Gundam 40th Anniversary Celebration: Chars Counterattack Free Stream Without Sign Up gostream amazon putlocker9
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Country - USA; runtime - 2 hour, 15 Min. 2019 and the audio is still here. Just saw this on break at work and am freaking out I'm so excited. Starting with Char's Counterattack footage then into Hathaway was awesome. So many feels. 本当にレイジが好きすぎる セイとレイジの絆には感動した. End with the end of this movie comes with the end of hope, beginning the cycle of destruction that not even the moonlight butterfly can hope to end. This feels like Amuro transcending after the events of CCA where he witnesses the Black History with the Turn A destroying civilization and then he saw Gundams from other worlds nice video clip but kinda sad they didnt include any of the Build series while showing the different alternate worlds.
I am so impressed by that. I can't wait for the movie, and I just think that this little trailer is a good way to show Gundam will never truly end. What about Gundam fans in Southeast Asia. WTF My Gundam. Somewhat like a more accessible GFF series. Gundam 40th anniversary celebration: chars counterattack free streaming. Gundam 40th Anniversary Celebration: Chars Counterattack Free stream.nbcolympics. Hmmm, Nu Gundam or Hi-Nu Gundam? That's a tough choice. Sunrise has revealed 4 key visual images in their latest live stream presentation on November 21st 2018, showing crossovers of their previous anime series as a part of their Mobile Suit Gundam "BEYOND" Project. First image shows Gundam 0079 with Amuro Ray and RX-78-2 Gundam reflecting in Banagher Links' space helmet, second image is Mikazuki with Gundam Barbatos Lupus and ELS Setsuna with the flower from Gundam 00, third image shows the Wing Gundam, Heero Yuy and Kamille Bidan, 4th image has Gundam G-Self, young Char, and young Sayla running towards Zenam Bellri! Mobile Suit Gundam Hathaway's Flash Sunrise also revealed a concept art image for the Mobile Suit Gundam Hathaway's Flash which leads to their UC NexT 0100 project that continues the Universal Century's story line from UC0093: Char's Counterattack. The UC NexT 0100 project was first announced in Sunrise's live-stream presentation in April, 2018. The project will continue the UC story line 100 years after the Char's counterattack in 0093 UC timeline. We will be seeing more information about these new projects as we approach Gundam's 40th anniversary in 2019... Here are some high quality images of the key visuals.
Gundam 40th Anniversary Celebration: Chars Counterattack Free streaming. 待っていたよ…何年待ったか. Whos ready for Hathaways Flash. Gundam 40th Anniversary Celebration: Chars Counterattack Free stream. Woof woof let me be your dog I mean your gundam. This is hot trash no Exia a lot of misinformation no Stargazer and u showed the Shining instead of the G gundam, etc. -10/10. 宇宙世紀もアフターウォーもコズミック・イラもその都度生まれては滅ぼされてると考えるとなんか面白い.
Gundam 40th Anniversary Celebration: Chars Counterattack Free
Gundam 40th Anniversary Celebration: Chars Counterattack Free stream of consciousness. Press alt. to open this menu. Re-mastered 1988 animated Mecha animated film "Mobile Suit Gundam: Char's Counterattack" is coming to the U. S. for a special one-night event: Gundam 40th Anniversary Celebration: Char's Counterattack. Mobile Suit Gundam: Char's Counterattack. set in the Universal Century timeline of the celebrated franchise, was the first original Mobile Suit Gundam theatrical release and marks the culmination of the original saga started in "Mobile Suit Gundam" and continued in "Mobile Suit Zeta Gundam" and "Mobile Suit Gundam ZZ. " As an exciting bonus, fans will also view an exclusive interview with the creator of the Gundam anime franchise Yoshiyuki Tomino, as well as newly captured content from ANIME NYC 2019. Watch a trailer here: Gundam 40th Anniversary Celebration: Char's Counterattack" will be shown in these local theaters: 61 Eagle Road Danbury CT 405 State Route 3 E Clifton NJ 145 Route 10 East East Hanover 2821 Highway 35 Hazlet 1 Garden State Plaza (Rt 4 & 17) Route 4 & 17 Paramus 363 Mount Hope Avenue Rockaway 650 Plaza Dr Secaucus 67 Willowbrook Boulevard Wayne 1001 Broadhollow Rd Farmingdale NY 185 Morris Ave Holtsville 234 W 42nd Street New York 570 2nd Avenue 2196 Nesconset Highway Stony Brook 19 City Place White Plains 28-55 Ulmer Street Whitestone 2805 Center Valley Parkway Center Valley PA Related Articles View More TV Stories From This Author TV News Desk.
Seed, IBO, and Build Fighters are my faves. I still cry. Gundam 40th Anniversary Celebration: Chars Counterattack Free streaming sur internet. Amuro must prevent Char from unleashing a nuclear winter on Earth in the action-packed anime adventure "Mobile Suit Gundam: Char's Counterattack" features an exclusive interview with franchise creator Yoshiyuki Tomino. Rating Unrated.
2:30 the song that plays at every Zaku's time of death. I must know the name of this music it's too good, it also fits the mood/plot so well that I'm excited of seeing this movie and design of both characters & mobile suits are just amazing. Legendary. 0:47, man dat atmospheric animation look so damn cool.
Gundam 40th Anniversary Celebration: Chars Counterattack Free stream new albums. 2:18 バズーカ注視→ガンダムにやられる ガンダム注視→ワイヤーバズーカにやられる どっちいっても死ぬ運命. 4:26 歴史博物館行き. Gundam 40th Anniversary Celebration: Chars Counterattack Free stream online. The new sound effects are outstandingly amazing! Especially the beam rifle firing.
なんかいろいろと感動…(語彙力. Celebrate Gundams 40th Anniversary when Fathom Events and Sunrise bring Mobile Suit Gundam: Chars Counterattack to the big screen! Gundam fans wont want to miss this event, featuring an exclusive interview with franchise creator Yoshiyuki Tomino! To purchase your tickets, visit. Kira 'Jesus' Yamato Hahaha! I laugh so hard! Anyway, I really love him. Whats the “T” thing floating around. This is the best gundam fight ever. They need to remake this movie. Literally just trace over every frame with modern technology and give it some touch ups. Guarantee it'll be the best thing with the Gundam name on it.
Gundam 40th Anniversary Celebration: Chars Counterattack Free streams. No mentions of zeta gundam, NU Gundam or RX178 which i think shit on some of those. ・・・なんでだろ？ずっと見てられるww 飽きないのは認める！！ たぶん皆さんも同じはず！！！！. Gundam 40th Anniversary Celebration: Chars Counterattack Free stream new. Really wish i could have taken the time to watch the original gundam with char and amuro. Didn't realize how interesting it was until i played dynasty warriors gundam 2 on the ps 2. I have only really watched g gundam.
Ill stick to mg MGs xD. Where can I get my sazabi figure.
/ countries: UK / 2019.
Theory of everything: the prequel. LMFAO this looks hilarious. Download the aeronauts full movie.
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2:00 - 2:05 they thought i was watching something else. Lo. Voglio. Vedere. Musica fantastica, cast incredibile e duo formidabile già ben riuscito in: La teoria del tutto, scenografia che richiama Tim Burton. Credo sarà un film splendido. 1 1 Posted by 20 days ago 1 comment 100% Upvoted Log in or sign up to leave a comment log in sign up Sort by level 1 Original Poster 1 point 20 days ago Available for free streaming High quality 1080p Watch & stream movies Watch - The Aeronauts 2019 Film complet en français The Aeronauts 2019 Film complet en français u/AdeptComfort Karma 1 Cake day January 21, 2020 help Reddit App Reddit coins Reddit premium Reddit gifts Communities Top Posts Topics about careers press advertise blog Terms Content policy Privacy policy Mod policy Reddit Inc 2020. All rights reserved.
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The Aeronauts full movie. Press J to jump to the feed. Press question mark to learn the rest of the keyboard shortcuts log in sign up 15 15 Posted by 26 days ago 1 comment 100% Upvoted Log in or sign up to leave a comment log in sign up Sort by level 1 Original Poster 1 point 26 days ago source More posts from the ImaginaryAdventurers community Continue browsing in r/ImaginaryAdventurers r/ImaginaryAdventurers Art featuring adventurers, travelers, explorers and nomads. 1. 5k Members 4 Online Created Apr 2, 2016 help Reddit App Reddit coins Reddit premium Reddit gifts Communities Top Posts Topics about careers press advertise blog Terms Content policy Privacy policy Mod policy Reddit Inc 2020. All rights reserved.
Lea Tsemel has been called a rebel with a lost cause and a whole lot worse. But as the intimate, powerful “Advocate” demonstrates, she lives up to the films title in the purest sense of the word: She stands up for people. Its who she stands up for that causes all the controversy. As a Jewish Israeli attorney who has tirelessly defended Palestinians who have turned to violence, Tsemel is a legitimate force of nature, and this examination of her and her career is potent enough to be shortlisted for this years documentary feature Oscar. Expertly directed by Rachel Leah Jones and Philippe Bellaïche, “Advocate” examines Tsemel from numerous perspectives, delving into her history, her family and the way she operates day to day. Radicalized by the aftermath of 1967s Six Day War, Tsemel has been known for decades as the attorney not afraid to take on the really difficult cases. “Its not that I like to, ” she explains. “Im not afraid to. ” More than that, no matter what the crime in question, Tsemels attitude is “I always see the person behind the case, ” being both caring and concerned with the accused and their extended families. And, as witnessed in a 1998 TV interview, Tsemel has long taken the measure of the still-unresolved Israeli-Palestinian situation. “You should try to understand me, ” she tells a disbelieving TV host. “I am the future. These will be issues for many years to come. ” Among the people Tsemel has defended, it turns out, is her husband, writer and activist Michael Warshawski, whom she did not cut any slack. Intent on toughening him up during his imprisonment, she responded to his complaining by telling her spouse, “You are not worthy of being my husband, ” a moment that had the desired effect. Tsemel had some success defending Warshawski, and also was part of the legal team that won a landmark 1999 case when the Israeli Supreme Court banned violence in interrogations. Mostly, though, as Tsemel is the first to admit, “We always lose, ” and if “Advocate” does nothing else it underlines the ways the Israeli judicial system makes things difficult for Palestinian defendants. “The fear is great on the part of the judges, ” Tsemel explains. “Security is the dragon that stands guard. ” A commitment as fierce as this has an inevitable impact on Tsemels family. While her daughter Talila enjoys the fact that her mothers name is “like a magic spell that will save us, ” it was different for her son Nissan. Nissan had difficulty adjusting to the fact that his mothers commitment to her clients often came ahead of her commitment to the family, recalling the moment she told him, “I cant do anything else. I believe in it. ” The most gripping parts of “Advocate” are the films fly-on-the-wall cinéma vérité sequences of Tsemel at work, meeting with clients families, navigating the legal system and conferring about cases with fellow attorneys and her staff. Tsemels cases are invariably tough ones, and among the defendants we watch her deal with are a man who stabbed an Israeli bus driver and 11 other individuals, and a woman depicted as a would-be suicide bomber who may have just been suicidal. The most heart-rending case, and the one we follow from start to finish, is the story of Ahmad, a 13-year-old who chased people with a large, ornamental knife with the intention of scaring them but ended up being charged with attempted murder. Among the quandaries Tsemel has to deal with is whether to plead Ahmad guilty to the attempted murder charge she knows is a fiction before the boy turns 14, in an attempt to get him a lighter sentence. Perhaps the most remarkable thing about Tsemel is that, despite decades of cases not turning out the way she thinks they should, she is unbowed. “Im a very angry optimistic woman, ” she says at one point, and what we see in this compelling film bears her out. 'Advocate' In Hebrew, Arabic and English with English subtitles. Not rated Running time: 1 hour, 54 minutes Playing: Starts Jan. 3, Laemmle Royal, West Los Angeles.
The thought-provoking Israeli documentary “Advocate, ” from the directors Rachel Leah Jones and Philippe Bellaïche, opens with its subject, the human-rights lawyer Lea Tsemel, making her way resolutely toward the elevators at the district court in Tel Aviv. A short and solidly built woman in her seventies, with a mop of dark hair and kohl-rimmed eyes, Tsemel is on her way to the courthouses detention cells to meet with a client. “Is it going down? ” she asks as she approaches the elevators nearly closed doors, before sticking her leg between them and muscling her way in. “Lea, what will become of you? When will you mend your ways? ” a man inside the elevator asks her. “Who, me? Im a lost cause, ” she answers. The exchange is joshing, but Tsemel, an Israeli Jew who has been practicing human-rights law since 1972, is a controversial figure in her country—one whose determination to thrust a tenacious leg forward and crack open the doors of the uniform Zionist narrative has often been met with her compatriots deep anger. In her first trial, she defended members of the Arab-Jewish cell Red Front. Their leader, Udi Adiv, a politically radicalized former I. D. F. paratrooper, was charged with treason for delivering classified information to Syria. (Adiv claimed that he was attempting to work toward the liberation of the Palestinian people. Over the past four-and-a-half decades, Tsemel has focussed her practice on defending Palestinians who, as she explains in a TV interview from the nineties that is included in the documentary, “you call terrorists, but that the average person in the world would call freedom fighters. ” Tsemel, as her daughter Talila says in the film, has no red lines. She is an agitator by nature, who seems to feed off her inherently oppositional role in Israeli society. She has served as a lawyer for all manner of Palestinian defendants, including violent offenders, such as stabbers and suicide bombers. (The client that she is en route to meet with at the beginning of “Advocate, ” for instance, is a young man who was accused of stabbing an Israeli bus driver and eleven of his passengers. She was also a member of the team that, in 1999, appealed to the Israeli Supreme Court to achieve a banner ruling that made it illegal for the countrys secret service to use torture in interrogations. As an Israeli occupier who enjoys the fruits of the occupation, Tsemel explains, she has no right to tell Palestinians how to struggle against their oppressive circumstances, even if their acts include premeditated bloodshed. “If the act is intended to resist the occupation as such, Ill take it on, ” she says. “Advocate, ” which has recently been short-listed for the Academy Award for Best Documentary Feature, and is showing this week in theatres in New York and Los Angeles, presents archival materials and interviews with Tsemel and her family members and associates. It also follows a case in which the lawyer defends Ahmad, a thirteen-year-old boy from the Palestinian village Beit Hanina, in East Jerusalem. He has been accused of attempting to stab to death two Israeli civilians—one of them himself a thirteen-year-old boy—in the Jewish neighborhood of Pisgat Zeev. The actual stabbing was carried out by Ahmads fifteen-year-old cousin, Hassan, who was shot to death by Israeli forces—DNA samples revealed that the knife Ahmad was carrying was never actually used—but the prosecution argues that Admads intent was to commit murder. Tsemel is a first-generation Israeli, whose Zionist parents fled the Holocaust and settled in the city of Haifa. She was a law student at the Hebrew University of Jerusalem in 1967, at the time of the Six-Day War, and, in the aftermath of the conflict, her sympathies turned to the radical left. In the documentary, she describes realizing that Israels possession of its occupied territories was leading to a human-rights crisis, with refugees being compelled to flee their homes (she says that they looked to her like figures of the wandering Jew) and Palestinians civil rights curtailed under Israeli rule. She decided to join Matspen, a socialist, anti-Zionist far-left group, where she also met her husband, the fellow-activist Michel Warschawski. From that moment on, she says, “I never looked back. ” As both a portrait of an exceptional character and something of a legal procedural, “Advocate” is a fascinating watch. It is also, unsurprisingly, a grim one. As we follow Tsemel in her defense of Ahmad, from remand to sentencing, we see just how far her path departs from public sentiment. In footage from the crime scene in Pisgat Zeev, an injured Ahmad, who was hit by a car in his flight, is seen bleeding on the ground as a raging crowd cries for his blood. “Die, you motherfucker, ” one shouts. “Die, you son of a bitch. ” “Murder him! ” another yells. Even under duress, Ahmad continues to claim that he had no intention of harming anyone, and that the knife he carried was simply meant to scare Israelis. (In a clip, we see an interrogator screaming at him to admit his guilt, which he refuses to do, in the high-pitched cry of a boy. Tsemel rejects a plea deal that would send Ahmad to a juvenile facility, rather than to prison, but that would require him to admit his intent was to murder, and, instead, decides to go to trial, which, in her idealism, she hopes will be uncolored by political motives. Of course, what some see as idealism, many see as tantamount to treason, and in Israel one need not be as politically radical as Tsemel to have some experience of this. I grew up in Israel in the eighties and nineties, in a leftist home, and recall with depressing clarity how quickly one could be accused of being an “Arab lover” or a “traitor” for expressing anti-occupation opinions. On two occasions, for example, my parents car window was shattered—once because it was adorned with a sticker advocating for pulling out of Lebanon during the Israeli-Lebanon war, another time because it bore one supporting the left-wing activist group Peace Now. I was proud of my parents political beliefs, but also, with a childs desire to blend in, simultaneously mortified. As a tween, I hoped that my classmates wouldnt notice those stickers when I was dropped off at school or at birthday parties. These minor events pale in comparison to those presented in “Advocate. ” Nissan Warschawski, Tsemels son, speaks about the shame and fear he felt due to his parents political activities. He recalls walking down the street as a child with his mother and having a man threaten them with a gun. When he asked her why she couldnt choose a profession that wouldnt put her family so far outside the status quo as to imperil it, she responded, “I cant do anything else. I believe in it. ” There is a wildly admirable, if almost reckless, courage in her total conviction. “Ive been called every name in the book: A traitor, a leftist, a devils advocate, ” Tsemel says in the nineties TV clip. “I always took it as a compliment. ” The release of “Advocate” in Israel was itself controversial. After winning the top award at the Docaviv film festival, in Tel Aviv, last May, the documentary received a purse from the Israeli lottery to mount an Oscars campaign. Subsequently, the right-wing Minister of Culture, Miri Regev, called the film “ outrageous and deserving of condemnation, ” and the lottery announced that it would no longer give the grant to Docaviv winners. Thanks to pressure from the Israeli artistic community, the grant was reinstated, but with the money going to the festival itself instead of the winning film. Still, Regev continues to call for the cancellation of screenings.
YouTube. Continue to live in our hearts Bob.
; actor Jameel Khoury, Riteish Deshmukh; reviews Ronnie and Vikram are brothers who share an unbreakable bond. Their journey begins when a certain turn in events, leads Vikram to travel. On this trip, he gets kidnapped by people. Ronnie witnesses his brother getting beaten and kidnapped, Ronnie will do whatever it takes to destroy anyone and anything that stands in the way of Vikram's safety. Ronnie goes on a rampage of destruction to see his brother safe, even if it means that he independently has to take on an entire country; Country India.
Sign up for our Watching Newsletter to get recommendations on the best films and TV shows to stream and watch, delivered to your inbox. The sheer volume of films on Netflix — and the sites less than ideal interface — can make finding a genuinely great movie there a difficult task. To help, weve plucked out the 50 best films currently streaming on the service in the United States, updated regularly as titles come and go. And as a bonus, we link to 50 more great movies on Netflix within many of our writeups below. (Note: Streaming services sometimes remove titles or change starting dates without giving notice. ) Martin Scorsese re-teams with Robert De Niro and Joe Pesci for the first time since “ Casino ” (1995) itself a return to the organized crime territory of their earlier 1990 collaboration “Goodfellas” — and then adds Al Pacino as Jimmy Hoffa. A lazier filmmaker might merely have put them back together to play their greatest hits. Scorsese does something far trickier, and more poignant: He takes all the elements we expect in a Scorsese gangster movie with this cast, and then he strips it all down, turning this story of turf wars, union battles and power struggles into a chamber piece of quiet conversations and moral contemplation. A. O. Scott called it “ long and dark: long like a novel by Dostoyevsky or Dreiser, dark like a painting by Rembrandt. ” (Pacino is also marvelous in the gangster drama “ Donnie Brasco. ”) Watch on Netflix Noah Baumbachs searing, Bergman-esque drama is the story not of a marriage, but of its end — of a loving couple who just, as they say, grew apart, but whose uncoupling is nowhere near that organic. Their shifting of priorities and geographic preferences prompts the hiring of lawyers, the spending of savings, and the stating of old resentments and regrets better left unsaid. Baumbachs screenplay is full of tiny, human touches and graceful tonal shifts; he can move from screwball comedy to open-wound drama in the blink of an eye. “Its funny and sad, sometimes within a single scene, ” writes A. Scott, “and it weaves a plot out of the messy collapse of a shared reality, trying to make music out of disharmony. ” (If you like this prickly comedy/drama, queue up the Oscar-winning “ As Good As It Gets. ”) This 2003 Oscar nominee from the director Fernando Meirelles renders its oft-told tale of neighborhood crime with such brash energy and intoxicating exuberance that it feels brand new. Meirelles and his co-director, Kátia Lund, construct their film as a slum-kids “Goodfellas”; like that film, “City of God” is based on true events, capturing the awful seductiveness of the criminal life and the dire consequences for those who choose it. Our critic called it a “ scorching anecdotal history of violence. ” (Meirelless latest, “ The Two Popes, ” is also on Netflix. ) The latest from Joel and Ethan Coen is an anthology film set in the Old West, a series of tales of varying length and style, some as brief and simple as jokes, others with the richness and depth of a great short story. Our critic wrote, “ It swerves from goofy to ghastly so deftly and so often that you cant always tell which is which, ” and what seems at first like a filmed notebook of ideas and orphans instead becomes something of a workshop; its a place for the Coens to try things, experimenting with new styles and moods, while also delivering the kind of dark humor and deliciously ornate dialogue that weve come to expect. (For wilder comedy, check out “ To Wong Foo, Thanks for Everything, Julie Newmar, ” “ Stripes ” or “ Kingpin. ”) Sofia Coppola takes on conspicuous consumption, Millennial malaise, and upper-class entitlement in this darkly funny and stylishly thought-provoking true story (adapted from a “Vanity Fair” article by Nancy Joe Sales. Emma Watson leads a crew of young, attractive rich girls who spent years helping themselves to the homes (and spoils) of their famous neighbors, partying in Paris Hiltons “nightclub room” and casually lifting Lindsay Lohans jewelry. Coppola refuses to either condemn or apologize for their crimes; it is, A. Scott wrote, “neither a cautionary tale of youth gone wrong nor a joke at the expense of kids these days. ” The story of a troubled childs return home for a big family event isnt exactly untold. But Jenny Lumets script is filled with keenly observed details and emotional truths, brought to vivid life by the director Jonathan Demme. And the performances are astonishing: Rosemarie DeWitts work as the bride easily conveys the years spent tolerating and apologizing for her sister, while Anne Hathaway is a marvel, raw and tempestuous, perpetually and precariously balanced between keeping it together and melting down. “It has an undeniable and authentic vitality, ” wrote A. Scott, “an exuberance of spirit, that feels welcome and rare. ” This series-spawning smash is a gloriously inventive stew of dystopian future sci-fi, Hong Kong-style “gun fu, ” turn-of-the-century paranoia and jaw-dropping special effects. Its big action set-pieces have been imitated to death, but rarely with the visceral energy and giddy enthusiasm brought by the Wachowskis, two independent filmmakers who were given the tools and budget of a big studio picture and had an absolute blast. Our critic called it “ a furious special-effects tornado. ” (If you like your video game-influenced action movies a little funnier, try out “ Scott Pilgrim vs. The World. ”) The 2017 Academy Award winner for best picture, this triptych about a young, gay African-American mans coming of age in Miami is a quietly revelatory piece of work, exploring and challenging modern perceptions of masculinity, family, power and love. Director Barry Jenkins (adapting a play by Tarell Alvin McCraney) creates a world so dense with detail and rich with humanity that every character gets a chance to shine; the themes and ideas are all above board, but conveyed with subtlety and understatement. Our critic described it as “ a poem written in light, music and vivid human faces. ” The director Danny Boyle brought the cult novel by Irvine Welsh to the screen as a visceral experience, chasing the relentlessly energetic narrative like the drug addicts at its center chase a high. Ewan McGregor found a star-making role in the protagonist, Renton, a Scottish miscreant who insists he chooses the dangers of addiction over a life of suburban prescription; Robert Carlyle is the supporting standout as the scariest member of his crew. “It rocks to a throbbing beat, ” our critic wrote, “and trains its jaundiced eye on some of the most lovable lowlifes ever to skulk across a screen. ” (“ Strictly Ballroom, ” another '90s indie sensation, is also available on Netflix. ) This brainy sci-fi story from director Duncan Jones (“Mute”) is almost entirely a one-man show, and Sam Rockwell, as a working-class astronaut on a solo mission, is the man for the job — hes alternately tragic, funny, driven and bitter, often in the same scene, frequently playing to himself. “Moon” is thrilling and thought-provoking, with a stunning finale. Our critic called it a “ modest, haunting first feature. ” (Fans of thoughtful sci-fi dramas will also enjoy “ Ex Machina. ”) The British comedy troupe Monty Python created its funniest, wildest and cult-friendliest feature-length comedy with this 1975 send-up of the legend of King Arthur — and of medieval literature in general, and of big-screen epics. Graham Chapman is the ostensible lead as Arthur, leading his Knights of the Round Table on a quest for the Grail, but the plot is merely a clothesline on which to hang blackout sketches and self-aware gags, and there are many. Our critic called it “a marvelously particular kind of lunatic endeavor. ” (For more fun with Python, queue up the button-pushing 1979 Biblical spoof “ Life of Brian. ”) This vivid, evocative memory play from Alfonso Cuarón is a story of two Mexican women in the early 1970s: Sofía (Marina de Tavira) a mother of four whose husband (and provider) is on his way out the door, and Cleo (Yalitza Aparicio) the familys nanny, maid and support system. The scenes are occasionally stressful, often heart-wrenching, and they unfailingly burst with life and emotion. Our critic called it “ an expansive, emotional portrait of life buffeted by violent forces, and a masterpiece. ” The director David Mackenzie (“Starred Up”) draws on the mythos of classic Westerns to tell this contemporary story of robbers driven to crime not by greed and status but by economic distress and desperation. Ben Fosters trigger-happy thrill-seeker, Chris Pines rational man with a purpose and Jeff Bridgess wise old lawman are so well drawn and authentically acted that the dialogue scenes are as thrilling as the shootouts. Our critic praised the “ verve and tongue-tickling texture ” of Taylor Sheridans dialogue. Two young men weather their Park Slope parents nasty divorce in this ruthlessly intelligent and mercilessly evenhanded coming-of-age story from the writer and director Noah Baumbach, who drew upon his own teen memories and put himself, not altogether complimentarily, into the character of the 16-year-old Walt (a spot-on Jesse Eisenberg. Laura Linney is passive-aggressive perfection as his mother, while Jeff Daniels, as the father, masterfully captures a specific type of sneeringly dissatisfied Brooklyn intellectual. The film is “both sharply comical and piercingly sad, ” as A. Scott wrote, as Baumbach dissects this familys woes and drama with knowing precision. (Fans of misanthropic comedy may also enjoy “ Her or “ The Lobster. ”) The fashion designer turned filmmaker Tom Ford made his feature directorial debut with this moving, melancholy (and, unsurprisingly, aesthetically stunning) adaptation of the novel by Christopher Isherwood. An Oscar-nominated Colin Firth stars as George, a college professor and “bachelor, ” as gay men in his era were so often euphemistically known. Accompanying George through one long, difficult day — the anniversary of the death of his boyfriend — Ford burrows deep into the tortured psyche of his protagonist, and Firth is up to the challenge, playing the role with what Manohla Dargis called “ a magnificent depth of feeling. ” (Period drama lovers will also love “ The Natural ”; Firth shines again in “ The Kings Speech. ”) A Puritan family, banished to the woods of New England by its community, encounters a frightening force of true evil in this potent mixture of art-house drama and supernatural thriller from the writer and director Robert Eggers. Resisting jump-scares and cheap thrills in favor of slow burns and discomforting dread, Eggers builds his story to a climax that seems both terrifying and inevitable. Our critic called it “ a finely calibrated shiver of a movie. ” Tom Hanks won his first Academy Award for what our critic called his “brave, stirring, tremendously dignified performance ” in this 1993 drama from director Jonathan Demme, which was among the first studio productions to address the AIDS crisis. Hanks plays an H. I. V. -positive lawyer, fired from his firm because of his illness; Denzel Washington stars as the homophobic personal-injury attorney representing Hanks in an unlawful termination suit and learning the error of his prejudices in the process. (Fans of challenging drama should also seek out “ A Serious Man. ”) Osgood Perkins — son of the “Psycho” star Anthony Perkins — writes and directs this unnerving and disturbing story of creepy goings-on at a near-empty girls boarding school. The performances (from Kiernan Shipka, Lucy Boynton, and Emma Roberts) are sharp and the scares are genuine, while Perkinss orchestration of mood and atmosphere is chillingly effective. Our critic called it “ perfectly acted and gorgeously filmed. ” Brie Larson won an Oscar for her powerful leading performance in this moving adaptation of the novel by Emma Donoghue, in which a woman held for years in captivity tries to escape from her kidnapper with the help of her young son. Lenny Abrahamsons intimate direction emphasizes the claustrophobia of their surroundings, but tantalizes with the promise and possibility of escape. (For more Oscar-winning drama, stream “ Milk ” and “ The Crying Game ” on Netflix. ) Kathryn Hahn and Paul Giamatti shine as two New York creative types whose attempts to start a family — by adoption, by fertilization, by whatever it takes — test the mettle of their relationships and sanity. The wise script by the director Tamara Jenkins is not only funny and truthful but also sharply tuned to their specific world: Few films have better captured the very public nature of marital trouble in New York, when every meltdown is interrupted by passers-by and looky-loos. “Private Life, ” which our critic called “ piquant and perfect, ” is a marvelous balancing act of sympathy and cynicism, both caring for its subjects and knowing them and their flaws well enough to wink and chuckle. (The funny, moving “ Obvious Child ” is another wise look at living, and getting pregnant, in New York City. ) Weve seen countless stories of nasty, selfish people who go on a voyage of self-discovery and come out the other side as better, wiser souls. This acidic comedy-drama asks: What if that journey didnt take? Mavis Gary ( Charlize Theron, in take-no-prisoners mode) a bitter young-adult author, returns to her hometown in the hope of reuniting with her high-school boyfriend, his picture-perfect married life be damned. A film that zigs when youre certain it will zag, “Young Adult” tells a satisfying story that is also a sly critique of the conventions of modern moviemaking. Our critic praised its “ brilliant, brave and breathtakingly cynical heart. ” (The film's director, Jason Reitman, has another film, the excellent “ Up in the Air ” also streaming on Netflix. ) A 52-year-old Georgian woman shocks her family, and her entire community, when she decides to move out of the cramped apartment she shares with her husband, children and parents in order to begin a life of her own. “In this world, there are no families without problems, ” she is told, and the conflicts of the script by Nana Ekvtimishvili (who also directed, with Simon Gross) are a sharp reminder that while the cultural specifics may vary, familial guilt and passive aggression are bound by no language. Manohla Dargis praised its “ sardonically funny, touching key. ” (For more critically acclaimed foreign drama, try the Oscar nominated Hungarian film “ On Body and Soul. ”) Director David Finchers breakthrough film was the serial-killer thriller “Seven, ” but he had no intention of repeating himself with this 2007 mystery. Because the real-life Zodiac killer was never apprehended or tried for his crime, Fincher sidestepped the big payoff of most true crime stories, crafting instead a film that focuses on the kind of obsessiveness it takes to follow that trail, year after year, without a satisfactory conclusion. Our critic called it “ at once sprawling and tightly constructed, opaque and meticulously detailed. ” (“Zodiac” star Jake Gyllenhaal also impresses in “ End of Watch ”. ) The Iranian director Asghar Farhadi won a richly deserved Academy Award for best foreign film for this story of a man, his wife, their child and the family they disastrously intersect with. In dramatizing the moral, social and legal fallout of a domestic episode that was either a misunderstanding or an assault, Farhadi displays his gift for telling stories that hinge on the tiniest events. Scott called it “tightly structured” and “ emotionally astute. ” (Fans of this foreign morality play may also enjoy “ Burning. ”) Mati Diops Cannes Film Festival Grand Prix winner is set in Senegal, where a young woman named Ava (Mama Sané) loses the boy she loves to the sea, just days before her arranged marriage to another man. What begins as a story of love lost moves, with the ease and imagination of a particularly satisfying dream, into something far stranger, as Diop savvily works elements of genre cinema into the fabric of a story that wouldnt seem to accommodate them. Scott called it “a suspenseful, sensual, exciting movie, and therefore a deeply haunting one as well. ” Jonathan Demmes final feature film was shot on the last two nights of Justin Timberlakes “20/20 Experience” world tour, at the MGM Grand in Las Vegas. The pairing of director and subject is unexpected, but Demme is up to the job; as in his Talking Heads film “ Stop Making Sense, ” he deftly captures the energy, electricity and playfulness of a live concert performance, a directorial feat that is harder than it looks. (Love music documentaries? Check out “ Amy, ” “ 20 Feet From Stardom ” and “ Metallica: Some Kind of Monster. ”) The director Mark Osborne (“Kung Fu Panda”) took an unconventional approach to adapting the classic childrens book by Antoine de Saint-Exupéry for the screen, placing its story of an aviators encounters with a magical little boy inside a contemporary tale of a little girls friendship with that aviator (now a grizzled old man. It sounds like a recipe for disaster, fixing a book that isnt broken, but “The Little Prince” is a small miracle, maintaining the magic and sweetness of the original while contextualizing it for a new generation. Our critic called it “ unusually forceful and imaginative. ” Ava DuVernay (“Selma”) directs this wide-ranging deep dive into mass incarceration, tracing the advent of Americas overcrowded (and disproportionately minority-filled) modern prison system back to the 13th Amendment of the United States Constitution. Its a giant topic to take on in 100 minutes, and DuVernay understandably has to do some skimming and slicing. But that necessity engenders its style: “13TH” tears through history with a palpable urgency that pairs nicely with its righteous fury. Our critic called it “ powerful, infuriating and at times overwhelming. ” (Documentary fans should also seek out “ Jiro Dreams of Sushi ” and “ Paris Is Burning. ”) Before “Captain Marvel, ” the directors Anna Boden and Ryan Fleck teamed with Ben Mendelsohn (and another superhero movie star, Ryan Reynolds) for this laid back, on-the-road gambling picture, featuring Mendelsohn and Reynolds as a pair of longtime losers reaching for that one big score that will make everything right. The supporting cast is rich — Alfre Woodard, Sienna Miller and Analeigh Tipton all shine — and like the 1970s cinema it so clearly draws from, “Mississippi Grind” has what our critic called “ a loose, behind-the-beat rhythm. ” (Card sharps will also want to add “ Rounders ” to their queues. ) Paul Thomas Anderson burst onto the scene with “Boogie Nights, ” his blazing, energetic, Altman-esque tapestry of life in the seedier corners of the San Fernando Valley, circa 1977. His follow-up is much in the same style (and brings back much of the same cast) but with the filmmaker going for broke, creating a rich, lengthy (over three hours) mournful and often scathingly funny narrative of several interlocking lives over a single, extraordinary day. Operatic in its emotions and ambitions, its Andersons messiest work, yet one of his very best. (Indie drama lovers may also enjoy “ Burning Cane, ” “ Personal Shopper ” and “ I, Daniel Blake. ”) As the married couple Cindy and Dean, Michelle Williams and Ryan Gosling are “ exemplars of New Method sincerity, ” according to A. Scott, “able to be fully and achingly present every moment on screen together. ” Their director, Derek Cianfrance, tells this story in pieces as they come together and fall apart, in timelines separated by six years of hard, unsatisfying living (but shot with only a month between them, an astonishing feat of physical and psychological acting. Aching and heartfelt, the film is an often upsetting yet undeniably powerful account of how not all love stories end in “happily ever after. ” (Gosling is similarly forceful and effective in the cult hit “ Drive. ”) Guillermo Del Toros 2006 Oscar winner is many things: a lush period drama, a dark fairy tale, a special-effects showcase, a harrowing fable of Fascism. Yet Del Toros filmmaking is so confident that the pictures tone never wavers; hes such a thrilling storyteller that we follow his protagonist (the marvelous Ivana Baquero) through every dark passageway and down every mysterious rabbit hole on her mystical journey through Franco-era Spain — and out of the clutches of her evil stepfather. Its both scary and enchanting, terrifying and dazzling; “If this is magic realism, ” writes A. Scott, “it is also the work of a real magician. ” The 2013 winner of the Academy Award for Best Documentary Feature, this “ hugely appealing documentary ” (per Manohla Dargis) functions as both celebration and investigation. The director Malik Bendjelloul tells the fascinating story of Rodriguez, a Mexican-American singer-songwriter who recorded one brilliant album in 1969 and watched it sink without a trace, only to resurface years later as a cult smash in South Africa. How that happened, and what happened to Rodriguez in the meantime, forms the spine of this inspiring picture, which deftly incorporates archival footage, new interviews, dreamy animated sequences and Rodriguezs spellbinding songs. (Netflix is also streaming the acclaimed documentaries “ The Look of Silence, ” “ Elena ” and “ Icarus. ”) A young mans coming of age becomes a group project when his single mother (Annette Bening) reaches out to their housemates and friends for help, resulting in a slightly more complicated education than she envisioned. This touching and personal dramedy from the writer-director Mike Mills (“Beginners”) deftly conveys the period without relying on caricature, and resists resorting to cheap villainy or soapboxing. Every character is brought to life with humor and sensitivity, and Benings work is among her very best. Manohla Dargis deemed it “ a funny, emotionally piercing story. ” (Love tender teen coming-of-age flicks? Queue up “ The Edge of Seventeen. ”) It looks, at first glance, like the perfect New York City romance: a roomy apartment on the Upper West Side, a gorgeous wife and her handsome actor husband, a bouncing baby on the way. Look closer. Roman Polanskis “ mainstream masterpiece ” is a chilling examination of the terror that lurks just beneath those shiny surfaces, beneath the wide-eyed good intentions of new friends and the cheerful opportunism of the young couple at its center. Mia Farrow does some of her finest acting as the increasingly sickly (and paranoid) mother-to-be. Maybe shes just a really good teacher. But there also seems to be something outsized and intense about the interest Lisa (Maggie Gyllenhaal) takes in little Jimmy (Parker Sevak) and his gift for composing and reciting brilliant poetic verse, seemingly out of nowhere. Theres no simple explanation for her behavior, or for how it escalates, because this is not a simple movie. The writer-director Sara Colangelo (adapting the Israeli film by Nadav Lapid) follows the teachers impulses to an upsetting but unnervingly logical conclusion, and Gyllenhaal, our critic noted, “somehow makes us all her accomplices, imprisoning our sympathies even when Lisas inappropriate behavior escalates to inexcusable. ” It sounds like the setup for an 80s sex comedy: Two horny teenage boys take an impromptu road trip and talk a seductive older woman into coming along. But the director, Alfonso Cuarón (“Gravity, ” “Children of Men”) “Y Tu Mamá También” frames their story partly through the unexpected but effective lens of class and political struggle, constructing a delicate film with much to say about masculinity, poverty and mortality. And then its sexy, on top of that. Our critic called it “ fast, funny, unafraid of sexuality and finally devastating. ” (For more adventurous foreign cinema, check out “ Happy as Lazzaro. ”) Robert De Niro won his second Academy Award for his fiercely physical and psychologically punishing performance in this searing adaptation of the autobiography of the middleweight champion Jake LaMotta. Its a relentlessly downbeat piece of work, but the force of De Niros performance and the energy of Martin Scorseses direction are hard to overstate, or to forget. Our critic called it Scorseses “ most ambitious film as well as his finest. ” (Scorseses “ The Departed ” is also streaming on Netflix. ) Paying loving tribute to the exploitation movies of multiple eras and cultures, this double-feature dabbles in kung fu, anime, spaghetti Western and blaxploitation, its writer/director Quentin Tarantino deliriously hopping styles like a movie-crazy kid swapping out VHS tapes. But in all the pyrotechnics, he maintains his gift for quotable dialogue and charismatic characters, ending his blood-soaked saga with on a surprisingly warm and human note. Our critics praised the “ odd, feverish integrity ” of “Vol. 1, ” and called “Vol. 2” “ the most voluptuous comic-book movie ever made. ” (Tarantinos “ Inglourious Basterds ” is also streaming on Netflix. ) The fates of two families — one white and one black, connected by a plot of land one owns and the other sharecrops — are inextricably intertwined in this powerful adaptation by the director Dee Rees of the novel by Hillary Jordan. Rees gracefully tells both stories (and the larger tale of postwar America) without veering into didacticism, and her ensemble cast brings every moment of text and subtext into sharp focus. Our critic called it a work of “ disquieting, illuminating force. ” When Steven Spielberg set out to make a film about Abraham Lincoln, the early scripts encompassed the entirety of his presidency. But the director and his screenwriter, Tony Kushner, wisely chose to focus on a single moment in Lincolns life – the passage of the 13th Amendment, abolishing slavery – and ingeniously use that struggle as emblematic of not only Lincoln the politician, but Lincoln the man. In doing so, this biographical snapshot tells us far more about its subject than the typical, shallow, cradle-to-grave biopic. Nominated for a dozen Oscars ( Daniel Day-Lewis won for his towering work as the 16th president) “Lincoln” is, according to A. Scott, “a rough and noble democratic masterpiece. ” (For a sample of Spielbergs lighter touch, stream “ Catch Me If You Can. ”) Gene Wilder created one of cinemas most enduring characters in this 1971 adaptation of Roald Dahls classic novel “Charlie and the Chocolate Factory, ” directed by Mel Stuart. As the gloriously eccentric owner of the best candy factory in all the land, Wilder invests his character with not only a sense of wonder and imagination, but also a surprising edginess — this is ultimately a morality tale, in which a guided tour of the factory becomes a lesson in the consequences of childish behavior. Innovatively crafted and filled with memorable songs and supporting characters, this is a family film with a welcome dash of darkness. (Viewers looking for more offbeat family fun should queue up “ Coraline. ”) The director Mary Harron and her co-screenwriter Guinevere Turner transformed Bret Easton Elliss gory, divisive 1991 novel into a ruthless satire of the yuppie ethos, with Christian Bale in frighteningly good form as a Wall Street climber who moonlights as a serial killer. But Harron spends less time fetishizing his kills than his status symbols — business cards, skincare products, compact discs. Watching the result, our critic wrote, “is like witnessing a bravura sleight-of-hand feat. ” A marvelously absurd, stingingly satirical and unexpectedly moving story of a girl and her genetically engineered super-pig, this Netflix original from the director Bong Joon Ho is the kind of movie that goes in so many wild directions at once — urban mayhem one moment, character drama the next — it leaves you breathlessly off-balance. Bong coaxes game and unpredictable performances from his gloriously unhinged cast, with particularly juicy turns by Tilda Swinton and Jake Gyllenhaal. Scott raved, “Mr. Bong juggles delight and didacticism with exquisite grace. ” (For more Bong, check out his previous film, “ Snowpiercer. ”) Steven Spielberg adapts Tintin, the beloved creation of the Belgian cartoonist Georges Remi, for this charming family adventure. In doing so, Spielberg reconnects with the spirit of his Indiana Jones adventures, which were similarly globe-trotting and fun-loving in the manner of the old Saturday serials — though he adds a decidedly modern sheen in the form of motion-capture animation. The result is a cheerful intermingling of old and new, which our critic called “ a marvel of gee-wizardry. ” (For more seafaring family fun, stream Robert Altmans “ Popeye ” on Netflix. ) Between his second and third Batman outings, the director and co-writer Christopher Nolan crafted one of his twistiest and most satisfying entertainments, a mystery/thriller that delves into nothing less ambitious than the human dreamscape. Leonardo DiCaprio is in fine, tortured form as a high-tech dream manipulator on a high-stakes caper inside the head of a slumbering CEO; Tom Hardy, Ellen Page, Joseph Gordon-Levitt, and Marion Cotillard are among the stacked supporting cast. Our critic praised “Mr. Nolans virtuosity as a conjurer of brilliant scenes and stunning set-pieces. ” (Thriller fans will also enjoy Matt Damon in “ The Talented Mr. Ripley. ”) Ang Lee received an Academy Award nomination for best director for this enthralling mixture of martial arts adventure and heartfelt romance. His narrative is a busy hive of deception, betrayal, loyalty and pride, and while the personal and emotional stakes are high, “Crouching Tiger” is most memorable for its awe-inspiring action sequences — bone-crunching and balletic, thrilling and lyrical, as heroes and villains alike transcend gravity itself. Our critic called it “ a heady and delirious brew. ” (Wuxia admirers will also want to stream “ Shadow ”; fans of high-intensity action should queue up “ Train to Busan. ”) Fresh off the success of his genre-bending “spaghetti westerns, ” the director Sergio Leone brought his signature dusty landscapes, offbeat music, brutal violence and morally flexible protagonists to this Hollywood studio production. Henry Fonda is truly chilling as a ruthless villain, conveying a pure evil not even hinted at in his decades of good-guy turns, and the films heroine (Claudia Cardinale) and her tough-guy companions (Charles Bronson and Jason Robards) make an unlikely but effective team. Atmospheric, bracing and effortlessly cool, with an unforgettable closing confrontation. (For a more traditional western, check out John Wayne in the original “ True Grit. ”) Watch on Netflix.
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User ratings - 8,8 of 10 duration - 116Min A controversial figure, loved by some, reviled by others, few know much more than a few headlines and the recollections of his contentious confirmation battle with Anita Hill. A story truly and fully, without cover-ups or distortions creator - Michael Pack Release Year - 2020. Free Full Created Equal: Clarence Thomas in His Own words and pictures. Free full created equal 3a clarence thomas in his own words reaction. 
Free full created equal 3a clarence thomas in his own words mp. Free Full Created Equal: Clarence Thomas in His Own words without. Free full created equal: clarence thomas in his own words pictures. February 8, 2020 1:31PM PT The Supreme Court justice offers a monologue of self-justification in a talking-head memoir that's revealing even when it doesn't want to be. If you watch “Created Equal: Clarence Thomas in His Own Words” looking for a clue as to Thomas inner workings, a key to who Clarence Thomas really is, then youll have to wait a while before it arrives. But it does. The reason it takes so long is that Thomas, dressed in a red tie, light shirt, and blue jacket (yes, his entire outfit is color-coordinated to the American flag) his graying head looking impressive and nearly statue-ready as he gazes into the camera, presents himself as a regular guy, affably growly and folksy in a casual straight-shooter way. And while I have no doubt thats an honest aspect of who he is, its also a shrewdly orchestrated tactic, a way of saying: Dont try to look for my demons — you wont find them. The revealing moment comes when Thomas recalls the 1991 Senate hearings in which he was grilled on national television as part of the Supreme Court confirmation process. Does he go back and talk about Anita Hill? Yes, he does (Ill get to that shortly) but that isnt the revealing part. Discussing Anita Hill, Thomas reveals next to nothing. His métier now is exactly what it was then: Deny, deny, deny. Thomas tips his hand, though, when he recalls the moment that a senator asked if hed ever had a private conversation about Roe v. Wade. At the time, he said no — and now, 30 years later, that “no” has just gotten louder. In hindsight, hes incredulous that anyone would simply presume that hed ever had a private discussion about Roe v. Hes almost proud of how wrong they were to think so. In a Senate hearing, when you say that youve never had that kind of conversation, its in all likelihood political — a way, in this case, of keeping your beliefs about abortion ambiguous and close to the vest. A way of keeping them officially off the table. In “Created Equal, ” however, Thomas is being sincere. He has always maintained that he finds it insulting — and racist — that people would expect an African-American citizen like himself to conform to a prescribed liberal ideology. And in the same vein, he thinks its ridiculous that a Senate questioner expected him to say that hed ever spent two minutes sitting around talking about Roe v. Wade. But talk about an argument that backfires! Im not a federal judge (and the last time I checked, Ive never tried to become a Supreme Court justice) but Ive had many conversations in my life about Roe v. Why wouldnt I? Im an ordinary politically inclined American. I mean, how could you not talk about it — ever? Abortion rights, no matter where you happen to stand on them, are a defining issue of our world. And the fact that Clarence Thomas was up for the role of Supreme Court justice, and that he still views it as A-okay to say that hed never had a single discussion about Roe v. Wade, shows you where hes coming from. He has opinions and convictions. But he is, in a word, incurious. Hes a go-along-to-get-along kind of guy, a man who worked hard and achieved something and enjoyed a steady rise without ever being driven to explore things. He was a bureaucrat. Which is fine; plenty of people are. But not the people we expect to be on the Supreme Court. “Created Equal” is structured as a monologue of self-justification, a two-hour infomercial for the decency, the competence, and the conservative role-model aspirationalism of Clarence Thomas. Since he followed the 1991 Senate hearings, even in victory, by going off and licking his wounds, maintaining a public persona that was studiously recessive, theres a certain interest in “hanging out” with Thomas and taking in his cultivated self-presentation. The movie, in its public-relations heart, is right-wing boilerplate (though its mild next to the all-in-for-Trump documentary screeds of Dinesh DSouza) and there are worse ways to get to know someone like Thomas than to watch him deliver what is basically the visual version of an I-did-it-my-way audiobook memoir, with lots of news clips and photographs to illustrate his words. The first half of the movie draws you in, because its basically the story of how Thomas, born in 1948 in the rural community of Pin Point, Georgia, was raised in a penniless family who spoke the creole language of Gullah, and of how he pulled himself up by his bootstraps. After a fire left the family homeless, he and his brother went off to Savannah to live with their grandfather, an illiterate but sternly disciplined taskmaster who gave Thomas his backbone of self-reliance. He entered Conception Seminary College when he was 16, and he loved it — but in a story Thomas has often told, he left the seminary after the assassination of Martin Luther King Jr. when he overheard a fellow student make an ugly remark about King. Thats a telling anecdote, but theres a reason Thomas showcases it the way he does. Its his one official grand statement of racial outrage. In “Created Equal, ” he talks for two hours but says next to nothing about his feelings on the Civil Rights movement, or on what it was like to be raised in the Jim Crow South. As a student at Holy Cross, the Jesuit liberal arts college near Boston, he joined a crew of black “revolutionaries” and dressed the part in Army fatigues, but he now mocks that stage of his development, cutting right to his conservative awakening, which coalesced around the issue of busing. Thomas thought it was nuts to bus black kids from Roxbury to schools in South Boston that were every bit as bad as the ones they were already attending. And maybe he was right. Thomas, using busing and welfare as his example, decries the liberal dream as a series of idealistic engineering projects that human beings were then wedged into. There may be aspects of truth to that critique, but liberalism was also rolling up its sleeves to grapple with the agony of injustice. The philosophy that Thomas evolved had a connect-the-dots perfection to it: Treat everyone equal! Period! How easy! It certainly sounds good on paper, yet you want to ask: Couldnt one use the same logic that rejects affirmative action programs to reject anti-discrimination law? Thomas projects out from his own example: He came from nothing and made something of himself, so why cant everyone else? But he never stops to consider that he was, in fact, an unusually gifted man. His aw-shucks manner makes him likably unpretentious, but wheres his empathy for all the people who werent as talented or lucky? In “Created Equal, ” Thomas continues to treat Anita Hills testimony against him as part of a liberal smear campaign — and, therefore, as a lie. He compares himself to Tom Robinson, the railroaded black man in “To Kill a Mockingbird, ” viewing himself as a pure victim. Thomas wife, Virginia Lamp, who sat by his side at the hearings (and is interviewed in the film) stands by him today. But more than two years into the #MeToo revolution, the meaning of the Clarence Thomas/Anita Hill Senate testimony stands clearer than ever. It was the first time in America that a public accusation of sexual harassment shook the earth. The meaning of those hearings transcends the fight over whether one more conservative justice got to be added to the Supreme Court. Thomas now admits that he refused to withdraw his nomination less out of a desire to serve on the Supreme Court than because caving in would have been death to him. “Ive never cried uncle, ” he says, “whether I wanted to be on the Supreme Court or not. ” Its an honest confession, but a little like the Roe v. Wade thing: Where was his intellectual and moral desire to serve on the court? By then, hed been a federal judge for just 16 months, and he admits that he wasnt drawn to that job either; but he found that he liked the work. Thomas also explains why, once he had ascended to the high court, he went through a period where, famously, he didnt ask a single question at a public hearing for more than 10 years. His rationalization (“The referee in the game should not be a participant in the game”) is, more or less, nonsense. But his silence spoke volumes. It was his passive-aggressive way of turning inward, of treating an appointment he didnt truly want with anger — of coasting as a form of rebellion. It was his way of pretending to be his own man, even as he continued to play the hallowed conservative role of good soldier. TaleFlick, an online platform that provides writers with a chance to showcase their work to producers and studios, is partnering with HarperCollins Publishers. The collaboration between the companies will allow the publisher to upload thousands of titles across an array of genres, and provide HarperCollins authors the opportunity to have their titles made more accessible. Paramounts family film “Sonic the Hedgehog” is expected to race ahead of its box office competition when it debuts in theaters this weekend. The action adventure, based on the video game character, should collect 40 million to 45 million from 4, 130 venues over the Presidents Day holiday stretch. Those figures would easily be enough to claim. Awkwafina is set to star in “The Baccarat Machine, ” a gambling drama inspired by a Cigar Aficionado article by Michael Kaplan. The film, set up at SK Global, centers on Cheung Yin “Kelly” Sun and her unlikely partnership with poker player Phil Ivey. Sun amassing millions of dollars of winnings by teaming with Ivey and. Michael B. Jordan has joined Christian Bale and Margot Robbie in David O. Russells untitled new film at New Regency. Russell will direct from his own script. Plot details are being kept under wraps. Executive are hoping to start production in the spring. Matthew Budman (“Joy, ” “American Hustle”) is producing. Popular on Variety Russell was. Just a few days after the trophy for best original song was given out at the Oscars comes news of the first significant new original song of this movie year. The end-titles theme for the upcoming Pixar film “Onward” has been recorded and co-written by multiple Grammy winner Brandi Carlile, Disney announced Wednesday. The song. Rick Moranis is leaving his decades-long hiatus from live-action acting to join Disneys sequel to its 1989 blockbuster “Honey, I Shrunk the Kids, ” Variety has confirmed. Moranis will reprise his role as Wayne Szalinski, the crackpot scientist who accidentally shrunk his children (and the neighbors kids) then accidentally made his infant child enormous in 1992s “Honey, I. Whatever you do, dont ask “To All the Boys: P. S. I Still Love You” star Lana Condor if shes Team Peter or Team John Ambrose. “This question keeps me up at night. It does, ” Condor told Variety of the love triangle her character, Lara Jean, finds herself in the sequel to Netflixs teen rom-com “To.