Over 100 popular films are leaving HBO Max at the end of the month, but luckily you have the whole month to stream them.
They include cinema classics like “Ben Hur,” the winningest film in Oscars history
Leaving April 5
The Inside Story, 1948
Reminiscence, 2021 (HBO)
Leaving April 11
Adult Swim Yule Log (aka The Fireplace)
Leaving April 12
About Face: Supermodels Then and Now, 2012 (HBO)
Leaving April 13
The Last Duel, 2021
Game Theory With Bomani Jones, Season 1
Leaving April 18
The Lego Batman Movie, 2017
Leaving April 24
Tom and Jerry Cowboy Up!, 2022
Leaving April 27
Malignant, 2021 (HBO)
Leaving April 30
47 Ronin, 2013 (HBO)
3 Godfathers, 1948
Accepted, 2006 (HBO)
The Adventures of Robin Hood, 1938
A Private War, 2018 (HBO)
An American in Paris, 1951
The American President, 1995
Any Given Sunday, 1999
Australia, 2008 (HBO)
Before I Fall, 2017 (HBO)
Ben-Hur, 1959
Black Legion, 1937
Blade, 1998
Blood Diamond, 2006
Blow Out, 1981 (HBO)
The Bodyguard, 1992
Boogie Nights, 1997
The Book of Eli, 2010
The Bourne Identity, 2002 (HBO)
The Bourne Supremacy, 2004 (HBO)
Bringing up Baby,...
They include cinema classics like “Ben Hur,” the winningest film in Oscars history
Leaving April 5
The Inside Story, 1948
Reminiscence, 2021 (HBO)
Leaving April 11
Adult Swim Yule Log (aka The Fireplace)
Leaving April 12
About Face: Supermodels Then and Now, 2012 (HBO)
Leaving April 13
The Last Duel, 2021
Game Theory With Bomani Jones, Season 1
Leaving April 18
The Lego Batman Movie, 2017
Leaving April 24
Tom and Jerry Cowboy Up!, 2022
Leaving April 27
Malignant, 2021 (HBO)
Leaving April 30
47 Ronin, 2013 (HBO)
3 Godfathers, 1948
Accepted, 2006 (HBO)
The Adventures of Robin Hood, 1938
A Private War, 2018 (HBO)
An American in Paris, 1951
The American President, 1995
Any Given Sunday, 1999
Australia, 2008 (HBO)
Before I Fall, 2017 (HBO)
Ben-Hur, 1959
Black Legion, 1937
Blade, 1998
Blood Diamond, 2006
Blow Out, 1981 (HBO)
The Bodyguard, 1992
Boogie Nights, 1997
The Book of Eli, 2010
The Bourne Identity, 2002 (HBO)
The Bourne Supremacy, 2004 (HBO)
Bringing up Baby,...
- 4/4/2023
- by Lawrence Yee
- The Wrap
George Gershwin, the noted composer of “Rhapsody in Blue” and “An American in Paris,” will be the inspiration for a new musical drama from Martin Scorsese and John Carney.
Scorsese is producing the movie “Fascinating Rhythm,” named after one of Gershwin’s most recognizable songs, with Irwin Winkler. Carney, the filmmaker behind “Once” and “Sing Street,” as well as the showrunner of Amazon’s “Modern Love,” will direct the film. He’s also co-writing the screenplay with Chris Cluess.
An original musical, “Fascinating Rhythm” will draw creative influence from the life and music of Gershwin. However, the film is not expected to be a biopic. Instead, the story is centering on a young woman’s magical journey through past and present New York City. The Gershwin estate is on board and the movie will feature his music throughout.
Some of Gershwin’s best known compositions include “Let’s Call the Whole Thing Off,...
Scorsese is producing the movie “Fascinating Rhythm,” named after one of Gershwin’s most recognizable songs, with Irwin Winkler. Carney, the filmmaker behind “Once” and “Sing Street,” as well as the showrunner of Amazon’s “Modern Love,” will direct the film. He’s also co-writing the screenplay with Chris Cluess.
An original musical, “Fascinating Rhythm” will draw creative influence from the life and music of Gershwin. However, the film is not expected to be a biopic. Instead, the story is centering on a young woman’s magical journey through past and present New York City. The Gershwin estate is on board and the movie will feature his music throughout.
Some of Gershwin’s best known compositions include “Let’s Call the Whole Thing Off,...
- 4/22/2021
- by Rebecca Rubin
- Variety Film + TV
Bollywood’s first depiction of a lesbian relationship is crafty and charming, with the reassuring presence of Sonam Kapoor Ahuja and father Anil
After India decriminalised homosexuality last September, many wondered anew: what would a Bollywood romcom look and sound like with a non-straight protagonist? The answer, it transpires, is: much the same as any other Bollywood romcom. Shelly Chopra Dhar’s film, a groundbreaker in the garb of a crowdpleaser, is a light comedy of errors (tangentially inspired by PG Wodehouse’s A Damsel in Distress) shot in eye-caressing pastels, with a smattering of keening songs and the reassuring star presence of father-daughter pairing Anil Kapoor and Sonam Kapoor Ahuja. After nursing this otherwise atypical project into cinemas, the pair have kept mum in promotional interviews, preferring to let the finished feature do their messaging for them. That was one smart decision among many.
Related: Pioneering Bollywood lesbian romance opens in India
Continue reading.
After India decriminalised homosexuality last September, many wondered anew: what would a Bollywood romcom look and sound like with a non-straight protagonist? The answer, it transpires, is: much the same as any other Bollywood romcom. Shelly Chopra Dhar’s film, a groundbreaker in the garb of a crowdpleaser, is a light comedy of errors (tangentially inspired by PG Wodehouse’s A Damsel in Distress) shot in eye-caressing pastels, with a smattering of keening songs and the reassuring star presence of father-daughter pairing Anil Kapoor and Sonam Kapoor Ahuja. After nursing this otherwise atypical project into cinemas, the pair have kept mum in promotional interviews, preferring to let the finished feature do their messaging for them. That was one smart decision among many.
Related: Pioneering Bollywood lesbian romance opens in India
Continue reading.
- 2/2/2019
- by Mike McCahill
- The Guardian - Film News
Whit Stillman on overcoming drawing a "blank" for The Last Days Of Disco: "I was very helped by the fact that a magazine sent me Anthony Haden-Guest's book about Studio 54 to review."
In the final instalment of my conversation with Whit Stillman we go on a "magical" stroll connecting Fred Astaire and Joan Fontaine in George Stevens's A Damsel In Distress to Greta Gerwig and Adam Brody in Whit's Damsels In Distress, Ryan Paris's Dolce Vita, Kate Beckinsale, Chloë Sevigny, Matt Keeslar, Mackenzie Astin, and a Dean Martin song in The Last Days Of Disco.
The director/screenwriter talks about adapting Jane Austen's Lady Susan for Love & Friendship, the possible influence of his children on The Wizard Of Oz costumes turning up in his films, and a Peter Afterman comment about baroque music and Jamaican music that matches for Whit a Procol Harum Whiter...
In the final instalment of my conversation with Whit Stillman we go on a "magical" stroll connecting Fred Astaire and Joan Fontaine in George Stevens's A Damsel In Distress to Greta Gerwig and Adam Brody in Whit's Damsels In Distress, Ryan Paris's Dolce Vita, Kate Beckinsale, Chloë Sevigny, Matt Keeslar, Mackenzie Astin, and a Dean Martin song in The Last Days Of Disco.
The director/screenwriter talks about adapting Jane Austen's Lady Susan for Love & Friendship, the possible influence of his children on The Wizard Of Oz costumes turning up in his films, and a Peter Afterman comment about baroque music and Jamaican music that matches for Whit a Procol Harum Whiter...
- 7/12/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The story that came before Snow White in The Huntsman: Winter's War. Chris Hemsworth and Charlize Theron return to their roles joined by Emily Blunt and Jessica Chastain. Theron stars as evil Queen Ravenna, who betrays her good sister Freya with an unforgivable act, freezing Freya's heart to love and unleashing in her an icy power she never knew she possessed. Retreating to a kingdom far to the north, Freya raises an army of Huntsman as her protectors with the only rule that no two of them should ever fall in love. At a recent press conference on the Universal lot this is what the cast had to say about returning for a sequel, Chris being the only guy on set and stunt work.
What made you come back and do the sequel?
Charlize Theron: It was Chris Hemsworth, no but I had a blast on the first one...
What made you come back and do the sequel?
Charlize Theron: It was Chris Hemsworth, no but I had a blast on the first one...
- 4/19/2016
- by Fernando Esquivel
- LRMonline.com
What happens when the director of Hesher and I Love Sarah Jane teams up with acclaimed dancer Daniel 'Cloud' Campos? Shiny happens, a TropFest winning stop motion animated short film heavy both on the action and the charm. A damsel in distress gets undressed when a man from the midwest puts to rest a world thats obsessed with the priceless., also known as "the shiny".I don't know that I really want to say anything about it beyond that, just take a look below and experience it for yourself!...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 2/19/2016
- Screen Anarchy
What happens when the director of Hesher and I Love Sarah Jane teams up with acclaimed dancer Daniel 'Cloud' Campos? Shiny happens, a TropFest winning stop motion animated short film heavy both on the action and the charm. A damsel in distress gets undressed when a man from the midwest puts to rest a world thats obsessed with the priceless., also known as "the shiny".I don't know that I really want to say anything about it beyond that, just take a look below and experience it for yourself!...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 2/19/2016
- Screen Anarchy
Oscar-winning actress Joan Fontaine has died, per the AP and multiple news reports. She was 97. Born Joan de Beauvoir de Havilland to British parents in Japan, Fontaine began her film career under contract with Rko in films like The Man Who Found Himself (1937), her official onscreen “introduction,” A Damsel in Distress (1937) opposite Fred Astaire, and George Cukor’s The Women (1939). A year after leaving Rko, Fontaine starred in the gothic thriller Rebecca as a woman haunted by her new husband’s (Laurence Olivier) dead wife. The film, Alfred Hitchcock‘s American debut, was nominated for 11 Oscars and won two including Best Picture. Fontaine earned her first Best Actress nod and reteamed with Hitch the following year for another domestic thriller, Suspicion, which won her the Academy Award over sister Olivia de Havilland, who was herself nominated for Hold Back The Dawn. Fontaine’s third Best Actress nomination was awarded for 1943′s The Constant Nymph.
- 12/16/2013
- by THE DEADLINE TEAM
- Deadline TV
Academy Award-winning actress Joan Fontaine, the leading lady known for her string of roles as demure, well-mannered and often well-bred heroines in the 1940s, and the younger sister of actress Olivia de Havilland, died today at her home in Carmel, California; she was 96.
Known best for her back-to-back roles in two Alfred Hitchcock thrillers -- the 1940 Best Picture winner Rebecca and the 1941 film Suspicion, for which she won a Best Actress Oscar, making her the ony actor in a Hitchcock film to receive an Academy Award -- she and her sister were enshrined in Hollywood lore as intense rivals, and their rivalry reached a peak of sorts when Fontaine beat de Havilland for the 1941 Best Actress Oscar.
Born Joan de Beauvoir de Havilland in 1917 in Tokyo, Japan, Fontaine suffered from recurring ailments throughout her childhood, resulting in her mother moving both her and Olivia to California. While her mother, stage actress Lillian Fontaine, desired for both her daughters to be actresses, it was only Olivia who initially pursued an acting career, as Fontaine returned to Japan for two years when she was 15 years old to live with her father, who divorced Lillian in 1919. Upon returning to the states, Fontaine found that Olivia was already becoming an established actress, and began to embark on her own career. Starting out in theater, Joan initially changed her name to Joan Burfield, then Joan Fontaine (so as to avoid confusion with her sister), and soon found herself in moderately noteworthy parts in such films as You Can't Beat Love (1937), A Damsel in Distress (1937, opposite Fred Astaire) and Gunga Din (1939, alongside Cary Grant, her future leading man in Suspicion). Though she garnered more notice in 1939 in the supporting part of naive newlywed Peggy Day in the classic comedy The Women, she was far eclipsed in fame and reputation by her sister, who had already starred along Errol Flynn in a number of romance adventures, and who received her first Oscar nomination for the blockbuster Gone With the Wind.
It was the same man who cast de Havilland in Gone With the Wind who would make Fontaine into a major star. Looking to follow up the monstrous success of Gone With the Wind with another noteworthy literary adapation, producer David O. Selnick snapped up the rights to the Daphne du Maurier bestseller Rebecca, in which an unnamed, demure heroine -- known only as "the second Mrs. de Winter" -- is taunted by the memory of her husband's first wife, the beautiful and seductive title character. Selznick brought director Alfred Hitchcock over for his first American production, cast matinee idol and rising star Laurence Olivier as moody, mysterious husband Maxim de Winter, and embarked on a Scarlett O'Hara-style talent search for his leading lady. Rejecting Loretta Young, Margaret Sullavan, Vivian Leigh (then Olivier's wife), and a then-unknown Anne Baxter along with hundreds of other actresses, Selznick decided on Fontaine, who though not an established star projected the right mix of beauty, insecurity, and tenacity needed for the part. Fontaine's insecurity, however, was heightened by Olivier's sometimes cruel treatment of her on set, as he had lobbied aggressively for Leigh to get the role, and Hitchcock capitalized on her inferiority complex to shape her performance. The resulting film, released in 1940, was an unqualified critical and financial success, catapulting Fontaine into the tier of top Hollywood leading ladies, establishing Hitchcock firmly in the United States, and nabbing the film 11 Academy Award nominations, includine ones for both Fontaine and Olivier; it would go on to win Best Picture.
Selznick, pleased with the combination of Hitchcock and Fontaine, signed the two on for a follow-up about a demure heiress who begins to suspect that her playboy husband is out to murder her for her money. Initially titled Before the Fact, it would later be retitled Suspicion, and Cary Grant was cast as the charming but caddish husband. Though the final ending of the film was tinkered with -- studio heads thought making Grant guilty would be bad for box office, and insisted on a twist to make him actually heroic -- it was another success, earning three Oscar nominations, including Fontaine's second Best Actress nod. It was at the 1941 Academy Awards that Fontaine, once considered the also-ran to her movie star sister, beat Olivia de Havilland for the Best Actress Oscar (de Havilland had been nominated for Hold Back the Dawn). In what became part of Hollywood and Academy Award legend, Fontaine coolly rejected her sister's efforts at congratulations, and What had always been a fractious relationship since childhood became officially estranged. Hollywood wags often reported that because de Havilland lost to her sister, she would retaliate by winning two Oscars -- in 1946 for To Each His Own and 1949 for The Heiress -- in order to top Fontaine. The two would officially stop speaking to one another in 1975.
Fontaine received a third Oscar nomination in 1943, for the music melodrama The Constant Nymph, and that same year essayed the title role in the commercially successful if moderately well-regarded version of Jane Eyre opposite Orson Welles. She remained a star throughout the 1940s, appearing in the comedy The Affairs of Susan (1945), the thriller Ivy (1947), and opposite Bing Crosby in The Emperor Waltz (1948). Fontaine also gave what many consider to be her best performance in 1948's Letters from an Unknown Woman, Max Ophuls' romantic drama opposite Louis Jourdan. In 1945 she divorced her first husband, actor Brian Aherne, and in 1946 married producer William Dozier, whom she would divorce in 1951. Two years later, she was embroiled in a bitter custody battle with him over their daughter, Debbie, and the ongoing lawsuit would prevent Fontaine from accepting the role of frustrated military wife Karen Holmes in the Oscar-winning drama From Here to Eternity -- Deborah Kerr was instead cast, and received an Oscar nomination for the part.
Though she continued to work throughout the 1950s, most notably in the lavish Technicolor adaptation of Ivanhoe (1952), Ida Lupino's film noir The Bigamist (1953), and in the pioneering if often campy racial drama Island in the Sun (1957), her work in both film and television lessened, and her last film appearance was in Hammer Films horror movie The Devil's Own (1966). Television work followed in the 1970s and 1980s, and Fontaine received a Daytime Emmy nomination for the soap opera Ryan's Hope. She published an autobiography, No Bed of Roses, in 1978, and after the television film Good King Wenceslas (1994), retired officially to her home in Carmel, California.
Fontaine is survived by her daughter, Debbie Dozier.
Known best for her back-to-back roles in two Alfred Hitchcock thrillers -- the 1940 Best Picture winner Rebecca and the 1941 film Suspicion, for which she won a Best Actress Oscar, making her the ony actor in a Hitchcock film to receive an Academy Award -- she and her sister were enshrined in Hollywood lore as intense rivals, and their rivalry reached a peak of sorts when Fontaine beat de Havilland for the 1941 Best Actress Oscar.
Born Joan de Beauvoir de Havilland in 1917 in Tokyo, Japan, Fontaine suffered from recurring ailments throughout her childhood, resulting in her mother moving both her and Olivia to California. While her mother, stage actress Lillian Fontaine, desired for both her daughters to be actresses, it was only Olivia who initially pursued an acting career, as Fontaine returned to Japan for two years when she was 15 years old to live with her father, who divorced Lillian in 1919. Upon returning to the states, Fontaine found that Olivia was already becoming an established actress, and began to embark on her own career. Starting out in theater, Joan initially changed her name to Joan Burfield, then Joan Fontaine (so as to avoid confusion with her sister), and soon found herself in moderately noteworthy parts in such films as You Can't Beat Love (1937), A Damsel in Distress (1937, opposite Fred Astaire) and Gunga Din (1939, alongside Cary Grant, her future leading man in Suspicion). Though she garnered more notice in 1939 in the supporting part of naive newlywed Peggy Day in the classic comedy The Women, she was far eclipsed in fame and reputation by her sister, who had already starred along Errol Flynn in a number of romance adventures, and who received her first Oscar nomination for the blockbuster Gone With the Wind.
It was the same man who cast de Havilland in Gone With the Wind who would make Fontaine into a major star. Looking to follow up the monstrous success of Gone With the Wind with another noteworthy literary adapation, producer David O. Selnick snapped up the rights to the Daphne du Maurier bestseller Rebecca, in which an unnamed, demure heroine -- known only as "the second Mrs. de Winter" -- is taunted by the memory of her husband's first wife, the beautiful and seductive title character. Selznick brought director Alfred Hitchcock over for his first American production, cast matinee idol and rising star Laurence Olivier as moody, mysterious husband Maxim de Winter, and embarked on a Scarlett O'Hara-style talent search for his leading lady. Rejecting Loretta Young, Margaret Sullavan, Vivian Leigh (then Olivier's wife), and a then-unknown Anne Baxter along with hundreds of other actresses, Selznick decided on Fontaine, who though not an established star projected the right mix of beauty, insecurity, and tenacity needed for the part. Fontaine's insecurity, however, was heightened by Olivier's sometimes cruel treatment of her on set, as he had lobbied aggressively for Leigh to get the role, and Hitchcock capitalized on her inferiority complex to shape her performance. The resulting film, released in 1940, was an unqualified critical and financial success, catapulting Fontaine into the tier of top Hollywood leading ladies, establishing Hitchcock firmly in the United States, and nabbing the film 11 Academy Award nominations, includine ones for both Fontaine and Olivier; it would go on to win Best Picture.
Selznick, pleased with the combination of Hitchcock and Fontaine, signed the two on for a follow-up about a demure heiress who begins to suspect that her playboy husband is out to murder her for her money. Initially titled Before the Fact, it would later be retitled Suspicion, and Cary Grant was cast as the charming but caddish husband. Though the final ending of the film was tinkered with -- studio heads thought making Grant guilty would be bad for box office, and insisted on a twist to make him actually heroic -- it was another success, earning three Oscar nominations, including Fontaine's second Best Actress nod. It was at the 1941 Academy Awards that Fontaine, once considered the also-ran to her movie star sister, beat Olivia de Havilland for the Best Actress Oscar (de Havilland had been nominated for Hold Back the Dawn). In what became part of Hollywood and Academy Award legend, Fontaine coolly rejected her sister's efforts at congratulations, and What had always been a fractious relationship since childhood became officially estranged. Hollywood wags often reported that because de Havilland lost to her sister, she would retaliate by winning two Oscars -- in 1946 for To Each His Own and 1949 for The Heiress -- in order to top Fontaine. The two would officially stop speaking to one another in 1975.
Fontaine received a third Oscar nomination in 1943, for the music melodrama The Constant Nymph, and that same year essayed the title role in the commercially successful if moderately well-regarded version of Jane Eyre opposite Orson Welles. She remained a star throughout the 1940s, appearing in the comedy The Affairs of Susan (1945), the thriller Ivy (1947), and opposite Bing Crosby in The Emperor Waltz (1948). Fontaine also gave what many consider to be her best performance in 1948's Letters from an Unknown Woman, Max Ophuls' romantic drama opposite Louis Jourdan. In 1945 she divorced her first husband, actor Brian Aherne, and in 1946 married producer William Dozier, whom she would divorce in 1951. Two years later, she was embroiled in a bitter custody battle with him over their daughter, Debbie, and the ongoing lawsuit would prevent Fontaine from accepting the role of frustrated military wife Karen Holmes in the Oscar-winning drama From Here to Eternity -- Deborah Kerr was instead cast, and received an Oscar nomination for the part.
Though she continued to work throughout the 1950s, most notably in the lavish Technicolor adaptation of Ivanhoe (1952), Ida Lupino's film noir The Bigamist (1953), and in the pioneering if often campy racial drama Island in the Sun (1957), her work in both film and television lessened, and her last film appearance was in Hammer Films horror movie The Devil's Own (1966). Television work followed in the 1970s and 1980s, and Fontaine received a Daytime Emmy nomination for the soap opera Ryan's Hope. She published an autobiography, No Bed of Roses, in 1978, and after the television film Good King Wenceslas (1994), retired officially to her home in Carmel, California.
Fontaine is survived by her daughter, Debbie Dozier.
- 12/16/2013
- by Mark Englehart
- IMDb News
Joan Fontaine, the Oscar-winning actress who was one of the last remaining links to Hollywood’s golden age of the 1930s and ’40s, has died at age 96, her assistant confirmed to The Hollywood Reporter.
In her most famous films — Rebecca, for which she was Oscar-nominated, and Suspicion, for which she won — Fontaine came across as appealingly passive-aggressive. She could seem radiantly shy, believably insecure, gazing into the middle distance with a hesitancy that drew you immediately to her side. Yet she fashioned a movie career out of willpower and, quite possibly, large reservoirs of spite.
The younger sister of Olivia De Havilland,...
In her most famous films — Rebecca, for which she was Oscar-nominated, and Suspicion, for which she won — Fontaine came across as appealingly passive-aggressive. She could seem radiantly shy, believably insecure, gazing into the middle distance with a hesitancy that drew you immediately to her side. Yet she fashioned a movie career out of willpower and, quite possibly, large reservoirs of spite.
The younger sister of Olivia De Havilland,...
- 12/16/2013
- by EW staff
- EW - Inside Movies
Joan Fontaine movies: ‘This Above All,’ ‘Letter from an Unknown Woman’ (photo: Cary Grant, Joan Fontaine in ‘Suspicion’ publicity image) (See previous post: “Joan Fontaine Today.”) Also tonight on Turner Classic Movies, Joan Fontaine can be seen in today’s lone TCM premiere, the flag-waving 20th Century Fox release The Above All (1942), with Fontaine as an aristocratic (but socially conscious) English Rose named Prudence Cathaway (Fontaine was born to British parents in Japan) and Fox’s top male star, Tyrone Power, as her Awol romantic interest. This Above All was directed by Anatole Litvak, who would guide Olivia de Havilland in the major box-office hit The Snake Pit (1948), which earned her a Best Actress Oscar nod. In Max Ophüls’ darkly romantic Letter from an Unknown Woman (1948), Fontaine delivers not only what is probably the greatest performance of her career, but also one of the greatest movie performances ever. Letter from an Unknown Woman...
- 8/6/2013
- by Andre Soares
- Alt Film Guide
There were broken fingers and broken hearts as Desiree’s men dodged balls and lassoed hay bales for her love, while Kasey and Des enjoyed some not sexy pool time. Plus, one contestant got an unexpected visitor, and things really got dramatic.
So much drama went down on this week’s episode of The Bachelorette! The June 10 episode begins and Desiree Hartsock is knee deep in balls. Dodge balls that is! Another week, another ridiculous group challenge, and I can safely say this was the most dramatic episode of all time.
The Boys Play Dodgeball For Desiree’s Love
Is there better way to find your potential husband then by making them compete for love through a ridiculous sports challenge? No!
The boys begin by practicing with National Dodgeball team and its a bit of a bloodbath. Chris Harrison arrives, and you know things are serious when he is wearing plaid.
So much drama went down on this week’s episode of The Bachelorette! The June 10 episode begins and Desiree Hartsock is knee deep in balls. Dodge balls that is! Another week, another ridiculous group challenge, and I can safely say this was the most dramatic episode of all time.
The Boys Play Dodgeball For Desiree’s Love
Is there better way to find your potential husband then by making them compete for love through a ridiculous sports challenge? No!
The boys begin by practicing with National Dodgeball team and its a bit of a bloodbath. Chris Harrison arrives, and you know things are serious when he is wearing plaid.
- 6/11/2013
- by Christopher Rogers
- HollywoodLife
With the issue of suicide never shied away from, Whit Stillman’s Damsels In Distress is set against a backdrop of pain and suffering that is masked by whimsy and social judgment to produce a film that never dwells for longer than it needs to.
With the opening credits reminiscent of a Woody Allen flick alongside the inclusion of chapters and footnotes to the closing credits, the director’s presence is often felt, especially in how suicide is never treated as taboo but as an everyday part of human life. Though the overriding light-hearted humour ensures we are constantly aware this is a comedy first and drama second, Damsels In Distress utilises its comedy and throwaway charm (the tap dancing goes hand in hand with Fred Astaire’s 1937 musical, A Damsel In Distress) as a coping device for the personal – albeit rather frustratingly hidden – dramas at its core.
The introduction...
With the opening credits reminiscent of a Woody Allen flick alongside the inclusion of chapters and footnotes to the closing credits, the director’s presence is often felt, especially in how suicide is never treated as taboo but as an everyday part of human life. Though the overriding light-hearted humour ensures we are constantly aware this is a comedy first and drama second, Damsels In Distress utilises its comedy and throwaway charm (the tap dancing goes hand in hand with Fred Astaire’s 1937 musical, A Damsel In Distress) as a coping device for the personal – albeit rather frustratingly hidden – dramas at its core.
The introduction...
- 8/21/2012
- by Emma Thrower
- HeyUGuys.co.uk
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