#john lithgow
Bombshell - Teaser Trailer (2019)
Starring Academy Award-winner Charlize Theron, Academy Award-winner Nicole Kidman, Academy Award nominee John Lithgow and Academy Award nominee Margot Robbie, based on the real scandal, Bombshell is a revealing look inside the most powerful and controversial media empire of all time; Fox News, and the explosive story of the women who brought down the infamous man who created it.
Directed by: Jay Roach
Starring: Charlize Theron, Nicole Kidman, Margot Robbie, John Lithgow, Kate McKinnon, Connie Britton, Mark Duplass, Rob Delaney, Malcolm McDowell, Allison Janney, Alice Eve, Alanna Ubach, Stephen Root, Brigette Lundy-Paine, Elisabeth Rohm, Ashley Greene
Release date: December 20, 2019
OK Pitch Perfect may be kinda stupid but it teaches pro-women things like female friendship and that itme in the third one, when a grown woman’s father attacks her, and a policeman says “Is this man bothering you?” the woman says “Yes, yes he is” for the FIRST TIME IN MOVIE HISTORY.
Because writers want the man to continue to be a threat, by not letting the woman ask for help. Which is bullshit because
1. It teaches abused women that the abuse isn’t real, and to protect their abuser, and
2. ignores the reality that an abuser will come back again and again, which is exactly what happened in PP 3
Films I’ve Watched in 2020 (311/?)
Leap Year (2010)
dir. Anand Tucker
“May you never steal, lie, or cheat, but if you must steal, then steal away my sorrows, and if you must lie, lie with me all the nights of my life, and if you must cheat, then please cheat death because I couldn’t live a day without you.”
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y'all what is a movie from the 80s that is YOUR movie? like for whatever reason. it’s incredibly nostalgic, you love it a lot, it just makes you feel good,you connect deeply with it. basic answers welcome
Late Night (2019) Dir. Nisha Ganatra, Cin. Matthew Clark
“I hope I earned the privilege of your time.”
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Revenge, rage, grief, and delusion thunder upon the Delacorte as Tony® and Emmy® Award winner, John Lithgow, takes the stage as one of theater’s great tragic heroes, King Lear. Tony® winner Daniel Sullivan directs Shakespeare’s classic drama about a King who loses everything—including his mind—when he disowns his favorite daughter, and finds himself betrayed in return.
One of my secondary favourite sitcoms is 3rd Rock from the Sun. I absolutely adore John Lithgow (as much as Alan Alda you ask? … Pretty damn close). Lucky for me, there is some casting cross over with Harry Morgan playing the role of Dr. Suter. The two play off of each other brilliantly. And look at have precious Harry Morgan looks in a bow tie!
December 14th, 2021, Inktober Prompt # 40 - Wired. Who remembers Dr. Lizardo from “ Buckaroo Banzai?”
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“Even when her characters stand at life-altering crossroads, Emma Thompson always radiates the cool confidence of a certified genius who possesses an unshakable belief in herself and her gifts. We may sometimes doubt the sustainability of the women she plays, but we never doubt Thompson’s ability to imbue their experiences with humor, grace, and profundity. Late Night’s Katherine Newbury, a venerated comedian facing the loss of the talk show that is her lifeblood, is a role tailor-made for the sharp-witted comedic gifts that Thompson is seldom invited to utilize in her latter-day career, save for the occasional awards show presentation. Her sardonic one-liners consistently kill, but Thompson also knows that a withering, well-timed look or a purposeful pause can speak equal volumes. Yet what really distinguishes Thompson’s performance is the prickly, supercilious air that enshrouds Katherine, a byproduct of the actress’ welcome disinterest in making the character palatable or easy to root for; Thompson is too honest an interpreter to sand down the off-putting edges of this deeply flawed woman or simply heroize her last stand against the turning tides of network television. That we root for Katherine nevertheless is a natural inevitability when casting Thompson, who guarantees that Katherine’s moments of pathos, vindication, and victory will be earned and balanced out by the plausible, warts-and-all multidimensionality that is this sublime artist’s stock-in-trade.
Late Night is very much Thompson’s show, but it’s also a reminder that screenwriter and costar Mindy Kaling shines brightest when writing to her strengths, one of which is endowing often naïve, sometimes corny, and permanently genuine underdogs with worth and vitality on the page and screen. As Molly, the tokenized and exceedingly green new addition to Katherine’s all-male writers’ room, Kaling delights by leaning in to the character’s earnestness with the unabashed exuberance of a comedian who is accustomed to, say, looking like a fool or extending an awkward moment a beat or two past the normal threshold of comfort. It would be easy to play a character this painfully sincere with winking, in-on-the-joke irony—in other words, to emphasize the lie of one’s own performance. Kaling excels by doing the opposite, committing so hard to Molly’s verbal and physical faux pas that we are not only amused by the character’s wide-eyed gaucheness but duly convinced of it. Yet Kaling also knows that sweetness need never be confused for simplicity, and she emerges as a terrific proponent for this would-be heroine, giving Molly the cleverness and dignity to make us believe she could lift the dinosaur that is Katherine’s show out of a creative rut. By film’s end, Molly has proven that her ideas, smarts, and “lack of boundaries” are imperative, and her creator has persuaded us that her performative wit and pluck are qualities which the floundering American comedy should continue to harness. Kaling’s performance, like Thompson’s, suggests the tougher, more pointed, less polite satire Late Night might have been, but watching this unexpected yet inspired pair play off one another is never less than a spikily satisfying diversion.” — Matthew Eng
The 12 Best Female Film Performances of Early 2019
(Source:TribecaFilm.com)
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