Genre:,, Stars:,,,,,,, Director: Christopher Morris Country:, Rating: 7.0 / 81 times Release: 2011-09-01 Synopsis: Four Lions tells the story of a group of British jihadists who push their abstract dreams of glory to the breaking point. As the wheels fly off, and their competing ideologies clash, what emerges is an emotionally engaging (and entirely plausible) farce. In a storm of razor-sharp verbal jousting and large-scale set pieces, Four Lions is a comic tour de force; it shows that-while terrorism is about ideology-it can also be about idiots. Summary: Four Lions is a whip-smart laugh out loud comedy that illuminates the war on terror through satire and farce. Blitzing the notion that a comedy about jihadists is a contradiction in terms, the film grossed an astounding £3M at the UK box office and was hailed by critics as “a brilliant film – astonishingly funny” causing “so many different Four Lions is a whip-smart laugh out loud comedy that illuminates the war on terror through satire and farce. Blitzing the notion that a comedy about jihadists is a contradiction in terms, the film grossed an astounding £3M at the UK box office and was hailed by critics as “a brilliant film – astonishingly funny” causing “so many different kinds of laughter its almost incredible”. (Drafthouse Films). I believe the people who label this film offensive or hurtful almost definitely haven't seen it. With a superb and extremely witty writing team of Bain and Armstrong (Peep Show) and a practically perfect directorial debut for Morris (Brass Eye), Four Lions was the best black comedy, with I believe the people who label this film offensive or hurtful almost definitely haven't seen it. With a superb and extremely witty writing team of Bain and Armstrong (Peep Show) and a practically perfect directorial debut for Morris (Brass Eye), Four Lions was the best black comedy, with relevance to today's culture, that I have seen in years and the Best British Film of 2010. Four Lions movie reviews & Metacritic score: Four Lions is a whip-smart laugh out loud comedy that illuminates the war on terror through satire and farce. Although no Oscars will probably come it's way, due to a sensitive American audience, the likelihood of a BAFTA isn't completely idiotic. In fact, it's probably a good idea. Four lions is hilarious, it's a smart movie, really smart. I didn't see that it offends any religion, Islam specifically, it actually mocks those stupid terrorists who know nothing about what they're doing, and are not even close to being religious. One of the best black comedies out there, Four lions is hilarious, it's a smart movie, really smart. I didn't see that it offends any religion, Islam specifically, it actually mocks those stupid terrorists who know nothing about what they're doing, and are not even close to being religious. One of the best black comedies out there, with an excellent hilarious cast. A fantastic film by Chris Morris and one in which I will watch over and over again. Whilst watching this a few members of the audience seemed scared to laugh at some of the comedic parts of the film. Morris took a huge risk in making fun of terrorism in such a way and he pulled it off and A fantastic film by Chris Morris and one in which I will watch over and over again. Whilst watching this a few members of the audience seemed scared to laugh at some of the comedic parts of the film. Morris took a huge risk in making fun of terrorism in such a way and he pulled it off and has made a very good film. A good sense of humour is required to enjoy this film and the controversial but humorous nature is what makes it so well received. Excellent feature-length debut from my comedy hero, Chris Morris. It's situations are hilarious, and it's jam-packed with quotable lines. Kayvan Novak and Nigel Lindsay provide the memorable performances. And, despite it's premise, it is probably one of Morris's most accessible and least Excellent feature-length debut from my comedy hero, Chris Morris. It's situations are hilarious, and it's jam-packed with quotable lines. Kayvan Novak and Nigel Lindsay provide the memorable performances. And, despite it's premise, it is probably one of Morris's most accessible and least offensive productions. First, the movie is nearly unintelligible because the English accents are so thick. I think I missed half the movie because I just couldn't understand what the characters said. However, the movie is seriously unfunny and borderline racist. While I understand this is a black comedy, the First, the movie is nearly unintelligible because the English accents are so thick. I think I missed half the movie because I just couldn't understand what the characters said. However, the movie is seriously unfunny and borderline racist. While I understand this is a black comedy, the difference between this and, say, Fargo, (a truly masterful black comedy) is substantial. The specter of innocents being obliterated by bumbling jihadists is simply too gruesome to be truly funny. A disturbing work that epitomizes 'too soon.'
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Warm, funny dance romcom has language, sexual references. Read Common Sense Media's Cuban Fury review, age rating, and parents guide. Fulfillment by Amazon (FBA) is a service we offer sellers that lets them store their products in Amazon's fulfillment centers, and we directly pack, ship, and provide. 'Coherence' writer-director James Ward Byrkit. (Peter Konerko/Oscilloscope Laboratories) COHERENCE The story of how the sci-fi thriller “” was made is a bit more interesting than the film itself. Writer-director James Ward Byrkit provided actors with an idea of what their characters were supposed to accomplish in a given scene, and then he placed them together in a house for a few days to improvise through the story of people at a dinner party who start acting wacky when a comet passes overhead. The experiment works intermittently. On one hand, the goings-on look authentic. The dialogue and delivery sound like discussions that would take place during a run-of-the-mill evening with friends. And when lights flash off or there’s a bump at the door, the screams are real. On the other hand, the loose, laissez-faire approach results in inconsistent levels of suspense. The story starts out intriguingly and ends on a mind- bending note. But in between, things get convoluted and, for a time, kind of boring as the characters try to comprehend why the only other house on the block with power is inhabited by people who look just like them. The movie is effectively shot with claustrophobic close-ups that add to the feeling of anxiety, and it has a spare, creepy score. The actors are not only game, but they also carry off their assignments ably and with occasional bouts of comedy. But none of that can make up for a story that seems to be lacking — probably because it quite literally was. Contains nothing objectionable. Available on and iTunes. RECENTLY REVIEWED. Cuban Fury Photograph: Matt Nettenheim British actor and director does not exactly resemble a salsa god. But that is exactly what he becomes to win the affections of in his new film The movie, which features a dance battle between Frost and doesn't rely on dance doubles; Frost actually immersed himself in salsa training for the role. As he says, 'I wasn’t there to tease or to make fun of salsa, but I was there for it to essentially be a love letter to Latin culture in the U.K.' Funnyman Nick Frost, the British actor who recently starred in The World’s End—a science-fiction film about marathon drinking—is reborn. Yes: as a dancer. “I wanted to do something that was so completely different from anything I’d done before,” he says. In Cuban Fury, he plays Bruce, an overweight, insecure man who was a salsa champion as a boy. To win the heart of Julia (Rashida Jones), he must rekindle his love of dance. Here, he shares a painfully hilarious memory. How much experience did you have salsa dancing? [ Laughs] Great! Nothing at all. I’ve always liked dancing, and I’m kind of not afraid to admit I was always a keen amateur, and I was pretty good, but my dance history is essentially that I’m a house-music fan—a particular genre called hard house. In terms of dancing, it’s pretty easy. It’s one hand pumping the sky and perhaps joined by another at some point and that’s kind of it. Dancing in a hold with a partner was something completely new to me. The power of that lead. I danced with a lot of different girls over the period of my training for this film and spent a lot of time talking about leads and learning how important it is to lead in a respectful way. There’s a way that you can lead a lady that shows off her moves to the best of her ability. It’s really interesting as a man what you are responsible for in that lead. So you had never really danced with people before? Not with humans. Listen, being an Englishman, those first two weeks I found myself constantly apologizing for having to take a girl into hold. It’s just not something that my culture does—we don’t dance like that anymore, which is a sad thing, but we dance on our own, singularly, or maybe at the end of a disco when they play slow music and you’ve had a few drinks, then you might dance with a girl. But that’s for its own ends. It’s not dancing for the joy of dancing. Just those first few weeks of having to dance with a girl was so alien to me. Cuban Fury was your idea. Why did you want to make a film about dancing? I wanted to do something that was so completely different from anything I’d done before, and it just seemed that me doing a dance film was that idea. I think it’s a very funny idea from the get-go that I would do a dance film. I’ve always liked dancing, and I’ve always liked films with dancing in them, but it was something I was kind of ashamed of, and it was an idea I was afraid of. I never mentioned it to people and then one day I plucked up the courage to write an e-mail to my friend and producer Nira Park pitching the idea for this film. I knew at that point that Nira would like the idea so much that it would be out of my hands and that I would actually have to do a dance film. Can you talk about your training? It was essentially seven hours a day every day for seven months from absolute nothing and having trouble to clump my way through a basic step to kind of being the dancer you see in the film. What did that do to your body? Well, the whole point of the film is that he’s a big man. I lost fat weight, but I was on a special diet so I kept the same size. It was more muscle mass than the other stuff. It was an amazing process. I never imagined it would hurt so much, physically and emotionally. I think a week in, I thought, Oh my God, what have I done? If you got sentenced to seven months in jail, that’s a long time. Do you know what I mean? It’s the same with dance training, and it kind of never got easier—there was never a point where you could turn around and say, “I can dance salsa,” because as soon as you got something down, they kept loading you up with more complex information. But, listen, that aside, what a process. I met some of the most amazing dancers and everyone was so supportive of me and once they realized that I wasn’t there to tease or to make fun of salsa, but I was there for it to essentially be a love letter to Latin culture in the U.K., they realized I was in business and backed me 100 percent. Did you cry during training? Richard Marcel, my choreographer, made me cry twice. I think we were about five months in, and there comes a point in a day where it’s 3pm, you’ve been dancing since 8am, and you’re physically tired and mentally exhausted. You just can’t take in any more information. Richard was trying to explain what he wanted me to do, and I just could not understand what he was saying. He actually physically manhandled me into the position that he wanted me to be in and was a little bit cross with the fact that I was being so dense. You kind of come from that school of thought where you don’t manhandle another man. I felt like he’d completely overstepped the line, and I felt foolish—like a little boy being told off. I was so tired I thought, I might strangle you! I thought I was going to hit him. And I could feel my voice going like I was going to cry, and I just had to say, “Don’t fucking touch me!” And I started crying, and I ran off to the toilets, which was quite weird because it was full of 18-year-old male ballerinas. This big bear comes crying into the toilets. I kind of got my shit together and went back into the training room, but literally as soon as I saw Richard, I burst into tears again. I got my dance bag and my little shoes and said, [ In a warbly voice] “I’m goin’ home!” But then you went back the next day? Oh, absolutely. It was just one of those things. And that came from a frustration that I couldn’t do something that I knew I could do. Sure enough the next day, we had a cuddle and got on with it and I did the step in about five minutes. Because you were relaxed. It’s such a weird thing to do to become a dancer. I didn’t just learn choreography, I was a dancer. It’s just an odd thing to find yourself doing. Do you still dance? We shot this quite a while ago now. I’ve still got some lovely basics and some lovely turns and a lovely lead, and I don’t think it would take me much to get back to that level, but I dance all the time. I have a little baby and he loves to dance, and he and I love dancing together. One of the other things I realized from doing that film is that there is a direct correlation between dancing and happiness. I think it’s really important. It’s great to dance. Can you take me through the big two dances? How was the fight dance between you and Chris O’Dowd choreographed and filmed? We had an amazing choreographer, Litza Bixler, and she got together with Richard Marcel, and we did it bit by bit. Fortunately, because we shot that slightly different, it meant that we could shoot it in little chunks: Get one chunk down and make it look good or improvise a little bit and put that to bed and move on. But it was very difficult. It took four days to shoot and it was annoyingly one of those four days in London where it was late August and it was 96 degrees so you know, it was really punishing. Was it difficult to make dancing funny in that instance? I don’t think we tried. The thing about that dance-off is we didn’t want to make it funny. If anything, it’s overly serious and that’s where the comedy comes from. The fact that those men are utterly serious. I love the line at the end where Chris O’Dowd says, “Oh, fuck this—I’m not doing this every lunch,” which makes me think maybe they did this yesterday as well. James Griffiths, our director, wanted to shoot that fight as if it was the kitchen fight in The Bourne Identity. And instead of dance moves, they’re using box cutters. So that’s what we tried to do. And in the big dance at the end, was one long shot? With something like that, you want to get as much coverage as possible, but the whole point of me learning to dance for seven months was so that I could do that three-and-a-half-minute finale dance as a live dance in one shot. We did do that. We shot that a bunch of times as a wide, from top to bottom with me doing it all. You look really good in that. Thank you very much! You know a lot of that is because of the audience and the crowd. They were there for a week when we shot that scene and they were so supportive—all those people had been on that journey with me from day one, because they were the heart of the London Latin scene. They knew that they were making this film and that this big man who was not a dancer was going to try and become a dancer and not just learn how to become a dancer, but learn about that culture specifically. None of those people had ever seen me dance before. I’d been to club nights with them and done bits and pieces, but they’d never seen a three-minute show dance, so when they saw that whole thing and the fact that it wasn’t just salsa, but there were elements of rumba and the cha-cha, it kind of blew them away! Their response to that dance made me want to do it again and again. You look so hilariously happy in that scene. [ Laughs] I don’t think I’ve ever looked happier. It’s so funny—there was a section of that dance that I found on my phone that someone had taped of me and Rashida [Jones] dancing it, and there’s that moment where I take her hand and move her around and we look at each other and smile. We smile at each other so much that I sent her that clip to say, “Look at how happy we were!” We were just so friggin’ happy. Why didn’t you want to use dance doubles? I didn’t want that. I’m a producer, it’s my idea. There are some dance doubles. There’s some footwork. There’s some stuff in the fight that’s not me, and there’s one shot in the finale that isn’t me, but apart from that, it is all me dancing and that’s the kind of beauty of the job I do: You can decide that you want to become a dancer and make this film. It would have been so much easier to not do it that way, but where’s the joy in that? No matter if the film comes out here and doesn’t do anything at the box office or it’s never seen again, I can show my son that film in 20 years’ time and say, “I did that.” That will always be there. Do you have natural rhythm? I think you do. I remember when I was 16, I was asked by a club promoter if I wanted to do podium dancing in his club and when I pitched the idea to my parents it got short shrift as a career idea. Where were you dancing in the studio shots? Was it a studio or a set? That was a beautiful set by Dick Lunn. He went round to hundreds of old salsa and Latin music clubs and old basements that were no longer clubs but had been and saw the faded colors and the dance floor was the floor from an old school. He sourced lots of incredible period furniture. How did that get you into the right mood? It just makes it really easy because you don’t have to imagine what it would be like. You’re actually there. Cuban Fury opens Apr 11; see also. Welcome, friends! Check the top of the subreddit for a request thread Search By Topic Arts: • • • • History: • • Politics: • • Science (Hard): • • • Science (Social): • • • • • War: • • • • • • Misc: • • • • • • • • Community guidelines • Posting format: Title (year) - 'optional short description' [HH:MM] Length and a [CC] tag is strongly encouraged. Correct title and year of release are mandatory. Enter your location to see which movie theaters are playing The Cutting Edge: The Magic of Movie Editing near you. ENTER CITY, STATE OR ZIP CODE GO. May 12, 2016. [edit] Information. 'Editing is what makes film a film.' That audacious statement is made at the beginning of this 2005 documentary about the art of film editing. After listening to many editors and directors, movie novices as well as cinephiles may agree. Kathy Bates narrates this whirlwind history of the art. Watch The Cutting Edge: The Magic Of Movie Editing Online. The cutting edge: the magic of movie editing full movie with English subtitle. Stars: Kathy Bates, Jodie. Amazon.com: The Cutting Edge - The Magic of Movie Editing: Kathy Bates, Zach Staenberg, Jodie Foster, Michael Tronick, Anthony Minghella, Sean Penn, Walter Murch. Narrated by Kathy Bates and with interviews of a who's who of contemporary directors and editors, The Cutting Edge: The Magic of Movie Editing is. [Trailer] tag is mandatory for trailers • No reposting within 3 months • This is a free speech zone. Don't like it? Don't click it. But don't be a jackass. • Please upvote if it adds to intelligent discussion, downvote if it doesn't. • Soliciting for donations or linking to your own YouTube channel is annoying and prohibited. • Documentaries only. The following are not considered documentaries on this subreddit: TV news, articles, interviews, lectures, amateur home videos, mockumentaries, biopics, and vlogs. • Mods reserve the right to apply the don't be a jackass rule. Please be respectful to other users. If they're wrong, tell them why! Personal attacks or comments that insult, demean or threaten users will be removed and result in bans. • No file lockers, torrents or linkjacking: site must stream video. • Any brigading or continual harassment of one user against another may result in a ban. Always message the mods instead of attacking users in public. • If your submission is popular, please don't delete it. Respect the community, and do not consign their comments to the memory hole. • 'I have decided to stick with love. Hate is too great a burden to bear.' MLK Related subreddits • • • •. The Cutting Edge: The Magic of Editing teaches the viewer how editors compile strips of film in order to create memorable moviegoing experiences. In addition to interviews with a variety of respected and award-winning editors, the movie The Cutting Edge: The Magic of Editing teaches the viewer how editors compile strips of film in order to create memorable moviegoing experiences. In addition to interviews with a variety of respected and award-winning editors, the movie offers clips form some of the most memorable films in the history of the artform. Fascinating documentary about a field that, at first glance, doesn't seem very interesting (it is). The Cutting Edge demonstrates the importance of an Fascinating documentary about a field that, at first glance, doesn't seem very interesting (it is). The Cutting Edge demonstrates the importance of an editor, the unsung hero of the film industry, without overly glorifying the profession. Kathy Bates narrates and movie icons such as Spielberg, Scorsese, Tarantino, Jodie Foster and Sean Penn share their point of view. Goes to show that a documentary that's, in a very big way, educational, can also be very entertaining. [font=Century Gothic]'The Cutting Edge: The Magic of Editing' is a mildly interesting documentary about the art and history of film editing, starting [font=Century Gothic]'The Cutting Edge: The Magic of Editing' is a mildly interesting documentary about the art and history of film editing, starting with its invention which made narrative films possible. It is fascinating that women were many of the pioneers in this field. Film clips are shown, of course, along with directors and editors discussing their special relationships.(I would have liked to have seen a director like John Sayles who edits his own films, so I could compare approaches.) And there is also footage of veteran editor Walter Murch working on 'Cold Mountain.' What the documentary describes is how an editor shapes a film through pacing and how the editing can manipulate an audience which can be both bad and good. 'Schindler's List' is an example of a movie where the audience is told what to feel while Michael Haneke excels by constantly challenging the audience's expectations.[/font] [font=Century Gothic][/font] [font=Century Gothic]However, the documentary is sadly only told from the viewpoint of Hollywood films with nothing about foreign or independent films(Nothing on 'Memento.' ), except as innovators like Vertov, Godard and Eisenstein.(And as long as we're talking innovators, where's 'Citizen Kane?' ) For example, there is a huge difference in the pacing between 'What Time Is It There?' And 'Moulin Rouge'(2001) which was apparently edited in a wood chipper. Yes, digital effects are neat toys but they are no substitute of the humanity of real actors. And it does not touch on the thorny subject of where a film is taken out of a director's hands and re-edited without his permission.[/font]. Editing was always something I was aware of in the conveyance of timing continuity and emotion, but until I watched this I had no idea of the evolution of the Editing was always something I was aware of in the conveyance of timing continuity and emotion, but until I watched this I had no idea of the evolution of the form. Some of my favorite scenes and how the timing made it happen. For example Spielberg talking about the shots of the shark in Jaws looking fake and how he and his editor counted the number of frames they could keep it believable. 33 frames horrifying, 37 frames fake looking rubber fish. Speilberg comments on the weeks it took to get this malfunctioning contraption to work and in the finished work 33/24th of a second In addition, the movie covers the originators of film thought it was an amusement until the addition of editing. Through the 20-40?s were editing was strictly controlled in form. It moves on to Bonnie and Clyde and Trousseau and on into modern digital editing. George Lucas talks about how he was an editor before a director, that explains allot. If like me you like to absorb and understand all about the movie process to know how thing go right and more specifically why things go wrong this is a must see. Why may I say it?s not five star, surprisingly the editing of the interviews is not very good and they run a little long winded. Running time 96 minutes Country United States Language English Budget $1.5 million Box office $3,851,855 Blood Simple is a 1984 American written, edited, produced, and directed. It was the directorial debut of the Coens and the first major film of, who later became a noted director, as well as the feature film debut of Joel Coen's wife, who subsequently starred in many of his features. The film's title derives from the novel (1929), in which the term 'blood simple' describes the addled, fearful mindset of people after a prolonged immersion in violent situations. In 2001, a was released. It ranked #98 on. The film also placed #73 on 's. Amazon.com: Blood Simple (1984) [Blu-ray]: John Getz, Frances McDormand, Dan Hedaya, M. Emmet Walsh, Samm-Art Williams, Deborah Neumann, Raquel Gavia, Van Brooks. Oct 08, 2017 Watch video This digital restoration of the Coen brothers’ 1984 film underlines their storytelling skills. Contents • • • • • • • • • • • • • • Plot [ ] The film opens with a short voice-over monologue voiced by as various images of the Texas landscape are shown. The film then shifts to a conversation between Abby () and Ray () in a car as it drives through a heavy downpour at night. They seem to be discussing Abby's bad marriage and Ray indicates that he's driving her to Houston. But instead of driving Abby to Houston, Ray drives to a motel and they have sex. We later find out that Abby's husband, Julian Marty (), who owns a Texas bar, had hired a () to follow Abby. The detective took photos of the tryst and delivered the prints to Marty. Ray turns out to be a bartender working for Marty. Marty is humiliated when his attempt to kidnap Abby from Ray's home fails, so he then hires the detective to kill the couple. The detective breaks into Ray's home, steals Abby's gun, and photographs the sleeping couple through the bedroom window. The detective presents a doctored photo of the couple's 'corpses' to Marty as evidence that they have been killed. Marty goes to the bathroom to vomit, then opens the safe to give the detective his $10,000 fee. The detective then shoots Marty with Abby's gun in a, leaving her gun at the scene as evidence that she killed Marty. Ray returns to the bar to get his last paycheck and accidentally kicks Abby's gun, firing it. He finds a motionless Marty and decides to cover up the murder, which he assumes Abby has committed. He loads Marty's body into his back seat with Abby's gun in the body's coat pocket. While Ray is driving down a lonely country road at night to dispose of the body he realizes that Marty is still alive, although badly wounded. Ray ends up burying Marty alive, but not before retrieving the gun. The detective, in his darkroom, realizes both that he had left his cigarette lighter at the crime scene and that Marty must have stolen and hidden the doctored photo before being shot. A distraught Ray tells Abby, 'I cleaned up your mess.' Abby insists she 'hasn't done anything funny.' By the time Ray leaves Abby's apartment each is convinced that the other has done something to harm Marty. Ray leaves the gun, now containing exactly one unfired round, with Abby. The detective observes first Abby and later Ray visiting the bar office. When leaving the bar Ray notices that he is being followed, and leaves for Abby's apartment realizing she might be in danger. Immediately after Abby arrives, the detective, firing from a nearby rooftop with a rifle, shoots Ray dead through the window. Abby checks on Ray and when she hears footsteps approaching she quickly takes Ray's knife from his pants pocket and hides in the bathroom. The detective then enters the bathroom to kill her, muttering, 'I don't know what you two thought you were going to pull off,' but he finds the bathroom empty and the window open. Reaching out the window, he opens another window to the next room, but Abby slams the sash down on his wrist and drives the knife through his gloved hand into the sill. He then shoots holes through the wall, and punches through it and removes the knife, while Abby retreats and waits outside the bathroom, holding her gun. As the detective is about to emerge, she fires through the door, hitting him. 'I'm not afraid of you Marty,' Abby says. The detective, lying on the bathroom floor, mortally wounded, bursts into cackling laughter, saying, 'Well, ma'am, if I see him, I'll sure give him the message.' Cast [ ] • as Ray • as Abby • as Julian Marty • as Private detective Lorren Visser • as Meurice • Deborah Neumann as Debra • Rev. William Preston Robertson as radio evangelist (voice only) Cast notes • Blood Simple was Frances McDormand's screen debut. • has an uncredited voice-only role as Helene Trend, who is heard on Meurice's telephone answering machine. Funding [ ] The took the trailer they made – which showed 'a man dragging a shovel alongside a car stopped in the middle of the road, back towards another man he was going to kill' and 'a shot of backlit gun holes in a wall' – and a projector and went around to people's homes and work places to show it. Daniel Bacaner was one of the first people to invest money in the project. He also became its executive producer and introduced the Coens to other potential backers. The entire process of raising the necessary $1.5 million took a year. Production [ ] The film was shot in several locations in the towns of and, over a period of eight weeks in the fall of 1982. The film spent a year in post-production and was completed by 1983. Reception [ ] While the film was only a modest box office success, it was a huge critical success. It currently holds a 94% 'fresh' rating on, where the critical consensus reads: 'Brutally violent and shockingly funny in equal measure, Blood Simple offers early evidence of the Coen Brothers' twisted sensibilities and filmmaking ingenuity.' The movie made about $3 million. Its first big public viewing was the USA Film Festival in Dallas, followed by the Sundance Film Festival, where it received the Grand Jury Prize. The brothers took the film to the Toronto Film Festival, Cannes, and the New York Film Festival. They were very proud of their film, particularly in light of having raised the funds using their self-made trailer. The film is recognized by in these lists: • 2001: – #98 Director's Cut and home media [ ] Versions [ ] The film was released on in 1995 with a 99-minute running time. Unusual for such an exercise, the 'Director's Cut' is some three minutes shorter than the original 1985 theatrical release. The Coens reduced the running time with tighter editing, shortening some shots and removing others altogether. Additionally, they resolved long-standing rights issues with the music: the original theatrical version of the film made prominent use of ' ' (1965); the Coens had replaced it with 's ' (1966) for the 1995 U.S. Home video edition on VHS. The Director's Cut reinstated the Four Tops track. 2001 DVD release [ ] The 2001 DVD release features several of DVD 'special features'. One is an introduction to the film by fictional 'Mortimer Young', who claims the 'Director's Cut' removes some of 'the boring bits' and adds other parts; this was also included in the theatrical release of the 'Director's Cut'. [ ] The 2001 DVD release also includes an by 'Kenneth Loring', the fictional of the equally fictional 'Forever Young Films'. Loring offers several entirely spurious 'facts': for example, he claims the scene with Ray and Abby driving in the rain, talking about Marty, was acted out in reverse as well as upside down, to synch the headlights of the passing car just as certain lines were said. • ^ at the •. Retrieved 14 July 2016. • Falsani, Cathleen. The Dude Abides: The Gospel According to the Coen Brothers. Grand Rapids, MI: Zondervan. • ^ Ferarra, Greg • Robson, Eddie (2003). Coen Brothers. Great Britain: ebooks.. • Marsh, Calum (January 15, 2015) •. Rotten Tomatoes. Retrieved July 4, 2014. • Levine, Josh. The Coen Brothers: The Story of Two American Film Makers. Canasa: ECW Press. Retrieved August 20, 2016. • • Beckett, David (March 27, 2013).. Retrieved 14 July 2016. • at • ^ Greiving,Tom (2016). Music News, (NPR), February 7, 2016. Retrieved May 15, 2017. • Bakan, Michael B. Ethnomusicology Forum, volume 18, Number 1, May 28, 2009. Retrieved May 16, 2017. • Graser, Marc (28 July 2009).. New York: Reed Business Information. Retrieved 30 November 2011. External links [ ] Wikiquote has quotations related to: • on • at the • at the • at • at • at Awards Preceded by 1985 Succeeded. Three decades ago, on September 7, 1984, the Coen brothers’ first feature film, Blood Simple, made its debut at the Toronto International Film Festival. I was 17 at the time, and I feel that to some degree I’ve grown up as a movie-watcher with the work of Joel and Ethan Coen. So in recognition, appreciation—and, in some instances, vexation or outright adoration—of what they’ve accomplished over the subsequent 30 years, I thought I’d re-watch their 16 features in sequence and, if all goes smoothly, jot down thoughts on 16 subsequent (work) days. Related Story. These thoughts will likely be idiosyncratic and will surely be opinionated, and they may evolve in format over time, depending on how the spirit moves me and on what seems to work best. Note that this in no way intended to be an authoritative account of the career of our preeminent filmmaking siblings: While I’ve seen a few of their movies a dozen times or more, others I’ve seen only once or twice, and I don’t pretend to have kept up with all of the many articles, analyses, interviews, and books that have accumulated over the course of the Coens’ cinematic lifetime. This is, in other words, a moderately seat-of-the-pants exercise, and please regard it accordingly. I welcome further observations, insights, and (as is tragically necessary from time to time) corrections in the comments section. I’d be delighted if this exercise inspired others to go back for another helping of Coensiana, and hope that it can serve as an opportunity for thoughtful discussion of All Things Coen. Notes on Blood Simple (1984) • It all began here, and not merely for the Coens themselves. Blood Simple was the first feature starring Joel Coen’s soon-to-become wife, Frances McDormand; the first scored by Carter Burwell, who’s collaborated—often, as here, magnificently—with the Coens on all their subsequent scores; and the first shot by cinematographer Barry Sonnenfeld, who also worked on the Coens’ next two films before embarking on his own directorial career with the Addams Family and Men in Black movies and Get Shorty. It is no small miracle—and a testament to the Coens themselves—that so many exceptional talents connected so early in their respective careers. • Many of the traits that would eventually become associated with the Coens are already evident, but especially notable is their extreme precision—not merely technical but narrative as well. The plot is an intricate clockwork of lethally intersecting misunderstandings. (This reality is foreshadowed by Marty’s awkward pickup line to a woman in his bar: “We don’t seem to be communicating.”) The principal characters—Abby (McDormand), Ray (John Getz), Marty (Dan Hedaya), and Visser (Walsh)—all behave more or less rationally, but they are all working from incorrect or insufficient information. Marty doesn’t know that Abby and Ray are not dead; Abby doesn’t know that Marty is dead (and Visser doesn’t know that she doesn’t know this); and Ray doesn’t know that it wasn’t Abby who did the killing. Especially cunning are the twinned visits to the bar by Ray and Abby on subsequent nights: He finds an attempted murder and assumes she did it; she finds an attempted burglary and assumes he did it. (A nice, related touch: the repeatedly undiscovered cigarette lighter—a red herring literally hidden under fish.) Has there ever been a better sleaze-off between actors than the championship round between Hedaya and M. • Re-watching the movie, I was again struck by the interplay of light and darkness, and in particular the inversion by which the former suggests danger and the latter relative safety: the ominous headlights on Visser’s car and the passing truck; the bright daylight in which Marty attacks Abby; the death-enabling ceiling fixture in Abby’s apartment; and the contrast between Visser’s vulnerability in the lit bathroom and Abby’s safety in the darkness next door. But I was more struck still by how frequently the overall visual style echoes that of Sam Raimi’s The Evil Dead, on which Joel had worked as an assistant editor in 1981. Especially notable is the scene in which Marty tries to drag Abby from Ray’s house and the camera rushes diabolically toward them as we hear the exaggerated panting of a dog. It was shot using Raimi’s “shaky cam” technique, and plays as a virtual homage to their fellow director (with whom they subsequently worked on the movie Crimewave). • Has there ever been a better sleaze-off between actors than the championship round between Hedaya and M. Hedaya’s career has been largely defined by his ability to ooze feculence from every pore—in particular as Nick Tortelli on Cheers and as the tricky, titular president in Dick. But though he cranks his brooding meanness up to levels where he becomes nearly pre-verbal, he’s still no match for the faux bonhomie and wheezing wickedness of Walsh. The longtime character actor starred in over 200 films over the years (notably Straight Time, Blade Runner, and as the sniper in The Jerk), but he was never better than in this role. • It’s worth noting that the name of Walsh’s character, Visser, is never mentioned in the movie, likely in homage to Dashiell Hammett’s Continental Op, who is at one point described, like Visser, as “a monster without any human foolishness like love in him.” The Continental Op is also the narrator of the Hammett novel Red Harvest, in which he offers the line from which Blood Simple takes its title: “This damned burg's getting me. If I don't get away soon I'll be going blood-simple like the natives.” It's a line that Visser echoes when he twice accuses Marty of going 'simple.' Despite all the nods to Hammett, however, the hardboiled writer whose work more directly inspired the plot and themes of the movie is James M. For a truer Hammett homage, we’ll have to wait until Miller’s Crossing. • Walsh is one of three Blood Simple performers to appear in the Coens’ next film Raising Arizona, in which he has a small (but hilarious) cameo. McDormand, too, has a witty supporting role. Finally, there's Holly Hunter, who stars in the latter film. Her role in Blood Simple—one of her first film gigs—is limited to that of a voice left on the answering machine of the bartender/ladies’ man Meurice (Samm-Art Williams). Ironically, she was nearly the movie’s lead, but when the Coens approached her about the Abby role, she was busy with a play, and she recommended her then-roommate, McDormand. • Blood Simple is the only of the Coens’ films to have subsequently been remade by another director, in this case the great Zhang Yimou. Alas, his variation on the theme—entitled A Woman, a Gun, and a Noodle Shop—is not itself great, or even good, though difficult cultural translation may play a substantial role in this. My review is. I recommend the movie only for completists of the Coens, Zhang, or Chinese cinema generally. In this movie, light suggest danger and darkness relative safety. • Leave it to the Coen brothers, meticulous technicians that they are, that the “director’s cut” of Blood Simple they released on DVD in 2001 is actually three minutes shorter than the original release: tighter, neater, honed to a still more lethal leanness. That’s not the only way in which the movie evolved, however. In the theatrical version, the song that Meurice plays on the jukebox in an early scene is the Four Tops’ “It’s the Same Old Song,” which recurs twice more in the film (“but with a different meaning”). Owing to a rights dispute, however, on the VHS version released in 1995 the Coens replaced the song with Neil Diamond’s “I’m a Believer,” before restoring “It’s the Same Old Song” to the subsequent DVD versions. Alas, by the time of the DVD releases, I’d pretty much worn my old VHS tape ragged. So now, anytime I watch the movie—watch as Meurice makes his way to the jukebox and back, white hightops juking across the bar—the Four Tops’ song feels profoundly wrong. I cannot be alone in this. There must be a population of “I’m a Believer” Blood Simple fans out there, right? Are there enough of us to form a support group? Et Cetera Where I rank Blood Simple among Coens films: #7 (out of 16) Where I rank its score, by Carter Burwell, among Coens scores by Carter Burwell: #5 (out of however many I decide to rank) Best line: Pretty much anything uttered by M. Emmet Walsh, but if forced to pick, I’d have to go with his closing death-cackle, “Well, ma’am, if I see him, I’ll sure give him the message.” Best visual: The shafts of bullet-light after Visser has shot through the bathroom wall Best sound: The shovel dragged along the highway Notable locale: Texas, where “you’re on your own” Notable influences: James M. Cain, Dashiell Hammett Dream sequence(s): Yes Conspicuous use of fans: Yes Important scene(s) set in a bathroom: Yes Number of characters who vomit in the film: One (Marty, twice) Next up. We’re nearly a full year into the Trump presidency. Steve Bannon has been removed from the NSC Principals’ committee, and then purged from the Trump circle. Stocks are up, taxes are down—at least for most people, at least for now. The ATMs continue to dispense cash; there has been no nuclear war. Factor in that a complete interloper, an unreliable rule-breaker, has just vaulted into spectacular prominence with a mega-selling new book crammed with salacious warnings that the president is succumbing to the first stages of dementia. All in all, it’s the perfect time for a round of thoughtful conservative punditry boldly to challenge conventional wisdom and proclaim that the Trump presidency, like the old joke about Wagner’s music, isn’t nearly as bad as it sounds. McMaster so alarmed by North Korea? Why does Donald Trump’s national-security adviser —more vigorously than any administration official except the president himself—that Kim Jong Un must be denied the capability to place a nuclear warhead on a missile that can reach the United States, even if this requires initiating a military conflict with the North that into a cataclysmic war? While Secretary of State Rex Tillerson and Secretary of Defense James Mattis are focused on diplomatic efforts to curb North Korea’s nuclear program, McMaster “is arguing more vocally, publicly and privately, that military options need to be considered,” The Wall Street Journal on Tuesday. The Trump administration, it reported, is debating whether to give Kim a “bloody nose” by conducting limited strikes against North Korean targets in retaliation for further nuclear or missile tests. The women of the 2018 Golden Globes collectively () wore black. On the red carpet, many of them brought as their dates not husbands and partners, but activists for gender and racial equality. They talked about endemic sexual harassment in America and a sea change sparked by industry-shattering stories from The New York Times and The New Yorker about the abuse perpetrated for decades by Harvey Weinstein. The men of the Golden Globes wore (some of them) Time’s Up pins. On the red carpet, they were asked less about Weinstein and #MeToo than about their work. They when the actress Natalie Portman emphasized the “all-male” directing nominees in film. Accepting their awards, they thanked their mothers, their wives (in their wives and their girlfriends), their agents, the nation of Italy for its great food. The composer Alexandre Desplat observed that this award was a different color to the previous one he’d claimed. But, facing a sea of women wearing black, not one of the dozen-plus men who received an award seemed compelled to note that anything about the night was different. For the men of the Golden Globes—with the exception of the host, Seth Meyers, who delivered a series of jokes skewering Weinstein—it was business as usual. In the spirit of, I’d like to propose another health-oriented month of the year. Perhaps called Crunch-uary or Poop-tober, it would be 30 days in which Americans, for once, eat enough dietary fiber. Currently, Americans only eat about —the parts of plants that can’t be digested—per day. That’s way less than the that’s recommended. There are so many reasons why, from fast-food marketing to agriculture subsidies, but one contributing factor is the, and the rise of the restaurant meal. Americans now spend more on food at restaurants than they do at, but restaurant food tends to have than the food we at home. One of the Trump administration’s most ambitious plans to buoy the struggling coal and nuclear power industries has been shot down. The Federal Energy Regulatory Commission unanimously rejected a proposal to subsidize coal-burning and nuclear power plants on Monday. Its defeat hands a victory to the motley coalition—of environmental groups, natural-gas companies, free-market advocates, and Democratic state attorneys general—who had opposed the rule and promised to fight it in court. The 5-0 rejection was all the bitterer for the administration because four of the five commissioners who lead the agency were appointed by President Trump, and three are Republicans. As proposed, the rule aimed to improve the resilience and stability of the electrical grid. Citing some electricity problems that struck during the “polar vortex”-induced cold snap of 2014, Secretary of Energy Rick Perry proposed that utility companies should pay coal and nuclear plants to keep weeks of extra fuel on hand. I’ve never met or interviewed Donald Trump, though like most of the world I feel amply exposed to his outlooks and styles of expression. So I can’t say whether, in person, he somehow conveys the edge, the sparkle, the ability to connect, the layers of meaning that we usually associate with both emotional and analytical intelligence. But I have had the chance over the years to meet and interview a large sampling of people whom the world views the way Trump views himself. That is, according to this morning’s dispatches, as “like, really smart,” and “genius.” In current circumstances it’s relevant to mention what I’ve learned this way.Actually, throughout my life, my two greatest assets have been mental stability and being, like, really smart. Crooked Hillary Clinton also played these cards very hard and, as everyone knows, went down in flames. I went from VERY successful businessman, to top T.V. Trump (@realDonaldTrump). P resident Donald Trump’s decision to about the size of his “nuclear button” compared with North Korea’s was widely condemned as bellicose and reckless. The comments are also part of a larger pattern of odd and often alarming behavior for a person in the nation’s highest office. Trump’s grandiosity and impulsivity has made him a constant subject of speculation among those concerned with his mental health. But after more than a year of talking to doctors and researchers about whether and how the cognitive sciences could offer a lens to explain Trump’s behavior, I’ve come to believe there should be a role for professional evaluation beyond speculating from afar. I’m not alone. Viewers of Trump’s recent speeches have begun noticing minor abnormalities in his movements. In November, he used his free hand to steady a small Fiji bottle as he brought it to his mouth. Onlookers described the movement as “awkward” and made jokes about hand size. Some called out Trump for doing the exact thing he had mocked Senator Marco Rubio for during the presidential primary—conspicuously drinking water during a speech. This is the story of a small-town, publicly-owned hospital that, after thriving for decades, is struggling and now in all likelihood about to be appended to a large regional health-care system. The tale of Berger Municipal Hospital is, like that of many sectors of the American economy, one defined. The story begins in 1929. That year, the city fathers of Circleville, Ohio, in the south-central part of the state, dedicated the town’s new hospital, funded partly with money willed by a local patron named Franklin Berger. The hospital opened at a time when other small towns had been building them, too. Turn-of-the-century medical breakthroughs such as disinfectants, sanitary surgery, and new technology like X-ray machines (invented in 1895) helped transform hospitals from last-resort warehouses for the sick poor (the rich were usually treated at home by private doctors) into places where all members of a community would go to receive care. Mothers began to deliver babies in hospitals instead of at home, and birthing (and, in more recent years, prenatal care) became big business for community hospitals. Not only would Berger help improve the health of Circleville residents, but it was expected to be a sign of modern welfare that would attract business executives and workers. As was typical, Berger was owned and operated by the city, and then, a generation later, jointly by both the city and surrounding Pickaway County. America's newspapers and magazines have doggedly covered the nation's reckoning with sexual harassment in recent months—yet there’s ongoing debate about how well those newsrooms are handling their own scandals. Dozens of reporters and editors gathered at the Newseum in Washington, D.C., on Tuesday to talk about gender inequity and sexual misconduct in American newsrooms, and the extent to which newsroom culture has lagged behind coverage. One panel conversation turned repeatedly to the topic of Glenn Thrush, the New York Times reporter who was suspended last year after the publication of that contained allegations of inappropriate behavior against him. (Thrush apologized in a November statement for “any situation where I behaved inappropriately,” but said he recalled events differently than they were described in the Vox story.) In December, the Times announced, after a month-long investigation, that Thrush would return to the newsroom, but would be removed from the White House beat. Speaking at the event on Tuesday, Carolyn Ryan,, described a thorough and transparent process leading to that decision—a characterization that was quickly challenged by another reporter in the room. On Monday, as Oprah Winfrey’s stirring acceptance speech at the Golden Globes secured a place in the national conversation, Byron Tau of The Wall Street Journal, “Oprah employed a phrase that I’ve noticed a lot of other celebrity using these days: ‘your truth’ instead of ‘the truth.’ Why that phrasing?” He fretted that “your truth” undermines the idea of shared common facts. Well, Garance Franke-Ruta, “sometimes you know something is real and happened and is wrong, even if the world says it’s just the way things are. It’s a call to activism rooted in the individual story, grounded in personal experience.” Another Twitter user chimed in to add that, “it’s also a well-known tactic in building leadership in community organizing that allows people who are rarely heard to tell their story, learn that they are, in fact, not alone, connects individual experiences to systemic issues, and helps develop powerful public speakers.”. Synopsis Three ruthless female outlaws scheme to intercept a lucrative drug shipment for a notorious crime boss, and get drawn into a dangerous series of double crosses. Tes (Malin Akerman), Kara (Nikki Reed) and Tara (Deborah Ann Woll) are the kind of criminals who always get the job done. But when their boss Mel (Bruce Willis) dispatches them on a dangerous mission, a quiet diner becomes the scene of a tense confrontation. Shea Whigham and Brad Dourif co-star. ~ Jason Buchanan, Rovi Provided by Rovi. May 26, 2011. Jolting backwards from the bloody finale, Catch.44 plugs away on the lives of three girlfriends who toil at the local strip joint, but are now packing guns and heading out on I-40 to hi-jack a coke deal. These three are no angels, in part because they work for the nefarious Mel (Willis), a drug-lord and. More Catch.44 images. Watch Timber The Treasure Dog Online. Timber the treasure dog full movie with English subtitle. Stars: Kix Brooks, Wilford Brimley, Jd Hoppe. Watch Timber the Treasure Dog (2016) free movie online. A boy rises to the occasion with his best friend (a lovable talking dog) to save his home. Free Shipping. Buy Timber the Treasure Dog at Walmart.com. Timber, an Alaskan Husky, shows up at 12-year-old Mikey's doorstep just in time. Someone is buying all the ranches in the area whose owners can't pay off their deeds to the bank. Luckily, Timber holds a clue to the local legend of a buried treasure! Family / Adventure. Timber the Treasure Dog (2016) cast and crew credits, including actors, actresses, directors, writers and more. Genre: Stars:,, Director: Ari Novak Country: Rating: 7.6 / 23 times Release: 2016-01-05 Synopsis: Timber is an energetic Alaskan Husky who shows up at the doorstep of MIKEY JONES, a 12 year old boy living with his 16 year old sister, CLAIR and his father, EMMET at their ranch in Montana. Left to Mikey by his grandpa, Timber arrives just in time because this family needs his help and fast! CASPER STONEWALL, the local villain is buying up all the ranches that can't pay off their deeds to the bank and Emmet's ranch is one of them. Nobody wants to lose their home but unless they find a small fortune, there's nothing Emmet can do to stop him. Luckily, Timber holds a key clue to the local legend of a buried treasure that all but Mikey and BILLIE, a 12 year old tomboy girl and Mikey's best friend, believe to be just a myth. With nobody buying the story of the lost treasure of Cloud Peak, Mikey, Timber, their family bulldog; BARBEQUE, Billie and her pet Golden Lab; KAIA set off on an adventure of a lifetime in an attempt to save their homes! Unfortunately, Stonewall and his two bungling. Waist Deep is a 2006 drama-action film directed by Vondie Curtis-Hall, starring Tyrese Gibson and Meagan Good. It is loosely based on the 1967 film Bonnie and Clyde, including some similar subplots including the two main characters on the road, trying to avoid police, and committing bank robberies. Some of the Floridians hardest hit by Irma live in a modest residential neighborhood near the river in Bonita Springs, where waist-deep. Heckler & Koch USP. O2 (Tyrese Gibson) uses a Heckler & Koch USP with adjustable rear sights throughout the film. It his issued sidearm for his security job but he then ends up using it to take out gang members that threaten his son and to rob several banks to get cash to see him again. Heckler & Koch USP Custom Sport. Meagan Good, Actress. 2006 Waist Deep Coco 2006/I Miles from Home Natasha Freeman 2005 Roll Bounce Naomi Phillips 2005 Venom Cece 2005 Kevin Hill. Based on Release Date: DVD Release Date: R| 1 hr 37 min Follow the movie on Plot Summary O2 (Tyrese Gibson) is an ex-con who is trying to go straight for the sake of his son, Junior. After a carjacking puts Junior in the hands of a vicious criminal leader, O2 turns to street-smart hustler Coco (Meagan Good) for help. Heat between the pair rises as they go around the law to save Junior and outwit the hoodlums at their back. Cast:,,,,,,, Carla Golian Director: Genres:,, Crime drama Production Co: Focus Features, Radar Pictures Distributors: Rogue Arts, Focus Features Keywords:,,,,,,,,. To save his son from ruthless gangsters, a streetwise ex-con finds himself coerced into performing a series of crimes in this gritty thriller. Waist Deep features Tyrese Gibson as O2, a young father and recent parolee whose life on the outside is upended when his young son Junior is taken hostage after an auto-theft gone wrong. After learning that his boy is in the hands of a mob boss named Meat (The Game), O2 is forced to break the law once again to satisfy his demands, and teams up with Coco (Meagan Good), a hooker with ties to Meat, to get into the gangster's inner sanctum and save his son. Waist Deep marked the acting debut of rapper The Game. He's taking them all back. Very good movie. I enjoyed it alot, It had a good conflict from beginning to end which kept you intrigued the whole time. Great ending they way it should be. I gotta say Meagan Good to me is the hottest most sexiest black woman alive, her lips are perfect meant to be kissed, what a body, smoking HOT! In South Los Angeles, while bringing his beloved son Junior back home from school, the paroled ex-convicted O2 promises his son that he would always come back to him and never leave him alone. However, his car is hijacked and Junior is kidnapped. Without any lead, O2 forces the street vendor Coco to help him to find where his car might have been sent for disassembling. Meanwhile, O2's addicted brother Lucky discovers that the cruel leader of the Outlaw Syndicate, the drug lord Meat, is keeping the boy arrested in a room and asking a ransom of US$ 100,000.00 that he believes O2 have from an old heist. O2 and Coco plot a scheme to put the pimp P-Money and Meat against each other and steal their money. The term “” means any census tract which is designated by the Secretary of Housing and Urban Development and, for the most recent year for which census data are available on household income in such tract, either in which 50 percent or more of the households have an income which is less than 60 percent of the area median gross income for such year or which has a poverty rate of at least 25 percent. If the Secretary of Housing and Urban Development determines that sufficient data for any period are not available to apply this clause on the basis of census tracts, such Secretary shall apply this clause for such period on the basis of enumeration districts. Chapter 1 - the public health service (§§ 1 to 70a) chapter 1a - the public health service; supplemental provisions (§§ 71 to 71r) chapter 2 - sanitation and. Any building which is designated by the housing credit agency as requiring the increase in credit under this subparagraph in order for such building to be financially feasible as part of a shall be treated for purposes of this subparagraph as located in a difficult development area which is designated for purposes of this subparagraph. The preceding sentence shall not apply to any building if paragraph (1) of subsection (h) does not apply to any portion of the eligible basis of such building by reason of paragraph (4) of such subsection. For purposes of clause (iii), the term “supportive service” means any service provided under a planned program of services designed to enable residents of a residential rental to remain independent and avoid placement in a hospital, nursing home, or intermediate care facility for the mentally or physically handicapped. In the case of a single-room occupancy unit or a building described in subsection (i)(3)(B)(iii), such term includes any service provided to assist tenants in locating and retaining permanent housing. If the income of the occupants of the unit increases above 140 percent of the income limitation applicable under paragraph (1), clause (i) shall cease to apply to such unit if any residential rental unit in the building (of a size comparable to, or smaller than, such unit) is occupied by a new resident whose income exceeds such income limitation. In the case of a project described in section 142(d)(4)(B), the preceding sentence shall be applied by substituting “170 percent” for “140 percent” and by substituting “any in the building is occupied by a new resident whose income exceeds 40 percent of area median gross income” for “any residential unit in the building (of a size comparable to, or smaller than, such unit) is occupied by a new resident whose income exceeds such income limitation”. For purposes of clause (i), the term “” means any building which is part of a project if the taxpayer’s basis in such project (as of the date which is 1 year after the date that the allocation was made) is of the taxpayer’s reasonably expected basis in such project (as of the close of the second calendar year referred to in clause (i)). Such term does not include any unless a credit is allowable under subsection (e) for rehabilitation expenditures paid or incurred by the taxpayer with respect to such building for a taxable year ending during the second calendar year referred to in clause (i) or the prior taxable year. For purposes of clause (i), the unused housing credit ceiling for any calendar year is the excess (if any) of the sum of the amounts described in clauses (ii) through (iv) over the aggregate housing credit dollar amount allocated for such year. For purposes of this section, in the case of any project for residential rental located in a (as defined in section 520 of the Housing Act of 1949), any income limitation measured by reference to area median gross income shall be measured by reference to the greater of area median gross income or national non-metropolitan median income. The preceding sentence shall not apply with respect to any building if paragraph (1) of section 42(h) does not apply by reason of paragraph (4) thereof to any portion of the credit determined under this section with respect to such building. If the rate of on any financing described in paragraph (2)(A) is less than the rate which is 1 percentage point below the applicable Federal rate as of the time such financing is incurred, then the qualified basis (to which such financing relates) of the shall be the present value of the amount of such financing, using as the discount rate such applicable Federal rate. For purposes of the preceding sentence, the rate of interest on any financing shall be determined by treating interest to the extent of government subsidies as not payable. (Added, § 252(a), Oct. 22, 1986,; amended, § 8072(a), Oct. 21, 1986,;, §§ 1002( l)(1)–(25), (32), 1007(g)(3)(B), title IV, §§ 4003(a), (b)(1), (3), 4004(a), Nov. 10, 1988,, 3435, 3643, 3644;, §§ 7108(a)(1), (b)–(e)(2), (f)–(m), (n)(2)–(q), 7811(a), 7831(c), 7841(d)(13)–(15), Dec. 19, 1989,, 2406, 2426, 2429;, §§ 11407(a)(1), (b)(1)–(9), 11701(a)(1)–(3)(A), (4), (5)(A), (6)–(10), 11812(b)(3), 11813(b)(3), Nov. 5, 1990,, 1388–475, 1388–505 to 1388–507, 1388–535, 1388–551;, § 107(a), Dec. 11, 1991,;, § 13142(a)(1), (b)(1)–(5), Aug. 10, 1993,;, § 1704(t)(53), (64), Aug. 20, 1996,;, § 6004(g)(5), July 22, 1998,;, § 2, Oct. 30, 2000,;, § 1(a)(7) [title I, §§ 131(a)–(c), 132–136], Dec. 21, 2000,, 2763A–610 to 2763A–613;, § 417(2), (3), Mar. 9, 2002,;, § 207(8), title IV, § 408(a)(3), Oct. 4, 2004,, 1191;, § 6(a), Dec. 20, 2007,;, §§ 3001–3002(b), 3003(a)–(g), 3004(a)–(g), 3007(b), July 30, 2008,, 2886;, § 1404, Feb. 17, 2009,;, § 302(a), Jan. 2, 2013,;, § 112(a), title II, §§ 212(a), 221(a)(7), Dec. 19, 2014,, 4033, 4038;, § 131(a), (b), Dec. 18, 2015,.) So in original. Probably should be “etc.,”. So in original. The semicolon probably should be a comma. So in original. See 2008 Amendment note below. So in original. The period probably should not appear. So in original. References in Text The date of the enactment of this paragraph, referred to in subsec. (b)(2)(A), is the date of enactment of, which was approved July 30, 2008. Section 201(a) of the Reform Act of 1986, referred to in subsec. (c)(2)(B), is, which amended generally. Section 3 of the Federal Insurance Act, referred to in subsec. (d)(6)(B), is classified to, Banks and Banking. Section 8 of the United Housing Act of 1937, referred to in subsecs. (d)(6)(C)(i), (g)(2)(B), and (h)(6)(B)(iv), is classified to, The Public Health and Welfare. Section 8(e)(2) of the Act was repealed by, § 289(b)(1), Nov. 28, 1990,, effective Oct. 1, 1991, but to remain in effect with respect to single room occupancy dwellings as authorized by subchapter IV (§ 11361 et seq.) of See. Sections 221(d)(3), (4) and 236 of the National Housing Act, referred to in subsec. (d)(6)(C)(i), are classified to sections 1715 l(d)(3), (4) and 1715z–1, respectively, of Title 12,and Banking. Sections 515, 502(c), and 520 of the Housing Act of 1949, referred to in subsecs. (d)(6)(C)(i), (g)(2)(B)(iv), and (i)(8), are classified to sections 1485, 1472(c), and 1490, respectively, of Title 42, The Public Health and Welfare. The date of the enactment of this subparagraph, referred to in subsec. (g)(2)(E), is the date of enactment of, which was approved Nov. The date of the enactment of this clause, referred to in subsec. (i)(3)(B)(iii)(I), is date of enactment of, which was approved Dec. The Social Act, referred to in subsec. (i)(3)(D)(i)(I), (II), is act Aug. 14, 1935, ch. Title IV of the Act is classified generally to subchapter IV (§ 601 et seq.) of The Public Health and Welfare. Parts B and E of title IV of the Act are classified generally to parts B (§ 620 et seq.) and E (§ 670 et seq.), respectively, of subchapter IV of For complete classification of this Act to the Code, see and Tables. The Job Training Act, referred to in subsec. (i)(3)(D)(i)(III), is, Oct. 13, 1982,, which was classified generally to chapter 19 (§ 1501 et seq.) of Title 29, Labor, and was repealed by, § 199(b)(2), (c)(2)(B), Aug. 7, 1998,, effective July 1, 2000. Pursuant to former, references to a provision of the Job Training Partnership Act, effective Aug. 7, 1998, were deemed to refer to that provision or the corresponding provision of the Workforce Investment Act of 1998,, Aug. 7, 1998,, and, effective July 1, 2000, were deemed to refer to the corresponding provision of the Workforce Investment Act of 1998. The Workforce Investment Act of 1998 was repealed by, § 511(a), July 22, 2014,, effective July 1, 2015. Pursuant to, references to a provision of the Workforce Investment Act of 1998 are deemed to refer to the corresponding provision of the Workforce Innovation and Opportunity Act,, July 22, 2014,, effective July 1, 2015. For complete classification of the Job Training Partnership Act and the Workforce Investment Act of 1998 to the Code, see Tables. For complete classification of the Workforce Innovation and Opportunity Act to the Code, see Short Title note set out under and Tables. Section 1602 of the American Recovery and Reinvestment Act of 2009, referred to in subsec. (i)(9)(A), is, which is set out as a note below. Prior Provisions A prior section 42, added, § 203(a), Mar. 29, 1975,; amended, § 3(a)(1), Dec. 23, 1975,;, § 401(a)(2)(A), (B), title V, § 503(b)(4), title XIX, § 1906(b)(13)(A), Oct. 4, 1976,, 1562, 1834;, § 101(c), May 23, 1977,, which related to general tax credit allowed to individuals in an amount equal to the greater of (1) 2% of taxable income not exceeding $9,000 or (2) $35 multiplied by each exemption the taxpayer was entitled to, expired Dec. 31, 1978, pursuant to the terms of: (1), § 209(a) as amended by, § 2(e), set out as an Effective and Termination Dates of 1975 Amendment note under; (2), § 3(b), as amended by, § 401(a)(1) and, § 103(a); and (3), § 401(e), as amended by, § 103(c) and, § 103(b), Nov. 6, 1978,, set out as an Effective and Termination Dates of 1976 Amendment note under. Another prior section 42 was renumbered. Amendments 2015—Subsec. (b)(2)., § 131(b), substituted “Minimum” for “Temporary minimum” in heading. (b)(2)(A)., § 131(a), struck out “with respect to housing credit dollar amount allocations made before January 1, 2015” after “paragraph”. (b)(1)., § 212(a), substituted “For purposes of this section—” for “For purposes of this section, the term”, inserted subpar. (A) designation and heading, and inserted “The term” at beginning of subpar. (b)(2)(A)., § 112(a), substituted “ January 1, 2015” for “ January 1, 2014”. (h)(3)(C)(ii)(I)., § 221(a)(7), struck out “($1.50 for 2001)” after “$1.75”. Substituted “with respect to housing credit dollar amount allocations made before January 1, 2014” for “and before December 31, 2013”. (b)., § 3002(a), redesignated par. The amendments made by this section shall not apply to described in section 252(f)(5) of the Tax Reform Act of 1986 [] (as added by section 1002( l)(31) of the Technical and Miscellaneous Revenue Act of 1988 Transitional Rules note below]).” Amendment by applicable to property placed in service after Dec. 31, 1990, but not applicable to any transition property (as defined in ), any property with respect to which qualified progress expenditures were previously taken into account under, and any property described in, as such sections were in effect on Nov. 4, 1990, see, set out as a note under. The shall publish initial guidance under section 42(j)(6) of such Code (relating to no recapture on disposition of building (or interest therein) where posted).” [, § 1702(g)(5), Aug. 20, 1996,, provided that: [“(A) Paragraph (11) of section 11701(a) of the Revenue Reconciliation Act of 1990 (and the amendment made by such paragraph) [, which amended, set out above, by inserting “but only with respect to bonds issued after such date” before the period at the end of such section 7108(r)(2)] are hereby repealed, and section 7108(r)(2) of the Revenue Reconciliation Act of 1989 [] shall be applied as if such paragraph (and amendment) had never been enacted. [“(B) Subparagraph (A) shall not apply to any building if the of such building establishes to the satisfaction of the or his delegate that such owner reasonably relied on the amendment made by such paragraph (11).”] Amendment by effective, except as otherwise provided, as if included in the provision of the Technical and Miscellaneous Revenue Act of 1988,, to which such amendment relates, see, set out as a note under. Amendment by effective as if included in the provision of the Tax Reform Act of 1986,, to which such amendment relates, see, set out as a note under. A housing credit agency receiving a grant under this section shall use such grant to make subawards to finance the construction or acquisition and rehabilitation of. A subaward under this section may be made to finance a with or without an allocation under section 42 of the Internal Revenue Code of 1986, except that a State housing credit agency may make subawards to finance without an allocation only if it makes a determination that such use will increase the total funds available to the State to build and rehabilitate affordable housing. In complying with such determination requirement, a State housing credit agency shall establish a process in which applicants that are allocated credits are required to demonstrate good faith efforts to obtain investment commitments for such credits before the agency makes such subawards. Any such subaward with respect to any shall be made in the same manner and shall be subject to the same limitations (including rent, income, and use restrictions on such building) as an allocation of housing credit dollar amount allocated by such State housing credit agency under section 42 of the Internal Revenue Code of 1986, except that such subawards shall not be limited by, or otherwise affect (except as provided in subsection (h)(3)(J) of such section [section 42(h)(3) has no subpar. (J)]), the State housing credit ceiling applicable to such agency. The housing credit agency shall perform asset management functions to ensure compliance with section 42 of the Internal Revenue Code of 1986 and the long-term viability of buildings funded by any subaward under this section. The housing credit agency may collect reasonable fees from a subaward recipient to cover expenses associated with the performance of its duties under this paragraph. The housing credit agency may retain an agent or other private contractor to satisfy the requirements of this paragraph. The housing credit agency shall impose conditions or restrictions, including a requirement providing for recapture, on any subaward under this section so as to assure that the building with respect to which such subaward is made remains a during the compliance period. Any such recapture shall be payable to the Secretary of the Treasury for deposit in the general fund of the Treasury and may be enforced by means of liens or such other methods as the Secretary of the Treasury determines appropriate. Written determinations for this section These documents, sometimes referred to as 'Private Letter Rulings', are taken from the; the IRS also publishes a of what they are and what they mean. The collection is updated (at our end) daily. It appears that the IRS updates their listing every Friday. Note that the IRS often titles documents in a very plain-vanilla, duplicative way. Do not assume that identically-titled documents are the same, or that a later document supersedes another with the same title. That is unlikely to be the case. Release dates appear exactly as we get them from the IRS. Some are clearly wrong, but we have made no attempt to correct them, as we have no way guess correctly in all cases, and do not wish to add to the confusion. We truncate results at 20000 items. After that, you're on your own. Zelienople Hours: Closed for the Winter Season Swimming Pool Discounters is the Pittsburgh area’s best swimming pool, spa, and clearance center! Our four locations carry thousands of products, including: Pools, Decks, Accessories, and Chemicals • Above Ground Pools and In-Ground Pools. We carry the largest assortment in Pittsburgh of in-ground and above ground pools, both with and without decks and fences. Our above ground pools range in size and depth from 12 foot inflatable pools to ones that are 18×33 feet, 54 inches deep, and have a built-in deck. The in-ground pool kits can be as compact as 12×24 feet or as large as 24 by 44 feet. • Decks – every pool can use a safe, reliable deck! We sell pool packages that include decks, freestanding decks, easy-to-assemble modular decks, end and side decks for all types of above ground pools. • Pool Products – This includes chemicals, liners, covers, cleaners, filters, heaters, lighting, pumps, slides, diving boards, steps, floats, and winterizing accessories. Pool products for the do it yourself customer. Save money and get more value for your backyard! Nestled in a quiet enclave with lush greenery, the outdoor swimming pool is an exclusive 25 metres lap pool located on the ground level of the hotel. Featuring a three-tiered timber pool deck, the swimming pool is flanked by sun loungers and private cabanas for guests to relax. The pool bar offers a wide selection of starters. We also offer a large selection of Spas and hot tubs—plus Saunas and pool tables. Most of our locations are open year-round. Clearance, Close Outs and Lay Away Options He’s not called “Discount Dale” for nothing! Swimming Pool Discounters has the best prices in Pittsburgh on pools, pool chemicals, accessories, and spas. Our clearance and close outs are the lowest prices on the best products that you’ll find for your pool, with discounts at 60% off or higher. We also have a Lay Away option on 2016 pools. Just call or stop into any of our stores to find out more about this convenient, affordable program that will have you swimming in your pool this summer! Convenient Pool Services Besides our unmatched inventory, Swimming Pool Discounters also offers services for pool and spa owners including: • Filter and pump service • Heater service • Liner replacement • Pool open and close services • Spa service (call 724-452-1355) Excellent Customer Service Our staff is knowledgeable about all of the products in our stores. If you need something, we’ll find it, and at a huge savings compared to other pool stores and online stores. Visit one of our Pittsburgh-area stores today. *Please Call One Of Our Locations Today And We Will Gladly Quote The Pool Of Your Dreams! If You Have Any Problems Reaching Any Of Our Locations, Please Call 1-888-Get-Pool. On a searing summer day, a swimming pool is a welcome respite from the heat. But before you can dive into its cool blue water, you have to perform all the maintenance drudgery that prolongs its crystal-clear perfection. This often makes a backyard pool more of a burden than a blessing. In the interest of spending more time in the pool than maintaining it, we went for advice to William Sodergreen, chief technician for Shoreline Pools Service Inc., in Connecticut, a guy who has the weekly cleaning ritual down to a science. He can skim, vacuum, clean, and chlorinate in under an hour, not much more time than it takes to suit up, slather on sunscreen, and get out the inner tube. Here are some of the techniques he uses to speed up the process and create a safe, refreshing oasis. Turn the filter valve to 'backwash' to redirect water flow. Most pools use one of three kinds of filter: sand, diatomaceous earth (DE), or cartridge. In a sand filter—no longer used in new construction—sand blocks dirt and oil; the backwash directs the dirty water to a waste line leading to the ground or a storm drain. With a DE filter, the claylike remains of marine organisms do the filtering and the backwash directs the dirt into a filter bag (empty every other week and replace every few years). Replenish the DE by sprinkling it into the skimmer well. A cartridge filer is a removable unit that you hose off and reinsert. Consider replacing sand with a DE or cartridge system; both clean better, save water, and are better for the environment. If you have a chlorinator, a tubelike tank next to the filter, it's a great way to introduce chlorine—in the form of slow-dissolving sticks—into your pool. You can also use a floating container, but it can be a danger if small children get their hands on it. Read the packaging and calculate the number of sticks needed for the pool based on the water volume. Add more in hot weather, when the heater is on, or when the pool is in more frequent use. Finally, check the pool's water level, refilling if it's less than half way up the skimmer well mouth. In the countdown to a national step-off, rivalries at Truth University run red hot. The Theta Nus are counting on new pledge Chance Harris (Collins Pennie) to lead the team to victory. But he's too caught up in his own problems to focus. At odds with his father, caught up in romantic troubles and targeted by a street gang for an unpaid debt, Chance must decide what is truly important and make the choices that will shape his life. Stomp the Yard 2: Homecoming unites a powerful cast featuring Terrence J and Pooch Hall with a soundtrack packed with pulse-pounding tracks. 2010 Stage 6 Films, Inc. All Rights Reserved. Want to watch Stomp the Yard 2: Homecoming for free online? You can watch Stomp the Yard 2: Homecoming full movie online for free right here! |
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