The Night Lands - Whiplash
Sony Pictures Worldwide Acquisitions (SPWA) has acquired rights to several international territories to this year's 2014 Sundance Film Festival opening night feature film, Whiplash, starring J.K. Simmons and Miles Teller. Territories acquired include: UK, Scandinavia, Benelux, Eastern Europe (ex CIS), Greece, South Africa, Spain, Italy, Portugal and Latin America.
The Night Lands - Whiplash
Put simply, the ligaments and tendons in the neck are sprained during a whiplash injury because they have been overstretched. Even though the neck has not been broken, it may sometimes take several months for everything to heal.
A whiplash injury typically takes 12-24 hours to develop. At the time of the incident, any swelling or bruising to the neck muscles will not be apparent straight away. In most cases, the discomfort, pain, and stiffness is much worse on the following day, and may continue to worsen as each day goes by.
Painkillers, such as Tylenol (paracetamol), may reduce whiplash injury pain. Some doctors may advise patients to take painkillers regularly, and not just when the pain is severe. It is important not to exceed the dose.
Soft foam collars used to be popular for whiplash injury treatment. However, immobilizing the neck for long periods may undermine recovery, because muscle bulk and strength is reduced. If a cervical collar is needed, it should usually be worn for no more than 3 hours at a time.
Amid massive global paradigm shifts Hartley became a father twice over and left his native Philadelphia for Asheville. From the newfound refuge of a studio he built using the bones of a barn attached to his hundred-something-year-old house in the mountains, Hartley has tailored a collection of well-crafted dream pop. Guided by some of the harmonic sensibilities that have helped make The War On Drugs a force in modern music, Moonshine reveals previously unseen acreage in the unfurling dreamscape that is Nightlands. Moonshine is the clearest image yet of Dave Hartley as a person and creator.
Richard runs into Addison as they head out. He invites her over for dinner. She wants to keep working. He points out she needs to rest. Solving this problem is not a sprint. What the government is doing makes her feel erased. Richard convinces her she needs a night off from the fight.
The whiplash weather has plenty of willows, cottonwoods, and elms budding across the state. But Perkins said healthy trees should be able to withstand the unseasonable fluctuations in temperature and precipitation.
"I know I always seem to be crying," she leads into the standout track, "Grenade," and the melancholic lyrics lead into an explosive break. It's a rollercoaster from start to finish. She's looking for that one person to bring her out of the darkness, even if it's just for a night. It's not sustainable, it's all going to blow up, but she accepts it.
"Don't Know How to Girlfriend" is a fitting closer. A soft acoustic guitar backs her laments of deciding whether or not to confront her fear of intimacy. The song sums up the rollercoaster of emotions, the whiplash she faces. Does she dive into the relationship and accept love, or will she return to old habits and the independence she knows best? Either way, GRAE is ready for a new chapter.
So let's start here: When I watch a director that really knows what they're doing, I feel like I'm going along with an amazing dance partner. I'm getting twirled and bandied about, but suddenly it all feels effortless. I'm not thinking about my steps, I'm just letting them guide my movements. I watched Jaws for the millionth time the other night and the way Spielberg plays you like a fiddle is just mesmerizing. Every lurch. Every beat. Every breath. Every gasp. It's all part of a perfectly executed dance where he directs your attention and moves you. I've also been watching The Knick for the first time and Soderbergh's sense of editorial rhythm and visual clarity is sharper that ever. There isn't a wasted second. And while I'm just listing great direction, please get ready for Julia Ducournau's Raw next year, which might be the best debut film I've ever seen. Anyway, in every single one of these cases, I'm aware of the craft, but I'm not looking at the craft. I'm in the moment. I'm swooning alongside whatever emotional state is intended by my adept dance partner. It doesn't matter what "kind" of filmmaking it is, either. Because Mad Max: Fury Road might use as frenetic and aggressive a style as anything Michael Bay does, but I'm going to link to this scene for the four millionth time and do me a favor: watch the character's eyes and the way it leads the movement of every next event:
For instance, the plot and characterization of La La Land radically cheats in the last few acts. The film's climactic conflict in the "fall" segment is falsified and manufactured for a few reasons. One, Sebastian's motive for fame and a steady job is not even to please Mia, but more a vague inference from her justifying him to her mom? Why would he suddenly care about his exactly? Once on the road, there is nothing about his sudden enjoyment of the crowd response that digs into his pre-existing psychology, nor an explanation that this was about how his snobby ways were always secretly a desperate plea to be liked. So why do both counts blow up into an argument where he accuses her asking for this and worse? Even then, there's nothing to indicate he's gone so far from his center that he would purposefully attend that photo shoot and miss Mia's one night only play. Meanwhile, Mia's clearly still the kind of girl who will support him to follow his dreams so why... wait, what is actually the deep-tissue problem between these two right now? If the core conflict isn't something they actually care about in an ingrained, clear way, then why would we care or feel like there is any real danger in this sequence? This is precisely why none of it "tracks" or feels properly earned. Even while we're watching it, we see it all as a big misunderstanding. And every bit of emotional resonance comes from how it feels like the familiar texture of "these things happen with people" and have very much happened with us.
Stone told Vogue that it took two nights during the magic hour in Griffith Park to nail the six-minute dance sequence for "A Lovely Night." Still, that's just a few hours. By contrast, Debbie Reynolds' feet famously bled while filming the "Good Morning" song in Singin' in the Rain over a period of 15 hours, and Gene Kelly allegedly had a fever of 103 while performing the title song. Those lovely, easy musicals were extremely hard to make. So are contemporary films about obsessive performers, like Black Swan and, yes, Whiplash (Miles Teller's hands bled from drumming, too).
www.braceforwhiplash.com are a 3 piece high energy rock/punk/metal trio hailing from Newcastle and Portugal. The band was put together by power vocalist/bass player Suzanne Serelle and brother/drummer Paul (the machine)Job, due to their love of all these genres and just wanted to be able to play all of them in one band. They threw an add in Gumtree and discovered Joao Bento guitarist/vocalist, who also loves these genres (as well as bloody Steel Panther - a lot!) In the one short year they have been together, they have gigged furiously, recorded and released their debut EP (produced and engineered by Serelle and the boys in her studio) and have already played 2 nights in Victoria - Bendigo and Collingwood, for the Queens of Noize event - the ONLY out of towners to have been asked. Promoter Mick Griffen and Venue owner Paul said of the band at these gigs: "you have a mighty band Suz" - "you raised the bar so high at this gig, you just ripped Bendigo a new one" Stay tuned, they are ...
This trope often goes hand in hand with Out-of-Genre Experience. Short-term mood whiplash may be triggered by effects such as a Quiet Cry for Help. Compare Mood Dissonance, where two events of contrasting mood play out simultaneously, Soundtrack Dissonance, the musical equivalent, and Bread, Eggs, Milk, Squick, when the whiplash happens midline. Shows that incorporate the Cerebus Rollercoaster are very prone to this. See My God, You Are Serious! for a specific version of Mood Whiplash. Mood-Swinger is when the character suffers from this trope in-universe.
Vile Villain, Saccharine Show is a very specific subtrope of this, where the main villain is far scarier than the tone of the show would usually warrant. See Knight of Cerebus for when the appearance of a Big Bad invokes this trope. Made Myself Sad is a (usually funny) subtrope. Also see Cry Laughing for a way it can be used. Gut Punch is a subtrope. Inner Thoughts, Outsider Puzzlement frequently involves this.
The Vampire Diaries star has been spotted out multiple times with Whiplash actor Austin Stowell. Most recently, People reports that the two spent time together at the Hallmark Shoebox relaunch at The Improv in Hollywood on Wednesday night.
On Thursday night, however, I saw trailers for three upcoming movies that wouldn't seem to have much connecting them: the comedic action adventure Kingsman: The Secret Service; the third revenge thriller in the Taken franchise (which, according to this sequel's on-screen spelling, we're apparently meant to pronounce as "take-threen"); and Do You Believe?, a faith-based drama from the writers of God's Not Dead. (The title cards for that film's cast conclude with the names and faces of Ted McGinley, Cybill Shepherd, and the Six Million Dollar Man himself, Lee Majors. Reserve your tickets now!) Yet amazingly, this trio of eclectic appetite-whetters proved a perfect preamble to Ridley Scott's Exodus: Gods & Kings, which turns out to be a dramatic faith-based action adventure revenge thriller with occasional jokes. It's also, quite possibly, the most roundly absurd major-studio release of 2014. 041b061a72