The titular Drew has been sharing scripts with curious readers and writers for almost two decades now, and has a vast library from which to choose from. A great benefit of Script-O-Rama is that it holds several drafts of certain movies, an invaluable resource for those who want to see how a Hollywood film evolves in the writing process.
Netflix makes movie night easy. The streaming service offers subscribers a massive library of new and classic films, and with new movies coming to Netflix all the time, the collection is always changing, too. To help you decide what to watch next, we look through the list of available titles every week and update this list of the best movies on Netflix right now.
Unfortunately, not all of the content on Amazon Prime Video is available for offline playback. That's thanks to content owners giving Amazon permission on whether to let people download them as opposed to simply streaming them. As a result, you'll have to cross your fingers that the film or television show you want to watch is available.
Ratings are determined by the Classification and Ratings Administration (CARA), via a board comprised of an independent group of parents. Follow @FilmRatings on Twitter for daily updates on film ratings.
Greetings again from the darkness. Old Hollywood glamour is merely something we read about or reminisce about these days. Part of the reason is that we are almost as likely to see a favorite star on TV as in a new movie, and a bigger cause is that we simply know too much about them as people ... the mystique has been replaced by (too many) personal details and divisive political influence. Classic movie lovers always have favorite performers, and there were certainly some great ones in the Golden Era: Bogart, Gable, Hepburn, Davis, etc; however, I've always felt there was one actress who time seems to have forgotten. Gloria Grahame never seemed to choose the easy route (either on screen or real life), and she turned in some terrific performances in the 1940's and 50's. You might only know her as Violet in IT'S A WONDERFUL LIFE, but she was also an Oscar winner for THE BAD AND THE BEAUTIFUL (1952), and had standout roles in OKLAHOMA! (1955), THE BIG HEAT (1953), and IN A LONELY PLACE (1950). Her talent allowed her to fit as well for a musical or family film, as in the Noir Thrillers for which she seemed to thrive.So why all the background on a mostly forgotten actress from a bygone era? Because Annette Bening magically channels the late actress in her role as Ms. Grahame in the final stages of her life. Director Paul McGuigan's film is based on the memoir of Peter Turner, a young man who had a relationship with the actress in her later years. Turner is played here by Jamie Bell (BILLY ELLIOT) and he and Ms. Bening are so believable, that we are fully drawn in by their characters and their touching story.Opening with the actress in her dressing room prepping for a dinner theatre version of "The Glass Menagerie", the film conveys much in these few minutes. Clearly, this is an actress far removed from the Hollywood spotlight. We also sense her immense pride is still present, and the glass of milk is for relief from her discomfort ... later self-diagnosed as "gas". We start in 1981 and flashback to 1979. Creative transitions between scenes and times add a stylish element to a story that is ultimately about human relationships, aging and loneliness. The need to be cared for when sick is as crucial as the importance of being a dependable caregiver for loved ones. The film's script from Matt Greenhalgh allows for an empathetic look at these topics through the eyes of people we quickly care about. Julie Walters (Bell's dance teacher in BILLY ELLOT) is exceptional as Turner's mother and Ms. Grahame's caregiver. Other supporting roles include Kenneth Cranham as Turner's dad, Stephen Graham as his fiery brother, and Vanessa Redgrave as Ms. Grahame's mother. We never get the back story on why Ms. Grahame feels so connected to the Turner family - only that the 28 year age difference between herself and Peter didn't much matter to either of them.There is a sexually-charged disco dance with Ms. Grahame and Peter in her hotel room that makes clear why any young man might fall for her, but it's really in the quieter moments where the film and Ms. Bening and Mr. Bell shine. The emotions and pain are palpable, and yet neither her spirit nor his devotion will quit. The music from Jose Feliciano and Elvis Costello is terrific and comfortably fits a story of love and aging and illness, while also reminding us ... once a starlet, always a starlet, even when the star has faded.
I remember the first time I saw Gloria Grahame on screen it was in the theater inOklahoma where she played goodhearted good time girl Ado Annie. She playeda lot of good time girls in more serious films as well. My best memories of her onthe screen were in The Big Heat and Not As A Stranger. During her peak years inthe Fifties Gloria Grahame got the first call when one had to cast a woman ofeasy virtue. She won an Oscar for The Bad And The Beautiful for a woman who is led astray. Usually Gloria did the leading.Annette Bening did a good job interpreting Gloria Grahame best as she could and she got it 3/4 right. There was only one Gloria and she was unqiue. Thisshows the sad last two years of her life when her career was pretty well over,but she had hopes of a comeback. She was living in the United Kingdom andhardly a big name any more.But whatever she had in the way of happiness came from a May/Decemberromance with young actor Peter Turner played by Jamie Bell. It wasn't easy attimes because Grahame still thought of herself as a big star. Lots of NormaDesmond in that woman.The two best scenes in the film are Gloria's meeting with her mother VanessaRedgrave and a most jealous sister who tried and didn't have the career Gloriadid. The classic has been versus a never was. The sister is played with real bite by Frances Barber. The second is Gloria with herdoctor saying she had rejected chemotherapy because she was afraid of losingher hair and she wanted to be castable still. Offers were not really coming thelate 70s.The ending is similar to Frances Farmer's end in Will There Ever Be A Morning,poignant and sad. Won't reveal, you have to see it and I defy anyone to have adry eye.A great tribute to a great star.
The moving images of a film are created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation, or by a combination of some or all of these techniques, and other visual effects.
Before the introduction of digital production, series of still images were recorded on a strip of chemically sensitized celluloid (photographic film stock), usually at the rate of 24 frames per second. The images are transmitted through a movie projector at the same rate as they were recorded, with a Geneva drive ensuring that each frame remains still during its short projection time. A rotating shutter causes stroboscopic intervals of darkness, but the viewer does not notice the interruptions due to flicker fusion. The apparent motion on the screen is the result of the fact that the visual sense cannot discern the individual images at high speeds, so the impressions of the images blend with the dark intervals and are thus linked together to produce the illusion of one moving image. An analogous optical soundtrack (a graphic recording of the spoken words, music and other sounds) runs along a portion of the film exclusively reserved for it, and was not projected.
Many other terms exist for an individual motion-picture, including "picture", "picture show", "moving picture", "photoplay", and "flick". The most common term in the United States is "movie", while in Europe "film" is preferred. Archaic terms include "animated pictures" and "animated photography".
The art of film has drawn on several earlier traditions in fields such as oral storytelling, literature, theatre and visual arts. Forms of art and entertainment that had already featured moving and/or projected images include:
By the end of the 1880s, the introduction of lengths of celluloid photographic film and the invention of motion picture cameras, which could photograph a rapid sequence of images using only one lens, allowed action to be captured and stored on a single compact reel of film.
Movies were initially shown publicly to one person at a time through "peep show" devices such as the Electrotachyscope, Kinetoscope and the Mutoscope. Not much later, exhibitors managed to project films on large screens for theatre audiences.
The earliest films were simply one static shot that showed an event or action with no editing or other cinematic techniques. Typical films showed employees leaving a factory gate, people walking in the street, the view from the front of a trolly as it traveled a city's Main Street. According to legend, when a film showed a locomotive at high speed approaching the audience, the audience panicked and ran from the theater. Around the turn of the 20th century, films started stringing several scenes together to tell a story. (The filmmakers who first put several shots or scenes discovered that, when one shot follows another, that act establishes a relationship between the content in the separate shots in the minds of the viewer. It is this relationship that makes all film storytelling possible. In a simple example, if a person is shown looking out a window, whatever the next shot shows, it will be regarded as the view the person was seeing.) Each scene was a single stationary shot with the action occurring before it. The scenes were later broken up into multiple shots photographed from different distances and angles. Other techniques such as camera movement were developed as effective ways to tell a story with film. Until sound film became commercially practical in the late 1920s, motion pictures were a purely visual art, but these innovative silent films had gained a hold on the public imagination. Rather than leave audiences with only the noise of the projector as an accompaniment, theater owners hired a pianist or organist or, in large urban theaters, a full orchestra to play music that fit the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music to be used for this purpose, and complete film scores were composed for major productions. 2b1af7f3a8