I think we should have more Jewish actors on TV playing Jewish characters open about their awesome Jewish faith. I love the Shema and have had it memorized since I was a child.
Not sure why Israel has to play a role in any of this. Let’s not conflate Israel with Judaism please.
i do not care if Trump's comments result in nothing tonight. no one who even thinks of saying the phrase "a whole civilization will die tonight, never to be brought back again" should be allowed to operate an ice cream stand, nevermind the most powerful office on the planet
The cross is part of the mission. The imperialist occupation of the world is disrupted from within; the violence that until now has been the law is unmasked. The poor, imprisoned, and rejected Messiah descends into the darkness of death, yet in so doing He brings a new creation to light. #HolyThursday
Film and Television is rapidly becoming an industry wherein original works are ignored in favor or rehashing the same handful of older works, which is a strategy that killed opera and the symphony orchestra. If only a charismatic young star would say something about this
One week after the Oscars, the AmericanKino team shares their favorite wins of the night. Comment down below your favorite win from the 98th Academy Awards!
Ahead of the 98th Annual Academy Awards, the AmericanKino Team would like to air some our Oscars Grievances. What were the wins, losses, and snubs that have made us angry at our favorite award show throughout the year? Take a look and reply with your favorite wins and losses!
Saw miroirs no 3 at Lincoln film today. Amazing how petzold creates so much tension in the act of doing nothing, a theme seemingly in a number of his films
Rewatched Asteroid City. This one has really moved high in my nebulous Wes rankings. The whole run of “I still don’t understand the play” to the cut scene scene is honestly breathtaking to me. How did he do that
You're watching a $248 million film and not a single green or blue screen was used. The alien is a handmade puppet. The cockpit physically rotates to simulate gravity. I looked at the production tech behind this 95% score, and the engineering is wild.
Phil Lord and Chris Miller, directing their first live-action movie in 12 years, built the entire Hail Mary spacecraft as a real set at Shepperton Studios in England. Not a miniature. Not a digital model. A full-size ship interior you can walk through. Production designer Charlie Wood studied the International Space Station, Russia's Mir station, and the Boeing 747 cockpit to get the look right. He deliberately made the panels mismatched, because real spacecraft are assembled from parts made by different companies. Nothing matches perfectly. That's what makes it feel real.
The cockpit is only about 8 feet wide. It sits on a mechanical platform that can tilt, spin, and shake, so when the ship changes direction or enters different gravity conditions, the whole set moves. Chairs end up on walls. Ladders flip direction. Gosling was suspended inside a spinning ring so he could float and move through the ship for real, reacting to actual hardware around him. No guessing where a wall might be added later.
Then there's Rocky. He's the alien co-lead, and he's not CGI. Neal Scanlan, the creature designer who built the Porgs for Star Wars, spent a full year on this character. Over 300 designs before they landed on the final look. Rocky is a thin, hollow shell, 3D-printed from a digital sculpture, then hand-painted in see-through layers so light passes through him like skin. His arms pop off and swap out depending on the scene: one set has a closed fist for walking, another has tiny motorized fingers strong enough to pick up objects. Five puppeteers (nicknamed the "Rockyteers") operated him in every scene. James Ortiz, an award-winning puppet designer from New York theater, voiced Rocky and controlled him on set. When Scanlan met him, he told Ortiz, "You're Frank Oz, and I'm making Yoda for you." Every reaction Gosling gives to the alien is to something physically in front of him.
Greig Fraser, who won the Oscar for shooting Dune, filmed the space scenes in the larger IMAX format (that taller image you see in IMAX theaters) and the Earth flashbacks in regular widescreen. Then the team did something unusual: they took the digital footage and printed it onto real film strips, twice, using two different types of film stock. Then they scanned those strips back into digital. It sounds redundant, but it adds a texture and warmth that you can only get from physical film. Fraser used the same technique on Dune and The Batman.
Drew Goddard spent six years writing this screenplay. His last adaptation of Andy Weir's novel, The Martian, earned him an Oscar nomination. He described the challenge this way: a screenplay gets about 5% of a novel's word count. The lead is alone for most of the runtime. When he finally gets a co-star, that co-star doesn't speak English, communicates through sounds closer to whale song, and has no face. Goddard called it a screenwriter's nightmare, then said that difficulty was the whole point. He and the directors fought studio pushback to keep Weir's original ending intact.
95% from 212 critics. 98% from over 2,500 audience ratings. And the lead isn't a superhero, a cop, or a soldier. He's just an ordinary middle school science teacher.
America, if you’re near an opera house, if you’re near a ballet studio, go inside and put your hand inside the donation bin for no reason!! Their money is your money.. as of right now!!
People who don't watch many movies love talking about how there were so few good movies last year. In reality '25 was one of the best years for movies I can remember. Here's my top ten for last year in no order (and I still have a few yet to see):