aligning in a 4-2-5, meaning four down linemen, two linebackers, and five defensive backs. This is shown in the picture below with one of the main differences being the safeties.
The safety alignment shown below is not something we’ve seen the last few years, if ever for the Buckeyes, We can also see the linebackers aligned outside of the defensive ends, another new development. Lastly, we see Jack Sawyer on the right side of the defensive line getting into the “Jack” linebacker position as a stand up EDGE defender. Without knowing the methods to Knowles’ madness, the linebacker alignment here tends to be a disrupter in the quick passing/RPO game. They also take the responsibility of the outside run defenders, leaving the two safeties as inside run fillers.
Even with a vanilla output, we can see significant changes in the alignment alone.
Multiple Coverage Looks
At the spring game in person this play was one that got me incredibly excited and made me jump out of my seat. Ohio State dropped back Sawyer into coverage, and we got to see the new “Jack” position in its fullest form, which I did not think we would see this early on.
The play-action fake draws the linebackers in on this play, but this is an eight man coverage with Sawyer dropping to the flats. Having three deep with five under can be effective, especially if they have all three levels covered (which they do not on this play). Sawyer is a little too shallow in his drop, and the linebacker does not get out to the flats quick enough, leading to the over route being open coming across the formation. They will need to improve in execution, but seeing the inventiveness on display should get Buckeye fans excited.
Run Fills/Group Tackling
One of the issues with Ohio State’s defense last year was the team having incorrect run fits and trouble getting hats to the football. In the full contact periods in the spring game, this seemed to be a major point of emphasis for Jim Knowles and the staff.
In the play below, we do not see anything crazy, any spectacular effort, but we do see fundamental football. Miyan Williams (now donning No. 3) is a physical running back and the defense is in a short yardage situation. The offense hands the ball off on an inside run, and these short yardage situations gave the Buckeyes fits last season. At the snap the defensive line eats up blockers, allowing Steele Chambers and the other linebackers to flow freely to the football. A group of defenders meets Williams in the hole and stops him for little to no gain on the play.
The defense was not without issues in the run game, but these small positives are the difference between a bad defense and a serviceable one.
Offense
Ryan Day’s offense last season was statistically one of the best in the country, but still left a lot to be desired. Against teams with good fronts, Ohio State struggled to run the ball in short yardage situations, got stagnant in the passing game, and relied too much on their inside/outside zone running game.
In 2022, Day should be able to put a lot more on Stroud’s shoulders, which should make for a more prolific offense. There is a ton of returning talent, including two starters in the backfield, Jaxon Smith-Njigba, and four linemen who have starting experience. In the spring game there were some signs of Day getting into his bag of tricks, despite him saying they didn’t show much.
Running Backs in Passing Game
Last season the only time Ohio State utilized the running backs in the passing game was through check downs and screens. With the talent in the backfield this year – specifically Evan Pryor with his skillset and physical transformation – this should become a more regular fixture in the offensive game plan. If the Buckeyes add another dimension effectively, this can make the offense that much more dangerous.
In the next play that stood out, Devin Brown is at the helm playing quarterback with Evan Pryor in the backfield. Ohio State runs Kyion Grayes (No. 17) and the tight end on inside breaking routes. Grayes is used as a pick player to create some space for the running back. Pryor comes out of the backfield and has no defender on him due to the play design and Brown delivers a nice throw. This play turns into a big gain, and we saw them run this a couple of times last season. Having more plays like this will only make the offense better, and we saw how much damage it could do on Saturday.
Quarterback Under Center
In the first series Ohio State did a lot of different things with Stroud, but the most noticeable was the amount of work from under center. The Buckeyes’ offense ran four straight plays from under center, including a direct hand off, a straight drop back pass, a boot-action, and a play action drop back. This was an interesting development considering how much of last year’s passing game was executed from the gun.
The sequence on the first drive has two plays that were used to build off of each other. This is the chess game offensive coaches want to play with defense. In the first play, Ohio State runs a midline zone with TreVeyon Henderson. This has been utilized in the offense previously, but seeing more under center runs would be a nice addition an already dangerous offense. By creating play-calling diversity in different formations, teams won’t be able to find the patterns that they were keying in on at the end of last season.
In 2021, Ohio State’s offense was easy to scheme against because of formational tells. The Buckeyes showed on this drive that this might not be the case this year. Ohio State went under center four times consecutively with four different play types. The final play is a play-action pass built off the run game set up.
The play-action mirrors the run game that picked up the first down in the previous clip, and C.J. Stroud sells the fake well. The defenders collapse initially because in the same situation earlier in the drive Ohio State ran the ball. This allows Jaxon Smith-Njigba to get behind the defense, creates an easy window for Stroud to throw to, and ends up leading to a touchdown.
Young Quarterbacks Flash
Ohio State has a loaded barn of arm-talent in Columbus with Stroud, McCord, and the freshman Devin Brown. We got plenty of business as usual throws from Stroud, but that was to be expected with this being his third year in the program. We got to see what the young guys might bring to the table in the coming years though with their talents on full display.
In the first of two plays, this might have been the throw of the day when it came to completed passes. We did not see a high success rate on downfield passes, which makes this play that much better. McCord is the quarterback on this play and takes a straight drop back. The Buckeyes are running a verticals concept. Joe Royer (No. 84) runs the vertical inside, and after he clears the safety McCord has already released the ball. The pass is well placed and a laser of a throw leading to a touchdown. This was McCord putting his arm talent and accuracy on full display.
In the second play, we can not forget about Devin Brown. The Buckeyes are in the red zone in the next scenario. Ohio State runs a smash concept and the slot receiver Joop Mitchell (No. 83) comes out of his break and has the corner of the end zone. Brown hits him in stride with a throw that shows off his arm talent and touch. This was a throw we’ve come to expect from Ohio State quarterbacks, but the true freshman looked ahead of schedule on Saturday.
Ohio State didn’t give away any of their industry secrets on Saturday that weren’t already known by their opponents, but we did get to take our first look at the 2022 Ohio State team. The offense was clicking for the most part and was able to move the ball well. On the other side the defense was able to make some plays and come up with some big stops. Overall, this is exactly how you want a spring game to go.
We have a long way to go until week one of the college football season, but the spring game is a major checkpoint on the way there. We got to see Jim Knowles get a little creative, Ryan Day get in his play-calling rhythm at times, and we got to get excited about some players. Despite the vanilla nature of both Day and Knowles, we were still able to learn a lot about the state of this team.
The defense looked energized, the offense looked confident, and now it’s time for the Buckeyes to build on this come fall camp.
We wish to thank the author of this post for this remarkable material
";s:14:"date_timestamp";i:1650414320;}i:7;a:11:{s:5:"title";s:76:"Self-driving car users could watch films on motorway under new DfT proposals";s:4:"link";s:127:"https://latestmovies.debatepost.com/latest-movies/self-driving-car-users-could-watch-films-on-motorway-under-new-dft-proposals/";s:2:"dc";a:1:{s:7:"creator";s:14:"Sally Thornton";}s:7:"pubdate";s:31:"Wed, 20 Apr 2022 00:04:03 +0000";s:8:"category";s:62:"Latest MoviesCarDfTFilmsmotorwayproposalsSelfdrivinguserswatch";s:4:"guid";s:43:"https://latestmovies.debatepost.com/?p=7270";s:11:"description";s:678:"Users of self-driving cars will be able to watch films on the motorway under planned changes to the Highway Code, although it will remain illegal to use mobile phones. The update, proposed by the Department for Transport (DfT), will allow those in the driver’s seat to use a car’s built-in screens to watch movies and ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4414:"
Users of self-driving cars will be able to watch films on the motorway under planned changes to the Highway Code, although it will remain illegal to use mobile phones.
The update, proposed by the Department for Transport (DfT), will allow those in the driver’s seat to use a car’s built-in screens to watch movies and TV programmes.
The new rules also state that insurance companies will be financially liable, rather than individual motorists, for accidents in self-driving cars.
However, those behind the wheel must be ready to resume control of the vehicle when they are prompted – such as when they approach motorway exits. These measures were described as an interim measure by the government to support the early deployment of self-driving vehicles.
Although there are no vehicles currently approved for self-driving on roads in the UK, the first could be approved later this year. The introduction of the technology is likely to begin with vehicles travelling at slow speeds on motorways, such as in congested traffic.
In April 2021, the DfT said it would allow hands-free driving in vehicles with lane-keeping technology on congested motorways. Existing technology, including cruise control and automatic stop/start, is classified as being “assistive”, meaning that users must remain fully in control.
Trudy Harrison, a transport minister, said the updates were the result of a public consultation, and would be a “major milestone in our safe introduction of self-driving vehicles”, which would “revolutionise the way we travel”.
She added: “This exciting technology is developing at pace right here in Great Britain and we’re ensuring we have strong foundations in place for drivers when it takes to our roads.
“In doing so, we can help improve travel for all while boosting economic growth across the nation and securing Britain’s place as a global science superpower.”
Steve Gooding, the director of the pro-motoring thinktank RAC Foundation, said: “The Highway Code has been updated a number of times in recent years to reflect the rapidly changing transport world we live in, and these latest additions will help us all understand what we must and must not do as we move forward to an environment where cars drive themselves.
“The final part of the jigsaw is to ensure these amendments are widely communicated to, and understood by, vehicle owners. Vehicle manufacturers and sellers will have a vital role to play in ensuring their customers fully appreciate the capabilities of the cars they buy and the rules that govern them.”
Earlier this year, the Law Commission of England and Wales and the Scots Law commission published a joint report, which recommended the introduction of a new Automated Vehicles Act.
The proposals for the act would be that when a car is authorised to be “self-driving”, and those features are in use, the user would no longer be responsible for how the car drives, but rather the company which obtained the authorisation would. Therefore, the user would be unable to be prosecuted for offences that come directly from the driving, and so would be immune to offences that include dangerous driving.
The UK, Scottish and Welsh governments are deciding whether to accept the report’s recommendations and bring them into legislation, with the governments expecting to have a full regulatory framework in place to support the widespread deployment of driverless vehicle technology by 2025.
We would love to thank the writer of this post for this awesome web content
";}s:7:"summary";s:678:"Users of self-driving cars will be able to watch films on the motorway under planned changes to the Highway Code, although it will remain illegal to use mobile phones. The update, proposed by the Department for Transport (DfT), will allow those in the driver’s seat to use a car’s built-in screens to watch movies and ... Read more";s:12:"atom_content";s:4414:"
Users of self-driving cars will be able to watch films on the motorway under planned changes to the Highway Code, although it will remain illegal to use mobile phones.
The update, proposed by the Department for Transport (DfT), will allow those in the driver’s seat to use a car’s built-in screens to watch movies and TV programmes.
The new rules also state that insurance companies will be financially liable, rather than individual motorists, for accidents in self-driving cars.
However, those behind the wheel must be ready to resume control of the vehicle when they are prompted – such as when they approach motorway exits. These measures were described as an interim measure by the government to support the early deployment of self-driving vehicles.
Although there are no vehicles currently approved for self-driving on roads in the UK, the first could be approved later this year. The introduction of the technology is likely to begin with vehicles travelling at slow speeds on motorways, such as in congested traffic.
In April 2021, the DfT said it would allow hands-free driving in vehicles with lane-keeping technology on congested motorways. Existing technology, including cruise control and automatic stop/start, is classified as being “assistive”, meaning that users must remain fully in control.
Trudy Harrison, a transport minister, said the updates were the result of a public consultation, and would be a “major milestone in our safe introduction of self-driving vehicles”, which would “revolutionise the way we travel”.
She added: “This exciting technology is developing at pace right here in Great Britain and we’re ensuring we have strong foundations in place for drivers when it takes to our roads.
“In doing so, we can help improve travel for all while boosting economic growth across the nation and securing Britain’s place as a global science superpower.”
Steve Gooding, the director of the pro-motoring thinktank RAC Foundation, said: “The Highway Code has been updated a number of times in recent years to reflect the rapidly changing transport world we live in, and these latest additions will help us all understand what we must and must not do as we move forward to an environment where cars drive themselves.
“The final part of the jigsaw is to ensure these amendments are widely communicated to, and understood by, vehicle owners. Vehicle manufacturers and sellers will have a vital role to play in ensuring their customers fully appreciate the capabilities of the cars they buy and the rules that govern them.”
Earlier this year, the Law Commission of England and Wales and the Scots Law commission published a joint report, which recommended the introduction of a new Automated Vehicles Act.
The proposals for the act would be that when a car is authorised to be “self-driving”, and those features are in use, the user would no longer be responsible for how the car drives, but rather the company which obtained the authorisation would. Therefore, the user would be unable to be prosecuted for offences that come directly from the driving, and so would be immune to offences that include dangerous driving.
The UK, Scottish and Welsh governments are deciding whether to accept the report’s recommendations and bring them into legislation, with the governments expecting to have a full regulatory framework in place to support the widespread deployment of driverless vehicle technology by 2025.
We would love to thank the writer of this post for this awesome web content
";s:14:"date_timestamp";i:1650413043;}i:8;a:11:{s:5:"title";s:46:"New on Hulu May 2022: Movies, TV and Originals";s:4:"link";s:95:"https://latestmovies.debatepost.com/latest-movies/new-on-hulu-may-2022-movies-tv-and-originals/";s:2:"dc";a:1:{s:7:"creator";s:7:"Susan P";}s:7:"pubdate";s:31:"Tue, 19 Apr 2022 20:39:49 +0000";s:8:"category";s:32:"Latest MoviesHulumoviesOriginals";s:4:"guid";s:43:"https://latestmovies.debatepost.com/?p=7259";s:11:"description";s:586:"The Hulu May 2022 schedule has been announced and can be viewed below! The streaming service has also revealed the titles that will be leaving next month. The Hulu May 2022 lineup includes the finale of The Girl From Plainville, Dragons: The Nine Realms Season 2, Candy, Conversations with Friends, The Valet, Look at Me: ... Read more";s:7:"content";a:1:{s:7:"encoded";s:26700:"
The Hulu May 2022 schedule has been announced and can be viewed below! The streaming service has also revealed the titles that will be leaving next month.
The Hulu May 2022 lineup includes the finale of The Girl From Plainville, Dragons: The Nine Realms Season 2, Candy, Conversations with Friends, The Valet, Look at Me: XXXTentacion, and Shoresy.
Hulu gives viewers instant access to current shows from every major U.S. broadcast network; libraries of hit TV series and films; and acclaimed Hulu Originals. Check out the highlights below and read on for the Hulu May 2022 slate!
HULU HIGHLIGHTS
A look at the originals, exclusive and premieres that are part of the Hulu May 2022 lineup.
The Girl From Plainville: Limited Series Finale (Hulu Original – May 3) A SXSW Official Film Selection, “The Girl From Plainville” is inspired by the true story of Michelle Carter’s unprecedented “texting-suicide” case. Based on the Esquire article of the same name by Jesse Barron, the limited series explores Carter’s relationship with Conrad Roy III and the events that led to his death and, later, her conviction of involuntary manslaughter.
Episode 108 ‘Blank Spaces’: Coco’s last day. Michelle struggles with the future. The Carters and Roys both try to find closure after tragedy.
Who Do You Believe?: Series Premiere (ABC – May 4) The innovative, new series features simultaneous storytelling to take viewers through compelling true-crime cases from dual perspectives. In each episode, the audience steps into the shoes of two contrasting narratives to hear the recounts directly from the victims and criminals with never-before-revealed details.
Then the viewer plays armchair detective to deduce and piece together different versions of the truth. There are two sides to every story – and there’s no telling how far one would go for their marriage, child or way of life. Within this unique storytelling format, every episode culminates by revealing key details from the adjudicated cases leaving you to question: “Who Do You Believe?”
The Real Housewives of New York City: Complete Season 13 (Bravo – May 4) Attorney, broadcaster and producer Eboni K. Williams joins as newest Housewife, alongside Leah McSweeney, Luann de Lesseps, Ramona Singer and Sonja Morgan.
Dragons: The Nine Realms: Complete Season 2 (Hulu Original – May 5) With Project ICARIS furthering expeditions deeper into the fissure, keeping dragons a secret is becoming increasingly harder for the Dragon Riders. Meanwhile Jun, D’Angelo and Alex are growing more suspicious of Tom and Thunder’s frequent solo quests, revealing Tom’s mission of uncovering his viking heritage and mysterious connection with dragons.
Hatching (2022 – May 6) 12-year-old Tinja is desperate to please her mother, a woman obsessed with presenting the image of a perfect family. One night, Tinja finds a strange egg. What hatches is beyond belief.
Candy: Limited Series Premiere (Hulu Original – May 9) Candy Montgomery is a 1980 housewife and mother who did everything right — good husband, two kids, nice house, even the careful planning and execution of transgressions — but when the pressure of conformity builds within her, her actions scream for just a bit of freedom. With deadly results.
The series stars Jessica Biel, Melanie Lynskey, Timothy Simons, Pablo Schreiber, and Raúl Esparza. A five-night event, episodes will roll out daily through Friday, May 13.
Breeders: Season 3 Premiere (FX – May 10) “Breeders” continues its bitter-sweet look at the struggles of modern parenthood. Season 3 starts days after Season 2 ended, as the Worsley family reels from teenaged Luke (Alex Eastwood) punching his dad, Paul (Martin Freeman). Paul’s moved out and is staying at his mother-in-law Leah’s (Stella Gonet) house. He should be lonely but actually the simpler life has its appeal. Eventually, though, amends with Luke must be made.
Meanwhile Ally (Daisy Haggard) has her own problems – with work, with her early menopause and with her increasingly strained relationship with her newly adolescent daughter, Ava (Eve Prenelle). Gallows humor and large glasses of wine only go so far in quelling the angst…
Conversations with Friends: Complete Limited Series (Hulu Original – May 15) Based on Sally Rooney’s best-selling novel, “Conversations with Friends” follows Frances (Alison Oliver), a 21 year old college student, as she navigates a series of relationships that force her to confront her own vulnerabilities for the first time. The series also stars Joe Alwyn, Sasha Lane and Jemime Kirke
Queen Sugar: Complete Season 6 (OWN – May 16) In season six, we see the Bordelon family reclaiming their lives coming out of the pandemic. As Ralph Angel (Kofi Siriboe) and Darla (Bianca Lawson) plan the arrival of their new baby, Nova (Rutina Wesley) continues to speak out against political corruption and Charley (Dawn-Lyen Gardner) faces a life-altering decision. Throughout the season, we witness the joy amid the struggle and humanity’s ability to persevere through whatever life may bring.
Sundown (2021 – May 17) Neil and Alice Bennett (Tim Roth, Charlotte Gainsbourg) are the core of a wealthy family on vacation in Mexico with younger members Colin and Alexa (Samuel Bottomley, Albertine Kotting McMillan) until a distant emergency cuts their trip short. When one relative disrupts the family’s tight-knit order, simmering tensions rise to the fore in this suspenseful jolt from writer/director Michel Franco.
The Deep End: Series Premiere (Freeform – May 19) “The Deep End,” a four-part docu-series, is an arresting and provocative exploration inside the world of one of today’s most controversial spiritual teachers and her dedicated followers. Filmed over three years with unprecedented access, it is an unflinching portrayal of the incredible lengths people will go to in their search for connection.
So You Think You Can Dance: Season 17 Premiere (FOX – May 19) The new season of the Emmy Award-winning dance competition series will introduce a new dynamic judging panel – welcoming home Stephen “tWitch” Boss, alongside Emmy-, Tony- and Golden Globe-nominated artist Matthew Morrison and dancer, singer and digital sensation JoJo Siwa. Presenter and author Cat Deeley will step back into her role as host of the dance competition series.
The brand-new version will feature highly skilled dancers between the ages of 18 and 30, showcasing their talents in various dance styles, including contemporary, tap, hip-hop, ballroom, animation, breaking and more. Those who are selected to move on to the SYTYCD studio will work with world-renowned choreographers and compete each week in a variety of styles, with brand-new twists and turns introduced into the competition.
American Underdog: The Kurt Warner Story (2021 – May 20) “American Underdog” tells the inspirational true story of Kurt Warner (Zachary Levi), who went from a stockboy at a grocery store to a two-time NFL MVP, Super Bowl champion, and Hall of Fame quarterback.
The film centers on Warner’s unique story and years of challenges and setbacks that could have derailed his aspirations to become an NFL player – but just when his dreams seemed all but out of reach, it is only with the support of his wife, Brenda (Anna Paquin) and the encouragement of his family, coaches, and teammates that Warner perseveres and finds the strength to show the world the champion that he already is. “American Underdog” is an uplifting story that demonstrates that anything is possible when you have faith, family and determination.
The Valet (2022 Hulu Original – May 20) In “The Valet,” world famous movie star, Olivia (Samara Weaving) faces a PR disaster when a paparazzi snaps a photo of her with her married lover, Vincent (Max Greenfield). The hard-working valet Antonio (Eugenio Derbez) accidentally appears in the same photo and is enlisted to pose as Olivia’s new boyfriend as a cover up.
This ruse with Olivia thrusts Antonio into the spotlight and unexpected chaos. In this fish out of water romantic comedy, two worlds and cultures collide as both Olivia and Antonio start to see themselves more clearly than ever before. “The Valet,” directed by Richard Wong and written by Rob Greenberg and Bob Fisher, is the English-language remake of the hit French film.
227: Complete Series (Sony – May 23) “227” follows the lives of people in a middle-class apartment building, 227 Lexington Place in Washington, D.C. Centering around Mary Jenkins, a nosy and tart-tongued but loving housewife, her husband, Lester, and their boy-crazy yet smart and studious daughter, Brenda.
Don’t Forget the Lyrics: Series Premiere (FOX – May 24) With Emmy Award nominee Niecy Nash as host, the popular game show returns to challenge contestants’ musical memory, as they get one song closer to winning $1 million if they “Don’t Forget the Lyrics!” Contestants will choose songs from different genres, decades and musical artists. Then they’ll take center stage to sing alongside the studio band as the lyrics are projected on screen – but suddenly the music will stop, and the words will disappear.
Will the contestants belt out the correct missing lyrics, or freeze under pressure? If they sing nine songs correctly, they are presented with a No. 1 hit and sing the final missing lyrics for the top prize of $1 million. It’s that simple: 10 songs, some missing lyrics, $1 million.
A Taste of Hunger (2021 – May 26) Welcome to Malus, the bright new star in the culinary sky in Denmark. Here, the power couple Maggie (Katrine Greis-Rosenthal) and Carsten (Nikolaj Coster-Waldau) rule as the latest invincible duo on the Danish gourmet scene. Maggie is an anthropologist who has created the extraordinary setting of the restaurant, and Carsten is a celebrity chef who works his magic in the kitchen.
They love each other, have two wonderful children, and own one of the most hyped restaurants in Copenhagen. They want it all and they have it all… except the prestigious Michelin star they so desperately covet. The couple is willing to sacrifice everything to achieve their dream. In their tireless chase after the ultimate recognition, they forget that the best meals in life are shared together.
Look at Me: XXXTentacion (2022 Hulu Original – May 26) “Look at Me: XXXTentacion” explores how Florida teenager Jahseh Onfroy became SoundCloud rapper XXXTentacion, one of the most streamed artists on the planet. Through frank commentary from family, friends and romantic partners, and unseen archival footage, director Sabaah Folayan offers a sensitive portrayal of an artist whose acts of violence, raw musical talent and open struggles with mental health left an indelible mark on his generation before his death at the age of 20.
The Great American Tag Sale with Martha Stewart: Series Premiere (ABC – May 26) Martha Stewart, known for turning everyday living into an art form, is ready to part ways with pieces from her vast collection of furniture, art and housewares in this new one-hour special. Over the years, Martha has amassed an assortment of items that ranges from fine art to knickknacks.
During the special, she will regale viewers with fond memories of how these beloved items were acquired and offer expert advice on how to execute a successful tag sale. Alongside her team of event planners, Martha will host a series of tag sale events including an exclusive cocktail party for celebrities and neighbors to preview the sale.
Shoresy: Series Premiere (Hulu Original – May 27) The six-episode, half-hour Hulu Original comedy sees the foul-mouthed, chirp-serving, mother-loving, fan favorite character, Shoresy, join a senior AAA hockey team in Sudbury on a quest to never lose again.
Pistol: Complete Limited Series (FX – May 31) “Pistol” is a six-episode limited series about a rock and roll revolution. The furious, raging storm at the center of this revolution are the Sex Pistols – and at the center of this series is Sex Pistols’ founding member and guitarist, Steve Jones. Jones’ hilarious, emotional and at times heart-breaking journey guides us through a kaleidoscopic telling of three of the most epic, chaotic and mucus-spattered years in the history of music.
Based on Jones’ memoir “Lonely Boy: Tales from a Sex Pistol,” this is the story of a band of spotty, noisy, working-class kids with “no future,” who shook the boring, corrupt Establishment to its core, threatened to bring down the government and changed music and culture forever.
GameStop: Rise of the Players (2022 – May 31) From the makers of “Console Wars” comes the origin story of the Gamestop stock market phenomenon, featuring exclusive access to the original players who lit the fuse on a historic amateur investor uprising. Spotlighting the human side of a sensational business drama, “Gamestop: Rise of the Players” is a David vs Goliath tale about ordinary people waking up to the power they have in numbers.
HULU MAY 2022 SCHEDULE
A full look at the Hulu May 2022 schedule by release date.
AVAILABLE MAY 1
A BEAUTIFUL MIND (2001)
A RAISIN IN THE SUN (2008)
THE ADJUSTMENT BUREAU (2011)
AFTER EVERYTHING (2018)
THE ANGRIEST MAN IN BROOKLYN (2014)
THE A-TEAM (2010)
THE BIG YEAR (2010)
BILLY MADISON (1995)
THE BOUNTY HUNTER (2010)
THE BREAKFAST CLUB (1985)
BUSCO NOVIO PARA MI MUJER (2016)
CYRUS (2010)
DAZED AND CONFUSED (1993)
DESPICABLE ME (2010)
DESPICABLE ME 2 (2013)
DEUCE BIGALOW: MALE GIGOLO (1999)
DODGEBALL: A TRUE UNDERDOG STORY (2004)
DRAG ME TO HELL (2009)
DUDE, WHERE’S MY CAR? (2000)
EASY A (2010)
EQUITY (2016)
ESCAPE FROM PRETORIA (2020)
FEVER PITCH (2005)
FORGETTING SARAH MARSHALL (2008)
FUN WITH DICK AND JANE (2005)
FUNNY PEOPLE (2009)
GONE (2012)
GRANDMA (2015)
HOT FUZZ (2007)
HOW I LIVE NOW (2013)
THE KARATE KID (2010)
THE LEGEND OF ZORRO (2005)
MARIE ANTOINETTE (2006)
ME, MYSELF AND IRENE (2000)
MO’ MONEY (1992)
NOVEMBER CRIMINALS (2017)
NOWHERE TO RUN (1993)
ONCE UPON A TIME IN AMERICA (1984)
ONG BAK (2003)
ONG BAK 2 (2008)
ONG BAK 3 (2010)
OPEN SEASON 2 (2009)
PERSON TO PERSON (2017)
PLEASANTVILLE (1998)
THE POLAR EXPRESS (2004)
PRETTY WOMAN (1990)
THE PROGRAM (1993)
RESIDENT EVIL (2002)
RESIDENT EVIL: APOCALYPSE (2004)
RESIDENT EVIL: EXTINCTION (2007)
RESIDENT EVIL: AFTERLIFE (2010)
RESIDENT EVIL: RETRIBUTION (2012)
ROCK OF AGES (2012)
SAVING FACE (2004)
SAVING PRIVATE PEREZ (2011)
SEVEN YEARS IN TIBET (1997)
STILL ALICE (2014)
STUART LITTLE (1999)
STUART LITTLE 2 (2002)
STUART LITTLE 3: CALL OF THE WILD (2006)
SUPERHERO MOVIE (2008)
TAKE THIS WALTZ (2011)
TAKEN (2009)
THE VOW (2012)
WE OWN THE NIGHT (2007)
WHITE BIRD IN A BLIZZARD (2014)
WHITE MEN CAN’T JUMP (1992)
THE WOLFMAN (2010)
THE YOUNG VICTORIA (2009)
ZATHURA: A SPACE ADVENTURE (2005)
AVAILABLE MAY 2
Duncanville: Season 3 Premiere
Daytime Divas: Complete Series
AVAILABLE MAY 4
The Chase: Season 3 Premiere
Holey Moley: Fore-Ever: Season 4 Premiere
Who Do You Believe?: Series Premeire
Real Housewives of New York City: Complete Season 13
AVAILABLE MAY 5
Dragons: The Nine Realms: Complete Season 2
LAST SURVIVORS (2022)
AVAILABLE MAY 6
HATCHING (2022)
AVAILABLE MAY 9
Candy: Limited Series Premiere
AVAILABLE MAY 10
Breeders: Season 3 Premiere
AVAILABLE MAY 12
ITALIAN STUDIES (2021)
AVAILABLE MAY 15
Conversations with Friends: Complete Limited Series
Catfish: The TV Show: Complete Season 8E
THE BRASS TEAPOT (2012)
ENRON: THE SMARTEST GUYS IN THE ROOM (2005)
THE MOUNTAIN BETWEEN US (2017)
ONE LAST THING (2005)
AVAILABLE MAY 16
Queen Sugar: Complete Season 6
AVAILABLE MAY 17
SUNDOWN (2021)
AVAILABLE MAY 18
Demons: Complete Series
Helix: Complete Series
AVAILABLE MAY 19
The Deep End: Series Premiere
So You Think You Can Dance: Season 17 Premiere
AVAILABLE MAY 20
THE VALET (2022)
AMERICAN UNDERDOG: THE KURT WARNER STORY (2021)
AVAILABLE MAY 23
227: Complete Series
My Hero Academia: Complete Season 5 (DUBBED)
AVAILABLE MAY 24
Beat Shazam: Season 5 Premiere
Don’t Forget the Lyrics: Series Premiere
AVAILABLE MAY 26
LOOK AT ME: XXXTENTACION (2022)
The Great American Tag Sale with Martha Stewart: Series Premiere
MasterChef: Season 12 Premiere
A TASTE OF HUNGER (2021)
AVAILABLE MAY 27
Shoresy: Series Premiere
AVAILABLE MAY 29
Demon Slayer Kimetsu no Yaiba: Entertainment District Arc: Complete Season 1 (DUBBED)
INTRIGO: DEATH OF AN AUTHOR (2018)
AVAILABLE MAY 31
Pistol: Complete Limited Series
GAMESTOP: RISE OF THE PLAYERS (2022)
LEAVING HULU IN MAY 2022
In addition to the Hulu May 2022 additions, we’ve got a look at what is leaving the streaming service as well.
LEAVING MAY 6
BEACH RATS (2017)
LEAVING MAY 8
THE NICE GUYS (2016)
LEAVING MAY 11
MAN WHO INVENTED CHRISTMAS (2017)
LEAVING MAY 14
DEADPOOL (2016)
DEADPOOL 2 (2018)
LEAVING MAY 17
MCQUEEN (2018)
LEAVING MAY 20
LIFE AFTER BASKETBALL (2019)
LEAVING MAY 21
THE SECOND BEST EXOTIC MARIGOLD HOTEL (2015)
LEAVING MAY 30
THE MEDDLER (2015)
LEAVING MAY 31
A BEAUTIFUL PLANET (2016)
ABOVE & BEYOND (2014)
ANOTHER EARTH (2011)
AS GOOD AS IT GETS (1997)
THE BANK JOB (2008)
BEAUTIFUL CREATURES (2013)
CAN’T BUY ME LOVE (1987)
CASPER (1995)
CHARLIE WILSON’S WAR (2007)
CRANK (2006)
DANGEROUS BEAUTY (1998)
DESPICABLE ME (2010)
DESPICABLE ME 2 (2013)
DIGGING FOR FIRE (2015)
DOLPHIN TALE 2 (2014)
THE EDGE (1997)
EVAN ALMIGHTY (2007)
FRED CLAUS (2007)
FRIGHT NIGHT (1985)
GIGLI (2003)
GUARDING TESS (1994)
GUESS WHO (2005)
HANNA (2011)
HORTON HEARS A WHO! (2008)
HUSTLE AND HEAT (2004)
IMAGINARIUM OF DOCTOR PARNASSUS (2009)
THE INSIDER (1999)
JOHN CARPENTER’S GHOSTS OF MARS (2001)
JUNO (2007)
JUST EAT IT: A FOOD WASTE STORY (2014)
L.A. CONFIDENTIAL (1997)
LAND OF THE DEAD (2005)
MEET ME IN MONTENEGRO (2014)
THE MUMMY: TOMB OF THE DRAGON EMPEROR (2008)
MY SUPER EX-GIRLFRIEND (2006)
PANDAS (2018)
PEOPLE LIKE US (2012)
THE PERFECT HOLIDAY (2007)
PRACTICAL MAGIC (1998)
PREDATORS (2010)
PREMIUM RUSH (2012)
PRETTY WOMAN (1990)
THE PRINCESS BRIDE (1987)
SCOOBY-DOO (2002)
SCOOBY-DOO 2: MONSTERS UNLEASHED (2004)
SPACED INVADERS (1990)
STARSHIP TROOPERS (1997)
STILL ALICE (2014)
STRIKING DISTANCE (1993)
TRAPPED (2002)
TREADING WATER (2013)
UNIVERSAL SOLDIER: THE RETURN (1999)
THE UPSIDE (2017)
WATCHMEN (2009)
WHITE MEN CAN’T JUMP (1992)
We would love to say thanks to the author of this article for this outstanding material
";}s:7:"summary";s:586:"The Hulu May 2022 schedule has been announced and can be viewed below! The streaming service has also revealed the titles that will be leaving next month. The Hulu May 2022 lineup includes the finale of The Girl From Plainville, Dragons: The Nine Realms Season 2, Candy, Conversations with Friends, The Valet, Look at Me: ... Read more";s:12:"atom_content";s:26700:"
The Hulu May 2022 schedule has been announced and can be viewed below! The streaming service has also revealed the titles that will be leaving next month.
The Hulu May 2022 lineup includes the finale of The Girl From Plainville, Dragons: The Nine Realms Season 2, Candy, Conversations with Friends, The Valet, Look at Me: XXXTentacion, and Shoresy.
Hulu gives viewers instant access to current shows from every major U.S. broadcast network; libraries of hit TV series and films; and acclaimed Hulu Originals. Check out the highlights below and read on for the Hulu May 2022 slate!
HULU HIGHLIGHTS
A look at the originals, exclusive and premieres that are part of the Hulu May 2022 lineup.
The Girl From Plainville: Limited Series Finale (Hulu Original – May 3) A SXSW Official Film Selection, “The Girl From Plainville” is inspired by the true story of Michelle Carter’s unprecedented “texting-suicide” case. Based on the Esquire article of the same name by Jesse Barron, the limited series explores Carter’s relationship with Conrad Roy III and the events that led to his death and, later, her conviction of involuntary manslaughter.
Episode 108 ‘Blank Spaces’: Coco’s last day. Michelle struggles with the future. The Carters and Roys both try to find closure after tragedy.
Who Do You Believe?: Series Premiere (ABC – May 4) The innovative, new series features simultaneous storytelling to take viewers through compelling true-crime cases from dual perspectives. In each episode, the audience steps into the shoes of two contrasting narratives to hear the recounts directly from the victims and criminals with never-before-revealed details.
Then the viewer plays armchair detective to deduce and piece together different versions of the truth. There are two sides to every story – and there’s no telling how far one would go for their marriage, child or way of life. Within this unique storytelling format, every episode culminates by revealing key details from the adjudicated cases leaving you to question: “Who Do You Believe?”
The Real Housewives of New York City: Complete Season 13 (Bravo – May 4) Attorney, broadcaster and producer Eboni K. Williams joins as newest Housewife, alongside Leah McSweeney, Luann de Lesseps, Ramona Singer and Sonja Morgan.
Dragons: The Nine Realms: Complete Season 2 (Hulu Original – May 5) With Project ICARIS furthering expeditions deeper into the fissure, keeping dragons a secret is becoming increasingly harder for the Dragon Riders. Meanwhile Jun, D’Angelo and Alex are growing more suspicious of Tom and Thunder’s frequent solo quests, revealing Tom’s mission of uncovering his viking heritage and mysterious connection with dragons.
Hatching (2022 – May 6) 12-year-old Tinja is desperate to please her mother, a woman obsessed with presenting the image of a perfect family. One night, Tinja finds a strange egg. What hatches is beyond belief.
Candy: Limited Series Premiere (Hulu Original – May 9) Candy Montgomery is a 1980 housewife and mother who did everything right — good husband, two kids, nice house, even the careful planning and execution of transgressions — but when the pressure of conformity builds within her, her actions scream for just a bit of freedom. With deadly results.
The series stars Jessica Biel, Melanie Lynskey, Timothy Simons, Pablo Schreiber, and Raúl Esparza. A five-night event, episodes will roll out daily through Friday, May 13.
Breeders: Season 3 Premiere (FX – May 10) “Breeders” continues its bitter-sweet look at the struggles of modern parenthood. Season 3 starts days after Season 2 ended, as the Worsley family reels from teenaged Luke (Alex Eastwood) punching his dad, Paul (Martin Freeman). Paul’s moved out and is staying at his mother-in-law Leah’s (Stella Gonet) house. He should be lonely but actually the simpler life has its appeal. Eventually, though, amends with Luke must be made.
Meanwhile Ally (Daisy Haggard) has her own problems – with work, with her early menopause and with her increasingly strained relationship with her newly adolescent daughter, Ava (Eve Prenelle). Gallows humor and large glasses of wine only go so far in quelling the angst…
Conversations with Friends: Complete Limited Series (Hulu Original – May 15) Based on Sally Rooney’s best-selling novel, “Conversations with Friends” follows Frances (Alison Oliver), a 21 year old college student, as she navigates a series of relationships that force her to confront her own vulnerabilities for the first time. The series also stars Joe Alwyn, Sasha Lane and Jemime Kirke
Queen Sugar: Complete Season 6 (OWN – May 16) In season six, we see the Bordelon family reclaiming their lives coming out of the pandemic. As Ralph Angel (Kofi Siriboe) and Darla (Bianca Lawson) plan the arrival of their new baby, Nova (Rutina Wesley) continues to speak out against political corruption and Charley (Dawn-Lyen Gardner) faces a life-altering decision. Throughout the season, we witness the joy amid the struggle and humanity’s ability to persevere through whatever life may bring.
Sundown (2021 – May 17) Neil and Alice Bennett (Tim Roth, Charlotte Gainsbourg) are the core of a wealthy family on vacation in Mexico with younger members Colin and Alexa (Samuel Bottomley, Albertine Kotting McMillan) until a distant emergency cuts their trip short. When one relative disrupts the family’s tight-knit order, simmering tensions rise to the fore in this suspenseful jolt from writer/director Michel Franco.
The Deep End: Series Premiere (Freeform – May 19) “The Deep End,” a four-part docu-series, is an arresting and provocative exploration inside the world of one of today’s most controversial spiritual teachers and her dedicated followers. Filmed over three years with unprecedented access, it is an unflinching portrayal of the incredible lengths people will go to in their search for connection.
So You Think You Can Dance: Season 17 Premiere (FOX – May 19) The new season of the Emmy Award-winning dance competition series will introduce a new dynamic judging panel – welcoming home Stephen “tWitch” Boss, alongside Emmy-, Tony- and Golden Globe-nominated artist Matthew Morrison and dancer, singer and digital sensation JoJo Siwa. Presenter and author Cat Deeley will step back into her role as host of the dance competition series.
The brand-new version will feature highly skilled dancers between the ages of 18 and 30, showcasing their talents in various dance styles, including contemporary, tap, hip-hop, ballroom, animation, breaking and more. Those who are selected to move on to the SYTYCD studio will work with world-renowned choreographers and compete each week in a variety of styles, with brand-new twists and turns introduced into the competition.
American Underdog: The Kurt Warner Story (2021 – May 20) “American Underdog” tells the inspirational true story of Kurt Warner (Zachary Levi), who went from a stockboy at a grocery store to a two-time NFL MVP, Super Bowl champion, and Hall of Fame quarterback.
The film centers on Warner’s unique story and years of challenges and setbacks that could have derailed his aspirations to become an NFL player – but just when his dreams seemed all but out of reach, it is only with the support of his wife, Brenda (Anna Paquin) and the encouragement of his family, coaches, and teammates that Warner perseveres and finds the strength to show the world the champion that he already is. “American Underdog” is an uplifting story that demonstrates that anything is possible when you have faith, family and determination.
The Valet (2022 Hulu Original – May 20) In “The Valet,” world famous movie star, Olivia (Samara Weaving) faces a PR disaster when a paparazzi snaps a photo of her with her married lover, Vincent (Max Greenfield). The hard-working valet Antonio (Eugenio Derbez) accidentally appears in the same photo and is enlisted to pose as Olivia’s new boyfriend as a cover up.
This ruse with Olivia thrusts Antonio into the spotlight and unexpected chaos. In this fish out of water romantic comedy, two worlds and cultures collide as both Olivia and Antonio start to see themselves more clearly than ever before. “The Valet,” directed by Richard Wong and written by Rob Greenberg and Bob Fisher, is the English-language remake of the hit French film.
227: Complete Series (Sony – May 23) “227” follows the lives of people in a middle-class apartment building, 227 Lexington Place in Washington, D.C. Centering around Mary Jenkins, a nosy and tart-tongued but loving housewife, her husband, Lester, and their boy-crazy yet smart and studious daughter, Brenda.
Don’t Forget the Lyrics: Series Premiere (FOX – May 24) With Emmy Award nominee Niecy Nash as host, the popular game show returns to challenge contestants’ musical memory, as they get one song closer to winning $1 million if they “Don’t Forget the Lyrics!” Contestants will choose songs from different genres, decades and musical artists. Then they’ll take center stage to sing alongside the studio band as the lyrics are projected on screen – but suddenly the music will stop, and the words will disappear.
Will the contestants belt out the correct missing lyrics, or freeze under pressure? If they sing nine songs correctly, they are presented with a No. 1 hit and sing the final missing lyrics for the top prize of $1 million. It’s that simple: 10 songs, some missing lyrics, $1 million.
A Taste of Hunger (2021 – May 26) Welcome to Malus, the bright new star in the culinary sky in Denmark. Here, the power couple Maggie (Katrine Greis-Rosenthal) and Carsten (Nikolaj Coster-Waldau) rule as the latest invincible duo on the Danish gourmet scene. Maggie is an anthropologist who has created the extraordinary setting of the restaurant, and Carsten is a celebrity chef who works his magic in the kitchen.
They love each other, have two wonderful children, and own one of the most hyped restaurants in Copenhagen. They want it all and they have it all… except the prestigious Michelin star they so desperately covet. The couple is willing to sacrifice everything to achieve their dream. In their tireless chase after the ultimate recognition, they forget that the best meals in life are shared together.
Look at Me: XXXTentacion (2022 Hulu Original – May 26) “Look at Me: XXXTentacion” explores how Florida teenager Jahseh Onfroy became SoundCloud rapper XXXTentacion, one of the most streamed artists on the planet. Through frank commentary from family, friends and romantic partners, and unseen archival footage, director Sabaah Folayan offers a sensitive portrayal of an artist whose acts of violence, raw musical talent and open struggles with mental health left an indelible mark on his generation before his death at the age of 20.
The Great American Tag Sale with Martha Stewart: Series Premiere (ABC – May 26) Martha Stewart, known for turning everyday living into an art form, is ready to part ways with pieces from her vast collection of furniture, art and housewares in this new one-hour special. Over the years, Martha has amassed an assortment of items that ranges from fine art to knickknacks.
During the special, she will regale viewers with fond memories of how these beloved items were acquired and offer expert advice on how to execute a successful tag sale. Alongside her team of event planners, Martha will host a series of tag sale events including an exclusive cocktail party for celebrities and neighbors to preview the sale.
Shoresy: Series Premiere (Hulu Original – May 27) The six-episode, half-hour Hulu Original comedy sees the foul-mouthed, chirp-serving, mother-loving, fan favorite character, Shoresy, join a senior AAA hockey team in Sudbury on a quest to never lose again.
Pistol: Complete Limited Series (FX – May 31) “Pistol” is a six-episode limited series about a rock and roll revolution. The furious, raging storm at the center of this revolution are the Sex Pistols – and at the center of this series is Sex Pistols’ founding member and guitarist, Steve Jones. Jones’ hilarious, emotional and at times heart-breaking journey guides us through a kaleidoscopic telling of three of the most epic, chaotic and mucus-spattered years in the history of music.
Based on Jones’ memoir “Lonely Boy: Tales from a Sex Pistol,” this is the story of a band of spotty, noisy, working-class kids with “no future,” who shook the boring, corrupt Establishment to its core, threatened to bring down the government and changed music and culture forever.
GameStop: Rise of the Players (2022 – May 31) From the makers of “Console Wars” comes the origin story of the Gamestop stock market phenomenon, featuring exclusive access to the original players who lit the fuse on a historic amateur investor uprising. Spotlighting the human side of a sensational business drama, “Gamestop: Rise of the Players” is a David vs Goliath tale about ordinary people waking up to the power they have in numbers.
HULU MAY 2022 SCHEDULE
A full look at the Hulu May 2022 schedule by release date.
AVAILABLE MAY 1
A BEAUTIFUL MIND (2001)
A RAISIN IN THE SUN (2008)
THE ADJUSTMENT BUREAU (2011)
AFTER EVERYTHING (2018)
THE ANGRIEST MAN IN BROOKLYN (2014)
THE A-TEAM (2010)
THE BIG YEAR (2010)
BILLY MADISON (1995)
THE BOUNTY HUNTER (2010)
THE BREAKFAST CLUB (1985)
BUSCO NOVIO PARA MI MUJER (2016)
CYRUS (2010)
DAZED AND CONFUSED (1993)
DESPICABLE ME (2010)
DESPICABLE ME 2 (2013)
DEUCE BIGALOW: MALE GIGOLO (1999)
DODGEBALL: A TRUE UNDERDOG STORY (2004)
DRAG ME TO HELL (2009)
DUDE, WHERE’S MY CAR? (2000)
EASY A (2010)
EQUITY (2016)
ESCAPE FROM PRETORIA (2020)
FEVER PITCH (2005)
FORGETTING SARAH MARSHALL (2008)
FUN WITH DICK AND JANE (2005)
FUNNY PEOPLE (2009)
GONE (2012)
GRANDMA (2015)
HOT FUZZ (2007)
HOW I LIVE NOW (2013)
THE KARATE KID (2010)
THE LEGEND OF ZORRO (2005)
MARIE ANTOINETTE (2006)
ME, MYSELF AND IRENE (2000)
MO’ MONEY (1992)
NOVEMBER CRIMINALS (2017)
NOWHERE TO RUN (1993)
ONCE UPON A TIME IN AMERICA (1984)
ONG BAK (2003)
ONG BAK 2 (2008)
ONG BAK 3 (2010)
OPEN SEASON 2 (2009)
PERSON TO PERSON (2017)
PLEASANTVILLE (1998)
THE POLAR EXPRESS (2004)
PRETTY WOMAN (1990)
THE PROGRAM (1993)
RESIDENT EVIL (2002)
RESIDENT EVIL: APOCALYPSE (2004)
RESIDENT EVIL: EXTINCTION (2007)
RESIDENT EVIL: AFTERLIFE (2010)
RESIDENT EVIL: RETRIBUTION (2012)
ROCK OF AGES (2012)
SAVING FACE (2004)
SAVING PRIVATE PEREZ (2011)
SEVEN YEARS IN TIBET (1997)
STILL ALICE (2014)
STUART LITTLE (1999)
STUART LITTLE 2 (2002)
STUART LITTLE 3: CALL OF THE WILD (2006)
SUPERHERO MOVIE (2008)
TAKE THIS WALTZ (2011)
TAKEN (2009)
THE VOW (2012)
WE OWN THE NIGHT (2007)
WHITE BIRD IN A BLIZZARD (2014)
WHITE MEN CAN’T JUMP (1992)
THE WOLFMAN (2010)
THE YOUNG VICTORIA (2009)
ZATHURA: A SPACE ADVENTURE (2005)
AVAILABLE MAY 2
Duncanville: Season 3 Premiere
Daytime Divas: Complete Series
AVAILABLE MAY 4
The Chase: Season 3 Premiere
Holey Moley: Fore-Ever: Season 4 Premiere
Who Do You Believe?: Series Premeire
Real Housewives of New York City: Complete Season 13
AVAILABLE MAY 5
Dragons: The Nine Realms: Complete Season 2
LAST SURVIVORS (2022)
AVAILABLE MAY 6
HATCHING (2022)
AVAILABLE MAY 9
Candy: Limited Series Premiere
AVAILABLE MAY 10
Breeders: Season 3 Premiere
AVAILABLE MAY 12
ITALIAN STUDIES (2021)
AVAILABLE MAY 15
Conversations with Friends: Complete Limited Series
Catfish: The TV Show: Complete Season 8E
THE BRASS TEAPOT (2012)
ENRON: THE SMARTEST GUYS IN THE ROOM (2005)
THE MOUNTAIN BETWEEN US (2017)
ONE LAST THING (2005)
AVAILABLE MAY 16
Queen Sugar: Complete Season 6
AVAILABLE MAY 17
SUNDOWN (2021)
AVAILABLE MAY 18
Demons: Complete Series
Helix: Complete Series
AVAILABLE MAY 19
The Deep End: Series Premiere
So You Think You Can Dance: Season 17 Premiere
AVAILABLE MAY 20
THE VALET (2022)
AMERICAN UNDERDOG: THE KURT WARNER STORY (2021)
AVAILABLE MAY 23
227: Complete Series
My Hero Academia: Complete Season 5 (DUBBED)
AVAILABLE MAY 24
Beat Shazam: Season 5 Premiere
Don’t Forget the Lyrics: Series Premiere
AVAILABLE MAY 26
LOOK AT ME: XXXTENTACION (2022)
The Great American Tag Sale with Martha Stewart: Series Premiere
MasterChef: Season 12 Premiere
A TASTE OF HUNGER (2021)
AVAILABLE MAY 27
Shoresy: Series Premiere
AVAILABLE MAY 29
Demon Slayer Kimetsu no Yaiba: Entertainment District Arc: Complete Season 1 (DUBBED)
INTRIGO: DEATH OF AN AUTHOR (2018)
AVAILABLE MAY 31
Pistol: Complete Limited Series
GAMESTOP: RISE OF THE PLAYERS (2022)
LEAVING HULU IN MAY 2022
In addition to the Hulu May 2022 additions, we’ve got a look at what is leaving the streaming service as well.
LEAVING MAY 6
BEACH RATS (2017)
LEAVING MAY 8
THE NICE GUYS (2016)
LEAVING MAY 11
MAN WHO INVENTED CHRISTMAS (2017)
LEAVING MAY 14
DEADPOOL (2016)
DEADPOOL 2 (2018)
LEAVING MAY 17
MCQUEEN (2018)
LEAVING MAY 20
LIFE AFTER BASKETBALL (2019)
LEAVING MAY 21
THE SECOND BEST EXOTIC MARIGOLD HOTEL (2015)
LEAVING MAY 30
THE MEDDLER (2015)
LEAVING MAY 31
A BEAUTIFUL PLANET (2016)
ABOVE & BEYOND (2014)
ANOTHER EARTH (2011)
AS GOOD AS IT GETS (1997)
THE BANK JOB (2008)
BEAUTIFUL CREATURES (2013)
CAN’T BUY ME LOVE (1987)
CASPER (1995)
CHARLIE WILSON’S WAR (2007)
CRANK (2006)
DANGEROUS BEAUTY (1998)
DESPICABLE ME (2010)
DESPICABLE ME 2 (2013)
DIGGING FOR FIRE (2015)
DOLPHIN TALE 2 (2014)
THE EDGE (1997)
EVAN ALMIGHTY (2007)
FRED CLAUS (2007)
FRIGHT NIGHT (1985)
GIGLI (2003)
GUARDING TESS (1994)
GUESS WHO (2005)
HANNA (2011)
HORTON HEARS A WHO! (2008)
HUSTLE AND HEAT (2004)
IMAGINARIUM OF DOCTOR PARNASSUS (2009)
THE INSIDER (1999)
JOHN CARPENTER’S GHOSTS OF MARS (2001)
JUNO (2007)
JUST EAT IT: A FOOD WASTE STORY (2014)
L.A. CONFIDENTIAL (1997)
LAND OF THE DEAD (2005)
MEET ME IN MONTENEGRO (2014)
THE MUMMY: TOMB OF THE DRAGON EMPEROR (2008)
MY SUPER EX-GIRLFRIEND (2006)
PANDAS (2018)
PEOPLE LIKE US (2012)
THE PERFECT HOLIDAY (2007)
PRACTICAL MAGIC (1998)
PREDATORS (2010)
PREMIUM RUSH (2012)
PRETTY WOMAN (1990)
THE PRINCESS BRIDE (1987)
SCOOBY-DOO (2002)
SCOOBY-DOO 2: MONSTERS UNLEASHED (2004)
SPACED INVADERS (1990)
STARSHIP TROOPERS (1997)
STILL ALICE (2014)
STRIKING DISTANCE (1993)
TRAPPED (2002)
TREADING WATER (2013)
UNIVERSAL SOLDIER: THE RETURN (1999)
THE UPSIDE (2017)
WATCHMEN (2009)
WHITE MEN CAN’T JUMP (1992)
We would love to say thanks to the author of this article for this outstanding material
";s:14:"date_timestamp";i:1650400789;}i:9;a:11:{s:5:"title";s:88:"Matthew Lillard Launches Studio Midnite Movie Club With Vampire Movie ‘Let Them Die’";s:4:"link";s:133:"https://latestmovies.debatepost.com/latest-movies/matthew-lillard-launches-studio-midnite-movie-club-with-vampire-movie-let-them-die/";s:2:"dc";a:1:{s:7:"creator";s:14:"River Streeter";}s:7:"pubdate";s:31:"Tue, 19 Apr 2022 17:39:08 +0000";s:8:"category";s:67:"Latest MoviesClubDieLAUNCHESLillardMatthewMidniteMovieStudiovampire";s:4:"guid";s:43:"https://latestmovies.debatepost.com/?p=7248";s:11:"description";s:757:"The 2022 Tribeca Festival has unveiled its lineup from the event taking place June 8 to June 19 with a feature slate that includes 109 feature films from across the globe, including 88 world premieres. The festival’s 21st edition once again spotlights horror, including the New York premiere of Scott Derrickson‘s The Black Phone (review), repertory screenings of ... Read more";s:7:"content";a:1:{s:7:"encoded";s:23160:"
The 2022 Tribeca Festival has unveiled its lineup from the event taking place June 8 to June 19 with a feature slate that includes 109 feature films from across the globe, including 88 world premieres.
The festival’s 21st edition once again spotlights horror, including the New York premiere of Scott Derrickson‘s The Black Phone (review), repertory screenings of cult classics Basket Case, Ms. 45, and more.
Check out the 2021 features lineup below and be sure to grab your pass to this year’s festival!
MIDNIGHT: Always surprising and boundary-pushing, Tribeca Midnight is the destination for the best in horror and genre discoveries.
Attachment (Natten Har Øjne), (Denmark) – Feature Narrative, International Premiere. Maja and Leah’s new relationship is interrupted when mysterious things start happening in their London flat. It seems that Leah’s disapproving mother, who lives downstairs, is using Jewish folklore to come between them. In Danish and English with English subtitles. Directed and written by Gabriel Bier Gislason. Produced by Thomas Heinesen. With Josephine Park, Ellie Kendrick, Sofie Gråbøl, David Dencik. A Shudder release.
The Black Phone, (United States) – Feature Narrative, New York Premiere. Locked in a soundproof basement by a masked child killer, a teenage boy finds the possibility of hope through an unexpected and supernatural lifeline: a telephone on which he receives motivational calls from the killer’s past victims. Directed by Scott Derrickson. Written by Scott Derrickson, C. Robert Cargill. Produced by Jason Blum, Scott Derrickson, C. Robert Cargill. A Universal Pictures release.
Family Dinner, (Austria) – Feature Narrative, World Premiere. Overweight and insecure, Simi spends Easter weekend with her famous nutritionist aunt. The hope is that it’ll help her get on a healthier track, but as the aunt’s family’s icy dynamics and an increasingly malevolent atmosphere leave Simi feeling uneasy, weight isn’t the only thing she’s about to lose. Directed and written by Peter Hengl. Produced by Lola Basara. With Pia Hierzegger, Nina Katlein, Michael Pink, Alexander Sladek. In German with English subtitles.
Huesera, (Mexico) – Feature Narrative, World Premiere. Valeria has long dreamed about becoming a mother. After learning that she’s pregnant, she expects to feel happy, yet something’s off. Nightmarish visions and an unshakeable paranoia have her questioning what she wants, and an ancient evil spirit may be the cause. Directed by Michelle Garza Cervera. Written by Michelle Garza Cervera, Abia Castillo. Produced by Paulina Villavicencio, Edher Campos. With Natalia Solián, Alfonso Dosal, Mayra Batalla, Mercedes Hernández, Aída López, Martha Claudia Moreno. In Spanish with English subtitles. An XYZ release.
A Wounded Fawn, (United States) – Feature Narrative, World Premiere. It’s the perfect plan: A serial killer brings an unsuspecting new victim on a weekend getaway to add another body to his ever-growing count. She’s buying into his faux charms, and he’s eagerly lusting for blood. What could possibly go wrong? Directed by Travis Stevens. Written by Travis Stevens, Nathan Faudree. Produced by Joe Barbagallo, Laurence Gendron, Travis Stevens. With Josh Ruben, Sarah Lind, Malin Barr, Katie Kuang, Laksmi Hedemark, Tanya Everett, Marshall Taylor Thurman, Leandro Taub, Neal Mayer. Shudder.
U.S. NARRATIVE COMPETITION: Tribeca’s U.S. Narrative Competition showcases extraordinary world premieres that will vie for the Founders Award for Best Narrative Feature, and the Awards for Best Screenplay, Best Cinematography, and Best Performance.
Next Exit, (United States) – World Premiere. In a world where ghosts are real and front-page news, a controversial new medical procedure allows people to peacefully kill themselves. In the midst of this breakthrough, two strangers travel cross country together to end their lives, only to unexpectedly find what they’ve been missing along the way. Directed and written by Mali Elfman. Produced by Derek Bishé, Narineh Hacopian. With Katie Parker, Rahul Kohli, Rose McIver, Karen Gillan, Tongayi Chirisa, Diva Zappa.
VIEWPOINTS: Viewpoints, which includes narratives and documentaries, recognizes distinct voices in independent filmmaking by creating a home for bold directorial visions and embracing distinct characters and points of view.
Our Father, The Devil (Mon Père, le Diabe), (United States) – Feature Narrative, North American Premiere. Caretaker Marie finds her peaceful life in France upended by the arrival of a new priest who reminds her of her traumatic past. Directed and written by Ellie Foumbi. Produced by Ellie Foumbi, Joseph Mastantuono. With Babetida Sadjo, Souleymane Sy Savané, Jennifer Tchiakpe, Franck Saurel, Martine Amisse. In French with English subtitles.
Tribeca Online Premieres: Enjoy the 2022 Festival from the comfort of your home.
Rounding, (United States) – Feature Narrative, North American Premiere. When a motivated resident doctor transfers to a rural hospital for a fresh start, his demons follow him as he becomes consumed with the case of a young asthma patient, in Alex Thompson’s psychological horror follow up to his highly acclaimed Saint Frances. Directed by Alex Thompson. Stars Namir Smallwood, Sidney Flanigan, Michael Potts, Max Lipchitz, David Cromer, Cheryl Lynn Bruce.
MIDNIGHT: TRIBECXPLOITATION! Grindhouse IS Art House
Basket Case, (United States) – Feature Narrative, 1982. The debut gutter-trash symphony from Frank Henenlotter (Brain Damage, Frankenhooker), stealthily filmed in the toilet bowls of Times Square and chock-full of demented fury. Directed and written by Frank Henenlotter. Produced by Edgar Ievins. With Kevin Van Hentenryck, Terri Susan Smith, Beverly Bonner, Robert Vogel, Diana Browne, Lloyd Pace, Bill Freeman. Courtesy of Arrow Films and the American Genre Film Archive.
Ms .45, (United States) – Feature Narrative, 1981. Eerie and unforgettable, Ms. 45 is an essential snapshot of New York City in the early 1980s from Abel Ferrara (Driller Killer, The Addiction) — one of the greatest and most unique living filmmakers on the planet. Directed by Abel Ferrara. Written by Nicholas St. John. Produced by Richard Howorth, Mary Kane, Arthur Weisberg. With Zoë Lund, Bogey, Albert Sinkys. Courtesy of Drafthouse Films and the American Genre Film Archive.
Tenement, (United States) – Feature Narrative, 1985. The sordid story of a South Bronx apartment building ruled by a gang of crazed, junkie punks. Directed by Roberta Findlay. Written by Joel Bender, Rick Marx. Produced by Walter E. Sear. With Joe Linn, Enrique Sandino, Paul Calderon, Corrine Chateau.
We would like to say thanks to the author of this post for this amazing web content
";}s:7:"summary";s:757:"The 2022 Tribeca Festival has unveiled its lineup from the event taking place June 8 to June 19 with a feature slate that includes 109 feature films from across the globe, including 88 world premieres. The festival’s 21st edition once again spotlights horror, including the New York premiere of Scott Derrickson‘s The Black Phone (review), repertory screenings of ... Read more";s:12:"atom_content";s:23160:"
The 2022 Tribeca Festival has unveiled its lineup from the event taking place June 8 to June 19 with a feature slate that includes 109 feature films from across the globe, including 88 world premieres.
The festival’s 21st edition once again spotlights horror, including the New York premiere of Scott Derrickson‘s The Black Phone (review), repertory screenings of cult classics Basket Case, Ms. 45, and more.
Check out the 2021 features lineup below and be sure to grab your pass to this year’s festival!
MIDNIGHT: Always surprising and boundary-pushing, Tribeca Midnight is the destination for the best in horror and genre discoveries.
Attachment (Natten Har Øjne), (Denmark) – Feature Narrative, International Premiere. Maja and Leah’s new relationship is interrupted when mysterious things start happening in their London flat. It seems that Leah’s disapproving mother, who lives downstairs, is using Jewish folklore to come between them. In Danish and English with English subtitles. Directed and written by Gabriel Bier Gislason. Produced by Thomas Heinesen. With Josephine Park, Ellie Kendrick, Sofie Gråbøl, David Dencik. A Shudder release.
The Black Phone, (United States) – Feature Narrative, New York Premiere. Locked in a soundproof basement by a masked child killer, a teenage boy finds the possibility of hope through an unexpected and supernatural lifeline: a telephone on which he receives motivational calls from the killer’s past victims. Directed by Scott Derrickson. Written by Scott Derrickson, C. Robert Cargill. Produced by Jason Blum, Scott Derrickson, C. Robert Cargill. A Universal Pictures release.
Family Dinner, (Austria) – Feature Narrative, World Premiere. Overweight and insecure, Simi spends Easter weekend with her famous nutritionist aunt. The hope is that it’ll help her get on a healthier track, but as the aunt’s family’s icy dynamics and an increasingly malevolent atmosphere leave Simi feeling uneasy, weight isn’t the only thing she’s about to lose. Directed and written by Peter Hengl. Produced by Lola Basara. With Pia Hierzegger, Nina Katlein, Michael Pink, Alexander Sladek. In German with English subtitles.
Huesera, (Mexico) – Feature Narrative, World Premiere. Valeria has long dreamed about becoming a mother. After learning that she’s pregnant, she expects to feel happy, yet something’s off. Nightmarish visions and an unshakeable paranoia have her questioning what she wants, and an ancient evil spirit may be the cause. Directed by Michelle Garza Cervera. Written by Michelle Garza Cervera, Abia Castillo. Produced by Paulina Villavicencio, Edher Campos. With Natalia Solián, Alfonso Dosal, Mayra Batalla, Mercedes Hernández, Aída López, Martha Claudia Moreno. In Spanish with English subtitles. An XYZ release.
A Wounded Fawn, (United States) – Feature Narrative, World Premiere. It’s the perfect plan: A serial killer brings an unsuspecting new victim on a weekend getaway to add another body to his ever-growing count. She’s buying into his faux charms, and he’s eagerly lusting for blood. What could possibly go wrong? Directed by Travis Stevens. Written by Travis Stevens, Nathan Faudree. Produced by Joe Barbagallo, Laurence Gendron, Travis Stevens. With Josh Ruben, Sarah Lind, Malin Barr, Katie Kuang, Laksmi Hedemark, Tanya Everett, Marshall Taylor Thurman, Leandro Taub, Neal Mayer. Shudder.
U.S. NARRATIVE COMPETITION: Tribeca’s U.S. Narrative Competition showcases extraordinary world premieres that will vie for the Founders Award for Best Narrative Feature, and the Awards for Best Screenplay, Best Cinematography, and Best Performance.
Next Exit, (United States) – World Premiere. In a world where ghosts are real and front-page news, a controversial new medical procedure allows people to peacefully kill themselves. In the midst of this breakthrough, two strangers travel cross country together to end their lives, only to unexpectedly find what they’ve been missing along the way. Directed and written by Mali Elfman. Produced by Derek Bishé, Narineh Hacopian. With Katie Parker, Rahul Kohli, Rose McIver, Karen Gillan, Tongayi Chirisa, Diva Zappa.
VIEWPOINTS: Viewpoints, which includes narratives and documentaries, recognizes distinct voices in independent filmmaking by creating a home for bold directorial visions and embracing distinct characters and points of view.
Our Father, The Devil (Mon Père, le Diabe), (United States) – Feature Narrative, North American Premiere. Caretaker Marie finds her peaceful life in France upended by the arrival of a new priest who reminds her of her traumatic past. Directed and written by Ellie Foumbi. Produced by Ellie Foumbi, Joseph Mastantuono. With Babetida Sadjo, Souleymane Sy Savané, Jennifer Tchiakpe, Franck Saurel, Martine Amisse. In French with English subtitles.
Tribeca Online Premieres: Enjoy the 2022 Festival from the comfort of your home.
Rounding, (United States) – Feature Narrative, North American Premiere. When a motivated resident doctor transfers to a rural hospital for a fresh start, his demons follow him as he becomes consumed with the case of a young asthma patient, in Alex Thompson’s psychological horror follow up to his highly acclaimed Saint Frances. Directed by Alex Thompson. Stars Namir Smallwood, Sidney Flanigan, Michael Potts, Max Lipchitz, David Cromer, Cheryl Lynn Bruce.
MIDNIGHT: TRIBECXPLOITATION! Grindhouse IS Art House
Basket Case, (United States) – Feature Narrative, 1982. The debut gutter-trash symphony from Frank Henenlotter (Brain Damage, Frankenhooker), stealthily filmed in the toilet bowls of Times Square and chock-full of demented fury. Directed and written by Frank Henenlotter. Produced by Edgar Ievins. With Kevin Van Hentenryck, Terri Susan Smith, Beverly Bonner, Robert Vogel, Diana Browne, Lloyd Pace, Bill Freeman. Courtesy of Arrow Films and the American Genre Film Archive.
Ms .45, (United States) – Feature Narrative, 1981. Eerie and unforgettable, Ms. 45 is an essential snapshot of New York City in the early 1980s from Abel Ferrara (Driller Killer, The Addiction) — one of the greatest and most unique living filmmakers on the planet. Directed by Abel Ferrara. Written by Nicholas St. John. Produced by Richard Howorth, Mary Kane, Arthur Weisberg. With Zoë Lund, Bogey, Albert Sinkys. Courtesy of Drafthouse Films and the American Genre Film Archive.
Tenement, (United States) – Feature Narrative, 1985. The sordid story of a South Bronx apartment building ruled by a gang of crazed, junkie punks. Directed by Roberta Findlay. Written by Joel Bender, Rick Marx. Produced by Walter E. Sear. With Joe Linn, Enrique Sandino, Paul Calderon, Corrine Chateau.
We would like to say thanks to the author of this post for this amazing web content
