*Keep in mind, not all school shootings are the same. There are different motives, and some of those pictured here killed 0. Some of them are currently released, some were never sentenced. There are many many more living school shooters, but their identities were never released to the public (this is a very common practice in countries outside of the United States), hence there are no photographs of them. I have also included some individuals who PLANNED to shoot up their school, but were thwarted in their attempts.*
From Left to Right. Row One: -Alex Hribal, Pennsylvania. -Alvaro Castillo, North Carolina. -Amy Bishop Anderson, Alabama. -Andrew Charles Williams, California. -Andrew Golden, Arkansas. -Andrew Wurst, Pennsylvania.
Fam, please shoot up a prayer for me, I’ve been down with the sickness sick for the past few days and it’s only gotten worse. I was able to power through some meetings this morning and through work, but I am so exhausted and drained. I’m even skipping hanging out with my best friend before he leaves for a 3 week retreat (which leads straight to mission work, which means I won’t see him for a long time). At the very least, I’ll be offering up all of this for those being impacted by the Hurricane. Thanks, y’all!
writer/director Justin Simien exploded into the mainstream with Dear White People. The title alone was
enough to send the entertainment industry into a talespin of words like
“reverse racism” and “boycott.” Thank God it was good. Not just good, but
borderline excellent. Equal parts Spike Lee and Aaron Sorkin; Simien effortlessly
balanced the tepid climate of post-Obama’s America with razor-sharp dialogue
that rivals the veterans of Hollywood. So when word broke that Simien was
developing a show based on the modern day cult classic, many fans and skeptics
alone were curious to see the project would join the ranks of other movie-based-shows
(Bates Motel, Fargo, etc.)
to say, it’s the best one yet.
Dear White People centers around the life and times
of a predominantly white Ivy League university, which is currently under fire
for a controversial party that involved its white students in blackface.
Leading the crusade is Samantha White, portrayed here by Logan Browning (taking
over the role previously depicted by Tessa Thompson), a fervent freshman who gets her kicks by
exposing institutionalized racism on her notorious radio show, which shares the
name of the series. In an effort to bring the minorities of the university
together, Sam soon learns that not all black people are created equal.
makes this show so great is that there’s not a black stone that goes unturned. The
10-episode season is split into almost comic book like arcs centering around the
Winchester students, such as Sam, Joelle, (Ashley
Blaine Featherson,) Sam’s cool-as-hell BFF who keeps her down to earth; Gabe
Amedori), the “cool white boy;” and the object of Sam’s affection; Reggie
Green (Marque Richardson), Sam’s fellow warrior for wokeness, who has unrequited
feelings for his partner in crime; Troy Fairbanks (Brandon Bell,) the golden
child of the university who just so happens to be the son of the Dean; Lionel
(DeRon Horton), the geeky journalist who gets a front row seat to the madness,
all while trying to get closer to his superstar roommate; Coco (Antoinette
Robertson,) a driven student who seems to separate herself from the pack at
will, and often finds herself at odds with Sam. While Featherson, Bell and
Richardson are the only ones to return from the film, the slew of new talent is
more than able to hold their own. While there may be plenty of laughs, the show
is never quick to remind us that the reality of being a black face in a white
place is still a struggle we all deal with. In “Chapter V,” directed by Barry
Jenkins (Moonlight), Reggie has an encounter with the police that leaves him
shaken to his core, all over the misuse of the dreaded n-word in a Future song.
It’s one of the most riveting 30 minutes you’ll see in 2017. Not to say the
other nine episodes don’t hold up either. Quite the opposite. Every half hour
of Dear White People feels self-contained enough to have its own arc while also
maintaining the overall arc of the series.
White People runs laps around its predecessor, and it’s a rarity when a
movie-based-television show can do that. The actors are top-notch, the dialogue
is perfection, and the line between biting satire and social issues is damn
near pitch-perfect. Justin Simien created arguably
one of the most impressive first seasons of television that the year has seen
thus far. In an era where Insecure, Atlanta, and Black-Ish reign supreme, and
movies like Moonlight, Fences, Get Out, and Hidden Figures break not only
records, but stereotypes of old, Dear White People feels right at home in the
modern Black Renaissance. And I feel that we’ve only seen the beginning.
Christopher Nolan films are events. Even the smallest details released about a film of his is analyzed for days on end. Heavily influenced by noir and sci-fi, his films tend to leave people cold (that is the nature of noir). Once Dunkirk was announced, everyone was taken aback that Nolan was doing a film about a heroic event that occurred during World War II. Myself included. Well, Dunkirk is unlike most films being released this year in what it sets out to do and what it is. There will not be an experience as visceral as this for the rest of the year.
Finding themselves surrounded by overwhelming German forces, French and British Allied soldiers try desperately to survive as one of the greatest rescue operations mounts to evacuate the soldiers from slaughter off of the beaches of Dunkirk, France.
This movie is sparse and almost entirely lacking dialogue, all of which works to the film’s advantage. This is an experience through and through that puts you in the shit with all of the soldiers. This film is told from three different perspectives focusing squarely on the evacuation of the British. You feel as if you’re in the air in the cockpit of a Spitfire plane or on land dodging bombs and bullets or on a small yacht at sea rocking with waves heading to uncertainty. The experience is absolutely terrifying and disorienting as we do not see any of the German forces, attacking planes excluded. Their presence is felt, as at any moment the soldiers are ducking bullets and bombs with no clear direction of where it’s coming from making the stakes dire and claustrophobic. Adding to the disorientation is that the film is nonlinear, keeping you on your toes about not only where something is happening but when. I was initially skeptical of this film seeing the PG-13 rating, but make no mistake this pushes the rating very far despite next to no blood and gore.
We follow the film mostly through Fionn Whitehead’s Tommy. While there’s nothing in the way of character development, something I would usually balk at, I was immediately sucked into to Tommy’s situation, empathizing with him and everyone in this film on just how bad this situation is. I wanted to be saved as well with Tommy by my side as we make our way back to the United Kingdom. This film is relentless as the suspense and tension kicks in two minutes into the runtime and doesn’t let up until the last ten minutes. I could feel the sweat run down my palms and forehead throughout the movie. Same goes with Mark Rylance’s Mr. Dawson and his son Peter played by Tom Glynn-Carney. The two are assisted by the young George played by Barry Keoghan. The entire time I was wondering if they are in over their heads as the three head off to save as many soldiers as possible and get themselves killed trying to do the right thing. I then feared for their safety even more when they pick up Cillian Murphy’s downed pilot. And yes, Harry Styles as Alex is very good despite me feeling rage towards the character by the time the credits rolled.
What makes this film such an immersive experience is Nolan’s direction, the sound design, and 70MM IMAX. Nolan shoots this big epic intimately, doing things I didn’t think were possible with an IMAX film camera. This is Nolan’s second time working with cinematographer Hoyte van Hoytema and the two have created some of the most beautiful images in any of Nolan’s films yet. The shots are full of color despite the setting and story. The way IMAX is used in the dog fights is the closet thing you can get to feeling like being a pilot. Hell, watching this was like seeing Luke pilot an X-Wing in Star Wars for the first time like I was ten again. When Tommy moves from one perilous situation to the next, the IMAX image makes you run or swim with him. And with the imagery and technical craft that’s being displayed on the screen, the sound design is all around. You will jump out of your seat as you hear the booming gunfire literally surround you. You’ll be ducking as the bombs hit the beach and tear the mole apart as the soldiers each waits their turn to board a boat to safety or doom. Adding to the tension is Hans Zimmer’s score which is also embedded in the sound design. That ticking clock is there throughout the film adding to the urgency and unease. While I feel every score Zimmer has made for Nolan thus far can be listened to like an album, this score is so supportive of the film itself, it will be hard to listen to it on its own. With that said, the end credits suite is lush and beautiful. After going through the film and with that bittersweet final shot, the end credits music fills you with so much emotion, that I saw a few people walk out in tears.
This is a film that demands to be seen on the biggest IMAX 70MM or IMAX laser projection screen possible. I’d be hard pressed to not to recommend to make the most out of a trip and travel to closet IMAX 70MM or Laser projection possible. If that’s just not feasibly possible find a 70MM theater showing this and settle for nothing less. This is a film that will lose its impact on your TV or even on your phone (yikes). I don’t think this is Nolan’s best film, but it’s up there in his filmography. This an absolute home run that needs to be seen large and loud. With so many factors diminishing the experience of seeing a movie, it is a testament to Christopher Nolan to make something like this with the various distribution formats that are keeping the theatrical experience a unique must see event.
Ryan Reynold’s Deadpool will be the first queer superhero film
Director Tim Miller confirms Deadpool will definitely be ‘pansexual’
In the comics, Marvel’s anti-hero Deadpool is a pansexual flirt that will get with literally anyone.
And with Ryan Reynolds starring in the upcoming film of the character, both the actor and film’s director Tim Miller have revealed that the superhero’s sexuality will be definitely still fluid. Speaking to Collider, Miller and Reynolds responded to the ‘tantalizing fireside photo’ that was released to tease the film.
‘Does this mean it will be a very hypersexualized Deadpool?’ the site asked. ‘Pansexual!’ Miller replied. ‘I want that quoted. Pansexual Deadpool.’ Reynolds added: ‘There is some sexuality in this movie for sure. You kinda think you have moments when you’re shooting where you think, “This is, uh, a little excessive. This is a comic book movie. Are we gonna get away with this?” ‘But so far so good. Studio hasn’t crushed us with anything. They were here yesterday, they were thrilled, they saw some cut footage and so far so good.’ This isn’t the first time we’ve seen Deadpool. In X Men Origins: Wolverine, Reynolds also stars and does decent flirting with some men in an elevator: