The new Netflix movie Troll is a fantasy action movie based on Norwegian folklore. The action took place in a beautiful mountain area in Dover, Norway.
Nora Tiedeman and her father, Tobias Tiedeman, are climbing mountains when he says there are trolls who live in the mountains, but you can only see them if you believe. Many years later, something huge appeared from the mountain, leaving huge footprints and terrorizing the nearby towns.
The Norwegian government is trying to control the animal, but their tactics are making the situation worse. Nora and her father are the only people who understand the trolls, and she is forced to come up with a plan to help.
The film is directed by Ror Uthang. He was born in Norway in 1973. After studying at a film school, he started making his own films. In the year In 2018, he became famous for directing the movie "Grave Robber". "The idea of making a film about trolls came to me 20 years ago," Uthang said in an interview on WaterOnAir's YouTube channel. It was inspired by movies like Godzilla and King Kong. In that interview, the troll also stated that he thought he had won the battle with King Kong.
The film has done a good job of making the viewer identify with the characters within a short period of time. Within the first few minutes, you can already feel the connection between Nora, played by Wayne Mer Willman, and her father, Tobias, played by Gard B. Eidsvold. Their knowledge of Norwegian folklore. Although his story is told in one short scene, you can even feel a connection with the troll.
If you're a fan of King Kong, Godzilla, or any movie where a giant creature finds its way into the unknown, you'll be a fan of this one. The CGI was great. He believes that everything happens naturally.
I've always been a fan of Norway's Trollhunter since 2010 and it was pretty much the same. Will definitely see it again.
The Troll director revealed Hollywood doesn’t have a monopoly on creative details
Long before I was old enough to dive into JR. Tolkien, Lord Dunsany, Robert E. Howard and Fritz Lieber, I have experience writing fantasy.
Like most children, I was first introduced to literature that contained the supernatural and fantastic in the form of traditional fairy tales. Bedtime Stories grew primarily from Whitman Classics’ 1971 hardcover book Famous Tales, which as a modern advertisement was available free with the purchase of a Folgers coffee. This collection includes stories like Jack the Ripper, Elves and the Shoemaker, Tom Thumb, The Bearded King, Gretel the Wise, Bearskin, and Rumplestiltskin.
Another bedtime favorite was Whitman’s version of Billy the Raw’s Three Goats.
In Three Billy Goats’ Grove, three goats must escape a wild and angry ride, cross a bridge and reach a pasture where they graze. I doubt that the children’s version, which reaches modern readers through George Webb Dassant’s translation of Some Norske Folkeventir, published as a Norse folk tale in 1859, provides sufficient background information on this tale. Two collectors of fairy tales inspired by the Brothers Grimm. The Norwegian fairy tale “The Three Billy Goats” or “De tre bukkene Bruse” is part of legends, myths and legends that have been handed down over the centuries.
Trolls are an integral part of Scandinavian mythology. Said to live in remote mountains or caves, they are considered hostile, weak, and strong. Some northern rock formations are believed to be frozen trolls, as some legends have it that trolls turn to stone when exposed to sunlight.
The iconic features of this legendary race also resonate with modern audiences. In addition to Tolkien’s works, trolls can be found in Catherine Patterson’s 1977 novel Bridge to Terabithia and in films such as Boxtrolls, Frozen, Charmed and Trolls.
The Norwegian monster film Troll, directed and written by Roar Utag, takes a different approach to using these mythical creatures. Trolls launches on Netflix December 1st.
The film opens with a beautiful scene of a father and daughter on a mountaintop, proving that reality and fantasy can only be separated by our willingness to believe the unbelievable.
20 years after that short but thrilling flight, paleontologist Nora Tiedeman (Ine Marie Willman) is appointed by the Norwegian government to lead a research team in a fjord excavating a giant, real-life dinosaur skeleton. . Workers who suddenly released something while constructing a new railway tunnel deep in the Dover Mountains in south-central Norway. Prime Minister Berit Moberg (Anneke von der Lippe) goes to work to control the lime farming fiasco after hearing the opinions of various scholars. Despite the growing number of giant footprints like on land, no one can pronounce the word “troll” yet.
Luckily, Nora’s father, who viewers last saw in that exciting opening scene, is transformed into a “shy scientist with an incredible understanding of what’s going on.” We’ve seen this guy in genre films and once in a 9 year old original X-Files series.
When Nora confers with her father Tobias (Gard B. Eidsvold), he immediately recognizes the angry creature as Rad. The viewer is not surprised, as Tobias lives in a remote cabin filled with books, documents and sketches of trolls.
“Troll” Utaga mostly borrows from films of other genres. The monster is half King Kong, half Godzilla, half T-Rex. The creature’s appearance is somewhat reminiscent of the two dueling ogres from the 1966 kaiju cult classic Gargantua War, directed by Ishiro Honda.
Nora’s quest to find the creature involves Andreas Isakson (Kim Falk), the only person willing to believe the unbelievable, and Captain Kristoffer Holm (Mads Sjögaard Petersen), a member of the Norwegian Army willing to disobey orders. Nora hits him even though she only met him 10 minutes ago.
While the troll may not be smart enough to spot narrative inconsistencies, obvious clichés, and loopholes, it’s still a lot of fun. Understandably, Utag doesn’t expect his audience to take this film seriously. However, Hollywood wants to show audiences that it doesn’t have a monopoly on creature functions. Troll is every bit as fun as any of Legendary Pictures’ recent MonsterVerse films.
Trolls will likely appeal to anyone who appreciates a strong modern take on an ancient folk tale. Kaiju moviegoers; and those who appreciate new interpretations of genres that have been dominated by American filmmakers for decades. The graphics are superb, the acting is top-notch, and the story is driven by graphics, humor, and suspense. Be sure to check out the mid-credits scene that sets the stage for the next one.
And if you’re looking for another dual creature movie, check out 2010’s Norwegian dark fantasy Trollhunter. Written and directed by André Øvredal, this cartoon has become a cult classic.
Lee Clark Zump is editor of Tampa Bay Entertainment Journal and author of short stories that have appeared in select stories and magazines. Follow Lee at www.patreon.com/Haunter_of_the_Bijou.
Troll Review | : Troll (2022) movie review |: Netflix | : Netflix Trolls Review | : Faheem Taj
Based on the novel by best-selling author Richard Paul Evans, the master of Christmas carols known for The Christmas Box, The Noel Diaries is a romantic melodrama that stands out from other December 2017 movies with its depth of detail. Justin Hartley doesn’t just play a “writer.” He is Jake Turner, the best-selling spy author who is handsome, funny and stubborn. And Barrett Doss is not a simple positive shock sent to shake up the leading man. She is Rachel, a woman looking for her mother, Noelle, who was Jake’s nanny when he was young.
More complicated sacrifices emerge when Jack and Rachel take a Christmas road trip to settle an old deal while reading a journal Noel left at the Turner home decades before tragedy destroyed the family. Master director Charles Shearer (he also wrote the screenplay with Rebecca Connor and David Golden) allows this story and its people to unfold naturally without forcing their conflicts or overdoing their everyday tactics. For the most part, it’s a kind of holiday romance about good people who are a little broken inside.
Noel’s diary finally bends to convention when Jake belatedly meets his estranged father and Rachel learns how her awkward fiancé has complicated her love for Jake. But overall, this film is a refreshing alternative to the typical, synthetic Christmas movies this time of year. Take away the mistletoe and the tower and this is still a well-crafted and balanced character sketch that follows two lost souls as they discover what they’ve been missing.
“Noel’s Diary”. TV PG for light subjects. 1 hour 40 minutes. Available on Netflix
“Reading for Christmas”
There’s only one real reason to watch the Christmas rom-com Falling for Christmas, and it’s not an unimaginative rehash of the “selfish elite” premise that follows a vain influencer who develops dementia and returns to learn how to be. Like a real person while recovering his memories. Given that it’s set in the same winter, a ski town that’s the setting for most films in the genre, there’s no reason to ignore the holidays either.
No, it’s about the star of Falling for Christmas, Lindsay Lohan, who brings all her extraordinary charisma to her rare lead role. She plays Sierra, an heiress with a low-key boyfriend/manager Tad (George Young). When they both fall off a cliff during a cute engagement announcement for Instagram, Jake (Accord Overstreet), a widower who runs a quaint little farmhouse and fights in the shadows, finds her lost in the woods. Find out. From Sierra’s father’s nearby luxury hotel. Unable to remember who she is, she becomes Jake’s employee and mother to his young daughter.
The film is also predictable by Christmas movie formulaic standards, with characters racing along 34th Street with plot points borrowed liberally from It’s a Wonderful Life and Marvel. But the overall vibe is warm and upbeat, and Lohan brings spontaneous sincerity to even the funniest scenes. The foil case is shiny and plastic, but the star quality is real.
“Reading for Christmas.” TV PG is scary. 1 hour 35 minutes. Available on Netflix
‘Christmas with you’
Like most Christmas-themed TV movies, Christmas With You is carefully crafted with various plot twists that take the protagonist out of his everyday life and into a place where he can regain the Christmas spirit. But once the story gets real, it’s a simple charm, aided by Angelina’s performance as Miguel, the small-town music teacher who helps you channel your creativity, and Aimee Garcia as Freddie Prinze Jr., the mentally ill middle-aged pop star. Block and write a Christmas carol.
Angelina finds Miguel when her 15-year-old daughter, Cristina (Deja Monique Cruz), covers one of his songs on a fan site. In need of an ego boost, Angelina meets Christina, who has fled New York without telling her panicked record label or needy ex-boyfriend. He is ultimately spiritually refreshed by spending time with a happy family and reconnecting with his Latin roots.
Christmas with you works hard to create complex and intimidating one-dimensional villains that none of them can make sense of. From the moment Angelina meets Miguel and Cristina, it’s clear that all their problems (romantic, creative, professional, whatever) have just been solved. Still, Garcia and Prinze are so likable that it’s a joy to watch them spend an hour or so in front of the screen and learn what the audience already knows.
“Christmas With You”. TV-PG for pieces. 1 hour 30 minutes. Available on Netflix
“A Christmas Carol”
The 1983 Christmas classic “A Christmas Story” is a hearty but hard-to-repeat collection of warm nostalgia, restrained social satire and visionary farce drawn from the memories of radio humorist Gene Shepherd. The sequel, A Christmas Story Christmas, doesn’t quite reach the heights of the original, sometimes trying too hard to replicate what worked the first time, but it tries the unexpected by following Ralphie Parker more than 30 years later. A family man from the start. . Since the 1970s.
Peter Billingsley (who produced the film and wrote the story) returns as Ralphie, an unpublished, unpublished sci-fi writer living in Chicago, when he receives a phone call that his father has died and he must return to Hohman. . , Indiana, working to help his mother (Julie Haggerty) lack of money and a series of accidents lead Ralphie and his wife Sandy (Erin Hayes) to give their children the perfect Christmas as planned, but with the help of their old friend Hohman, who Played by the same actor who appeared in the film. Everywhere 1983 Movie: He manages to control his father’s emotions and takes advantage of what they have.
This sequel may be more rooted in 1973, as it draws heavily from 1940s pop culture, but like its predecessor, it’s episodic fun and jumps from one comedy sketch to another. Some of them fused, and others fell to the ground in the explosion. But it’s Christmas. Not all awards are won.
PG ‘A Christmas Story Christmas’ for language and some coarse material/behaviors. 1 hour, 41 minutes. Available on HBO Max
“Camp Santa Claus”
When it comes to ancient fantasy characters, especially those beloved by children, fans can stubbornly resist attempts to modernize, reinvent, or represent these icons to the general public. The documentary “Santa’s Camp” is about a dispute at a mall or social event when a Santa who does not have the “traditional” appearance: white, chubby, bearded, old and male is wanted. But director Nick Sweeney really covers little of the story, focusing more on Santa’s training agent’s efforts to diversify his senior year. Sometimes outrageous and often disturbing, the film explores the deeper reasons why Santa Claus has inspired people historically and today, reminding viewers that a tradition is only a tradition because someone else repeats it over and over again. We can always create new ones.
‘Santa’s Camp.’ TV-MA, for language. 1 hour 32 minutes. Available on HBO Max
Also on VOD
“One Delicious Christmas” is part of the Discovery+ series of Christmas movies featuring guest appearances by respected personalities from HGTV and the Food Network. In this film, the cable staple stars food critic Bobby Flay, whose strict opinions about Vermont tavern food cause trouble for its new owner, Abby (Vanessa Marano), who inherits the business and gets the old menu after the passing of her beloved father. and friends Available on Discovery+
Now available on DVD and Blu-ray
“Planes, Trains and Automobiles” is one of the funniest, sweetest films ever made about an oft-forgotten holiday in pop culture: Thanksgiving, a land trip of people across the United States (John Candy plays a shameless ad and Steve Martin plays a heist salesman) lives with nightmares. The new Blu-ray edition includes deleted scenes, a behind-the-scenes documentary and a tribute to the late writer-director John Hughes. most important
This story originally appeared in the Los Angeles Times.
Keith Whitley – Don’t Close Your Eyes (Official Video)
Bones and All is a strange, loud and bloody addition to the American road movie canon. Shot in Ohio, director Luca Guadagnino takes Call Me By Your Name star Timothée Chalamet on an adventure that takes his young and conflicted character across various Midwestern states. Along the way will be Taylor Russell, a rising young star who finally found her path to stardom in Bones and All , where she and Chalamet fight for a place in the human-inhabited world as a pair of cannibals. Nomads naturally have little appetite for food.
In many ways, Bones and Everything feels like an inevitable mishmash of Guadagnino past romance and horror genres. Its tormented romantic story is similar to the forbidden romance that the Italian director explored in Call Me By Your Name , and the scenes of bloody violence inevitably resemble the physical horror of Guadagnino 's 2018 remake of Suspiria . A surprisingly quiet film considering the subject matter of its story.
Based on the 2015 novel by Camilla De Angelis, Bones and All Maren follows Earlie (Russell), a young girl whose lust for cannibals leads her to start her own business at age 18. On her journey to find her missing mother, Maren meets Lee (Scallum), a cannibal who has taken to a nomadic lifestyle, albeit a more violent one, because of Maren. The two quickly become close, forming a romance based on Mar and Lee's understanding and shared hunger.
Despite Maren's desire to be reunited with her mother, Bones and Everything moves at a slow pace that shows its undeniable connection to and hatred of the great American road movies of the past. An unusually acoustic and poignant score by Atticus Ross and Trent Rezor further underscores Bones and All 's connection to films like Paris, Texas , as it creates the same warm, aching atmosphere as Robbie's film set to Rye Cooder's folk music. Muller's cinematography is generally excellent. To the film's credit, Bones and All is perhaps the most spectacular exploration of the American countryside since directors Müller and Wim Wenders took that ill-fated trip to the US in 1984.
OS and all Mitt Lee – Features
Guadagnino and cinematographer Arseny Khachaturan not only fill the bones and everything with beautiful sunny shots, they also showcase the mundanity of rural American architecture and life. Every house in the film seems to vibrate and shake under the weight of their faulty construction, and Guadagnino effectively contrasts the freedom of the American plains with the haunted atmosphere of Bones and All 's old houses, factories, and mental hospitals. Midwest
In a film often about the search for freedom and comfort, it shouldn't go unnoticed that Bones and All often returns to the image of the two characters sitting quietly in the vast and seemingly limitless fields of Ohio.
What Bones and All has in beautiful texture and composition, it ultimately lacks in intensity. The film's plot is haphazard and haphazard, which wouldn't be a problem if Bones and All didn't end up tragically violent. Tonally and texturally, Guadagnino tries to split the difference between the American road movie, YA romance, and horror film, but the film often presents itself and its story in such a stilted, bloated way that it feels emotionally flat. .
Part of this is because Chalamet feels terrific as Lee. The actor's previous collaborations with Guadagnino made him a performer capable of tenderly portraying loneliness and longing, but neither he nor his director could bring the same believable warmth and inner conflict to Lee. Indeed, combined with Chalamet's inability to sell his sometimes awkward dialogue in Bones and All , it makes for a surprisingly flat and monotonous performance.
Russell, for his part, is doing much better. As Maren, the actress brings a youthful curiosity and warmth that the film and its central love story desperately need.
OS and all Mitt Maren – Feature Film
Guadagnino, intelligently or not, surrounds Russell and Chalamet with artists who have become far taller and scarier than them. The film's supporting cast is led by Mark Rylance, whose role as a socially awkward cannibal named Sally alternates between pathetic neediness and terrifying obsession. Meanwhile, Michael Stuhlbarg almost steals the entire film, in a scene that allows him to appear only in denim overalls and deliver a monologue about the joys of consuming another man, illuminated by the amber light of a nearby fire.
OS and all Theatrical trailer
In one scene, Stuhlbarg's Bones and All is at its most dangerous and twisted, which is why it lasts so much longer than the rest of the film, which lacks the real bite of a tense cannibal at every moment.
Bones and Everything is in theaters now.
Tomahawk Bony Troglodytes – Creepy Body Cannibal Tribe – Study
In Feature Film, South Korean director Hong Sang-soo explores his creative process, fraught with doubt and uncertainty, through the titular novelist who seems unable to write but wants to make films.
Novelist Junhee (Lee Hae-jung) who travels outside Seoul to visit an old classmate (Seo Yong-hwa) who has also given up writing and now runs a bookstore in a sleepy town.
While investigating, she meets a director (Kwon Hye-hyo) who once rejected one of her novels and tries to blame investor and retired K-movie star Kilso (Kim Min-hee).
Like the entire film, this encounter is a natural in script, setting and acting.
Hong uses one or two photos in each scene, then moves on to the next location and conversation. The black-and-white approach and choice make the feature film look realistic, as if we were standing in the room watching each scene, and one step away from color reality.
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Similarly, the script is naturalistic in terms of self-awareness and is subtly filled with thoughts about the deep nature and uncertainty of the artist and his creative process. He cleverly got Hong Joonhee to talk about how to write the script for his first movie, “Fertile The acting is as realistic and natural as the cinematography and script, with Lee describing the charismatic novelist as a proud “star” with modest insecurities. And Ki Joo-bong is hilarious as a drunken poet who suddenly shows up at a bookstore and discovers something about Junhee’s past.
Moving from place to place and encounter to encounter first reminded me of Richard Linklater’s film The Sloth, which explored bohemian Austin 22 years ago through barely connected scenes.
But this movie is a comedy and definitely not a “fictional movie”. Instead, it’s a quiet gem telling Junhee’s story that offers a rare and candid look into the creator’s creative process.
Contact the author at 402-473-7244 or [email protected]. On Twitter @KentWolgamott
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Linval Joseph knows that being the big man in defense means he has fewer opportunities to eat.
But it’s a role the nose tackle veteran has long embraced.
“My job is to break the branch and let others pick the fruit,” Joseph said. But sometimes they drop fruit on the ground and when they do, you have to pick it yourself. So I’ve done that my whole career and it’s worked really well for me.
“Being selfless and being a team player is what got me here. I’m going to give it my all and I’d love to get another [Super Bowl] ring.”
He can still reach those extremes as the Eagles signed the 34-year-old, 6-foot-4, 335-pound player to a one-year contract on Wednesday. And maybe it helps to put another ring — Joseph won his first in 2012 with the New York Giants — on his hands and arms.
With starter Jordan Davis out for at least two more games and the Eagles’ defensive scheme in cap-to-nose tackle space, Joseph got the call from general manager Howie Roseman after spending the first few months at home. .
“He fits into what we’re doing and I’m thinking about how he wants to play and what he wants to do, and I think that’s going to help us,” defensive coordinator Jonathan Gannon said.
Ganon first met Joseph while they were with the Vikings. But last season with the Chargers, they played on the same front as the Eagles, which made the acquisition almost a no-brainer. For the Colts 4-5-1 on Sunday, Joseph should have little trouble getting in the nose and added a gap to the five-try pack.
“There’s not much difference,” Joseph said of the signs. “It’s just different names and callings.”
With Jonathan Taylor rushing, Indianapolis will inevitably test the run defense behind Texas, and the leaders have averaged 160 yards against the Eagles over the past two weeks. Joseph’s move—and a day later, Ndamukong Suh’s defensive move—was a direct response to these struggles.
Colt Jonathan Taylor has a “non-stop” mentality that started at Salem High School.
Roseman spent the next two months bolstering Gannon’s front line against opponents who were among the NFL’s best offenses. Behind Taylor, the Eagles will face the following challenges: Packers Aaron Jones and AJ Dillon, Derrick Henry of the Titans, Saquon Barkley of the Giants, Justin Fields of the Bears and Ezekiel Elliott and Tony Pollard of the Cowboys.
“They’re all good players,” Fletcher-Cox said Wednesday. “We respect all these guys. But we have to solve our problems first. Plan, I think we are good, we have great players and we believe in everyone here.”
However, 35-year-old Suh came out of retirement the next day.
More than anything, the additions to the former Pro Bowl’s inside line allow Gannon to use his system, which relies on keeping boxes light, allowing him to get shared safety coverage. And the center position, although it only gets 40% of snaps and often registers few catches, is a nose tackle.
While that might make defending a bit easier – Gannon has a lot of different fronts and covers that focus on different players – if Joseph or Davis are doing their thing, everything should be in place.
Just ask Eagles center Jason Kelsey, who, like Joseph, has been stuffing his nose for years.
“When we play five fronts, you have a nose tackle in the middle and you have five guys covering the five forwards, it’s hard for guys to advance in the secondary now.” Kelsey said. “And that’s regardless of the size of the person, but I think the bigger the nose guard the more useful it can be.”
Size is essential. Marlon Tupoloto played against Washington, but at 6-2 and 307 pounds he lacked the reach and passion of Davis, at 6-6 and 336 pounds. Tuipulutu’s knee injury created a spot on the roster, but the Eagles had an understanding for Joseph.
Gannon said he has aggressive calls in his scheme — scans, stunts, interval interceptions — that he can use against more likely offenses. But he doesn’t want to cut the coverage and go overboard with the big shows.
“I think you don’t want teams working with you all day. When you say that, you know there are pressures and strengths in every call,” he said Thursday. “I always say the quickest way to give up a lot of points is to get the ball over your head. Now when the attack adapts, we have to adapt.”
Over the past 10 years, with the explosion of passing and rules designed to support offenses and favor great quarterbacks, NFL defenses have begun to transition to more coverage-oriented programs. Vic Fangio is a hot ticket, and about a dozen teams, including the Eagles, get a version of him.
Quarterbacks now have to catch punts that often go low, and the league average of 11 yards per completion is the lowest since 1933, according to ESPN. His average of 4.5 yards per carry, meanwhile, is the highest in NFL history.
The growing number of quarterbacks played a role in the early success, but the NFL average of 21.8 points is the lowest in 13 years. Defenses win offensive battles because when given a choice, Gannon and his people would rather take their chances on long journeys than rush them.
In Jonathan Gannon, Vic Fangio hit the pass defense with the EaglesBut that doesn’t mean the Eagles want to endure another lousy 66-33 possession streak that kept Washington from an explosive attack on defense. But for how many crimes will fleeing Washington be so tolerant?
“The team is 8-1,” new Colts head coach Jeff said Saturday. They are doing something,” he said. Impact games. And they did a good job of stopping teams, switching and not dropping points.
The Chiefs had an impressive 21 third downs, and while most of them were 4 yards or less, giving them more scrimmage options, three of their conversion passes were 5 yards or more.
Eagles-Commanders: Opponents struggle to prove they can stop Jonathan Gannon
The Eagles’ problem wasn’t just the run. And the nose job wasn’t the only problem they had stopping the ride. It takes 11 times in defense and there have been breakdowns in other places.
But having an average big body that can show off those A-spots is a luxury that can’t be defended. High-nosed tackles are natural desires and the Eagles drafted one in the first round in April and just delivered one of their best in the past decade.
How long did Giuseppe stay on the boat? Judging by his filmography from last season, Davis should have more than enough to recover and play less.
above half
With any unsigned veteran, the main question is often why? Joseph played well last season but missed games with a shoulder injury and played with elbow pain.
“I played about half the season last year,” Joseph said. Even though I was injured, I felt like I was on top form. It’s something for me that most people don’t do: I can play badly.
Joseph’s final five games of the season were cut short after he returned from a shoulder injury and spent two games out with Covid-19. But he kept the show going, especially when he lined up in the middle and ate a block. Here is Joseph (#98) charging the invaders in the finale.
Joseph said he had off-season surgery to clean out his elbow and was 100% healthy to start training camp. He said he had offers but wanted to keep the situation correct, which means playing for the opposition.
The Chargers opened 8-5 last season but have lost three of their last four games. They gave up 34 or more points in a loss. Their rushing defense was a constant problem all season and they finished 30th in yards allowed per game (138.9) and 28 yards per game (4.64).
I don’t want to justify. “We’re not done,” said Eagles quarterback Keizer White, who played for the Chargers last season. “I don’t think we all agree when we should.”
Joseph did his double duty, like hitting the nose of five coins and freeing the others to stand.
As with any variable, treating the nose only prevents it from going to the center. Kelsey (#62) is a potential Hall of Famer, but when he’s going through a tough time, he often turns to big tackles. It’s not alone.
Joseph probably had his best game of 2021 with the Eagles. He had nine hits for the team, seven of which were runs.
“It’s definitely a tough game for me,” Kelsey said. “He’s not only a great man, but also very talented… He picks things up quickly – form, where his back is. He’s good at reading attacking players.
Joseph made a quick jump on the play below, but even a straight leg couldn’t stop Jordan Howard from landing.
your way
Early in his career, Joseph played mostly four-base defense with the Giants. It wasn’t until he went to the Vikings that he started to line up more on the nose, especially in the center of the shadow.
When you are in the middle, there is no other attacker to block you. But when following a technique, you may find yourself one-on-one with a guard depending on the task. Joseph was a handful for Jack Driscoll (#63) last year.
“He’s not just a fat, skinny guy,” Driscoll said. “He’s fast, if you run too far you’ll miss him.
Even Joseph admitted he wasn’t who he was five or six years ago when he went to the Pro Bowls. The Pro Football Focus player ranking should be taken lightly, but he finished 82nd out of 129 defenses last season.
Here he was up against Zack Martin (#70) of the Cowboys, arguably the NFL’s best goaltender.
Joseph, to his credit, followed the race to the finish.
“Play hard. I remember that from last year,” Driscoll said. “Rise until the whistle.”
4 below
Joseph – along with Cox, Javon Hargrave and Milton Williams, and now Sue – is unlikely to line up often in the Eagles’ wide-open passing quartet. But Gannon calls it a time out and Joseph’s goal will generally be the same in all five tries: eat sticks.
But available with just four cylinders, O-Linens have plenty of room to take their performance to the next level. White (#44) is good against the run, but most linebackers struggle to get out of a well-organized blocking zone.
in no hurry
The offense sometimes ran off, especially with a 5-2 lead. Sometimes Ganon wants to avoid 5-2 because of this and likes to go 5-1 while still having five defenders. Joseph hasn’t had many rushing opportunities for the Chargers, but if picked, he could run up center to the quarterback’s knees.
He can be fast with quick shots and also on the ground. He said he was 19 mph in several Chargers practices against the Eagles last season. In 2018, he returned a 64-yard punt in the Vikings’ win over the Eagles.
“I think so,” Joseph said. I am a world class athlete. I am fast. I am strong. I am blessed. “
Joseph made a few rushing attempts on the third-and-long, but recorded 16 pressures a year ago and even Ravens quarterback Lamar Jackson did it.
Joseph said he felt better than he had in three years. He is famous for taking multiple daily trips on the treadmill to keep his big man in shape. But it may take a few weeks to get into shape.
“You have to play football to be fit,” Joseph said.
Davis, with a sprained ankle, can remain injury-free for the Eagles’ Dec. 4 game against the Titans. It can also take some time to regain footballing form. He is expected to take on the titular role, but he could benefit from practicing alongside Sufi.
“The boy is going to be special,” Joseph said of Davis. “I think it will be long after he’s finished.”
Meanwhile, the Eagles should enjoy the fruits of their labor.
The Inquisitor reached out to reporters EJ Smith and Josh Tolentino for a squad preview for the Eagles’ Week 11 game against the Indianapolis Colts. Watch atInquirer.com/EaglesGameday
Going Number One: My Movie Life and Other Entertainment by Steve Martin with Harry Bliss (Celadon):
Between the covers of this amazingly accurate memorabilia are comic strips drawn from the life of comedian Steve Martin, drawn by cartoonist Harry Bliss. The book is fun and innocent, but ultimately unsatisfying.
It’s a compelling concept: Martin had his first starring role in The Jerk (1979) and revisited it in more than 40 films. But the decision to tell only ten stories from them and skip the rest is disappointing.
Bliss’s graphics feel more like an addition to a standard notebook than an indulgence. More than half of the pages are one-photo cartoons under the title “Other Entertainment”. At least they should laugh enough to complete their mission.
In fact, the funniest moments in Martin’s memoir come from other people. One day her mother called and said, “Last weekend some of our friends went to the movies and couldn’t get anywhere, so they went to see your movie and they loved it!” Director Mike Nichols sums up Martin’s filmmaking: “You always aim low. Actor Michael Caine realized early on who made the real money in Hollywood: actors decorating their homes with their pictures. Van Gogh and Monet were on the walls of the productions.
That’s right – The Number One Walkthrough isn’t without humor, wit, or Martin’s hilarious biography, but it lacks depth. The closest is “I’ve done more than 40 movies and I can’t hold my breath, and here’s why: I thought I had to do 40 movies to get five good movies.”
We welcome at least one hint of personal and popular triumphs such as Roxanne (1987). These are Martin’s thoughts on the violent musical Penny from Heaven (1981). Fans may wonder why Martin directed 2000s favorites The Pink Panther and A Dozen on the cheap instead of writing an original screenplay for the over-the-top comedy Bowfinger (1999). If someone decided to write a sarcastic summary, they might say, “Lesson number one was the funniest 35 minutes of my life this week. I want to be 45.”
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Douglas K. Daniels is the author of Anne Bancroft: A Life (University of Kentucky Press).
Mom put the camera down and saw why she was always tired.
The end comes from the beginning: fast, expected, wonderful. King T’Challa, the black panther of Wakanda, is terminally ill, and his brilliant scientist, Shuri’s sister (the powerful Letitia Wright), are working desperately to find a cure. The clock is ticking and the cameras are racing, but as you’d expect, there’s no suspense in the suspense; T’Challa soon dies, leaving his daughter and queen mother Ramonda (Angela Bassett) to mourn with his people. The fact that we’ll never see a flashback of T’Challa’s face – the face of the late Chadwick Boseman – makes these early moments feel final, an absence that resonates beyond the parameters of fiction. We share the heroes’ destruction, but not their shock. Unlike them, we have time to prepare.
Filmmakers too, of course. And the black panther? Director Ryan Coogler’s wisdom, wit and insight are more evident in the first few scenes of “Wakanda Forever”. He wants to honor Boseman’s memory without taking advantage of it, and he knows he doesn’t have to work hard to earn our tears. He also knows that every ending is real, both as a narrative possibility and as a philosophical principle.So even as he leads us on a silent journey through the streets of Wakanda and through a series of splendid funeral ceremonies, Coogler maintains his pace, swiftly sending the troubled Empire into a state of alert. There are already new adventures on the horizon and yes, new opportunities for heartbreak.
The story told by Coogler is disappointing and strange, sometimes touching but unavoidably dark. When diplomacy fails, secrets are exchanged, and forces clash on land and sea, one never forgets that we are witnessing not only intense narratives, but flawed problem solving. Shortly after Boseman’s death in 2020, speculation mounted over the fate of the long-awaited Black Panther sequel to 2018, one of the most commercially and culturally significant blockbusters of all time. Will T’Challa change? Will this digitally-built spooky version of the character Boseman survive another day’s battle? This option was rejected along with Black Panther. “Wakanda Forever” is now completely different from what its creators imagined. Entertainment and elegy, tragedy blurred on and off screen, a story twisted and twisted. glorified. through previously unimaginable losses.
And why not? The strength of Coogler’s first Black Panther film, which made it a unique oasis of emotion, meaning, and political imagination in the Marvel Cinematic Universe, lies in its refusal to shy away from real contact, grief, and pain. Here’s a comic fantasy at once hopeless and utopian, rooted in offbeat superhero mythology (first created in the ’60s by Stan Lee and Jack Kirby) that serves to widen the circle of public awareness, not to diminish. The technologically advanced, Vibranium-enriched kingdom of Wakanda evolved into what New Yorker Jelani Cobb dubs “counter-redemption mythology,” as an overbearing corrective to white colonization of the African continent, if it happened in a strategically remote area. ongoing struggle for black liberation around the world.
Black Panther ends with Wakanda agreeing to lower the isolation shield and rejoin the international community. As the new film opens, the kingdom is witnessing the fun thanks to a worldwide hunger for vibranium, the almighty metal that fueled Wakanda’s techno dominance. There is undeniably something seductive about the idea of a nation that never knew the threat of colonization or conquest suddenly loomed on all sides, its position further threatened by the loss of its most prized son. Even more resonant is the character of Ramonda, played by Bassett with underlying fear and overwhelming anger, who bears the full brunt of her moral authority as she steps fearlessly into transgression.
Ramonda’s presence on the throne of Wakandan, with Shuri as her closest companion, builds on the feminist foundations built on the previous film. For all of his fatherly Sturm und Drang (including electric villain Michael B. Jordan as Erik Killmonger), the early Black Panther enjoyed the power of its warriors and female lead, all in full force and in some cases with important reinforcements. There’s a great opening display of spearmen from Dora Milaje, led once again by the powerful Okoye (impressive Danai Gurira) and a newly recruited shocktrooper from Aneka (“I Can Destroy You” Michaela Coel). Also in the mix is Riri (Dominic Thorne), a 19-year-old tech geek who, like Icarus, gets up and races and cracks intelligently like someone who is clearly poised for a future Marvel release.
While Riri’s witty energy brings a welcome initial shock in the process, the character feels all the more like an afterthought, especially when Coogler and his co-writer Joe Robert Cole make a paradigm shift. Enter Namor (the charismatic Tenoch Huerta), ruler of an Atlantis-like underwater kingdom called Talokan, which like Wakanda is backed by Vibranium and until recently a closely guarded secret. A seductive bronze-breasted demigod, Namor has pointed elven ears and winged feet reminiscent of the Greek god Hermes, but this little-known DC Comics predecessor Aquaman was actually (literally, given his homeland) an ancient Mayan community. . Traces of this heritage can be found in hieroglyphs carved into the Talokan rock caves, as well as on Namor’s feathered headgear and intricate jewelry. (This is less clear on the subject, whose bluish skin and fishy grin are reminiscent of James Cameron’s next Avatar: The Last Airbender.)
The clash between the powerful African empire and its Mesoamerican counterparts, the Wakandan and Talokan powers, introduces exciting new cultural and mythological dynamics and raises all sorts of thorny questions about race and alliances between Blacks, Natives and Latinos; is of American descent. (It also opened up a whole new world of aesthetic possibilities for costume designer Ruth E. Carter, set designer Hannah Bichler, and composer Ludwig Göransson, all of whom brilliantly expanded their Oscar-winning contribution to the first Black Panther.) Less exciting. The clash prompts a lot of action as well, and like almost every Marvel movie, many of the fight scenes that are choreographed are arguably the film’s most ancient, lack any real inner punch and hit a dead end, especially in film. Apogee, cross with too much madness. – choppy.
It tells us that the first Black Panther and its messy sequels, while rarely lacking in interest, are at their best when they ignore, or even neglect, their franchise obligations. (The film falls apart as it moves from Wakanda and Talokan to various CIA conspiracies, which I won’t divulge, not because of spoilers but because they’re too boring to put into words.) Sometimes a sacred and perhaps insane question. Should Wakanda Forever Be A Superhero Movie? It can be seen that someone will inherit the T’Challa suit, take on the Black Panther cloak and will most likely replace him in the next installment of the endless MCU series. The season passes without much satisfaction, mainly because the anointing of other Wakandan characters ultimately goes against the film’s democratic spirit.
One of the reasons Boseman is such a great actor is his genius at self-immolation, his ability to be the center of attention without dominating it. His generosity towards other actors is perfect for T’Challa, a character who isn’t the most interesting and doesn’t need to be in his original world. Luckily, you can see more of this world in Wakanda Forever. You see it in the royal ceremonial ischikolo that Ramonda wears during a meeting with the Wakanda Council of Elders, played by familiar faces like Isaac de Bankole and the late Dorothy Steele (who died in 2021). You also see it in Winston Duke’s ever-changing M’Baku, the clan leader’s furry bear, and Lupita Nyong’o’s extraordinary and underused performance as Nakia’s master spy, who after forced destiny returns to serve his country. . – alienate. He had his doubts about his circumstances, but this was a welcome homecoming. You will know the feeling.
“Black Panther. Wakanda Forever”
Rated PG-13 for intense violence, action and multiple sound sequences
When? open friday
Where? wide version
Duration: 2 hours, 41 minutes
Black Panther from Marvel Studios. Wakanda Forever |: Red Carpet LIVE!
The other day my friends and I went to see a new horror movie.I was nervous going into the cinema because although I love cinema, I usually don’t like horror movies. The last thing my wild imagination needs is something tangible to work with, so I don’t like this genre very often. However, with the support of my friends, I bravely shot the film and survived to tell the tale, although I can’t say I didn’t get off without a hitch.
The film scored 1970 on Rotten Tomatoes and has a score of 6.8 on IMBD. Both ratings are high for a genre that has struggled to please audiences. So I was expecting a great movie and I can’t say I was totally disappointed. The film has all the typical elements you would expect from a horror film. However, there were also many uncertainties. Once I had a strong idea of the plot, I couldn’t wait to see how it would end. The film was consistently attracting attention due to its good action and good performances by the lead characters. But I do have a few criticisms, though I won’t say too much.
I think the movie would have been scarier if the main villain had been a little less obvious. The unknown allows the imagination to personalize the viewer’s fears, creating a more terrifying experience. It also leaves more room for the powerful symbolism of presence and its connection to mental health. I think it is possible to examine the history of existence in depth. To get to the bottom of it, the characters delve deep into the past and discover that this malevolent entity has claimed several victims in the past. However, they do not attempt to trace the origin of the entity or trace events back to their source. It can be fun and help the characters. However, I would say that the movie ends in a way that leaves the door open for a sequel or prequel, so the writers are saving the creation story for another movie. As a psychological thriller horror film,Smilesucceeds. I left the theater feeling anxious and uncomfortable, feeling like the ending was unpredictable, and frustrated that I didn’t get the ending my mind wanted, but maybe scarier and more realistic. . Overall, I think it’s worth checking out if you’re a fan of the genre.
Gabriel Bossard is a journalism student from Dakota. He can be reached at [email protected].
Smile (2022) SPOILER FREE Horror Movie Review Reply | Come with me Shameful astronauts
Aftersun has been on my mind since it premiered at the Cannes Film Festival in May. Now when there is no good reason to check out the zine. It’s the best film of the year for a first-time screenwriter and director.
Scotland’s debutant is 35-year-old Charlotte Wells, and her debut is cause for celebration. Don’t expect to be sexually shocked or impressed. For Wells, we only need the realm of the human heart to smile, acknowledge the gesture, and then cry.
Aftersun is a father-daughter story based on the life of a girl on vacation with her father, Wells. The era of the late 90s, dominated by Walkman and karaoke. It was a cheap beach resort in Turkey, far from Scotland, where his parents had gone to live in London.
11-year-old Sophie (newcomer Frankie Curio) and her father Callum (Paul Mescal) look forward to spending time together, tenderly mirroring the quirky adult Sophie (Celia Rolson-Hall) who remembers them on video cameras. mother regret
We are talking about complex issues here, where meaning is found in the exchange of ideas, in the spaces between words. Wells can live his life as a dying Callum – with a splint on his arm – quietly smoking on the balcony while his daughter sleeps or poses.
Wells notes that Callum is dead and Sophie uses her childhood memories to understand her father as an adult in Ghost Dance. What Wells does with his powers of observation is an incredible feat that would be the envy of anyone twice his age.
There’s a scene where Sophie discusses the dangerous tipping point between childhood and adolescence. Or Callum dancing alone, lost in a club with lights. As the father tells his daughter, “There’s a feeling that once you’ve gone where you came from, you don’t need to be there anymore.”
Sophie then feels further abandonment when Callum, a slave to her mercurial temper, sends her on stage alone to perform a karaoke version of their planned duet ‘Losing My Religion’. Wells doesn’t give us any details, just the pain that consumes this father as he tries to keep the best part of himself alive for Sophie.
This would be the time to raise the bar for a brilliant, surprising and immersive performance by Miskal and Coryo that represents acting at its finest. Koryo was chosen after a Facebook call with strangers. And what was the original discovery.
Irish-born Mescal, 26, who received an Emmy nomination and an Emmy nomination for starring opposite Daisy Edgar Jones on Hulu’s Normal People, is an extraordinary actress who has proven her mettle in God’s Country and The Lost Princess. too. .” “.” In Aftersun, he plays a complex role with paralyzed magical and elemental powers.
The empathy that Welles and his actors invest in this character gives Aftersun its ability to draw you in and disappoint you. Is the film too small to attract award attention? Hardly Last year, the beautiful miniature “CODA” won the Academy Award for best picture.
One thing’s for sure: You won’t be able to get Aftersun out of your mind and heart.
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