#Perry Cheung | Explore Tumblr Posts and Blogs

demospectator · 2 years

Photo

“Cigar Makers” Watercolor by Jake Lee (from the collection of the Chinese Historical Society of America)

Rolling Their Own: SF Chinatown’s Cigar Story

A short article on The San Francisco Standard news site recently acquainted readers with the colorful and contentious story of Chinese cigar manufacturing in pioneer San Francisco of the 19th century.

As historian Nicholas Sean Hall has written about its rise, “[t]he cigar-making industry, just as had been the case with gold mining two decades prior, had outgrown its artisanal phase. A newly developed mold had simplified cigar shaping and it no longer made sense for one individual to see the entire process through from beginning to end. As a result, the industry now relied on enormous, highly capitalized cigar-making firms, which, through routinization, allowed these firms to hire unskilled laborers (i.e., the Chinese) to begin the process of cigar making.”

The patent drawing of DuBrul’s innovative cigar mold. According to Tony Hyman “[n]o evidence exists as to when moulds arrived in the U.S. Some writers claim a date as late as 1870. Most place it in the 1860’s.”

Five decades ago, the Chinese Historical Society’s first generation of historians wrote about the city’s cigar industry in the groundbreaking publication, A History of the Chinese in California: A Syllabus (Thomas W. Chinn, Editor, pub. Chinese Historical Society of America, 1969) as follows:

“The first large scale introduction of Chinese into manufacturing occurred in the cigar industry. The traditional date is given as 1859 when Englebricht and Levy hired Chinese workers in their establishment in San Francisco.[ ] The Segar (cigar) Maker’s Association in November of that year passed a resolution in opposition to the hiring of these workers, claiming that the action “is tending to destroy the true basis of our country's prosperity” and that it “will prove destructive to the general welfare, and retard the advance of civilization and the manifest destiny of our country** and “will bring want and suffering into the homes of our people.” [ ]

“Subsequent events proved that the cigar makers’ alarm was premature since, at that time, as the white miners were leaving the diggings, Chinese were returning to the mines. . . . The first period of the expansion of the cigar industry did not actually take place until after 1864. San Francisco then became the center of the industry in California. The total value of cigars manufactured in the city jumped from $2,000 in 1864 to $1,000,000 in 1866.[] By 1868, California had displaced Massachusetts as the fourth large cigar producing state.[ ]

“Chinese quickly learned the trade and soon set up their own factories, selling the same quality products at lower prices. Even as early as 1866 half of San Francisco's cigar factories were Chinese-owned.[ ] However, in view of the anti-Chinese sentiments, many Chinese firms, especially in later years, used Spanish names as Cabanes & Co., Ramirez & Co., etc.[ ]

Detail from “Cigar Factory- Dupont St. San Francisco” c. 1869 - 1892. Photograph by Isaiah West Taber (courtesy of the California History Room, California State Library, Sacramento, California). In spite of the Spanish-type name, the cigar company occupying the central storefront of the building was Chinese-owned. (Its vertical Chinese signage 長隆邦記 [canto: “cheung loong bong gay”] appears to the left of the entrance.)

“A horse and cart in front of Colombo & Co., a store in a building of slightly Asian architecture,” c. 1892. Photograph by Charles Roscoe Savage (from the L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University). The building at 713 - 715 Dupont St. housing the Colombo & Co wholesale & retail store and the legendary Hang Far Low (杏花樓) restaurant on the two upper floors. Business directories from 1869-1892 listed in the first year a “Colombo & Co., (Chung Lung) manufacturer cigars, 715 Dupont.” Thereafter, and perhaps in response to growing anti-Chinese harassment, the cigar maker was listed as the “Colombo & Co., cigar factory, 715 Dupont.” Although its business premises were destroyed in the 1906 quake and fire, the Colombo Cigar Company (廣和源呂宋煙; canto: “gwong wo yuen leuih sung yeen”) would resume operations thereafter on Vallejo Street. The English letter rendering of the name, i.e., “Hang Fer Low” in the sign above the ground floor entry door at 713 Dupont Street (at left) was used from at least 1872 to 1906.

“The Coming Man – A Chinese Cigar Manufactory in San Francisco – Preparing the Tobacco-leaf and Making Cigars,” from a drawing in Frank Leslie’s Illustrated Newspaper, May 21, 1870 (from the collection of the Library of Congress).

“The Latest Walking Match.” In this political cartoon, the makers of cigars in New York tenement houses are shown surpassing Chinese cigar makers in a walk race which was popular in the 1870′s.

“During the 1870’s, through the years of the most violent anti-Chinese agitation in California, Chinese labor was predominant in the cigar-making industry.

“In the mid-1880’s the Cigar-Makers Union (white) aided by the anti-Chinese sentiments of the time, and by the Chinese Exclusion Act, finally succeeded in virtually eliminating Chinese from the cigar industry. However, with the passing of the Chinese from the scene, the cigar industry itself in California also declined.[ ]

A short article announces plans to essentially fire Chinese workers and replace them with New York cigar makers, as reported in the Evening Bulletin of June 5, 1882, and a month after the enactment of the Chinese Exclusion Act.

“The following table shows the relative number of Chinese cigar workers for various years:

Place Year Chinese Total San Francisco - 1867 450 500 San Francisco - 1870 1,657 1,811 San Francisco - 1876-7 5,500 6,500 San Francisco - 1878-9 4,000 6,000 San Francisco - 1892 700 1,200 San Francisco - 1904-5 800 300

Chinese cigar workers in California worked in any one of the following three types of establishments:

1. Firms employing Chinese but work directed by a white foreman. 2. Firms furnishing tobacco to a Chinese contractor, who made them into cigars at a fixed contract price per thousand. 3. Firms owned and operated by Chinese, many of which were conducted on the cooperative system.[ ]

“Cigar Making in Chinatown, San Francisco” lithograph from the collection of the Bancroft Library. In 1885, the special supervisors’ committee charged with mapping Chinatown found 427 sites for cigar making.

“A typical Chinese cigar factory is a fifteen foot by twenty foot room with a gallery for greater space utilization, where nearly fifty men worked.[ ] Chinese cigar workers were usually paid on a piece-work basis. The pay scale varied from fifty cents to seventy cents per hundred, and a worker made about two hundred cigars a day.[ ]

“The Tung Te Tang (Tung Dak Tong, “Hall of Common Virtue”) [同德堂] was the labor guild to which Chinese cigar workers belonged. The rules of this guild stipulated that guild members shall not work alongside non-guild members. When a controversy occurred between an employer and his employees, the guild agent would report the incident to the guild. The guild then appointed a committee to investigate and if the investigators found that a grievance existed, a strike was then declared. . . .

“Protect Home Industry,” a certificate issued in 1887 by the Cigar Makers’ International Union in San Francisco (from the collection of the Bancroft Library). The certificate reads: TO ALL WHOM IT MAY CONCERN: This is to Certify, that the holder of this Certificate has pledged himself to the “Trades Union Mutual Alliance,” neither to buy nor sell Chinese Made Cigars, either Wholesale or Retail, and that he further pledges himself to assist in the fostering of Home Industry by the patronage of Pacific Coast Label Cigars, of which the above is facsimile. TRADES UNION MUTUAL ALLIANCE 1887 S.F. . . .”

Invoice, dated March 22, 1887, and receipt of April 26, 1887, for “White Labor Cigars”

“Chinese were also employed in the related industry of making cigar boxes.

“The Smasher” lithograph adorns a cigar box. Union label cigars made by white labor often featured anti-Chinese cartoons.

“There were both white-owned and Chinese-owned factories employing Chinese labor. In 1881, Chinese made about one-sixth of the entire production in California.[ ] In 1904-05, there were five factories in San Francisco with 80 Chinese out of 140 workers.[ ] In contrast to their dominance in the cigar industry, only a small number of Chinese engaged in the allied cigarette industry.[ ]”

-- from A History of the Chinese in California: A Syllabus, Thomas W. Chinn, Editor, pub. Chinese Historical Society of America (1969)

Although the enactment of the Chinese Exclusion Act and its extension in 1892 had begun to reduce the Chinese labor force substantially, the harassment of Chinese cigar makers by trade unions, police, and the city’s Board of Health continued.

A police-escorted inspection by labor union officials of Chinese cigar makers as reported in the San Francisco Call, March 31, 1897.

Chinese cigar makers continued to operate even after the Great Earthquake and Fire of 1906. The 1913 international directory of Chinese businesses listed at least 30 cigar factories and companies in the San Francisco Chinatown area. As the deliberate, population-reducing effects of the Exclusion Act took effect, however, the fading presence of the once-dominant Chinese in the cigar industry accelerated, and a once robust industry of Chinese California passed into history.

“Chinese Cigar Manufactory on Merchant Street, San Francisco” as drawn for the Illustrated San Francisco News, 1869 (from the collection of the Bancroft Library)

“The Proud Father” c. 1905. Photo by Mervyn D. Silberstein (from a private collection). Silberstein specialized in photography of San Francisco Chinatown residents and producing hand-colored reproductions in “actual Chinese color combinations.” Silberstein’s own ads for his “Chinee-Graphs” promoted “[m]ost of these pictures were taken during the Chinese New Year festivities many years ago when the ancient customs were adhered to.”

“His First Cigar” c. 1896-1906. Photograph by Arnold Genthe (from the collection of the Library of Congress).

[updated 2024-1-4]

#Chinese cigar makers #San Francisco Chinatown #Tung Te Tang or Tung Dak Tong #Chinese cigarmakers guild #Colombo & Co.#Dupont Street #Arnold Genthe #Mervyn D. Silberstein #Thomas W. Chinn #Merchant Street #Hang Far Low

1 note · View note

carmodance · 4 years

Note

Is there a list of graduating seniors for this year? Ik Taylor Nunez & Sophy L are and it’s wild to me that the kids I started off following are now graduating! It’s kinda sad! Do you of anyone else?

is anyone making a list this year?

theres also lauren wallingford, perris amento, and I think emmy cheung!

18 notes · View notes

davidmann95 · 6 years

Note

this week's comics?

Aside from The Unexpected and The Immortal Hulk, which I just addressed:

* Green Lanterns was better than I would have expected from Aaron Gillespie given what a disappointment New Challengers was, but it buirns like hell that this apparently isn’t him performing an after-the-fact wrap up of Seely’s run, even though his name is the one on the cover. Ronan Cliqet, however, is a name I hadn’t heard before, and one to keep an eye on; really clean, lovely art here.

* Doctor Strange, grabbed for my dad, was one of Waid’s better books in awhile, and Jesus Saiz took a major step up here. Ant-Man and The Wasp (also for dad) and Captain America were more indicative of his typical current faire, albeit on the higher end.

* Seeley continues to bring it with this week’s Batman Prelude To The Wedding one-shot, this time with added quality Superman content. Definitely tune in for this pseudo-mini if you haven’t already.

* Exit Stage Left: The Snagglepuss Chronicles and Shade the Changing Woman continue to do their idiosyncratic, strangely satisfying things, the latter through its final curtain.

* Dazzler is the best X-book in the last several years, right? I liked All-New Wolverine, but this was really clever and fun and did interesting stuff with the central metaphor I dug.

* Batman finally, finally has King doing a ‘traditional’ Batman vs. Joker story, and it’s as good as I wanted it to be.

* Justice League was incredibly fun and I felt odd that I only found it tremendously enjoyable instead of an absolute barn-burner, until I realized it was because this felt much more like a #0 issue than the actual start of the run. Though that of course brings up the delightful question of what the threats are going to look like if this was the easygoing prelude. Hopefully ones better suited to Cheung’s talents - he brings it as hard here as he ever has (though Tomeu Morey’s colors don’t bring the characteristic sheen I tend to associate with Cheung - a little more toned down than I’d prefer), but it’s too cramped to suit his style. Looking forward to more of this as much as any book on the market, but frankly I wish some of this had been offloaded to DC Nation #0 rather than using that for an ultimately unnecessary No Justice interlude. I’ll probably post more spoilery thoughts when some time has passed.

* Man of Steel: Still that good Superman shit. More recognizably Bendisey, but mostly in positive ways (though the apparent pace of the Fabok sections is quickly growing aggravating), with more subtle signs of actual dimensionality for Rogol Zaar and a little character moment for Superman so perfect in his first thought captions during Rude’s section - and one 90% of those to work on him in the last decade never would have thought of - that it single-handedly pushed me from “this is such a great start, I hope Bendis doesn’t fizzle out, I don’t think he will but it’s still a definite possibility” to “regardless of bumps along the way, this is going to be A Good Superman Run, Period.” And Shaner and Rude! Prettiest Super-book in years; glad as hell to see Shaner placed in the company of the rest of this crew, with hopefully the same sort of blank-check creative credit to do largely as he pleases attached to his name going forward, and while the preview initially left me skeptical about his pencils paired with Alex Sinclair’s colors the end result is a perfect match. Rude meanwhile straight up puts Clark in a pinstripe suit and gives Perry a psychedelic Steve Rude vest, because that’s how Steve Rude goes about his business. Plus that outright Silver Age rescue!

#Justice League #Man of Steel #Superman #Scott Snyder #Jim Cheung #Brian Bendis #Doc Shaner #Steve Rude #Opinion

22 notes · View notes

littlemix-styleblog · 6 years

Photo

Throwback Little Mix At Glasgow Airport | 1st February 2013

Jade

Jumper - Adidas Originals Sport Sweatshirt: Sold Out

Shoes - Timberland 6" Premium Lace Up Flat Boots: Sold Out

Coat - Zara Parka With Detachable Fur Collar: Sold Out

Leigh

Jumper - Freshegokid Barcode Sweater Black: Sold Out

Hat

Jesy

Shoes - Jordan SC2 Men's Basketball Shoes: Sold Out

Perrie

Onesie

Photo Credit: Wattie Cheung

5 notes · View notes

love-me-a-lotta-whump · 6 years

Photo

Name: The Perfect Host

Format: Movie

Genre(s): Thriller/Indie Film

Year: 2011

Runtime: 1 hour and 33 minutes

Maturity Rating: R/TVMA

Warnings/Triggers: one character (pictured left) is, I’m assuming, mentally ill

Stars: Clayne Crawford, David Hyde Pierce, Nathaniel Parker, Hellen Reddy, Megahn Perry, Joseph Will, Cooper Barnes, Tyrees Allen, George Cheung, etc.

Whump: drugged, cut, fear, angst, unconscious, etc.

Synopsis: A crook on the run cons his way into a dinner party whose host is anything but ordinary.

TRAILER

WTW: YouTube, Amazon Video, Vudu, Google Play Movies & TV, iTunes

Franchise(s): unknown (Indie film)

Notes/Extra/Comments: I fucking love this movie and it ends so unexpectedly and it keeps you on your toes. I highly suggest. (hence my spending all this time making a rec lol)

#the perfect host #movie #thriller #indie film #2011 #r #tvma #clayne crawford #david hyde pierce #drugged #cut #fear #angst #unconcious #tw: mental illness

17 notes · View notes

tractamentdismenorreaprimaria · 4 years

Photo

Abdollahi, N., Mirghafourvand, M. & Mollazadeh, S. (2018). The effects of fennel on menstrual bleeding: A systematic review and meta-analysis. Journal of Complementary and Integrative Medicine, 15(3), pp. -. Retrieved 16 Mar. 2020, from https://doi:10.1515/jcim-2017-0154

Armour, M., Parry, K., Al-Dabbas, M. A., Curry, C., Holmes, K., MacMillan, F., Ferfolja, T., & Smith, C. A. (2019). Self-care strategies and sources of knowledge on menstruation in 12,526 young women with dysmenorrhea: A systematic review and meta-analysis. PloS one, 14(7), e0220103. https://doi.org/10.1371/journal.pone.0220103

Chen C-H, Lin Y-H, Heitkemper MM, Wu K-M. The self-care strategies of girls with primary dysmenorrhea: a focus group study in Taiwan. Health Care Women Int. 2006;27(5):418–27.

Chien, L.-W., Chang, H.-C., & Liu, C.-F. (2013). Effect of yoga on serum homocysteine and nitric oxide levels in adolescent women with and without dysmenorrhea. The Journal of Alternative and Complementary Medicine, 19(1), 20–23. https://doi-org.sire.ub.edu/10.1089/acm.2011.0113

Howard F, Perry P, Carter J, El-Minawi A. Pelvic pain: diagnosis and management. Philadelphia: Lippincott Williams and Wilkins; 2000.

Jo, J., & Lee, S. H. (2018). Heat therapy for primary dysmenorrhea: A systematic review and meta-analysis of its effects on pain relief and quality of life. Scientific reports, 8(1), 16252. https://doi.org/10.1038/s41598-018-34303-z

Marjoribanks, J., Ayeleke, R., Farquhar, C., & Proctor, M. (2015). Nonsteroidal anti-inflammatory drugs for dysmenorrhoea ( Review ) SUMMARY OF FINDINGS FOR THE MAIN COMPARISON. Cochrane Database of Systematic Reviews, 1–168. https://doi.org/10.1002/14651858.CD001751.pub3.www.cochranelibrary.com

Matthewman, G., Lee, A., Kaur, J. G., & Daley, A. J. (2018). Physical activity for primary dysmenorrhea: a systematic review and meta-analysis of randomized controlled trials. American journal of obstetrics and gynecology, 219(3), 255.e1–255.e20. https://doi.org/10.1016/j.ajog.2018.04.001

McGovern, C. E., & Cheung, C. (2018). Yoga and Quality of Life in Women with Primary Dysmenorrhea: A Systematic Review. Journal of midwifery & women's health, 63(4), 470–482. https://doi.org/10.1111/jmwh.12729

Feng, X., & Wang, X. (2018). Comparison of the efficacy and safety of non-steroidal anti-inflammatory drugs for patients with primary dysmenorrhea: A network meta-analysis. Molecular pain, 14, 1744806918770320. https://doi.org/10.1177%2F1744806918770320

Sachedina, A., & Todd, N. (2020). Dysmenorrhea, Endometriosis and Chronic Pelvic Pain in Adolescents. Journal of clinical research in pediatric endocrinology, 12(Suppl 1), 7–17. https://doi.org/10.4274/jcrpe.galenos.2019.2019.S0217

Woo, H. L., Ji, H. R., Pak, Y. K., Lee, H., Heo, S. J., Lee, J. M., & Park, K. S. (2018). The efficacy and safety of acupuncture in women with primary dysmenorrhea: A systematic review and meta-analysis. Medicine, 97(23), e11007. https://doi.org/10.1097/MD.0000000000011007

Zhu X, Wong F, Bensoussan A, Lo SK, Zhou C, Yu J. Are there any crossethnic differences in menstrual profiles? A pilot comparative study on australian and chinese women with primary dysmenorrhea. J Obstet Gynaecol Res. 2010;36(5):1093–101.

0 notes

fayewonglibrary · 4 years

Text

Hong Kong pop star says she would be too nervous to sing at the Oscars (2003)

TAIPEI, Taiwan - Hong Kong pop diva Faye Wong said on Wednesday that if the new martial arts epic “Hero” wins an Oscar, she wouldn’t want to sing the movie’s theme song at the awards ceremony in Hollywood.

“I’d be really nervous about singing at such a venue. Just thinking about it scares me,” she told reporters.

Wong sings the movie’s theme song, also titled “Hero.” The film is about China’s legendary first emperor, and it has already become the highest-grossing film in China after just a month in theaters.

The Oscars issue came up because Taiwanese pop star Coco Lee, who sang on the soundtrack of “Crouching Tiger, Hidden Dragon,” performed at the ceremony when the Chinese-language blockbuster cleaned up at the Academy Awards in 2001.

Wong acknowledged that singing at the Oscars would provide a great opportunity to bump into some megacelebrities backstage. But she said there weren’t any film stars in Hollywood that she wanted to meet. But she said there were TV actors she would be thrilled to know, such as the cast of the long-running American sitcom “Friends.”

“I really like them, Joey and Chandler,” Wong said, referring to roles played by Matt LeBlanc and Matthew Perry. I like all the men and the women, except for Monica. I don’t know why,“ she said, referring to Courteney Cox Arquette.

Although Wong has acted in movies, she said that she wouldn’t want to be in "Hero,” directed by critically acclaimed Chinese director Zhang Yimou.

“There just aren’t any roles in this movie that I think I could play,” she said.

“Hero” features an all-star lineup of Chinese-language actors, including martial arts master Jet Li; Hong Kong’s Maggie Cheung and Tony Leung; and China’s Zhang Ziyi, who had a supporting role in “Crouching Tiger, Hidden Dragon.”

------------------------------------------------------------------

SOURCE: ASSOCIATED PRESS

#2003

0 notes

estiloconsultorias · 4 years

Text

A 62ª edição do Grammy aconteceu no último domingo (26/01), e foi comandada pela cantora Alicia Keys, que começou a noite fazendo uma linda homenagem ao falecido Kobe Bryant: “Aqui estamos nós, na maior noite de música, mas, sendo honesta, estamos todos sentindo uma tristeza profunda. Mais cedo, Los Angeles, a América e to mundo inteiro perderam um herói. Agora o Kobe e sua filha Gianna estão nos nossos espíritos, corações e preces. Queríamos fazer alguma coisa que pudesse descrever como nos sentimos agora. Kobe amava a música. Vamos fazer uma celebração em honra ao Kobe”, concluiu Alicia. O ex-atleta foi homenageado várias vezes durante a noite!

A premiação, que elege o melhor da música, destacou novos talentos, como Lizzo, Lin Nas X e Billie Eilish, que foi a grande vencedora da noite, fazendo história ao se tornar a artista mais jovem a conquistar o álbum do ano e levando para casa as quatro principais estatuetas: álbum, artista revelação, música e gravação do ano. A noite também foi recheada de apresentações maravilhosas como as de Demi Lovato, Ariana Grande, Jonas Brothers e Camila Cabello. Mas, como em todas as premiações, também ficamos de olho nos looks dos famosos. Então, confira na nossa galeria o que eles usaram na maior premiação da música!

This slideshow requires JavaScript.

Agora, confira os principais vencedores:

Melhor Performance Pop Solo

“Spirit,” Beyoncé “Bad Guy,” Billie Eilish “7 Rings,” Ariana Grande ‘”Truth Hurts,” Lizzo “You Need to Calm Down,” Taylor Swift

Melhor Performance R&B

“Love Again,” Daniel Caesar e Brandy “Exactly How I Feel,” Lizzo part. Gucci Mane “Roll Some Mo,” Lucky Daye “Come Home,” Anderson Paak part. Andre 3000 “Could’ve Been,” H.E.R. part. Bryson Tiller

Melhor Canção Country

“Bring My Flowers Now,” Tanya Tucker “Girls Goin’ Nowhere,” Ashley McBryde “It All Comes Out in the Wash,” Miranda Lambert “Some Of It,” Eric Church “Speechless,” Dan and Shay

Artista Revelação

Black Pumas Billie Eilish Lil Nas X Lizzo Maggie Rogers Rosalia Tank and the Bangas Yola

Melhor Álbum de Rap

Revenge of the Dreamers III, Dreamville Championships, Meek Mill I Am Greater Than I Was, 21 Savage Igor, Tyler the Creator The Lost Boy, YBN Cordae

Gravação do Ano

“Hey, Ma,” Bon Iver” “Bad Guys,” Billie Eilish “7 Rings,” Ariana Grande “Hard Place,” H.E.R. “Talk,” Khalid “Old Town Road,” Lil Nas X part. Billy Ray Cyrus “Truth Hurts,” Lizzo “Sunflower,” Post Malone e Swae Lea

Álbum do Ano

i,i, Bon Iver Norman F–ing Rockwell!, Lana Del Rey When We All Fall Asleep, Where Do We Go?, Billie Eilish thank u, next, Ariana Grande I Used To Know Her, H.E.R. 7, Lil Nas X Cuz I Love You (Deluxe), Lizzo Father Of The Bride, Vampire Weekend

Canção do Ano

“Always Remember Us This Way,” Natalie Hemby, Lady Gaga, Hillary Lindsey & Lori McKenna, compositores (Lady Gaga) “Bad Guy,” Billie Eilish O’Connell & Finneas O’Connell, compositores (Billie Eilish) “Bring My Flowers Now,” Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, compositores (Tanya Tucker) “Hard Place,” Ruby Amanfu, Sam Ashworth, D. Arcelious Harris, H.E.R. & Rodney Jerkins, compositores (H.E.R.) “Lover,” Taylor Swift, compositores (Taylor Swift) “Norman F—ing Rockwell,” Jack Antonoff & Lana Del Rey, compositores (Lana Del Rey) “Someone You Loved,” Tom Barnes, Lewis Capaldi, Pete Kelleher, Benjamin Kohn & Sam Roman, compositores (Lewis Capaldi) “Truth Hurts,” Steven Cheung, Eric Frederic, Melissa Jefferson & Jesse Saint John, compositores (Lizzo)

Melhor Música de Dance

“Linked,” Bonobo “Got To Keep On,” The Chemical Brothers “Piece Of Your Heart,” Meduza part. Goodboys “Underwater,” RÜFÜS DU SOL “Midnight Hour,” Skrillex & Boys Noize part. Ty Dolla $ign

Melhor Álbum de Rock

Amo, Bring Me The Horizon Social Cues, Cage The Elephant In The End, The Cranberries Trauma, I Prevail Feral Roots, Rival Sons

Melhor Álbum Vocal de Pop

The Lion King: The Gift, Beyoncé When We All Fall Asleep, Where Do We Go?, Billie Eilish thank u, next, Ariana Grande No. 6 Collaborations Project, Ed Sheeran Lover, Taylor Swift

Melhor Álbum Vocal de Jazz

Thirsty Ghost, Sara Gazarek Love & Liberation, Jazzmeia Horn Alone Together, Catherine Russell 12 Little Spells, Esperanza Spalding Screenplay, The Tierney Sutton Band

Melhor Álbum Gospel

Long Live Love, Kirk Franklin Goshen, Donald Lawrence Presents The Tri-City Singers Tunnel Vision, Gene Moore Settle Here, William Murphy Something’s Happening! A Christmas Album, CeCe Winans

Melhor Álbum de Rock Latino, Urbano ou Alternativo

X 100PRE, Bad Bunny Oasis, J Balvin & Bad Bunny Indestructible, Flor De Toloache Almadura, iLe El Mal Querer, Rosalía

Melhor Álbum Americano

Years To Burn, Calexico And Iron & Wine Who Are You Now, Madison Cunningham Oklahoma, Keb’ Mo’ Tales Of America, J.S. Ondara Walk Through Fire, Yola

Melhor Álbum de Palavras Faladas (inclui poesia, audiolivros e contação de histórias):

Beastie Boys Book, (Vários Artistas) Michael Diamond, Adam Horovitz, Scott Sherratt & Dan Zitt, produtores Becoming, Michelle Obama I.V. Catatonia: 20 Years As A Two-Time Cancer Survivor, Eric Alexandrakis Mr. Know-It-All, John Waters Sekou Andrews & The String Theory, Sekou Andrews & The String Theory

Melhor Música Escrita para Mídia Visual

“The Ballad Of The Lonesome Cowboy,” Randy Newman, compositores (Chris Stapleton), Track from: Toy Story 4 “Girl In The Movies,” Dolly Parton & Linda Perry, compositores (Dolly Parton), Track from: Dumplin’ “I’ll Never Love Again” (Film Version), Natalie Hemby, Lady Gaga, Hillary Lindsey & Aaron Raitiere compositores (Lady Gaga & Bradley Cooper), Track from: A Star Is Born “Spirit,” Beyoncé Knowles-Carter, Timothy McKenzie & Ilya Salmanzadeh, compositores (Beyoncé), Track from: The Lion King “Suspiriumm,” Thom Yorke, compositores (Thom Yorke), Track from: Suspiria

Melhor Música de Documentário

Homecoming, Beyoncé Remember My Name, David Crosby Birth Of The Cool, Miles Davis Shangri-La, Vários Artistas Anima, Thom Yorke

Melhor Álbum de Dance/Eletrônico

LP5, Apparat No Geography, The Chemical Brothers Hi This Is Flume (Mixtape), Flume Solace, RÜFÜS DU SOL Weather, Tycho

Melhor Álbum Instrumental Contemporâneo

Ancestral Recall, Christian Scott aTunde Adjuah Star People Nation, Theo Croker Beat Music! Beat Music! Beat Music!, Mark Guiliana Elevate, Lettuce Mettavolution, Rodrigo y Gabriela

Melhor Performance de Rock

“Pretty Waste,” Bones UK “This Land,” Gary Clark Jr. “History Repeats,” Brittany Howard “Woman,” Karen O & Danger Mouse “Too Bad,” Rival Sons

Melhor Performance de Metal

“Astrolus—The Great Octopus,” Candlemass part. Tony Iommi “Humanicide,” Death Angel “Bow Down,” I Previal “Unleashed,” Killswitch Engage “7 Empest,” Tool

Melhor Canção de Rock

“Fear Incolum,” Tool, compositores (Tool) “Give Yourself a Try,” George Daniel, Adam Hann, Matthew Healy & Ross MacDonald, compositores (The 1975) “Harmony Hall,” Ezra Koenig, compositores (Vampire Weekend) “History Repeats,” Brittany Howard, compositores (Brittany Howard) “This Land,” Gary Clark Jr., compositores (Gary Clark Jr.)

Melhor Álbum de Música Alternativa

U.F.O.F., Big Thief Assume Form, James Blake i,i, Bon Iver Father of the Bride, Vampire Weekend Anima, Thom Yorke

Melhor Performance de R&B Tradicional

“Time Today,” BJ The Chicago Kid “Steady Love,” India.Arie “Jerome,” Lizzo “Real Games,” Lucky Daye “Built for Love,” PJ Morton Featuring Jazmine Sullivan

Melhor Canção de R&B

“Could’ve Been,” Dernst Emile II, David “Swagg R’Celious” Harris, H.E.R. & Hue “Soundzfire” Strother, compositores (H.E.R. part. Bryson Tiller) “Look at Me Now,” Emily King & Jeremy Most, compositores (Emily King) “No Guidance,” Chris Brown, Tyler James Bryant, Nija Charles, Aubrey Graham, Anderson Hernandez, Michee Patrick Lebrun, Joshua Lewis, Noah Shebib & Teddy Walton, compositores (Chris Brown Featuring Drake) “Roll Some Mo,” David Brown, Dernst Emile II & Peter Lee Johnson, compositores (Lucky Daye) “Say So,” PJ Morton, compositores (PJ Morton part. JoJo)

Melhor Álbum Urbano Contemporâneo Apollo XXI, Steve Lacy Cuz I Love You (Deluxe), Lizzo Overload, Georgia Anne Muldrow Saturn, Nao Being Human in Public, Jessie Reyez

Melhor Álbum de R&B

1123, BJ The Chicago Kid Painted, Lucky Daye Ella Mai, Ella Mai Paul, PJ Morton Ventura, Anderson.Paak

Melhor Performance de Rap

“Middle Child,” J. Cole “Suge,” DaBaby “Down Bad,” Dreamville Featuring J.I.D, Bas, J. Cole, EARTHGANG & Young Nudy “Racks in the Middle,” Nipsey Hussle part. Roddy Ricch & Hit-Boy “Clout,” Offset part. Cardi B

Melhor Performance de Rap Cantado

“Higher,” DJ Khaled part. Nipsey Hussle & John Legend “Drip Too Hard,” Lil Baby & Gunna “Panini,” Mustard Featuring Roddy Ricch “The London,” Young Thug part. J. Cole & Travis Scott

Melhor Canção de Rap

“Bad Idea,” Chancelor Bennett, Cordae Dunston, Uforo Ebong & Daniel Hackett, compositores (YBN Cordae part. Chance The Rapper) “Gold Roses,” Noel Cadastre, Aubrey Graham, Anderson Hernandez, Khristopher Riddick-Tynes, William Leonard Roberts II, Joshua Quinton Scruggs, Leon Thomas III & Ozan Yildirim, compositores (Rick Ross part. Drake) “A Lot,” Jermaine Cole, Dacoury Natche, 21 Savage & Anthony White, compositores (21 Savage part. J. Cole) “Racks in the Middle,” Ermias Asghedom, Dustin James Corbett, Greg Allen Davis, Chauncey Hollis, Jr. & Rodrick Moore, compositores (Nipsey Hussle part. Roddy Ricch & Hit-Boy) “Suge,” DaBaby, Jetsonmade & Pooh Beatz, compositores (DaBaby)

Melhor Performance Solo Country

“All Your’n,” Tyler Childers “Girl Goin’ Nowhere,” Ashley McBryde “Ride Me Back Home,” Willie Nelson “God’s Country,” Blake Shelton “Bring Me My Flowers Now,” Tanya Tucker

Melhor Performance Country de Duo/Grupo

“Brand New Man,” Brooks & Dunn com Luke Combs “I Don’t Remember Before You,” Brothers Osborne “Speechless,” Dan + Shay “The Daughters,” Little Big Town “Common,” Maren Morris part. Brandi Carlile

Melhor Álbum de Country

Desperate Man, Erich Church Stronger Than the Truth, Reba McEntire Interstate Gospel, Pistol Annies Center Point Road, Thomas Rhett While I’m Livin, Tanya Tucker

Melhor Álbum New Age

Fairy Dreams, David Arkenstone Homage to Kindness, David Darling Wings, Peter Kater Verve, Sebastian Plano Deva, Deva Premal

Melhor Álbum de Jazz Improvisado Solo

“Elsewhere,” Melissa Aldana, soloista “Sozinho,”Randy Brecker, soloista “Tomorrow Is the Question,” Julian Lage, soloista “The Windup,” Julian Lage, soloista “Sightseeing,” Christian McBride, soloista

Melhor Álbum de Jazz Instrumental

In the Key of the Universe, Joey DeFrancesco The Secret Between the Shadow and the Soul, Branford Marsalis Quartet Christian McBride’s New Jawn, Christian McBride Finding Gabriel, Brad Mehldau Come What May, Joshua Redman Quartet

Melhor Álbum de Jazz em Conjunto

Triple Helix, Anat Cohen Tentet Dancer in Nowhere, Miho Hazama Hiding Out, Mike Holober & The Gotham Jazz Orchestra The Omni-American Book Club, Brian Lynch Big Band One Day Wonder, Terraza Big Band

Melhor Álbum de Jazz Latino

Antidote, Chick Corea & The Spanish Heart Band Sorte!: Music by John Finbury, Thalma de Freitas With Vitor Gonçalves, John Patitucci, Chico Pinheiro, Rogerio Boccato & Duduka Da Fonseca Una Noche con Rubén Blades, Jazz At Lincoln Center Orchestra With Wynton Marsalis & Rubén Blades Carib, David Sánchez Sonero: The Music of Ismael Rivera, Miguel Zenón

Melhor Canção de Performance Gospel

“Love Theory,” Kirk Franklin; Kirk Franklin, compositores “Talkin’ ‘Bout Jesus,” Gloria Gaynor Featuring Yolanda Adams; Bryan Fowler, Gloria Gaynor & Chris Stevens, compositores “See the Light,” Travis Greene part. Jekalyn Carr “Speak the Name,” Koryn Hawthorne part. Natalie Grant “This Is a Movie (Live),” Tasha Cobbs Leonard; Tony Brown, Brandon Lake, Tasha Cobbs Leonard & Nate Moore, compositores

Best Performance/Canção de Música Cristã Contemporânea

“Only Jesus,” Casting Crowns; Mark Hall, Bernie Herms & Matthew West, compositores “God Only Knows,” for KING & COUNTRY & Dolly Parton; Josh Kerr, Jordan Reynolds, Joel Smallbone, Luke Smallbone & Tedd Tjornhom, compositores “Haven’t Seen It Yet,” Danny Gokey; Danny Gokey, Ethan Hulse & Colby Wedgeworth, compositores “God’s Not Done With You (Single Version),” Tauren Wells “Rescue Story,” Zach Williams; Ethan Hulse, Andrew Ripp, Jonathan Smith & Zach Williams, compositores

Melhor Álbum de Música Cristã Contemporânea

I Know a Ghost, Crowder Burn the Ships, for KING & COUNTRY Haven’t Seen It Yet, Danny Gokey The Elements, TobyMac Holy Roar, Chris Tomlin

Melhor Álbum Gospel de Raíz

Deeper Roots: Where the Bluegrass Grows, Steven Curtis Chapman Testimony, Gloria Gaynor Deeper Oceans, Joseph Habedank His Name Is Jesus, Tim Menzies Gonna Sing, Gonna Shout, (Vários Artistas), Jerry Salley, Producer

Melhor Álbum de Pop Latino

VIDA, Luis Fonsi 11:11, Maluma Montaner, Ricardo Montaner #Eldisco, Alejandro Sanz Fantasia, Sebastian Yatra

Melhor Álbum de Música Regional Mexicana (Incluindo Tejano)

Caminando, Joss Favela Percepción, Intocable Poco a Poco, La Energia Norteña 20 Aniversario, Mariachi Divas De Cindy Shea De Ayer Para Siempre, Mariachi Los Camperos

Melhor Álbum Latino Tropical

Opus, Marc Anthony Tiempo al Tiempo, Luis Enrique + C4 Trio Candela, Vicente García Literal, Juan Luis Guerra 4.40 A Journey Through Cuban Music, Aymée Nuviola

Melhor Performance Americana de Raíz

“Saint Honesty,” Sara Bareilles “Father Mountain,” Calexico And Iron & Wine “I’m on My Way,” Rhiannon Giddens with Francesco Turrisi “Call My Name,” I’m With Her “Faraway Look,” Yola

Melhor Canção Americana de Raíz

“Black Myself,” Amythyst Kiah, compositores (Our Native Daughters) “Call My Name,” Sarah Jarosz, Aoife O’Donovan & Sara Watkins, compositores (I’m With Her) “Crossing to Jerusalem,” Rosanne Cash & John Leventhal, compositores (Rosanne Cash) “Faraway Look,” Dan Auerbach, Yola Carter & Pat McLaughlin, compositores (Yola) “I Don’t Wanna Ride the Rails No More,” Vince Gill, compositores (Vince Gill)

Melhor Álbum Americano

Years to Burn, Calexico e Iron & Wine Who Are You Now, Madison Cunningham Oklahoma, Keb’ Mo’ Tales of America, J.S. Ondara Walk Through Fire, Yola

Melhor Álbum de Bluegrass

Tall Fiddler, Michael Cleveland Live in Prague, Czech Republic, Doyle Lawson & Quicksilver Toil, Tears and Trouble, The Po’ Ramblin’ Boys Royal Traveller, Missy Raines If You Can’t Stand the Heat, Frank Solivan & Dirty Kitchen

Melhor Álbum de Blues Traditional

Kingfish, Christone “Kingfish” Ingram Tall, Dark & Handsome, Delbert McClinton & Self-Made Men Sitting On Top of the Blues, Bobby Rush Baby, Please Come Home, Jimmie Vaughan Spectacular Class, Jontavious Willis

Melhor Álbum de Blues Contemporâneo

This Land, Gary Clarke Jr. Venom and Faith, Larkin Poe Brighter Days, Robert Randolph & The Family Band Somebody to Save Me, Sugaray Rayford Keep On, Southern Avenue

Melhor Álbum de Folk

My Finest Work Yet, Andrew Bird Rearrange My Heart, Che Apalache Patty Griffin, Patty Griffin Evening Machines, Gregory Alan Isakov Front Porch, Joy Williams

Melhor Álbum de Música Regional de Raíz

Kalawai’anui, Amy Hānaiali’i When It’s Cold – Cree Round Dance Songs, Northern Cree Good Time, Ranky Tanky Recorded Live at the 2019 New Orleans Jazz & Heritage Festival, Rebirth Brass Band Hawaiian Lullaby, (Vários Artistas), Imua Garza & Kimié Miner, producers

Melhor Álbum Reggae

Rapture, Koffee As I Am, Julian Marley The Final Battle: Sly & Robbie Vs. Roots Radics, Sly & Robbie & Roots Radics Mass Manipulation, Steel Pulse More Work to Be Done, Third World

Melhor Clipe

“We’ve Got to Try This,” The Chemical Brothers, Ellie Fry, diretor; Ninian Doff, produtor de vídeo “This Land,” Gary Clark Jr., Savanah Leaf, diretor; Jason Cole, Danielle Hinde & Alicia Martinez, produtores “Cellophane,” FKA twigs, Andrew Thomas Huang, diretor; Alex Chamberlain, produtor “Old Town Road,” Lil Nas X & Billy Ray Cyrus, Calmatic, diretor; Candice Dragonas, Melissa Larsen & Saul Levitz, produtores “Glad He’s Gone,” Tove Lo, Vania Heymann & Gal Muggia, diretores; Nathan Schottenfels, produtor

Melhor Documentário Musical

Homecoming, Beyoncé, Beyoncé Knowles-Carter & Ed Burke, diretores; Dora Melissa Vargas, produtor Remember My Name, David Crosby, A.J. Eaton, diretor; Cameron Crowe, Michele Farinola & Greg Mariotti, produtor Birth of the Cool, (Miles Davis), Stanley Nelson, diretor; Nicole London, produtor Shangri-La, (Vários Artistas), Morgan Neville, diretor; Emma Baiada, produtor Anima, Thom Yorke, Paul Thomas Anderson, diretor; Paul Thomas Anderson, Erica Frauman & Sara Murphy, produtores

Melhor Álbum Mundial

Gece, Altin Gün What Heat, Bokanté & Metropole Orkest Conducted By Jules Buckley African Grant, Burna Boy Fanim D’ayiti, Nathalie Joachim With Spektral Quartet Celia, Angelique Kidjo

Melhor Álbum Infantil

Ageless Songs for the Child Archetype, Jon Samson Flying High! Caspar Babypants I Love Rainy Days, Daniel Tashian The Love, Alphabet Rockers Winterland, The Okee Dokee Brothers

Melhor Álbum de Comédia

Quality Time, Jim Gaffigan Relatable, Ellen DeGeneres Right Now, Aziz Ansari Son of a Patrica, Trevor Noah Sticks and Stones, Dave Chappelle

Melhor Álbum de Musical

Aint Too Proud: The Life and Times of the Temptations Hadestown Moulin Rouge! The Musical The Music of Harry Potter and the Cursed Child – in Four Contemporary Suites Oklahoma!

Melhor Copilação de Trilha Sonora Para Mídia Visual

The Lion King: The Songs, (Vários Artistas) Quentin Tarantino, Era Uma Vez em… Hollywood Rocketman, Taron Egerton Spider-Man: Into the Spider-Verse, (Vários Artistas) Nasce Uma Estrela, Lady Gaga e Bradley Cooper

Melhor pontuação para mídia visual

Vingadores: Ultimato, Alan Silvestri, compositor Chernobyl, Hildur Guðnadóttir, compositor Game of Thrones: 8ª temporada, Ramin Djawadi, compositor O Rei Leão: Hans Zimmer, compositor O Retorno de Mary Poppins, Hans Zimmer, compositor

Melhor Composição Instrumental

“Begin Again,” Fred Hersch, compositor (Fred Hersch & The WDR Big Band Conduzida por Vince Mendoza) “Crucible for Crisis,” Brian Lynch, compositor (Brian Lynch Big Band) “Love, a Beautiful Force,” Vince Mendoza, compositor (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra) “Star Wars Galaxy’s Edge Symphonic Suite,” John Williams, compositor (John Williams) “Walkin Funny,” Christian McBride, compositor (Christian McBride)

Melhor Arranjo, Instrumental ou A Cappella

“Blue Skies,” Kris Bowers, arranjador (Kris Bowers) “Hedwig’s Theme,” John Williams, arranjador (Anne-Sophie Mutter & John Williams) “La Novena,” Emilio Solla, arranjador (Emilio Solla Tango Jazz Orchestra) “Love, a Beautiful Force,” Vince Mendoza, compositor (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra) “Moon River,” Jacob Collier, arranjador (Jacob Collier)

Melhor Arranjo, Instrumentos e Vocais

“All Night Long,” Jacob Collier, arranjador (Jacob Collier Featuring Jules Buckley, Take 6 & Metropole Orkest) “Jolene,” Geoff Keezer, arranjador (Sara Gazarek) “Marry Me a Little,” Cyrille Aimée & Diego Figueiredo, arranjadores (Cyrille Aimée) “Over the Rainbow,” Vince Mendoza, arranjador (Trisha Yearwood) “12 Little Spells (Thoracic Spine),” Esperanza Spalding, arranjador (Esperanza Spalding)

Melhor Pacote de Gravação

Anonimas & Resilentes, Luisa María Arango, Carlos Dussan, Manuel García-Orozco & Juliana Jaramillo-Buenaventura, diretores de arte (Voces Del Bullerengue) Chris Cornell, Barry Ament, Jeff Ament, Jeff Fura & Joe Spix, diretores de arte (Chris Cornell) Hold That Tiger, Andrew Wong & Fongming Yang, diretores de arte (The Muddy Basin Ramblers) i,i , Aaron Anderson & Eric Timothy Carlson, diretores de arte (Bon Iver) Intellexual, Irwan Awalludin, diretores de arte (Intellexual)

Melhor pacote de edição limitada em caixa ou especial

Anima, Stanley Donwood & Tchocky, diretores de arte (Thom Yorke) Gold in Brass Age, Amanda Chiu, Mark Farrow & David Gray, diretores de arte (David Gray) 1963: New Directions, Josh Cheuse, diretores de arte (John Coltrane) The Radio Recordings 1939-1945, Marek Polewski, diretores de arte (Wilhelm Furtwängler & Berliner Philharmoniker) Woodstock: Back to the Garden: The Definitive 50th Anniversary Archive, Masaki Koike, diretores de arte (Various Artists)

Melhores Notas de Álbum

The Complete Cuban Jam Sessions, Judy Cantor-Navas, escritor de notas do álbum (Vários Artistas) The Gospel According to Malaco, Robert Marovich, escritor de notas do álbum (Vários Artistas) Pedal Steel + Four Corners, Brendan Greaves, escritor de notas do álbum (Terry Allen And The Panhandle Mystery Band) Pete Seeger: The Smithonian Folkways Collection, Jeff Place, escritor de notas do álbum (Pete Seeger) Stax ’68: A Memphis Story, Steve Greenberg, escritor de notas do álbum (Vários Artistas)

Melhor Álbum Histórico

The Girl From Chickasaw County: The Complete Capitol Masters, Andrew Batt & Kris Maher, produtores de compilação; Simon Gibson, engenheiro de masterização (Bobbie Gentry) The Great Comeback: Horowitz at Carnegie Hall, Robert Russ, produtores de compilação; Andreas K. Meyer & Jennifer Nulsen, engenheiro de masterização (Vladimir Horowitz) Kankyo Ongaku: Japanese Ambient Environmental and New Age Music 1980 -1990, Robert Russ, produtores de compilação; Andreas K. Meyer & Jennifer Nulsen, engenheiro de masterização (Vladimir Horowitz) Peter Seeger: The Smithsonian Folkways Collection, Jeff Place & Robert Santelli, produtores de compilação; Pete Reiniger, engenheiro de masterização (Pete Seeger) Woodstock: Back to the Garden: The Definitive 50th Anniversary Archive, Masaki Koike, diretor de arte (Vários Artistas)

Melhor engenharia de álbum, não clássico

All These Things, Tchad Blake, Adam Greenspan & Rodney Shearer, engenheiros; Bernie Grundman, engenheiro de masterização (Thomas Dybdahl) Ella Mai, Chris “Shaggy” Ascher, Jaycen Joshua & David Pizzimenti, engenheiros; Chris Athens, engenheiro de masterização (Ella Mai) Run Home Slow, Paul Butler & Sam Teskey, engenheiros; Joe Carra, engenheiro de masterização (The Teskey Brothers) Scenery, Tom Elmhirst, Ben Kane & Jeremy Most, engenheiros; Bob Ludwig, engenheiro de masterização (Emily King) When We All Fall Asleep, Where Do We Go?, Finneas O’Connell, producer; Rob Kinelski & Finneas O’Connell, engenheiros/mixadores; Billie Eilish O’Connell & Finneas O’Connell, compositores; John Greenham, engenheiro de masterização (Billie Eilish)

Produtor do ano, não clássico

Jack Antonoff Dan Auerbach John Hill Finneas Ricky Reed

Melhor remixagem de gravação

“I Rise” (Tracy Young’s Pride Intro Radio Remix), Tracy Young, remixer (Madonna) “Mother’s Daughter” (Wuki Remix), Wuki, remixer (Miley Cyrus) “The One” (High Constant Remix), Lincoln Barrett, remixer (Jorja Smith) “Swim” (Ford Remix), Luc Bradford, remixer (Mild Minds) “Work It” (Soulwax Remix), David Gerard C Dewaele & Stephen Antoine C Dewaele, remixers (Marie Davidson)

Melhor Álbum de Áudio Imersivo

Chain Tripping, Luke Argilla, engenheiro de áudio imersivo; Jurgen Scharpf, engenheiro de masterização de áudio imersivo; Jona Bechtolt, Claire L. Evans & Rob Kieswetter, produtores de áudio imersivos (Yacht) Kverndokk: Symphonic Dances: Jim Anderson, engenheiro de áudio imersivo; Robert C. Ludwig, engenheiro de masterização de áudio imersivo; Ulrike Schwarz, produtores de áudio imersivos (Ken-David Masur & Stavanger Symphony Orchestra) Lux, Morten Lindberg, engenheiro de áudio imersivo; Morten Lindberg, engenheiro de masterização de áudio imersivo; Morten Lindberg, produtores de áudio imersivos (Anita Brevik, Trondheimsolistene & Nidarosdomens Jentekor) The Orchestral Organ, Keith O. Johnson, engenheiro de áudio imersivo; Keith O. Johnson, engenheiro de masterização de áudio imersivo; Marina A. Ledin & Victor Ledin, produtores de áudio imersivos (Jan Kraybill) The Savior, Bob Clearmountain, engenheiro de áudio imersivo; Bob Ludwig, engenheiro de masterização de áudio imersivor; Michael Marquart & Dave Way, produtores de áudio imersivos (A Bad Think) Melhor Engenharia de Álbum, Clássico

Aequa, Anna Thorvaldsdottir, Daniel Shores, engenheiro; Daniel Shores, engenheiro de masterização (International Contemporary Ensemble) Bruckner: Symphony No. 9, Mark Donahue, engenheiro; Mark Donahue, engenheiro de masterização (Manfred Honeck & Pittsburgh Symphony Orchestra) Rachmaninoff—Hermitage Piano Trio, Keith O. Johnson & Sean Royce Martin, engenheiro; Keith O. Johnson, engenheiro de masterização (Hermitage Piano Trio) Riley: Sun Rings, Leslie Ann Jones, engenheiro; Robert C. Ludwig, engenheiro de masterização (Kronos Quartet) Wolfe: Fire in My Mouth, Bob Hanlon & Lawrence Rock, engenheiro; Ian Good & Lawrence Rock, engenheiro de masterização (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)

Produtor do Ano, Clássico

Blanton Alspaugh James Ginsburg Marina A. Ledin, Victor Ledin Morten Lindberg Dirk Sobotka

Melhor Performance de Orquestra

“Bruckner: Symphony No. 9,” Mark Donahue, engineer; Mark Donahue, engenheiro de masterização (Manfred Honeck & Pittsburgh Symphony Orchestra) “Copland: Billy the Kid; Grohg,” Leonard Slatkin, condutor (Detroit Symphony Orchestra) “Norman: Sustain,” Gustavo Dudamel, condutor (Los Angeles Philharmonic) “Transatlantic,”Louis Langrée, condutor (Cincinnati Symphony Orchestra) “Weinberg: Symphonies Nos. 2 & 21,” Mirga Gražinytė-Tyla, condutor (City Of Birmingham Symphony Orchestra & Kremerata Baltica)

Melhor Gravação de Ópera

“Benjamin: Lessons in Love & Violence,” George Benjamin, condutor; Stéphane Degout, Barbara Hannigan, Peter Hoare & Gyula Orendt; James Whitbourn, produtor (Orchestra Of The Royal Opera House) “Berg: Wozzeck,” Marc Albrecht, condutor; Christopher Maltman & Eva-Maria Westbroek; François Roussillon, produtor (Netherlands Philharmonic Orchestra; Chorus Of Dutch National Opera) “Charpenter: Les Arts Florissant; Les Plaisirs de Versailles,” Marc Albrecht, condutor; Christopher Maltman & Eva-Maria Westbroek; François Roussillon, produtor (Netherlands Philharmonic Orchestra; Chorus Of Dutch National Opera) “Picker: Fantastic Mr. Fox,” Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River & Edwin Vega; Gil Rose, produtor (Boston Modern Orchestra Project; Boston Children’s Chorus) “Wagner: Lohengrin,” Christian Thielemann, condutor; Piotr Beczała, Anja Harteros, Tomasz Konieczny, Waltraud Meier & Georg Zeppenfeld; Eckhard Glauche, produtor (Festspielorchester Bayreuth; Festspielchor Bayreuth)

Melhor Performance de Coral

“Boyle Voyages,” Donald Nally, condutor (The Crossing) “Duruflé: Complete Choral Works,” Robert Simpson, condutor (Ken Cowan; Houston Chamber Choir) “The Hope of Loving,” Craig Hella Johnson, condutor (Conspirare) “Sander: The Divine Liturgy of St. John Chrysostom,” Peter Jermihov, conductor (Evan Bravos, Vadim Gan, Kevin Keys, Glenn Miller & Daniel Shirley; PaTRAM Institute Singers) “Smith, K.: The Arc in the Sky,” Donald Nally, condutor (The Crossing) Melhor música de câmara/pequena apresentação

“Cerrone,” The Pieces That Fall to Earth “Freedom & Faith,” PUBLIQuartet “Perpetulum,” Third Coast Percussion “Rachmaninoff—Hermitage Piano Trio,” Hermitage Piano Trio “Shaw Orange,” Attacca Quartet

Melhor Solo Instrumental Clássico

“The Berlin Recital,” Yuja Wang “Higdon: Harp Concerto,” Yolanda Kondonassis; Ward Stare, condutor (The Rochester Philharmonic Orchestra) “Marsalis: Violin Concerto; Fiddle Dance Suite,” Nicola Benedetti; Cristian Măcelaru, condutor (Philadelphia Orchestra) “The Orchestral Organ,” Jan Kraybill “Torke Sky: Concerto for Violin,” Tessa Lark; David Alan Miller, condutor (Albany Symphony)

Melhor Álbum Vocal Solo Clássico

The Edge of Silence—Works for Voice by György Kurtág Himmelsmusik, Philippe Jaroussky & Céline Scheen; Christina Pluhar, condutor; L’Arpeggiata, conjunto (Jesús Rodil & Dingle Yandell) Shumann: Liederkreis Op. 24 Kerner-Lieder Op. 35, Matthias Goerne; Leif Ove Andsnes, acompanhante Songplay, Joyce DiDonato; Chuck Israels, Jimmy Madison, Charlie Porter & Craig Terry, acompanhante (Steve Barnett & Lautaro Greco) A Te, O Cara, Stephen Costello; Constantine Orbelian, condutor (Kaunas City Symphony Orchestra)

Melhor Compêndio Clássico

American Originals 1918, John Morris Russell, condutor; Elaine Martone, producer Leshnoff: Symphony No. 4 ‘Heichalos’; Guitar Concerto; Starburst, Giancarlo Guerrero, condutor; Tim Handley, producer Meltzer: Songs and Structures, Paul Appleby & Natalia Katyukova; Silas Brown & Harold Meltzer, produtores The Poetry Of Places, Nadia Shpachenko; Marina A. Ledin & Victor Ledin, produtores Saariaho: True Fire; Trans; Ciel d’hiver, Hannu Lintu, conductor; Laura Heikinheimo, produtor

Melhor Composição Clássica Contemporânea

“Bermel: Migration Series For Jazz Ensemble & Orchestra,” Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra “Higdon: Harp Concerto,” Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra “Marsalis: Violin Concerto In D Major,” Wynton Marsalis, composer (Nicola Benedetti, Cristian Măcelaru & Philadelphia Orchestra “Norman: Sustain,” Gustavo Dudamel & Los Angeles Philharmonic “Shaw: Orange,” Attacca Quartet “Wolfe: Fire In My Mouth,” Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic

Melhor Compêndio Clássico

American Originals 1918, John Morris Russell, condutor; Elaine Martone, produtor

Leshnoff: Symphony No. 4 ‘Heichalos’; Guitar Concerto; Starburst, Giancarlo Guerrero, condutor; Tim Handley, produtor

Meltzer: Songs and Structures, Paul Appleby & Natalia Katyukova; Silas Brown & Harold Meltzer, produtores

The Poetry Of Places, Nadia Shpachenko; Marina A. Ledin & Victor Ledin, produtores

Saariaho: True Fire; Trans; Ciel d’hiver, Hannu Lintu, conductor; Laura Heikinheimo, produtor

Melhor Composição Clássica Contemporânea

Bermel: Migration Series For Jazz Ensemble & Orchestra, Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra

Higdon: Harp Concerto, Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra

Marsalis: Violin Concerto In D Major, Wynton Marsalis, composer (Nicola Benedetti, Cristian Măcelaru & Philadelphia Orchestra

Norman: Sustain, Gustavo Dudamel & Los Angeles Philharmonic

Shaw: Orange, Attacca Quartet

Wolfe: Fire In My Mouth, Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic

Red Carpet: Grammy Awards 2020 A 62ª edição do Grammy aconteceu no último domingo (26/01), e foi comandada pela cantora Alicia Keys…

#destaque #grammy #grammy 2020 #Música #premiações #red carpet #tapete vermelho

0 notes

d07b22-blog · 5 years

Text

Redcon-1: Army of the Dead (2018) - Poorly executed?

The film Redcon-1: Army of the Dead(2018) directed by Chee Keong Cheung surely did not present the typical convention of a zombie movie, where zombies do not have a sense of mind anymore and cannot do complex things such as firing a gun. In this film, we saw how zombies are very intelligent and it is not the normal zombie genre we see from other zombie films like World War Z (2013) or Train to Busan (2017). However, this film could have been directed and produced better as there are some loopholes you can identify throughout the film.

These are the things to note and will discuss about the film:

Character Development

Soundscape and music

Character Development

The film Redcon-1: Army of the Dead(2018) showed a poor execution of character development technique. The film mainly focused on the character of Private Perry Bernstein, Corporate Jacob Gallagher, Captain Marcus Stanton, Lieutenant Frank Perez, Sergeant Simon Lau, etc. Unfortunately, this is the biggest downfall for the film, as other characters could have been the focus in the film. Just like the little girl in the film and her father, and also Dr. Julian Raynes. If you closely evaluate the overall plot of the film, these so-called minor characters could have been part of the major characters alongside Captain Marcus as the lead character. This is because they played a big role in the development of the story and could have catalyzed the climactic scenes in the film. For example, when the film revealed the father of the girl as a carrier of the disease, the director could have emphasized this scene more.

On the other hand, the other army characters could have just been the minor characters. This is evident especially that there are unnecessary scenes that should not have been the focus on within the film just like the sex scene of Sergeant Kira Paige and Lieutenant Rodrigo Gonzalez. Since they do not pose an important impact on how the story will progress, the director could have just made their storyline abrupt and brief. We know that in a horror film, there are erotic scenes or love scenes that will be followed by a suspense scene, however, in this film it was not delivered excellently and it seems that it was merely used as a filler to complete the whole frame of the act.

The film somehow showed good intentions towards female characters because the film presented the fact that Sergeant Kira was the only female army character you can identify in the film as a woman. However, since the film already posed a poor practice of character development technique, the director failed to get his message across that although Sergeant Kira is a female, she is still strong and could withstand anything that could hinder her way. It could have been more interested if her character survived until the end even though she does not have a vital role to the main story of the film.

Soundscape and music score

The film failed to utilize some well-produced soundscapes and musical scores as it is evident throughout the film that they only mostly used that particular power ambient drone sound. Soundscapes are important elements of films because they bring that extra push to audio of the film and will certainly attract the audience. Furthermore, this is another disadvantage of the film is that they did not invest in scoring beautiful and creative masterpiece of music, and there are no impactful sound effects that would entice the audience of the film. Beautiful written music is needed for a film like Redcon-1: Army of the Dead(2018) because of the different elements that are in the film such as the emotions of the characters, or as a background music to move the audience of the film. We all know that there are still other films out there that do not necessarily need great soundscape to deliver the message of the film. However, not with the case of Redcon - 1: Army of the Dead (2018). Because this film requires great involvement of audio, as it is a suspenseful, action-filled and horror film. Thus, the film does not have great musical scores, and soundscapes to attract the audience.

In conclusion, there are other things that the filmmakers of Redcon - 1: Army of the Dead (2018) needed to notice including editing and the cinematography of the film as these elements of the film also needed to improve on. Furthermore, the film seems to be ineffective and unconvincing in its purpose to attract audiences because of the two features that were mainly discussed in this discussion: character development and musical scoring.

0 notes

tomorrowedblog · 5 years

Photo

Friday Releases for April 12

Friday is the busiest day of the week for new releases, so we’ve decided to collect them all in one place. Friday Releases for April 12 include Hellboy, Stockholm, Special, and more.

Missing Link

Missing Link, the new movie from Chris Butler, is out today.

Meet Mr. Link: 8 feet tall, 630 lbs, and covered in fur, but don’t let his appearance fool you… he is funny, sweet, and adorably literal, making him the world’s most lovable legend. Tired of living a solitary life in the Pacific Northwest, Mr. Link recruits fearless explorer Sir Lionel Frost to guide him on a journey to find his long-lost relatives in the fabled valley of Shangri-La. Along with adventurer Adelina Fortnight, our fearless trio of explorers encounter more than their fair share of peril as they travel to the far reaches of the world to help their new friend.

Hellboy

Hellboy, the new movie from Neil Marshall, is out today.

Based on the graphic novels by Mike Mignola, Hellboy, caught between the worlds of the supernatural and human, battles an ancient sorceress bent on revenge.

Little

Little, the new movie from Tina Gordon Chism, is out today.

Girls Trip’s Regina Hall and Black-ish’s Marsai Martin both star as Jordan Sanders — Hall as the take-no-prisoners tech mogul adult version of Jordan and Martin as the 13-year-old version of her who wakes up in her adult self’s penthouse just before a do-or-die presentation.

Insecure’s Issa Rae plays Jordan’s long-suffering assistant April, the only one in on the secret that her daily tormentor is now trapped in an awkward tween body just as everything is on the line. Little is an irreverent new comedy about the price of success, the power of sisterhood and having a second chance to grow up — and glow up — right.

Dogman

Dogman, the new movie from Matteo Garrone, is out today.

In a seaside village on the outskirts of an Italian city, where the only law seems to be survival of the fittest, Marcello is a slight, mild-mannered man who divides his days between working at his modest dog grooming salon, caring for his daughter Alida, and being coerced into the petty criminal schemes of the local bully Simoncino, an ex-boxer who terrorizes the neighborhood. When Simoncino’s abuse finally brings Marcello to a breaking point, he decides to stand up for his own dignity through an act of vengeance, with unintended consequences.

Her Smell

Her Smell, the new movie from Alex Ross Perry, is out today.

Becky Something (Elisabeth Moss, The Handmaid’s Tale) is a ‘90s rock superstar who once filled arenas with her band Something She. When her excesses derail a national tour, she’s forced to reckon with her past while recapturing the inspiration that led her band to success.

Master Z: Ip Man Legacy

Master Z: Ip Man Legacy, the new movie from Yuen Woo-Ping, is out today.

Legendary action director Yuen Woo-Ping draws on a stellar cast (Michelle Yeoh, Dave Bautista, Tony Jaa, and Max Zhang) to create a hard-hitting martial arts blast worthy of its place in the celebrated IP MAN universe. Following his defeat by Master Ip, Cheung Tin Chi (Zhang), tries to make a life with his young son in Hong Kong, waiting tables at a bar that caters to expats. But it’s not long before the mix of foreigners, money, and triad leaders draw him once again to the fight.

Wild Nights With Emily

Wild Nights With Emily, the new movie from Madeleine Olnek, is out today.

In the late 1880s Emily Dickinson is writing prolifically, baking gingerbread, and enjoying a passionate, lifelong affair with her friend and sister-in-law Susan… yes this is the iconic American poet, popularly thought to have been a reclusive spinster. Beloved comic Molly Shannon leads in this humorous yet bold reappraisal of Dickinson, informed by her private letters. While seeking publication of some of the 1,775 poems written during her lifetime, Emily (Shannon) finds herself facing a troupe of male literary gatekeepers too confused by her genius to take her work seriously. Instead her work attracts the attention of an ambitious woman editor, who also sees Emily as a convenient cover for her own role in buttoned-up Amherst’s most bizarre love triangle.

Long Day’s Journey Into Night

Long Day’s Journey Into Night, the new movie from Bi Gan, is out today.

Bi Gan follows up his knockout debut, Kaili Blues, with this noir-tinged stunner about a lost soul (Jue Huang) on a quest to find a missing woman from his past (Wei Tang, Lust, Caution). Following leads across Guizhou province, he crosses paths with a series of colorful characters, among them a prickly hairdresser played by Taiwanese superstar Sylvia Chang. When the search leads him to a dingy movie theater, the film launches into an hour-long, gravity-defying 3D sequence shot that plunges its protagonist—and us—into a labyrinthine cityscape.

Girls of the Sun

Girls of the Sun, the new movie from Eva Husson, is out today.

A Kurdish female battalion prepares to take back their town from extremists.

The Silence

The Silence, the new movie from John R. Leonetti, is out today.

When the world is under attack from terrifying creatures who hunt their human prey by sound, 16-year old Ally Andrews (Kiernan Shipka), who lost her hearing at 13, and her family seek refuge in a remote haven. But they discover a sinister cult who are eager to exploit Ally’s heightened senses.

Teen Spirit

Teen Spirit, the new movie from Max Minghella, is out today.

Violet is a shy teenager living in the Isle of Wight who dreams of pop stardom as an escape from her small town and shattered family life. With the help of an unlikely mentor, Violet enters an international singing competition that will test her integrity, talent and ambition.

Stockholm

Stockholm, the new movie from Robert Budreau, is out today.

The strange story of the infamous 1973 hostage crisis in Stockholm.

Huge In France

Huge In France, the new TV series from Gad Elmaleh, Andrew Mogel, and Jarrad Paul, is out today.

Gad Elmaleh is a hugely famous comedian… in France. He’s about to leave it all behind and move to Los Angeles in an attempt to reconnect with his estranged, comedy-hating, 16-year-old male model son. Sadly, he’ll have to do it without a single celebrity perk.

Special

Special, the new TV series from Ryan O'Connell, is out today.

Special, is a distinctive and uplifting new series about a gay man, Ryan with mild cerebral palsy who decides to rewrite his identity and finally go after the life he wants. After years of dead-end internships, working in his pajamas as a blogger and communicating mostly via text, Ryan eventually figured out how to take his life from bleak to chic and began limping towards adulthood.

Ventura

Ventura, the new album from Anderson .Paak, is out today.

#Movies #TV #Music #News #MissingLink #Hellboy #Little #Dogman #HerSmell #MasterZIpManLegacy #WildNightsWithEmily #LongDaysJourneyIntoNight #GirlsOfTheSun #TheSilence #TeenSpirit #Stockholm #HugeInFrance #Special #Ventura

0 notes

weekendwarriorblog · 5 years

Text

WHAT TO WATCH THIS WEEKEND April 12, 2019 - HELLBOY, LITTLE, MISSING LINK, AFTER

We’re almost midway through April (already?) but that also means that we’re one week closer to Marvel’s Avengers: Endgame, which is probably the only movie everyone is really waiting for anyway, going by advance ticket sales.

For those who can’t wait for more super-heroics, Mike Mignola’s HELLBOY (Lionsgate) gets another go in theaters, this time played by David Harbour (Stranger Things) and directed by Neil Marshall (Game of Thrones). I wish I could say I was looking forward to seeing this, but frankly, I loved Guillermo del Toro’s Hellboy: The Golden Army, and I have secretly wished for the last ten years that he would be able to continue that story with Ron Perlman, Doug Jones and the rest. This one has some interesting casting including Ian McShane, Milla Jovovich as the main baddie, Sasha Lane and Daniel Dae Kim. I guess with that cast, maybe it won’t be so bad? I expect the movie will be more geared towards the fanboys and girls rather than the mainstream audiences that have been flocking to other comic movies. (My review is now over at The Beat… and I hated it!)

Universal and Will Packer Productions are offering some interesting counter-programming to Hellboy in the comedy remake (of sorts) LITTLE, written and directed by Tina Gordon and starring Regina Hall, Issa Rae and Marsai Martin (from ABC’s Black-ish). This is the type of body-swapping comedy that’s delivered some great laughs in movies like both Freaky Friday, Tom Hanks’ Bigand others like Jennifer Garner’s 13 Going on 30. I mean, there’s still so much that can be done with this sort of thing as seen by Shazam!, and this sort of high-concept premise is also fairly easy to sell audiences. I missed the press screening of this, but if I have a few moments in April (it might happen!) I’d go check it out.

The other movie I saw that’s opening this weekend is LAIKA’s new stop-motion animated film MISSING LINK (Annapurna/UA Releasing), featuring the voices of Hugh Jackman, Zoe Saldana and Zach Galifianakis. I’m not going to review the movie even though I generally liked it, mainly since it’s been a minute since I watched it, but if you like some of LAIKA’s other films (particularly director Chris Butler’s earlier film ParaNorman) then you should enjoy this one, and like with all of LAIKA’s movies, I

Lastly, there’s Aviron’s AFTER, another teen romance drama, this one based on Anna Todd’s fan fiction that pairs Hero Fiennes Tiffin (Ralph’s nephew) and Josephine Langford in the type of Y.A. romantic drama that has had mixed results in recent years. Sure, the recent Five Feet Apartdid fine but others, like last year’s Midnight Sun, released by the defunct Global Road, barely made $10 million. Since I haven’t seen the movie – honestly, I haven’t even watched a trailer -- I’m not really sure what the appeal of this is going to be except that some younger women may not have much interest on other options this weekend.

LIMITED RELEASES

Well, I totally screwed up last week… including one movie that was delayed until this week and neglecting a movie which I thought opened this week. (This is why you need to keep me apprised on date changes, publicists!)

Actor Max Minghella makes his directorial debut with TEEN SPIRIT (Bleecker Street), starring Elle Fanning as Violet, a young woman from the Isle of Wight who hopes to get out of her smalltown blues by performing on a popular talent television show called “Teen Spirit.” Helping her out is the scraggly Vlad (Croatian actor Zlatko Burik, who starred in Nicolas Refn’s Pusher trilogy) who was an opera singer in Croatia and offers to manage Violet and help her get to the finals of the show. While Elle is no Aretha Franklin, I was truly impressed with her singing voice as well as Minghella’s screenplay and direction of the film which has a distinctive look and tone but is also a movie with quite a lot of mainstream appeal. If you like television shows like The Voice and American Idol, you might be interested in seeing one contestant’s (fictional) journey to get onto one of those shows.

You can read my interview with writer/director Max Minghella over at the Beat.

The movie I left out of last week’s column is HIGH LIFE (A24), the new movie and first in English from French auteur Claire Denis, which stars Robert Pattinson, André Benjamin, Juliette Binoche and Mia Goth. I saw the movie at the New York Film Festival last year, but I guess I never got around to writing about it, but I wish I did. Not that I particularly liked the movie, but if I wrote about it, at least I could remember what it was about. I know it takes place on a spaceship with a bunch of astronauts including Pattinson and his young daughter, all of them trying to survive.

But my absolutely favorite new movie of the weekend is Alex Ross Perry’s HER SMELL (Gunpowder and Sky), starring Elisabeth Moss as Becky Something, the lead singer of an all-girl punk band who have hit the big time but are about to implode due to Becky’s addictions and eccentricities. Becky also has a baby daughter who she is constantly neglecting and her bandmates (Agyness Deyn, Gayle Rankin) and everyone is worried about her. I’ve liked some of Perry’s past work, but something about this one really connected, maybe because I spent a couple decades working in the music business, so I can relate to the frustrated engineer in the recording studio section of the film. Moss, obviously, is amazing as Becky, a role that puts her through all the highs and lows of success and fame, but I also liked the cast around her, actors like Cara Delevigne and Amber Heard who I barely could recognize in their respective wigs. I actually saw this at the New York Film Festival, and I liked it even more when I watched it again recently. It opens in New York on Friday and in L.A. and other cities next Friday, and I hope to have an interview with Perry, probably over at NextBigPicture by next week some time.

A movie that I hoped would play the Toronto Film Festival in 2017, but instead got up in the Harvey Weinstein scandal was Garth Davis’ MARY MAGDALENE (IFC Films), the follow-up to his Oscar-nominated film Lion. It stars Rooney Mara as the title character and her real-life boyfriend Joaquin Phoenix as Jesus… and just hat last part gets me worried just because I remember Rodrigo Garcia’s Last Days in the Desert a few years back, starring Ewan McGregor as Jesus. This is being released this weekend into about 50 theaters in select cities after playing in just about every other country in the world last year as it sought out a new U.S. distributor.

Italian filmmaker Matteo Garrone of Gamorrah fame returns with DOGMAN (Magnolia), a crime thriller set in a small seaside village where a dog groomer named Marcello (Marcello Fonte) is being coerced into committing petty crimes by an ex-boxer bully named Simoncino. Apparently, this is based on true events, and I generally liked it, particularly the performance of Fonte. It opens at the Film Forum and at the Film Society of Lincoln Center Friday, as well as the Landmark Nuart in L.A. It will expand to more California theaters on April 19.

Martial arts fans will want to check out master fight choreographer Yuen Woo-Ping’s latest The Ip Man Legacy: Master Z (Well GO USA), starring Max Zhang as Cheung Tin Chi, who is trying to make a life in Hong Kong with his young son after being defeated by Master Ip. The movie also stars the legendary Michelle Yeoh (in a great sequence with Zhang), Tony Jaa (ditto) and Dave Bautista… yeah, well I guess two out of three isn’t bad, but Bautista is pretty terrible, and the movie is disjointed in its storytelling. But the action is cool, so there’s that! It opens in select theaters this weekend.

Eva Husson’s Girls of the Sun (Cohen Media Group) stars Golshifteh Farahan (Pasterson) as Bahar, commander of the “Girls of the Sun” battalion, who are set to free their hometown from extremists, while also freeing her son. Emmanuelle Bercot (My King) plays a French journalist who is embedded with the warriors during the mission. Husson’s film opens at the Quad,Landmark 57and the FIAF Florence Gould Hall (now showing first-run films) on Friday, as well as the Laemmle Monica Film Center in L.A.

A movie I sadly had to miss at this year’s Oxford Film Festival is V. Scott Balcerek’s doc Satan & Adam (Cargo), a movie that took twenty years to make, as Balcerek pulls together two decades of documentary footage of the blues duo that were a fixture in Harlem in the late ‘80s and early ‘90s. “Satan” is Sterling Magee, who played with so many greats but felt exploited so he walked away from the music scene, before being joined by Adam Gussow, an Ivy league scholar…but then Magee vanished, and the film follows what happened after that.

I had heard great things about Kaili Blues director BiGan’s Long Day’s Journey into Night (Kino Lorber), when it played a number of film festivals last year. It follows a man, played by Huang Jue, who is haunted by a woman from his post who he goes looking for her. And it includes a substantial single shot in 3D… for no particular reason that I could ascertain. To call the movie a “slog” would be an insult to actual slogs, and I barely could stay awake while watching it. It’s playing at the Metrograph and Film Society of Lincoln Center starting Friday.

Also now playing at Film Forum is Camille Vidal-Naquet’s debut feature drama Sauvage/Wild (Strand Releasing) following a gay sex worker, played by Felix Maritaud from BPM (Beats Per Minute).

Tim Disney’s William, opening at New York’s Cinema Village and L.A.’s Laemmle Monica Film Center, is a love story between two scientists who fall in love while trying to clone a Neanderthal from ancient DNA creating William, the first Neanderthal to walk the earth in 35,000 years. The film stars Will Brittain, Waleed Zuaiter, Maria Dizzia and Beth Grant.

Gilles de Maistre’s Mia and the White Lion (Ledafilms Entertainment Group) is an ambitious film about a ten-year-old named Mia whose family moves to Africa to manage a lion farm, bonding with a white lion she names Charlie. The film was shot over three years, so that the film’s young starsDaniah De Villiers and Ryan Mac Lennan could bond with their lion co-stars. The film also stars Melanie Laurent and Langley Kirkood, and it opens in select cities.

LOCAL FESTIVALS

I’m finally shifting my gaze over to Chicago where the 21stAnnual EBERTFEST kicked off yesterday with Alan Elliot’s Aretha Franklin concert film Amazing Grace, as well as a special showing of the Wachowski’s Bound with special guests Jennifer Tilly and Gena Gershon. It continues through the weekend with showings of recent and older movies, including Cameron Crowe’s Almost Famous, Jonathan Demme’s Rachel Getting Married and more.

REPERTORY

METROGRAPH (NYC):

Late Nites at Metrographwill screen Werner Herzog’s Bad Liuetenant: Port of Call New Orleans, starring the inimitable Nicolas Cage, while the Playtime: Family Matineesthis weekend is Danny Kaye as Hans Christian Anderson. Although I forgot to include it last week, Michael Blackwood’s 1968 docs Monk and Monk in Europe(as in Thelonious Monk) will continue for the next week, as does King Hu’s The Fate of Lee Khan from 1973. This Saturday night, the Metrograph is presenting a cast and crew reunion for Sidney Lumet’s 1988 movie Running on Emptywith Christine Lahti, screenwriter Naomi Foner and producers Amy Robinson and Griffin Dunne

THE NEW BEVERLY (L.A.):

L.A.’s hottest newish rep theater will show Michael Ritchie’s 1975 film Smile as well as his 1992 film Diggstownon Weds and Thursday (and apparently, Bruce Dern appeared in person on Weds!), Friday and Saturday are Clint Eastwood’s Dirty Harry (1971) and Escape from Alcatraz (1978), while Sunday and Monday screens David Lean’s The Bridge on the River Kwai (1957). This weekend’s KIDDEE MATINEE is Steven Spielberg’s Jurassic Park, while the midnight offerings are The Hateful Eight on Friday and The Blues Brothers (1980) on Saturday. On Monday afternoon, there’s a screening Stanley Kubrick’s Eyes Wide Shut, starring Tom Cruise and Nicole Kidman.

FILM FORUM (NYC):

On Saturday, Film Forum will screen Jaime Chávarri’s 1976 documentary El Desecanto, introduced by author Aaron Shulman, who wrote a book about the Spanish literary family, the Paneros, on which the movie is based. (FYI, Chávarri’s film was never released in the States, and there is only one screening on Saturday.) Charlie Chaplin’s Modern Times (1936) will screen Saturday and Sunday as part of Film Forum Jr, and Francesco Rossi’s 1973 film Lucky Lucianowill screen a 4k restoration for a single screening on Sunday afternoon.

AERO (LA):

The late Luke Perry gets a tribute with Buffy the Vampire Slayer (1992) shown on Thursday, and then the Aero is doing its own Claire Denis tribute (cause everyone else is doing i!) with Salt, Sweat and Sunshine: The Cinema of Claire Denis with a double feature of her debut Chocolat (1988) and White Material (2009) on Friday, a screening of Beau Travail (1999) on Saturday, Nenette and Boni (1996) and 35 Shots of Rum (2008) on Saturday, and then Trouble Every Day (2001)and Let the Sunshine In (2017) on Sunday. Most of those will be showing on 35mm and Denis will be there, at least for the first two nights.

MOMA (NYC):

Modern Matinees: B is for Bacall continues with 1948’s Key Largo on Thursday and Jonathan Glazer’s Birth (2004) on Friday. The What Price Hollywood series will screen George Cukor’s Sylvia Scarlett (1935) and John Waters’ Female Trouble (1974) on Thursday, Nicholas Ray’s In a Lonely Place (1950) and Bill Gunn’s Ganja & Hess (1973) on Friday, Mitchell Leisen’s Midnight (1939), Clarence Brown’s 1931 film A Free Soul and George Cukor’s What Price Hollywood (1932) on Saturday and Fritz Lang’s Clash By Night (1952) and Joseph Lewis’ Gun Crazy (1950) on Sunday.

QUAD CINEMA (NYC):

The Quad begins its new series Wild Things: The Ferocious Films of Nelly Kaplan, a tribute retrospective to a pivotal filmmaker in the French New Wave, which I know next to nothing about, so I won’t even try. Just click on the title to see the movies playing.

BAM CINEMATEK (NYC):

This week’s series is The Anarchic Cinema of Věra Chytilová, a celebration of the filmmaker who emerged during the Czech New Wave, which I know even less about than the French New Wave. Just click on the link if you know who she is.

LANDMARK THEATRES NUART (LA):

This Friday’s midnight screening is the ‘70s classic Dirty Mary Crazy Larry (1974), starring Peter Fonda and Susan George. I’m not sure when was the last time I had a chance to see this movie but if I were in L.A., this is where I would be on Friday night.

STREAMING AND CABLE

Streaming on Netflix starting Wednesday is THE SILENCE, the new apocalyptic thriller from director John R. Leonetti (Annabelle), starring Stanley Tucci, Kiernan Shipka and Miranda Otto. In this twist on Netflix’s hit Bird Box (and rip-off of A Quiet Place?), this one involves a world being terrorized by primeval beings with acute hearing and a family trying to survive. Also streaming Friday is the high concept teen rom-com The Perfect Date, starring Noah Centineo as a guy who is payed to take a friend’s cousin to the prom.

Next week, another horror movie in New Line’s The Curse of La Llorona, plus the faith-based drama Breakthrough from Fox and DisneyNature’s Penguins.

#Hellboy Little MissingLink Movies HerSmell TeenSpirit Reviews

0 notes