Contents • • • • • • • • • • Plot [ ] In 1855 Edward Pierce (Sean Connery), a charismatic member of London's high society, is secretly a master thief. He plans to steal a monthly shipment of gold from the London to train which is meant as payment for British troops fighting in the. The gold is heavily guarded in two in the baggage car, each of which has two locks, requiring a total of four keys. Pierce recruits Robert Agar (Donald Sutherland), a pickpocket and. Pierce's mistress Miriam (Lesley-Anne Down) and his Barlow (George Downing) join the plot, and a train guard, Burgess, is bribed into participation. The Great Train Robbery was the robbery of £2.6 million from a Royal Mail train heading from Glasgow to London on the West Coast Main Line in the early hours of 8 August 1963, at Bridego Railway Bridge, Ledburn, near Mentmore in Buckinghamshire, England. After tampering with line signals, a 15-strong gang of. Great Train Robbery: Great Train Robbery, (August 8, 1963), in British history, the armed robbery of £2,600,000 (mostly in used bank notes) from the Glasgow–London. The executives of the bank who arrange the gold transport, the manager Mr. Henry Fowler (Malcolm Terris) and the president Mr. Edgar Trent (Alan Webb), each possess a key; the other two are locked in a cabinet at the offices of the at the London Bridge train station. In order to hide the robbers' intentions, wax impressions are to be made of each of the keys. Pierce ingratiates himself with Trent by feigning a shared interest in. He also begins courting Trent's spinster daughter, Elizabeth (Gabrielle Lloyd), to learn the location of her father's key. Pierce and Agar successfully break into Trent's home at night, and make a wax impression of the key before making a clean getaway despite a close call with the butler. Pierce targets Fowler through his weakness for. Miriam reluctantly poses as 'Madame Lucienne', a high-class prostitute in an exclusive bordello. Miriam meets Fowler and asks him to undress, forcing him to remove the key worn round his neck. While Fowler is distracted by Miriam, Agar makes an impression of his key. Pierce then arranges a phoney police raid to rescue Miriam, forcing Fowler to flee to avoid a scandal. The keys at the train station prove a much harder challenge. After a diversionary tactic with a child pickpocket fails because Agar cannot locate the two Chubb safe keys in the key cabinet, much less wax them in the time available, Pierce decides to use cat burglar Clean Willy (Wayne Sleep) to climb the station's wall, climb down into the station, enter the office via a small hatch in the office ceiling, and open the office door and the key cabinet from within. Because Clean Willy is incarcerated at, Pierce and Agar first have to break him out, using a public execution as a distraction. With Willy's help, the criminals succeed in taking wax impressions of the keys when the night guard takes a scheduled restroom break without detection. Clean Willy is subsequently arrested after being caught in the act pick-pocketing and informs on Pierce. The police use Willy to lure Pierce into a trap, but the master cracksman easily eludes capture. Clean Willy escapes from his captors but is murdered by Barlow on Pierce's orders. The authorities, now aware that the robbery is imminent, increase security by having the baggage car padlocked from the outside until the train arrives at its destination and forbidding passengers to travel in the guard's van. Any container large enough to hold a man must be opened and inspected before it is loaded on the train. Pierce smuggles Agar into the baggage car disguised as a corpse in a coffin. Pierce plans to reach the car across the coach roofs while the train is under way, but he and Miriam encounter Fowler, who is riding the train to Folkestone to watch over the shipment. After arranging for Miriam to travel in the same compartment as Fowler to divert his attention, Pierce crosses the roof of the train and unlocks the baggage van's door from the outside. He and Agar replace the gold with lead bars and toss the bags of gold off the train at a prearranged point. However, soot from the engine's smoke has stained Pierce's clothes and he is forced to borrow Agar's suit, which is much too small for him. The jacket splits across the back when he disembarks at Folkstone. The police quickly become suspicious and arrest him before he can re-join his accomplices. Pierce is put on trial for the robbery. As he exits the courthouse, he receives the adulation of the crowds, who consider him a folk hero for his daring act. In the commotion, a disguised Miriam kisses him full on the mouth, in the process slipping him a key to his handcuffs from her mouth to his. Agar is also present, disguised as a driver. As Pierce is about to be put into the wagon, he frees himself and he and Agar escape, to the jubilation of the crowd and the chagrin of the police. Cast [ ] • as Edward Pierce • as Agar • as Miriam • as Trent • as Henry Fowler • as Sharp • as Burgess • as Clean Willy • as Emily Trent • Gabrielle Lloyd as Elizabeth Trent • George Downing as Barlow • as Harranby • as Judge • as Station Master • as Maggie Production [ ] Film rights to the novel were bought in 1975. In 1977 it was announced the film would be made in Ireland by with and. Crichton deliberately varied the movie from his book. He said 'the book was straight, factual but the movie is going to be close to farce.' Sean Connery originally turned down the movie after reading the script, judging it 'too heavy.' He was asked to reconsider, read the original novel, met Crichton, and changed his mind. Sean Connery performed most of his own stunts in the film, including the extended sequence on top of the moving train. The train was composed of J-15 class 0-6-0 No 184 of 1880, with its wheels and side rods covered and roof removed, leaving only spectacle plate for protection to give it a look more akin to the 1850s and coaches that were made for the movie from modern railway flat wagons. Connery was told that the train would travel at only 20 miles per hour during his time on top of the cars. However, the train crew used an inaccurate means of judging the train's speed. The train was actually doing speeds of 40 to 50 miles per hour. Connery wore soft rubber soled shoes and the roofs of the carriages were covered with a sandy, gritty surface. Connery actually slipped and nearly fell off the train during one jump between two carriages, and had difficulty keeping his eyes free of smoke and cinders from the locomotive. One error can be seen in the sequence. When the lid is wrenched off the casket and Lesley-Anne Down bends in to pull out her 'brother,' Donald Sutherland's eyes twitch from left to right. Heuston Station in Dublin stood in for 'London Bridge' station in the movie. During the filming at the station, a diesel locomotive leaked a large quantity of fuel onto the tracks by the platform. When the production company's steam engine rolled onto the same tracks, embers dropping from the underside of the locomotive ignited the fuel soaked track, momentarily producing a very large fire within the station. Origins of the plot [ ] The film's plot is loosely based on the, in which a named William Pierce engineered the theft of a trainload of being shipped to the during the. The gold shipment of £12,000 (equal to £1,029,140 today) in gold coin and ingots from the -to- was stolen by Pierce and his accomplices, a in the railway offices named Tester, and a skilled named Agar. The robbery was a year in the planning and involved making sets of duplicate keys from impressions for the locks on the safes, and bribing the train's guard, a man called Burgess.: 210 Crichton, the author of the book and the screenplay, was inspired by Kellow Chesney's 1970 book The Victorian Underworld, which is a comprehensive examination of the more sordid aspects of society. In his screenplay Crichton based his character 'Clean Willy' Williams on another real-life character from Chesney's book, a named Williams (or Whitehead) who, sentenced to death in, escaped from prison by climbing the 15-meter (50-ft.) tall sheer walls, squeezing through the revolving iron spikes at the top, and climbing over the inward projecting sharp spikes above them before making his escape over the roofs.: 187 The only completely fictional character in the film is Miriam (). Filming locations [ ] Although set in and, most of the filming took place in. In particular, the final scenes were filmed in and in. The scenes on the moving train were filmed on the Mullingar to Athlone railway line (now closed) around the Athlone/Moate area. The train driver was John Byrne from Mullingar (now deceased). The two locomotives which featured were both J-15 0-6-0's, No 184 of 1880, and No 186 of 1879. Music [ ] The film's lavish, energetic soundtrack was written by -winning composer. The score marked his third collaboration with writer/director following (1972) and (1978). The music for two pianos played by the characters Elizabeth (Gabrielle Lloyd) and Emily Trent () is from the third movement of Mozart's Molto Allegro. Reception [ ] The Great Train Robbery has a critical rating of 78 percent on. The site's critics praised the film's comedic tone, action sequences, and Victorian details. Wrote that 'Crichton's film drags in dialog bouts, but triumphs when action takes over.' Of the singled out Connery, writing that the actor 'is one of the best light comedians in the movies, and has been ever since those long-ago days when he was James Bond.' Of praised director Crichton's 'amplitude.in this visually dazzling period piece,' and that 'the climactic heist of the gold, with Mr. Connery climbing atop the moving railroad cars, ducking under bridges just before a possible decapitation, is marvelous action footage that manages to be very funny as it takes your breath away.' Accolades [ ] •, Best Motion Picture Screenplay, 1980 — Michael Crichton References [ ]. • ^ Owen, Michael (28 Jan 1979).. New York Times. • at • Ebert, Roger.. Ebert Digital LLC. Retrieved 27 October 2017. • Thomas, Bob (21 Sep 1975). 'Movies: Director Dino hits the shores of America'. Chicago Tribune. • Fitzsimons, Godfrey (10 Jun 1977). 'Hollywood company to make $5m. The Irish Times. • Sterritt, David (3 Apr 1979).. Christian Science Monitor. • Mann, Roderick (19 Dec 1978). 'The Diagnoses of Dr. Los Angeles Times. • Bray, Christopher (2011). Sean Connery: A Biography. New York: Pegasus.. Retrieved 14 March 2017. The Victorian Underworld. London: Maurice Temple Smith Ltd.. • David Ingoldsby.. Shot at Trinity. Trinity College Dublin. Retrieved 20 May 2015. • 31interactive.co.uk.. • 31interactive.co.uk.. Rotten Tomatoes. Retrieved 2 July 2014. • (9 Feb 1979).. Chicago Sun-Times. • ^ (2 Feb 1979).. New York Times. External links [ ] • on • at • at •.
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THE LUCKY ONE followed MR. PIM PASSES BY and THE TRUTH ABOUT BLAYDS as Mint’s third production by A.A. Milne—best remembered today as the creator of Winnie the Pooh. The play tells the timeless story of antagonism between two brothers: Gerald, who stands in the sun and Bob, who stands in Gerald’s shadow. Lyrics to 'The Lucky One' song by Alison Krauss: You're the lucky one So i've been told As free as the wind, Blowin' down the road Loved by many. When Bob finds himself in serious legal trouble, he turns to Gerald for rescue. When Gerald fails to come through, years of simmering resentment boil over in a confrontation that is as stirring as it is surprising. First published in 1919, THE LUCKY ONE was produced on Broadway by the Theatre Guild in 1922—Milne’s sixth Broadway production in less than two years. “Few plays have ever been more directly and deeply searching of the springs of conduct, more subtle in depicting essential character,” hailed John Corbin of the New York Times, calling it “a play of quite extraordinary delicacy and soundness of feeling.” Ninety-five years later, our production of THE LUCKY ONE reminded New York theatergoers of Milne’s remarkable skill as a playwright. Creatives • Directing Jesse Marchese • Sets Vicki R. Davis • Costumes Martha Hally • Lights Christian DeAngelis • Sound Toby Algya • Props Joshua Yocom • Dialects and Dramaturgy Amy Stoller • Casting Stephanie Klapper, CSA • Production Stage Manager Jeff Meyers • Assistant Stage Manager Kelly Burns • Illustration Stefano Imbert • Graphics Hey Jude Design, Inc. • Advertising The Pekoe Group • Press David Gersten & Associates MEET THE DESIGNERS Director Jesse Marchese and his design team will talk about the process, the production and the play—and answer your questions. JEANNE SAFER, AUTHOR OF CAIN’S LEGACY: LIBERATING SIBLINGS FROM A LIFETIME OF RAGE, SHAME, SECRECY AND REGRET Jeanne Safer, PhD is a psychotherapist who has been in private practice for over forty years, and the author of six acclaimed and thought-provoking books on neglected psychological issues including and. She has appeared on television (“The Today Show,” “Good Morning America,” and “CBS World News Tonight”) and contributed articles to The New York Times, The Washington Post, The Wall Street Journal, and other publications. Safer’s discussion will focus on the play’s depiction of a sibling rivalry. 'As Charming as Usual?' Milne and The Lucky One MAYA CANTU, THEATER HISTORIAN AND DRAMATURG Maya Cantu is a theater historian, scholar, and Dramaturgical Advisor for the Mint. She received a D.F.A. In Dramaturgy and Dramatic Criticism at Yale School of Drama, and is a member of the Drama faculty at Bennington College. Maya is the author of the book, American Cinderellas on the Broadway Musical Stage: Imagining the Working Girl from “ Irene” to “Gypsy.” Her discussion will focus on the life and work of A.A. Milne, and on the contexts and influences informing The Lucky One. Program Flyer. Logan is a marine serving in Iraq. While there, he finds a photo of a girl with 'keep safe' written on the back. He is admiring it when his unit is attacked. He survives and credits the photo for saving him. He tries to find the owner but can't, assuming he was killed. When he goes back to the States, he finds it difficult to adjust and is still haunted by what happened. Analyzing the photo, he finds in the background a landmark that tells him she is in Louisiana. He then goes there and finds her. He learns her name is Beth. He tries to tell her what happened but can't get the words out. She assumes he's there to apply for the job they advertised looking for someone to help at her family's business, a dog kennel. He says yes but at first she gets an uneasy feeling from him but her grandmother decides to give him a chance. It isn't long that he makes a connection with her son. He then discovers that it was her brother who had the picture only he doesn't remember him. He sees that her. When you walk into a Nicolas Sparks movie, you expect certain things. The Lucky One follows a storyline similar to most of Nicolas Sparks' other adapted novels. This is neither a good nor a bad thing. So long as the movie can stand on its own feet, it deserves recognition. On that ground, The Lucky One does hold its own. The acting is great and the story held my interest. In the end, specific problems make this movie much worse than it should have been. The main fallback of the story is the characters. Stereotypes are abound. The mayor-to-be is the same as any story that tries to cover a trapped-in-a-small-town feel. The father is an incredibly flat character that is in no way believable. Even Zac Efron's character is too mysterious for his own good. Although Efron pulled off the role quite well, it was the way the character is presented that is the problem. The other problem with the film is its climax. I won't give it away, but I have seen the same climax more than once. It was an unfortunate low point in a movie that was incredibly well acted. The rest of the storyline was quite unique and enjoyable. Even the modern setting of PTSD and soldiers who have served too many tours was a fascinating setting for the movie. Unfortunately, the amateur screenwriter dropped the ball. I must point out an unfortunate fact of this movie. It's only 101 minutes. Since it is so short for a complex drama, it drops the ball on many occasions. In the beginning of the film, Zac Efron's character walks from Colorado to Missouri. This fact is almost addressed at one point, but then dropped and never brought back. Things like this happen throughout the film. These holes could have been filled with 15 to 20 minutes more screen time. Unfortunately, the push to keep films shorter made The Lucky One significantly worse. If you are a Nicolas Sparks fan, this movie is worth seeing. If you enjoy romantic dramas, I would recommend renting The Notebook, A Walk to Remember, or Dear John. If you don't like romantic dramas, there is no reason for you to see this movie. Nicolas Sparks is one of the few authors who deliver consistently good plots. Unfortunately, his last two films have fallen flat. Maybe it's time for him to stop using the same formula again and again. War Stories False Atrocity Tales, Swift Boaters, and Winter Soldiers--What Really Happened in Vietnam by Gary Kulik Potomac, 304 pp., $29.95 One of the oft-repeated stories among soldiers in Vietnam concerned a purported island in the Pacific where the U.S. Army would dispatch those men who had contracted incurable forms of venereal disease. To spare their families embarrassment, so the stories went, the military would inform them that their loved ones had gone missing in action--and the afflicted soldiers would never return. To this day, some Vietnam veterans remain firmly convinced that this really happened. 'It is of course a false and absurd story,' writes Gary Kulik, who served as a medic in Vietnam. 'In my experience some young soldiers thought that their repeated cases of gonorrhea were marks of virility, rather than symptoms of long-term unpleasantness. I can easily imagine medics, who were usually older and better educated, using such a fantasy for its invigilating effects.' Kulik's wry comment about this fantasy island constitutes a rare lighter moment in an otherwise deadly serious, emotionally charged book. Anyone who grew up in the 1960s--whether he served in Vietnam, took to the streets in protest, did both, or neither--is likely to hesitate before picking up a book with the subtitle: 'False atrocity tales, Swift Boaters, and Winter Soldiers--What Really Happened in Vietnam.' The instinctive reaction is to ask what ideological line Kulik is peddling--and why should I, as a reader, dredge up all the political, personal, cultural, and psychological battles of that era? What more is there to be said? The short answer is 'a lot,' and Kulik says it extraordinarily well. At a time when most people who lived through the war in Vietnam would rather cling to their own versions of events, disregarding anything that complicates the narrative that they've accepted in their minds as the truth, along comes a writer who refuses to settle for simple ideological answers of either the left or the right. Instead, he follows the evidence wherever it leads him, scrupulously examining the record of how American soldiers behaved when they served in Vietnam, and the stories they have been telling since they came home. Kulik's ability to navigate and weigh seemingly contradictory evidence, coming to conclusions that will not please the ideologues of either side, flows from his own complex feelings about Vietnam. As a graduate student at Brown, he was opposed to the war and applied to be classified as a conscientious objector. But he expressed his willingness to serve in a noncombatant role in the military, and was inducted into the Army in 1969. While enjoying a cushy assignment as a writer in the Historical Unit of the Walter Reed Army Medical Center, he penned antiwar articles and was even arrested in a demonstration. (Because he was in civilian clothes and released quickly, his superiors didn't learn about this.) In June 1970, he was shipped to Vietnam, where he served as a medic and then, somewhat to his frustration, as a clerk to the battalion adjutant. He volunteered to join a flight crew, but was rejected because of less-than-perfect vision. He was still technically a conscientious objector, but he clearly wanted to be in on the action. The war no longer looked black and white to him, nor did the warriors. Kulik methodically sets out to debunk anything he has concluded is a lie or misrepresentation about that period. What is held to be true isn't necessarily true, he argues, even when there are Vietnam veterans claiming responsibility for particular actions. His most graphic example: The case of Kim Phuc, the nine-year-old girl who was badly burned in a napalm attack in 1972, and was famously photographed running naked in agony. She was later rediscovered by Western journalists, and in 1996, she attended a Veterans Day ceremony at the Vietnam Veterans War Memorial in Washington. Addressing the crowd, she told them that, if she could meet the pilot who napalmed her, she would ask him 'to promote peace.' Jan 01, 2018 Please consider leaving a like and subscribing if you enjoyed the content. It helps tremendously, thank you! This content is licensed under Creative. The Ghost Patrol is a 1923 silent film drama directed by Nat Ross from a short story by Sinclair Lewis, produced and distributed by Universal Pictures. At that point, John Plummer passed a note to her saying: 'I am THAT man.' The two embraced and Phuc said, 'I forgive you.' The only problem was that, as Kulik points out, Plummer was not that man. Yes, he served in Vietnam, but his entire story falls apart on closer examination. The real pilot was a South Vietnamese who had responded to an appeal for help from South Vietnamese troops under attack. So why did Plummer claim he was the guilty one? It produced invitations to appear on Nightline, a documentary on A&E, and countless other appearances to talk about forgiveness. That, in turn, strengthened his reputation as a minister in Purcellville, Virginia. Kulik argues that many people--including some Vietnam veterans--have come to accept an image of the war that is heavily influenced by popular culture. Books like Michael Herr's Dispatches and movies like Apocalypse Now and Taxi Driver painted a picture of a war where everything goes, and soldiers routinely were crazed both on the battlefield and when they returned home. The notion of a 'post-Vietnam syndrome' gained wide acceptance, with claims that Vietnam veterans suffered an unprecedented level of trauma and suicide rates. Kulik marshals the evidence that this is wide off the mark. Partly because the military was more experienced in dealing with psychological problems during the Vietnam war than in earlier conflicts, the rate of psychological breakdown was much lower than it was in either the Korean war or World War II (11 per 1,000 troops in Vietnam as compared to at least triple that rate in Korea). A 1988 study by the Department of Veterans Affairs found that Vietnam veterans had a 7 percent lower risk of suicide than veterans of other wars. All of which sets the context for Kulik's main interest: How true were the stories of widespread atrocities in Vietnam? Here, too, he dismisses some popular myths, like the frequently told tales of helicopter crews throwing out prisoners in flight. But the key sections of this book consist of his examination of the records of military investigations and trials, along with the stories told by Vietnam veterans, especially those in the antiwar movement. Kulik isn't claiming that the Vietnam war didn't produce its share of atrocities, or take a heavy psychological toll on some soldiers. 'I shared a barracks room with a heroin addict who would be arrested for losing it one night and firing directly into a Vietnamese settlement immediately outside our perimeter,' he writes. Elsewhere, he adds, 'Americans did commit war crimes in Vietnam, and even now, no one of good conscience can claim that all those war crimes have come to light.' But his main focus is on debunking the exaggerations and outright fabrications that have contributed to the impression that the My Lai massacre wasn't some horrendous exception to the rule but typical of what happened. In particular, he takes on the Winter Soldier Investigation (WSI) that featured the most hair-raising testimonies about alleged atrocities, including the stories about tossing prisoners from helicopters and the crucifixion and skinning of others. He convincingly demonstrates both the absurdity of many of those claims and the dubious credentials of some of the accusers. 'The reason to expose false atrocity stories is so we can retain our outrage at true atrocity stories,' he maintains. Kulik follows up on the military investigations of several cases. The saga of what happened, the often-contradictory testimonies at the time, and the recollections of those veterans he tracked down for this book, contain an accumulation of evidence that makes some sections a slog. Still, it's this attention to detail that allows him to conclude in the cases he examines that war crimes were committed--but on nothing like the scale of popular lore. The sum total of confirmed war crime cases to come out of the WSI testimonies, he insists, is exactly one. Kulik lauds a soldier who, he finds, spoke the truth about a war crime committed by his unit, despite intense pressure to go along with a whitewash. And he isn't about to join those who tar every veteran who protested the war and offered more sweeping judgments. While hardly a fan of John Kerry, who participated in WSI and backed its extravagant claims, he is scathing in his criticism of the Swift Boat Veterans who sought to prove that Kerry was surrounded by fake veterans making fake charges. 'The case that 'many' of those at the WSI were frauds was itself a fraud,' he concludes--although he adds that many of those who later joined Vietnam Veterans Against the War 'were neither veterans nor were they truly against the war.' Nothing is simple about Kulik's feelings or findings. He explains that he stands on 'the narrowest of moral ledges, condemning the way we fought the war, but wishing the South Vietnamese had prevailed... Proud of my reluctant, conscience-driven service, outraged by war crimes like the one at My Lai, but intent on exposing fake war crime stories.' In other words, War Stories tries to provide as accurate an account as possible. Because of the intense passions on both the left and the right, this is a herculean task--but Kulik pulls it off. Andrew Nagorski, vice president and director of public policy at the EastWest Institute, and the author of The Greatest Battle: Stalin, Hitler, and the Desperate Struggle for Moscow That Changed the Course of World War II, is working on a book about Americans in Hitler's Germany. The Weekly Standard The Weekly Standard 2009 Washington, DC Politics 2009-11-16 November 16, 2009 Ghost Patrol War Stories False Atrocity Tales, Swift Boaters, and Winter Soldiers--What Really Happened in Vietnam by Gary Kulik Potomac, 304 pp., $29.95 One of the oft-repeated stories among soldiers in Vietnam concerned a purported island in the Pacific where the U.S. Army would dispatch those men who had contracted incurable forms of venereal disease. To spare their families embarrassment, so the stories went, the military would inform them that their loved ones had gone missing in action--and the afflicted soldiers would never return. To this day, some Vietnam veterans remain firmly convinced that this really happened. It is of course a false and absurd story, writes Gary Kulik, who served as a medic in Vietnam. In my experience some young soldiers thought that their repeated cases of gonorrhea were marks of virility, rather than symptoms of long-term unpleasantness. I can easily imagine medics, who were usually older and better educated, using such a fantasy for its invigilating effects. Books and Arts, Andrew Nagorski http://cdn.weeklystandard.biz/cache/280x280.jpg. Private O'Brian Produced. Supervising producer: Canada. Executive producer. Executive producer Cinematography by Film Editing by Casting By. (casting director Italy). Jun 02, 2014 2047 - SIGHT OF DEATH ICFF Canada. Unsubscribe from ICFF Canada? Cancel Unsubscribe. Subscribe Subscribed Unsubscribe 187. (casting by) Production Design by Art Direction. Creative director Set Decoration by Production Management. Post-production manager / post-production supervisor. Production manager Second Unit Director or Assistant Director. First assistant director. Second assistant director. Second assistant director. Second assistant director. Third assistant director Sound Department. Boom operator. Sound effects editor. Foley artist / sound effects editor. Re-recording mixer Visual Effects. Digital compositor. Digital compositor: AIC. Stereoscopic compositor. Digital compositor. Digital compositor. Digital compositor. Compositing supervisor. Digital matte painter. Visual effects supervisor: Canada. Visual effects supervisor. Digital compositor. Digital compositor. Digital compositor. Digital compositor Camera and Electrical Department. First assistant camera. Camera operator / steadycam. Video assist. Second assistant camera. Gaffer Casting Department. Casting associate Costume and Wardrobe Department. Costume supervisor Editorial Department. Assistant editor. Digital intermediate colorist. Post production supervisor Other crew. International distribution. Unit publicist. Production coordinator. Script supervisor. Script supervisor: additional. Dialogue Coach. Opening credits. You are watching Storm Surfers: New Zealand movie. Big wave pioneer Ross Clarke-Jones and two-time world champion Tom Carroll are two Aussie surfing legends who have spent the last few years scouring the ends of the earth to ride the most dangerous waves they can find. Now they're taking their search to New Zealand to endure the freezing temperatures, rugged terrain and inhospitable conditions of remote Fiordland in Storm Surfers: New Zealand, sequel to the highly successful Storm Surfers: Dangerous Banks. Hunting waves the size of a four-storey building involves strategy, timing, preparation and tracking the largest oceanic storms in the world. That's where meteorologist and surf forecaster Ben Matson comes in. 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The film’s leaden treatment of this incredible story somehow sucks all the drama out of it. Plays the ship’s captain, Charles McVay, but the script by Cam Cannon and Richard Rionda Del Castro never offers him a chance to do much more than stare ahead earnestly and bark orders. An assortment of secondary characters are given story lines too flimsy to register, and the special effects are equally rickety. The most interesting part of the film is its treatment of Capt. McVay’s subsequent court-martial (he decades later), but this stretch, too, feels like a missed opportunity. Indianapolis: Men of Courage” is rated R (Under 17 requires accompanying parent or adult guardian) for gory shark attacks. The harrowing true story of the crew of the USS Indianapolis, who were stranded in the Philippine Sea for five days after delivering the atomic weapons that would. May 04, 2016 In the waning days of World War II, the Navy warship USS Indianapolis secretly delivered one of two atomic bombs that would eventually end the war. USS INDIANAPOLIS: MEN OF COURAGEOriginal Motion Picture SoundtrackMusic Composed and Conducted by Laurent EyquemA wonderful new. Two minutes of sincerity don’t make up for two-hours plus of bumbling and pandering. Watch video Nicolas Cage stars in this film depicting the true story of the World War II naval disaster that claimed hundreds of lives. Overview The USS Indianapolis had the grim mission of delivering the atomic weapons that would be dropped on Hiroshima and Nagasaki. After dropping these bombs off, the men on this ship find themselves stranded in the Philippine Sea. Their mission was a secret, so there is no one on hand to rescue them. As food and water supplies run low, a more pressing problem emerges. Surrounding their ship are hundreds of sharks, and they begin to attack with relentless ferocity. By the time rescuers finally come, will there be anyone left to rescue from the clutches of these vicious sea creatures? Last Kind Words - OFFICIAL Trailer (2012) Movie [HD] LIKE US ON FACEBOOK Last Kind Words Stars - Brad Dourif, Spencer Daniels, Alexia Fast 17-year-old Eli has just moved with his family deep into the backwoods of Kentucky to work on the isolated farm of a local recluse. Inexplicably drawn into the strange forest that lies beyond the farm, Eli encounters the beautiful, sweet and mysterious Amanda, seemingly the perfect girl. But with the discovery of decaying bodies hanging from the trees, he realizes that the forest - and Amanda - are harboring some very dark secrets. Suddenly, Eli is living in a waking nightmare where the lines between life and death are scrawled in blood, and there is no escaping the terror from beyond the grave. Last kind words, last kind words trailer, last kind words 2013, last kind words movie, last kind words hd, Brad Dourif, Spencer Daniels, Alexia Fast, darma. Contents • • • • • Track listing [ ] No. Title Length 1. 'Not All Who Wander Are Lost' 3:32 2. 'Clouds Over California' 4:09 3. 'Bound by the Moon' 4:01 4. 'Horn of Betrayal' 4:24 5. 'These Fighting Words' 3:58 6. 'Burning Sermon' 3:38 8. 'Monsters of the Deep' 4:03 9. 'Tirades of Truth' 5:11 10. 'When Summoned' 3:04 11. 'The Axe Shall Fall' 5:15 Total length: 45:39 bonus track No. When Eli returns to the farm of his parents' youth, he discovers that within its forests a different line is drawn between the living and the dead. Mar 23, 2012 OFFICIAL TRAILER for LAST KIND WORDS. OFFICIAL COMPETITION, BROOKLYN FILM FESTIVAL. Last Kind Words Lyrics: The last kind words I heard my dad say / Lord the last kind words I heard my daddy say / If I die, if I die, in the German war / I want you to. Title Length 12. 'Damning the Heavens' 2:18 Personnel [ ] DevilDriver • – • Jeff Kendrick – • – guitar • Jon Miller – • John Boecklin – Additional musicians • Simon Fafara – vocals on 'Tirades of Truth' Production • –, engineering • – • – engineering Charts [ ] Chart Peak position Australian Albums () 46 French Albums () 147 German Albums () 92 UK Albums () 94 UK Rock & Metal Albums () 8 US 48 US () 6 US () 13 US () 12 References [ ]. Gargamel has a nefarious plot to capture and kill the Smurfs in order to steal their magic for himself. His minions kidnap the Smurfs. Gargamel initially succeeds in his mission, and it seems like a bunch of Smurfs are being drained of their magic. Gargamel uses magical balls that freeze the Smurfs. In one scene, it seems like Smurfs are going to drown in the rapids after being pushed out of a raft and plunging down a waterfall. One character seems dead for a while but comes back to life. A vulture attacks a Smurf. Smurfs: The Lost Village summary of box office results, charts and release information and related links. Some of the Smurfs in the new village use arrows and spears. Some physical humor -- kick to the crotch, 'joke' box that punches a Smurf, etc. Parents need to know that Smurfs: The Lost Village is -- like the and live-action/animation movies -- based on the beloved blue cartoon characters. But unlike the previous Smurfs movies, this one is completely animated and aimed at slightly younger kids (in other words, there's less potty humor and iffy content this time around, though definitely still some slapstick moments). But you can expect scenes of peril/Smurfs in danger, as well as one genuinely scary, sad sequence in which a character has (sort of) died. Despite the occasional violence, no lasting harm comes to any of the main characters, and the movie has a clear girl-power message, as well as themes of courage and teamwork. SMURFS: THE LOST VILLAGE focuses on Smurfette (voiced by ), who, unlike every other Smurf in Smurf Village, isn't male or identified by a descriptive personality trait (e.g. Handy, Brainy, Grouchy, Clumsy, Jokey, etc.). She was originally created by evil wizard Gargamel (), and even though later she was magically transformed by Papa Smurf (), Smurfette still wonders how she fits in. One day while adventuring with Hefty (), Clumsy (), and Brainy () near the Forbidden Forest, they're captured by Gargamel, who reveals that he plans to trap all the Smurfs, boil them in a potion, and steal their power. Aiding Gargamel in this endeavor is a map he claims shows where there's another 'lost' Smurf village. Smurfette frees her friends and, defying Papa Smurf's orders, they travel beyond the borders of the Forbidden Forest and discover the other group of Smurfs, who all happen to be fierce females. Smurfette must convince the newly found Smurfs, who are led by Smurfwillow (), that Gargamel may be on his way to kidnap and destroy them all. While this isn't the sort of animated film that teens and child-free adults will want to see, it's got just enough heart to hook younger audiences and remind them to embrace their uniqueness. The plot is fairly thin, but this is a story aimed at little kids, so that's not too much of a problem. The female Smurfs are like Amazons compared to the Smurf Village cohort. There's warrior archer Smurfstorm (a well-cast ), perky and sweet Smurfblossom (), smart and decisive Smurflily (), and, of course, the wise and maternal Smurfwillow. Wilson's Gargamel is played in the standard, somewhat over-the-top manner, while his two minions strike the right balance between 'dangerous' and 'not quite killers.' There's a pretty sad moment in the climax that may require hand holding and comfort for the preschool set -- but, never fear, all ends well. This completely animated adventure is notably better than the previous hybrid CGI-live action installments. By focusing on Smurfette, screenwriters Stacey Harman and Pamela Ribon have created a girl-empowerment story that's sure to please young viewers and will finally really answer the question 'Who is Smurfette?' • Families can talk about the messages in Smurfs: The Lost Village. What is the movie sayin about what makes a Smurf a Smurf • What really makes Smurfette unique? How does the movie help promote the idea of female empowerment? • How do the characters demonstrate and? Why are those important? • If you've seen the other Smurfs movies, how does this one compare? Do you prefer all-animation to the animation/live-action approach? Why or why not? • What's the appeal of remaking old cartoons like The Smurfs into movies? Do you think the goal is to share the cartoons with a new generation or to appeal to grown-ups who remember the cartoons from their own youth? Amazon.com: Grave Encounters 2: Richard Harmon, Sean Rogerson, Leanne Lapp, John Poliquin: Movies & TV. Watch Grave Encounters 2 starring Reese Alexander in this Horror on DIRECTV. It's available to watch. Watch Grave Encounters 2 full movie with English subtitle. Watch online Grave Encounters 2 2012, Richard Harmon, Stephanie Bennett. For people who don't believe the events of (2011).Grave Encounters, film student Alex Wright is out to prove them wrong. Alex is as obsessed with the first film as the 20 million people who viewed its viral trailer on YouTube. While he and his friends research the events and visit the real psychiatric hospital depicted in the original film, they find themselves face-to-face with unspeakable evil, banking on the hope that their knowledge of the original film will help them survive the sequel. Not going to bore you, so let me be frank. I really enjoyed it. Watch this film with no expectations in regards to the first and you will to. The problem is people expect way to much from these fairly low budget films. This film does its job, make you feel uneasy and some good scares. It makes me laugh when critics on here are like 'It was so boring, not scary at all, a waste of time' lol I bet you at some point in the movie they were like 's*&t!' Just stop trying so hard to hate and enjoy. I rate this a high 6/10, gave the first one 7/10. Follow me on twitter and we can exchange film opinions and recommendations: FilmGeek89. For people who don't believe the events of Grave Encounters (2011).Grave Encounters, film student Alex Wright is out to prove them wrong. Alex is as obsessed with the first film as the 20 million people who viewed its viral trailer on YouTube. While he and his friends research the events and visit the real psychiatric hospital depicted in the original film, they find themselves face-to-face with unspeakable evil, banking on the hope that their knowledge of the original film will help them survive the sequel. Online free on Xmovies8. Applies to • Windows 10 Windows AutoPilot is a collection of technologies used to set up and pre-configure new devices, getting them ready for productive use. In addition, you can use Windows AutoPilot to reset, repurpose and recover devices. This solution enables an IT department to achieve the above with little to no infrastructure to manage, with a process that's easy and simple. Benefits of Windows AutoPilot Traditionally, IT pros spend a lot of time on building and customizing images that will later be deployed to devices with a perfectly good OS already installed on them. Windows AutoPilot introduces a new approach. From the users' perspective, it only takes a few simple operations to make their device ready to use. From the IT pros' perspective, the only interaction required from the end user, is to connect to a network and to verify their credentials. Everything past that is automated. Windows AutoPilot Scenarios Cloud-Driven The Cloud-Driven scenario enables you to pre-register devices through the Windows AutoPilot Deployment Program. Autopilot is visual marketing automation and customer journey software. Acquire, nurture, and grow high-paying customers, fast. Get started free. All Tesla vehicles produced in our factory, including Model 3, have the hardware needed for full self-driving capability at a safety level substantially greater than. Can't afford marketing automation software? Autopilot's affordable pricing model scales with your business. Plans start from $20/month. Your devices will be fully configured with no additional intervention required on the users' side. Tip If you're auto-enrolling your devices into Microsoft Intune, or deploying Microsoft Office, make sure you follow the networking guidlines for and. IT-Driven If you are planning to configure devices with traditional on-premises or cloud-based solutions, the can be used to help automate the process. This is more suited to scenarios in which you require a higher level of control over the provisioning process. For more information on creating provisioning packages with Windows Configuration Designer, see. Teacher-Driven If you're an IT pro or a technical staff member at a school, your scenario might be simpler. The app can be used to quickly set up PCs for students and will get you to a productive state faster and simpler. Please see for all the details. Not finding content you need? Windows 10 users, tell us what you want on. |
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