GLOW Season 1 – What the critics are saying about it!

GLOW96% critics love the show!

Critics Consensus: With spot-on 1980s period detail, knockout writing, and a killer cast, GLOW shines brightly.

Set in Los Angeles during the 1980s, an unemployed actress hopes to find stardom by portraying a female wrestler.
Genre: Comedy
Network: Netflix
Premiere Date: Jun 23, 2017


Netflix’s wrestling drama GLOW is funny, poignant, and wonderfully acted, but what makes it really interesting is how aware it is of its own contradictions.

June 30, 2017 | Full Review…

Glow is smartly written and the kind of character-driven TV that not only reflects our own messy lives but also those of the people we know, even if we’re not bouncing around a ring.

June 27, 2017 | Full Review…

To call it a feel-good hit would be a bit reductive and presumptive, but “GLOW” deserves all the love and respect thrust upon it. Sit back, turn it up, and enjoy.

June 26, 2017 | Rating: A- | Full Review…

This new interpretation of GLOW… is packed with an excellent ensemble cast… sharp commentary on gender and racial stereotypes, and an awesomely ’80s soundtrack. It’s also just plain fun.

June 23, 2017 | Full Review…

One of the best things about GLOW is the sheer Eighties-ness of it all — it’s a sensory explosion of synth-heavy tunes, neon lights, high-cut leotards, hairspray… and even a robot which dispenses cocaine.

June 23, 2017 | Rating: 4/5 | Full Review…

GLOW fully owns its campiness and its showy aesthetics, but it’s smart and subversive underneath the glitter.

June 23, 2017 | Full Review…

Continue reading

ROUGH NIGHT – What the critics and fans are saying about it!

rough night48% of critics liked this film.

Chatting with dozens of females coming out of the cinema for this film at the Carlton Cinemas on Thursday June 22nd, I found out that out of 26 people – everyone LOVED the film.

Said one female watcher (late 20s, black, female):

“It’s about time we got the female version of THE HANGOVER. Critics liked that film but didn’t like this? We still have a long way to go!”

Scarlett Johansson works overtime to salvage this dismal Bridesmaids knockoff, heavily informed by The Hangover and even Weekend at Bernie’s.

June 22, 2017 | Full Review…

Orchestrating a gender reversal on this concept isn’t especially liberating; you might actually get more laughs out of the cutaways to the lame bachelor party of Jess’s fiancé, where sensitive men get “wild” at their private wine tasting.

June 17, 2017 | Rating: 3/5 | Full Review…

Some of the best jokes are belly busters. My favorite involves a slow car and a speed bump.

June 16, 2017 | Rating: 3/4 | Full Review…

Formulaic feminism makes for a rough watch in this chick retread of The Hangover. For this we got liberated?

June 16, 2017 | Rating: 1.5/4 | Full Review…

This should have been funnier. Rough Night is a comedy with a great female cast, but the women were given nothing to do.

June 16, 2017 | Rating: 2.5/5 | Full Review…

The women in Rough Night are terrific company. They never wear out their welcome. Too bad you can’t say the same for the movie.

June 16, 2017 | Rating: 2/4 | Full Review…

DEAR WHITE PEOPLE – What the critics are saying about the TV show!!

All those detractors who accused it of “race-baiting” only proves why a series like this is so relevant and necessary. But Dear White People is not arrogant or deranged enough to think it’s got the answers. It’s simply asking the questions.

May 2, 2017 | Full Review…

mart, engaging new show, with exceptional cast, that gets better episode by episode – always a good sign.

May 4, 2017 | Rating: A- | Full Review…

Dear White People is a pop culture-savvy, sometimes explicit, always entertaining look at that process. It’s the perfect series for young people negotiating a world where struggles over identity grow more complex every day.

April 27, 2017 | Full Review…

Dear White People does its job by furthering a vital discussion with interesting characters.

May 1, 2017 | Rating: 8/10 | Full Review…

The show is beautifully character-driven, weaving through romantic and platonic and unrequited relationships, while also highlighting those aforementioned multitudes of blackness.

May 1, 2017 | Full Review…

Yet despite all the right-on sloganising, there’s lively playing from an unfamiliar cast who create some intriguing characters, and the series may well prove worth pursuing.

May 9, 2017 | Full Review…
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COMEDY TV Show of the Day: BAG YOUR OWN, by Christian Callahan


ACTORTitle: Bag Your Own

Written by: Christian Callahan


Genre: Comedy

Logline: “Bag Your Own” is a comedy in which Enrique is promoted on the same day his fellow associates are planning to play a “Speed Dating” game at the customers expense. He has to decide early what kind of manager he’ll be.

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Have a logline? Submit your logline to the monthly logline contest.


COMEDY Feature Film of the Day: LEAVES OF WRATH, by Hilde Susan Jaegtnes



Written by: Hilde Susan Jaegtnes

Type: Feature Film

Genre: Tragicomedy, Arthouse, Horror, Musical

Logline: A middle-aged Norwegian poet has to overcome his crippling depression when he embarks on a violent crusade to prevent other poets from writing about autumn leaves as a metaphor for death.

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Submit your Comedy Screenplay or Film to the Festival Today:

See the SHORT FILM Comedies. Click the link and watch the audience feedback videos:

festival posterA FEW RUBBER BANDS MORE, 5min., USA, Comedy/Western

festival posterTWO GIRLS, ONE CUP: A STORY OF CHRISTMAS, 5min., USA, Comedy

festival posterATOMIC COUPLE!, 15min., USA, Comedy/History

festival posterORANGE YOU GONNA DANCE WITH ME?, 3min., Comedy/Romance

festival posterHEY YOU, IT’S ME, 8min., USA, Webseries/Comedy

festival poster
WHAT’S WEARING MUMMY, 15min, UK, Family/Comedy


festival poster
FREEMALES, 20min, Australia, Comedy/Webseries


festival posterAFRO CRAB, 4min, Taiwan, Animation/Comedy

festival posterTHE GRAVEYARD SHIFT, 2min, USA, Animation/Comedy

festival posterDEADLY VIEW, 3min., Ireland, Thriller/Mystery

festival posterPROVERBIAL LUCK, 5min, Austria, Romance/Comedy

festival posterTHE APOLOGY, 7min, UK, Mystery/Crime

festival posterWE’LL SEE IF WE DROWN, 20min., France, Comedy/Crime

September 2016 Film Festival

festival posterBACK TO THE FUTURE?, 10min., USA, Comedy/Sci-Fi

September 2016 Film Festival

festival posterUNPRINCIPLED, 13min., USA, Comedy/Drama

September 2016 Film Festival

festival posterGHOSTBOY, 9min., UK, Animation/Comedy

festival posterBOTTOMLESS, 2min, USA, Animation/Biography

festival poster
INSIDE, 3min., Belguim, Animation/Comedy


festival poster
KADDISH!, 6min, France


Short Film from July 2016 Film Festival

ACTORHOWELL, 4min, UK, Horror/Comedy
Short Film from July 2016 Film Festival

Short Film from July 2016 Film Festival

Short Film from July 2016 Film Festival


Short Film from July 2016 Film Festival

Short Film from July 2016 Film Festival

ACTORIRONIED, 11min, Canada, Drama/Comedy
Watch Audience FEEDBACK Video of the Short Film from June 2016 Film Festival

festival posterLIKE A STAR

10min, Italy, Documentary/Comedy


2min, USA, Action/Comedy

festival posterHERE’S JANE

12min, USA, Comedy

festival posterMORE THAN GOD

9min, Ireland, Comedy

festival posterACE

6min, UK, Family/Kids

festival posterBEHIND TIME

1min, Sweden, Comedy/Animation

festival posterJEWISH BLIND DATE

16min, Switzerland, Comedy/Romance

festival posterTIME TO EAT

4min, USA, Horror/Comedy

festival posterTHE FAUCET

4min, USA, Comedy

festival posterVAMPIRAS

5min, USA, Fantasy/Comedy

festival posterLOVE AT FIRST LIGHT

1min, Ireland, Comedy

festival posterYO SOY PEDRO

10min, France, Sci-Fi/Comedy

festival posterDISAPPEARED

5min, Canada, Fantasy/Romance



Mr. Deeds Goes to Town – Movie Review. Starring: Gary Cooper, Jean Arthur, George Bancroft

Movie Reviews

Directed by Frank Capra
Starring: Gary Cooper, Jean Arthur, George Bancroft
Review by Aria Chiodo


Longfellow Deeds lives in a small town, leading a small town kind of life – including playing the tuba in the town band. When a relative dies and leaves Deeds a fortune, Longfellow picks up his tuba and moves to the big city where he becomes an instant target for everyone from the greedy opera committee to the sensationist daily newspaper.

OSCAR Winner for Best Director (Capra)

Nominated for Best Picture, Best Actor (Cooper), Best Sound, Best Screenplay


Capra’s Mr. Deeds Goes to Town (1936) is primarily a romantic comedy; it followed his best known romantic comedy, It Happened One Night, and the forgotten Broadway Bill, both from 1934. But Mr. Deeds has more than romance and comedy— it’s an early example of Capra using these genres but also including metaphors to comment more gravely on the state of the country and society. The reason that this original film is so superior to the remake Mr. Deeds (2002) is simply that in the more recent film they upped the romance and ridiculous comedy, and left out the social importance. Capra’s genius partly lay in creating (with the help of great writers) entertaining films for Hollywood that fit into familiar genres but also had social relevance, which is lacking in the majority of Hollywood films today, certainly the current bland romantic comedies.

Mr. Deeds Goes to Town is about a regular small town man, an upstanding citizen, Longfellow Deeds (Gary Cooper), who inherits two million dollars from an uncle after he dies in a car accident. The uncle’s attorneys take him back to New York, hoping to make a quick settlement and get a large sum from this naïve and honest man. They, of course, are not the only ones hoping to get money out of him; New York is full of swindlers hoping to take advantage of this small town guy, who apparently doesn’t really want the money at all. But he is tougher and smarter than he looks and his upstanding honesty and goodness means that he won’t be swindled by any dishonest and greedy individual. The newspapers can’t lay their hands on him either, since he has a savvy press agent working for him (played by the hilarious Lionel Stander). The only reporter able and smart enough to get close to him is the lovely top reporter Babe Bennett (Jean Arthur), who pretends to be an innocent stenographer and takes Deeds around the city, with photographers at her beck and call and reporting everything for the front page story the next day.

The film presents a story of a man being taken advantage of in the big city, by everyone he meets, including the girl he’s fallen for. It’s a representation of the brutality of the city and its heartless residents— a metaphor for society as a whole and how badly citizens of the country treat one another without even thinking. Of course, Capra is anything but subtle in his representations and metaphors—his hero’s goodness of character and commentary on all he experiences gives us a clear message about the need and possibility for human kindness in society. Deeds’ answer as to what he should use the money for comes in a moving scene when an old farmer demands to see him and goes on a rampage about giving something to the starving families who have lost their properties and way of life. Deeds decides to put his money towards getting acres of the land to give to these families who can then own a new farm. The enormity of this task is shown with the thousands of poor farmers who show up at Deed’s house, but he is insistent on seeing all of them and going through with his task.

The climax of the film is in a courtroom , where the attorneys are charging Deeds with insanity and an inability to handle the amount of money he has been given. He refuses to defend himself, seeming to have lost faith in society and its people, and it is Babe Bennett who helps save him from his hopelessness and wrong conviction, since she is after all in love with him as well. The story is indeed a romance, since Deeds saves Bennett—“the woman in distress” who he has always wanted to save—by making her a better person, and she in turn saves him. Their relationship is simple and sweet, the actors and director never create overly sappy moments; they create a romantic and hopeful pairing. And, through the romance plot, Capra creates a bigger picture of hope: one of a better society in which those with money will help those without, instead of using them to get ahead in the world.

Mr. Deeds Goes to Town is one of the three Oscars Capra received for Best Director, and he is today a great example of one of the old Hollywood directors who knew how to use popular genres to make big studio films, without sacrificing content. While many shallow films were made by the studios to help people forget about the Depression and escape into a world of music and laughter, Capra was reminding the public of the hard times, while also giving a sense of hope and romance.



Tribute read as today is Jack Nicholson’s 79th birthday.

littleshopposter.jpgTHE LITTLE SHOP OF HORRORS, 1960
Movie Reviews

Directed by Roger Corman

Cast: Jonathan Haze, Jack Nicholson, Jackie Joseph, Mel Welles, Dick Miller, Myrtle Vail, Karyn Kupcinet,
Review by Christian Medina


A clumsy young man nurtures a plant and discovers that it’s a bloodthirsty plant, forcing him to kill to feed it.


Some time ago, a friend, (that is also a horror fan), told me about the 1986 remake of this movie. Since I also like musicals, I thought in later seeing it. One day, as I was walking through the aisles of a “KYE”, I saw the special edition of this movie. I was surprised when I saw black and white pictures on the box. It wasn’t something that my friend had told me. It was later when I found out that this was the original movie. So, I bought the movie, thinking it may still be quite interesting. And god I was right.

The story starts off in the “Mushnik’s flower shop”. Gravis Mushnik (Mel Wells) has been really hopeless with drop in sales. Audrey Fulquard (Jackie Joseph) and Seymour Krielboin (Jonathan Haze) are both Mushnik’s employees who encourage him everyday to at least open for any chance of arriving costumers. Later, Seymour thinks of putting exotic plants on display which he believes will attract costumers. The next day, Seymour brings Audrey Jr. (named after Audrey for obvious love interest), which is a plant he bought from a japanese market. The problem was that the plant looked like it was dying, and Mushnik was not really proud. But thanks to Audrey, Mushnik decides to give

Seymour one day to “revive” the plant. That night, Seymour accidently cuts himself and a drop of blood falls on Audrey Jr., who later drinks it. Seymour discovers that only blood satisfies it. After giving a few other drops, Seymour locks up and goes home. The next day, Audrey Jr. has grown bigger and more beautiful. Instantly causing a great flow of buying customers. From there on, more and more people come to see the plant making Seymour famous. But, the problem is, as it grows bigger and bigger, Audrey Jr. demands more and more food. Going from a few drops of blood to entire bodies. Will Seymour be willing to keep up with Audrey Jr’s demands?

Usually when I see black and white movies, I always associate it with classical theatre. Not that I think that is bad, I know that in those times filmmaking was fresh and both, actors and directors, still had the trouble of differentiating both styles. I didn’t felt this when I was watching this movie. It never felt like I was watching a play. It was a great horror-comedy.

For those of you who has seen the remake, this movie has some of the same plot, but still has plenty of differences. An example is that Audrey is not the dentist’s girlfriend. As far as the story goes, I would say that this one has a lot of better choices. Where as far as effects go, the remake is a lot better.

One great aspect of this movie are the weird characters. With characters like an alcoholic mother who always think she is sick, or this fellow who loves eating flowers, etc. This over the top acting sets you at the exact mood the movie is going for.

I was really surprised when I saw Jack Nicholson. Here he plays a person who has an extreme fetish for dental pain. Even though he has a small part, he still has a strong presence. And what can I say, it’s great seeing a very young Jack Nicholson showing his early signs of talent.

In conclusion, If you are a horror fan or somebody who likes weird stuff. this is definitely a movie for your collection. If not, it’s still worthy of a laugh.


Movie Review: SPACEBALLS, 1987

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Tribute review for Rick Moranis’ Birthday Today.

Movie Reviews

Directed by Mel Brooks
Starring: Mel Brooks, John Candy, Rick Moranis, Bill Pullman, Daphne Zuniga
Review by Mark Engberg


Having squandered their own air supply, the inhabitants of Planet Spaceball kidnap a wealthy princess to rob her planet of its precious resources.


“Everybody got that?” Dark Helmet asks the audience after his chief-in-command Colonel Sandurz delivers the plot exposition to his fellow villains.

This late 80’s parody of science-fiction fanfare may have been tardy in satirizing the “Star Wars” empire that George Lucas built a decade earlier. In describing his prime target in making “Spaceballs”, Mel Brooks calls the sci-fi epic “the final frontier. It is the last genre I can destroy. So I am destroying it.”

Additionally, he has categorized this entry as “half wit, half physical, half disgusting, and sometimes beautiful. It’s my appreciation of the human event.”

While some critics have challenged Mr. Brooks’ timeliness in the sci-fi parody, this film has enjoyed a cult appreciation in terms of its clever writing and enjoyable characters. Another factor to appreciate: Apogee, Inc accomplished the special effects in this comedy in the dwindling days of pre-digital CGI. Like the original “Star Wars” trilogy, Agogee’s special effects team had to construct models with computerized motion control systems to give the flying Winnebago and endless Spaceball One the illusions of movement.

During these contemporary days of special effects design where anything and everything can be done with digital enhancement, it is refreshing to watch a master like Mel Brooks carve genuine comedy out of handcrafted science fiction.

Even though “Spaceballs” features lasers, spaceships, and alien make-up galore, Brooks never steps too far away from his fan base in delivering the pratfalls and one-liners that made the man a comic icon. He even gets a guy in a bear suit to get a cheap laugh in the third act.

The movie begins with a “Star Wars” scroll giving the audience a brief history of the Spaceballs universe. Under the hilarious leadership of President Skroob (Mel Brooks, hmm, I just realized the name is an anagram) the citizens of Planet Spaceball are forced to invade new worlds in order to steal their air supply.

Mimicking “Star Wars” to the last detail, Dark Helmet (Rick Moranis) and Colonel Sandurz (George Wyner) kidnap Princess Vespa (Daphne Zuniga) in an effort to blackmail her father, King Roland (Brooks all-star for father figures, Dick Van Patten).

This is where Bill Pullman and John Candy come in, as Captain Lone Starr and his sidekick Barf, an allusion to Chewbacca in that he is half-man, half-dog. Candy is hysterical in his performance of the mawg, but the real winners of this role are the operators of Barf’s mechanical canine-like ears. Every time Barf appears to listen, his auto-receptive ears perk up like antennae. The effect is comic gold.

Like Han Solo, the character of Lone Starr is motivated by money. With perfect deadpan, Pullman says, “Barf, we’re not doing this for the spacebucks. We’re doing it for a shitload of spacebucks!”

The reason for the greed is that Lone Starr has a heavy debt to pay Pizza the Hut (voiced by the recently departed Dom DeLuise). And Pullman plays the character of Lone Starr with a humorous yet touching sentiment that would have made Harrison Ford proud. With a note of sadness, Lone Starr tells Vespa he hails from the Ford Galaxy. Those who do not remember the Ford Galxie 500 have come to assume that this joke is a reference to the actor who played Han Solo.

But there is more than enough of “Star Wars” reference to go around. Brooks even uses the famous Wilhelm scream as one of his Spaceball troops is shot in the ass by incoming laser fire.As a matter of fact, keep an eagle eye out for the Millennium Falcon parked next to Lone Starr’s Winnebago at the interstellar gas station.

This is not to say that George Lucas’ beloved saga of “Star Wars” is the sole target of Mr. Brooks’ parodying lightsabre. In “Spaceballs”, he references “The Wizard of Oz”, “Star Trek”, “Alien”, and even “Planet of the Apes”. Keep a sharp ear ready for that last one. That is the voice of Michael York playing the second ape on horseback.

Brooks definitely goes above and beyond his traditional self-reflective voice in this film. In ways like never before, the writer/director/producer/star lists his former Hollywood achievements as videotapes stored upon a futuristic spaceship.

“Instant cassettes,” says Col. Sandurz. “They’re out in stores before the movie is finished.”

In one of my favorite comedic sequences of all time, the villainous Spaceballs fast-forward through their own movie in order to discover the location of the good guys. After which, Dark Helmet and Sandurz engage in an Abbott and Costello routine of existential misunderstanding.

And the self-reflective filmmaking joke continues throughout the movie. Before teaching Lone Starr about the powers of the Schwartz, Yogurt (also played by Mr. Brooks) explains his profession upon his lonely planet.

“Merchandising,” says Yogurt. “Where the real money from the movie is made.” Yogurt then goes on to sell the audience item after item of Spaceballs merchandise, all of which is a joke. In fact, Mr. Lucas allowed Brooks to make “Spaceballs” on the condition that there would be no merchandising for this movie. This would, of course, account for the spotty nature of the “merchandise”. Notice that “Spaceballs: The Coloring Book” is nothing more than a Transformers illustration book (Twenty years before Michael Bay began ruining my beloved robotic heroes himself!)

There are many other individual items of “Spaceballs” to enjoy for the pure sake of silliness. John Candy wins the award for the best use of the middle finger (beating out Keanu Reeves in “The Matrix” and Jennifer Aniston in “Office Space”) after Lone Starr and Barf park the Winnebago in the Spaceball penal territory.

I am also a big fan of the great Stephen Tobolowsky’s short yet pleasing scene as an effeminate Captain of the Guards. He only has a couple of lines, but there is just something about his delivery that makes his character as memorable as Barf.

“Spectacular stunt, my friends, but all for not . . .” he lectures to his captives before realizing they are nothing more than stunt doubles.

The scene when Dark Helmet is caught playing with the Spaceballs action figures is also one of my favorite reactions in filmed comedy. According to cinema trivia, Moranis performed this scene impromptu after Brooks suddenly conjured up the premise on set. How they got the action figure so quickly is anyone’s guess.

And let’s not forget Joan Rivers as the voice of Dot Matrix, Princess Vespa’s personal assistant droid. Ironic, though, that the Joan Rivers of today currently resembles the physical appearance of the golden android.

A subtle shout is also made to fans of literary essays. When Spaceball One is revealed to be a gigantic transformer about to engage in “metamorphosis”, Dark Helmet prompts his officer: “Ready, Kafka?” Think about that one.

Final thought: Does the alien that bursts out of John Hurt’s stomach play a song that seems familiar to all who watched those classic Looney Tunes cartoons? It should. The song and top hat dance number is homage to “One Froggy Evening”. You know, the one where the frog grabs a cane and dances to “The Michigan Rag.


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Movie Review: NETWORK, 1976. Directed by Sidney Lumet

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Movie Reviews

Directed by: Sidney Lumet

Starring: Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Wesley Addy, Ned Beatty, Beatrice Straight and Arthur Burghardt

Review by JR Kuzma


Sidney Lumet’s satire about a floundering television network that pulls out all the stops for the sake of ratings.

Oscar Wins: Best Actor- Peter Finch, Best Actress- Faye Dunaway, Best Supporting Actress- Beatrice Straight, Best Original Screenplay- Paddy Chayefsky


What is WILDsound?


In 1975, NBC, CBS and ABC were spanking the Union Broadcasting System (UBS), in the ratings, in an attempt to buck this trend, UBS made the decision to give their long time anchor of their nightly newscast, Howard Beale (Peter Finch), his two-week notice. This news was broken to Beale by his long time friend and producer Max Schumacher (William Holden) a little before he was to go on for his nightly newscast.

It was during this newscast that Howard Beale made the announcement that he was going to shoot himself during the broadcast that following Tuesday. Immediately following the broadcast Beale is fired, but is given a chance to apologize to the public for making the announcement the next night, after strong persuading by Schumacher. Instead of apologizing however, Beale gets on the air and goes into a rant about the “bullshit” that is life. This time however, Beale is not fired, after the president is shown the high ratings of the newscast by a young, up and coming female producer, Diana Christensen (Faye Dunaway), who at that time was working on the creative side, trying to make up new shows, which led her to cut a deal with a left-wing terrorist group.

The network heads decided to reinstate Beale, much to the dismay of Schumacher, in hopes that he would break up into another rant, but after a few weeks, the novelty seemed to be over and the ratings started to dip once again. During this point Beale was staying with Schumacher and his wife, due to his heavy drinking and unstableness, when one night, after suffering what seemed to be a nervous break down, left and wondered the street, arriving at the UBS building right in time for his nightly broadcast. It was this broadcast in which Beale uttered, “I’m mad as hell and I’m not going to take it anymore,” in reference to everything that he had been through in the recent past as well as the state of the nation. With Beale’s encouragement, people started yelling the phrase all across the country, leading Christensen to convince the network heads to create The Howard Beale Show.

It was also around this time that we find out that Christensen had been a fan of Schumacher for several years and had hopes of taking his job after his retirement. An affair ensued, but was quickly ended when the network decided to let Schumacher go and be replaced by Christensen.

With no one to stand up for Beale left, the network let him loose on his, where he would have an opening monologue of one of his rants, which was followed by him fainting in the middle of the stage. The network set up other segments around Beale, and the show was off. Christensen started focusing on the terrorist group now, which would follow the groups’ activities as they found for whatever they believed in. This association with the group lead to one of the funnier scenes in the film, where the lawyers from both sides are trying to work out the best deal for their clients.

After a few months had past, Schumacher attended the funeral of the former president of the network, one that Christensen had also attended, and their affair was rekindled. This time, Schumacher ended up leaving his wife (Beatrice Straight) and moved in with Christensen, a decision he would come to regret. He quickly found out that Christensen was too worried about the affairs of the business and was too caught up to have any connection with another person. This was not the only big lost for Christensen, soon she discovered that The Howard Beale Show’s numbers where starting to take a hit, and that the members of the terrorist group were upset that the network focused more on Beale’s show so their numbers were suffering for that.

In an attempt to get rid of Beale’s show and draw attention to the terrorists’ show, Christensen and the terrorist leaders constructed a plan to kill Beale during his show, which they did. The final scene of the film was several televisions delivering the news that Howard Beale had been shot and killed during the broadcast of his show.

On a personal level, this is one of my favorite films, it is very smart and is loaded with dark humor. The writing in it is second to none and seemed to have some psychic abilities, do to the similarities the network in the film had with one that started about ten years later in FOX, that would take edgy shows in hopes to push the envelope.

This film also hits on the decay of the “American Family” as well as women in high positions, although the film does vilify Diana Christensen as a home wrecker and someone that causes about her work more than her relationships.

Network was nominated for ten Academy Awards, taking home four, three for acting, but lost Best Picture to Rocky. In 1998 the American Film Institute voted it the number 66 in its top 100 films of the past 100 years, and ten years later was voted 64th by the Institute.

This really is a terrific film and one that I highly suggest seeing, Enjoy.


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