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Joseon Survival
Aug 4, 2016 - Alarmed, she goes back to the webtoon and scrolls past the letter, and the next frame shocks her—it's Hangang Bridge, where Dad made Kang. This is a list of bridges and viaducts in South Korea, including those for pedestrians and vehicular traffic. Private Elementary School Teaching in Seoul, South Korea Full time position in Saha Brighton Academy & Seoul Gangseo King's town Academy FULL-TIME English Native Teacher in Dongrae 2.4m min,1-8pm AND Seoul Summer Camp.
Title: Joseon Survival Total Episodes: ? Status: Currently Airing Genres: time-travel Description: Han Jung-Rok (Kang Ji-Hwan) was the top archer […]
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Movie: What a Man Wants / Wind Wind Wind Release Date: April 2018 Director: Lee Byeong-Hun Genres: comedy, drama Description: […]
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There are always those willing to violate the principles of freedom and democracy in the name of defending the principles of freedom and democracy. It is sadly obvious these people aren't capable of perceiving -- let alone admitting -- the hypocritical contradictions inherent in their position. Even sadder is that such people are not few and far between, but are instead all too common throughout the ages. In their enthusiasm to oppose the enemies of freedom, they become enemies of freedom. The worst kind of enemies, because they are the enemy within, which is all the more ironic when their betrayals come in pursuit of supposed internal enemies. Bridge of Spies is the true story of a man defending freedom and democracy from enemies within. He does so first by defending a spy hiding among us, and then by trying to help that spy return home. In the process, we see how much we have to lose if we stop defending liberty against internal enemies masquerading as patriots.In ten films over the last 15 years, director Steven Spielberg hasn't made a movie that grossed less than $130 million, and only two of the ten films grossed less than $219 million. Those ten films combined for $3.5 billion in worldwide box office. He is among the most successful and most popular filmmakers of our time.
Tom Hanks has had a lead role in 13 films over the last 15 years, with a total worldwide gross of $4.2 billion. Only two of those 13 films made less than $112 million. Seven of them topped $200 million, and five of those topped $300 million. He is among the most successful and most popular actors of our time.
Bridge of Spies is Spielberg's and Hanks' fourth film together. Their previous collaborations -- Saving Private Ryan, Catch Me If You Can, and The Terminal -- together took more than $1 billion in combined global receipts. It is likely that Bridge of Spies will be a contender for multiple high-profile Oscar nominations, including Best Picture, Best Director, Best Actor, Best Supporting Actor, Best Cinematography, and possibly Best Original Screenplay. It is a sort-of spy thriller, an adult historical drama, and as such the story itself will have appeal across different genres and generations, on top of the fanbase for Spielberg and Hanks.
Which is all to say that Bridge of Spies will probably do well in theaters. With a roughly $15-18 million domestic opening weekend shaping up, that could translate into $75+ million in North America if it develops some legs. If it opens closer to $20 million (due to some of the expected adult drama competition fizzling out a bit) and holds well enough, then it might climb toward $90-100 million.
Overseas, it should perform strong in Europe, less so perhaps in Asia, and end up with somewhere between maybe $80-100 million, give or take. Which all adds up to a final worldwide tally of anywhere from $150+ million on the lowest end, to as much as $200 million. We have to see how it opens and how well it holds on the first couple of weekends, to have a better sense of where it is likely to end up.
Will audiences be interested in another Cold War period film, after mostly declining to attend The Man From U.N.C.L.E. this summer? Especially with The Martian seeing such big holds, and some other adult-skewing films like Rock the Kasbah and Our Brand Is Crisis tempting viewers away too. If Bridge of Spies opens on the low end of estimates and has a smaller multiplier, then that would suggest a final tally more in the $60+ million range domestically and maybe another $80-100 million overseas. Again, though, this is the lowest range in which it could likely fall.
But it's always smart to bet on Spielberg, and with Hanks on board plus a "true historical drama" angle at the right time of year, things look good for Bridge of Spies. With a very modest $60 million budget, the bar for success is equally modest, so I don't foresee any problems for this picture. Especially since the reviews are so positive and the audience word of mouth is likely to be equally good.
Now, turn the page and read on for my full review!
Call of duty 3 free download for pc video. Growing up in the 1980s, the fear of nuclear war was an ever-present part of life. We lived with certainty that inevitably, probably soon, the world would come to a firey end. The flashpoint was always Europe, always Germany, always Berlin. Soviet tanks would blast their way into Western Europe, NATO would counterattack, and the missiles would fly. Always it revolved around those battle lines drawn in Europe, embodied in a most literal sense by a menacing wall dividing a great city and leaving the world to huddle in its vast shadow, waiting for the final day of reckoning.
I remember clearly the day the Berlin Wall came down. Massive crowds approached, people climbed up and over, strangers pulled one another up to embrace atop the barrier that for so long represented a brutal, deadly division of East and West. It was impossible not to feel swept up in the emotion as an oppressed people, through sheer force of will, liberated themselves and stripped the wall of all its power. So many had died trying to escape over or under that wall. For so long it had been a symbol of a tyrannical system that imprisoned its people in their own land. But just like that, it was over.
I traveled to Europe for three weeks in September and October this year, spending five days in Berlin. While there, I repeatedly sought out the remains of the Berlin Wall -- and there are many places where it still stands, in long graffitied portions (as in the photograph I took, above). Standing at the wall, touching it, I thought about those days in 1989 when I watched the crowds overtake the wall, cheering and crying. It's one of the most important memories of my life, and I relived it again there in Berlin at the end of September, just a couple of weeks before returning to the U.S. and seeing Bridge of Spies.
Bridge of Spies takes place first in the U.S., and then later in East Germany. It has drama, humor, and several suspenseful moments. There is a lot to appreciate in this film, not least of which is the fact it is primarily two hours of negotiations and debate about ideology, reality, and why we must honor our values if we want to keep them. But within all of that, there is something more, and it revolves around that horrible wall.
The greatest sequence in Bridge of Spies is one depicting the Berlin Wall's construction. People watch, realizing with increasing dread exactly what it means. The wall is only about waist-high at first, workers slowly stacking the bricks higher one by one, and we track along the wall as it grows and as people seek ways around it or simply stare in shock.
Watch as a young man and woman on the Eastern side realize what is about to happen. Watch their desperate attempt to reach an opening before they are entirely sealed in. Watch as a final big piece of repressive granite slides into place, blocking out the last view of the sun visible through the wall. It is gripping and emotionally exhausting.
We see the wall repeatedly during the second half of the film, as Hanks walks along it taking instructions for his mission the next day. Later, the wall suddenly leaps into view during what we thought was a lighter moment, reminding us -- and Hanks -- with bone-chilling brutality just where this is and just what the stakes really are. East Berlin is a prison, everyone is an inmate, and the message is that nobody is getting out of here alive.
But the truth is, it's talking about people on both sides of the wall. Everyone, on both sides, is an inmate because of the wall and what it represents. And none will get out alive if the evil spirit of the wall is allowed to rule over us. It strips us of humanity, it denies us choices, it tells us that even victory is hollow because of how much we lose, how much we must sacrifice, in order to win.
This is what Hanks is fighting for in the film -- the notion that the enemies of liberty, the enemies of hope, exist on both sides of that wall. On both sides, they subvert freedom as part of the war for power and dominance, they sacrifice innocent lives to score points, and they would kill us all in pursuit of annihilating their perceived enemy. Hanks realizes those who seek to ignore Constitutional guarantees and deny rights to a Soviet Spy are guilty of eroding the only thing that separates the U.S. from the U.S.S.R. He realizes leaving an innocent young man to rot in prison, in favor of rescuing a military soldier who gathered intelligence against the Russians, is not what a freedom-loving nation does. He sees people die trying to escape the wall, and he sees how short the distance is from one side of the wall to the other. It is just a few steps from here to there, just a few small steps from freedom to tyranny.
This is Bridge of Spies' theme, and it's most powerfully stated not in the admittedly convincing little speeches Hanks makes about why he's defending the communist spy, but rather in these great moments in East Germany involving the wall. These are also Hanks' best moments in the film -- his change from casual amusement to speechless shock in one instant, his similar good humor fading to terrible remembrance in a call-back sequence. For all of his other typically impressive scenes, the actor is at his best in the juxtaposing of his relatively comfortable theoretical perspectives on maintaining freedom, and the violent reality of what loss of that freedom looks like in real life. As he argues so strenuously and with such conviction, the Constitution is what makes us Americans, and is the thing that prevents us from being the Soviet Union. Knowing how true that is, the realities of life in the Eastern Block are all the scarier, because a piece of paper is what saves us from it. And this drives home the importance of stopping those who treat Constitutional guarantees as if they're optional.
Opening the film with an extended, lingering sequence of events transpiring largely in silence, Spielberg is patient and meticulous in setting up his story. He is equally patient in establishing the second strand of the story, with U.S. pilots recruited and questioned, slowly working their way through training and into the skies over Eastern Europe for covert operations on behalf of the C.I.A. It's all methodical, moving so slowly in order to let our anticipation grow nearly to the point of discomfort, and the mounting suspense works precisely as well as Spielberg knew it would.
In the only real "action" scene of the movie, a U-2 spy plane is shot from the sky, and Spielberg makes the moment realistic enough to be thrilling and scary, but it is also economical and doesn't waste any time or linger longer than necessary. This same economy of storytelling appears during the courtroom portions of the story as well, with only a few broad strokes necessary to fill in the picture so we can move on. Another filmmaker might've spent too much time on pure courtroom drama, might've been tempted to draw out the action scene involving the plane crashing and the pilot being captured, and might've inserted more espionage-like moments to spice up the story and allow for more action beats. Spielberg, though, reserves his time for the suspense and emotional drama of everything that takes place in between those big, obvious moments. He knows the real story and themes are found by paying attention to the nuances of character and life, and what people do when the dust settles after the big, obvious moments and it's time to move forward.
Visually, Janusz Zygmunt Kamiński creates a beautiful picture in Bridge of Spies. This is among his best work of the last decade, alongside War Horse and The Diving Bell and the Butterfly. The film has an overall distinct style, while each location has its own particular visual feel as well. I don't honestly think the movie will win in most of the other Oscar categories, but it has its closest shot with cinematography.
Hanks is a master at understated performances as an ordinary guy finding himself in extraordinary circumstances, and he delivers the goods here once again. Mark Rylance meanwhile serves up some wonderfully sardonic wit in a role that maintains humble dignity despite the reality of his circumstances and factual guilt. Besides the cinematography, this supporting turn is the other possible/likely Oscar nod that has a better chance of actually taking home the gold.
Bridge of Spies reminds us of the precariousness of our position and the narrow distance between us and our enemies. It's smart, nuanced storytelling from a director still proving he's one of the best in the business.
All box office figures and tallies based on data via Box Office Mojo and TheNumbers.
Follow me on Twitter, on Google+, and on Quora. Read my blog.
'>There are always those willing to violate the principles of freedom and democracy in the name of defending the principles of freedom and democracy. It is sadly obvious these people aren't capable of perceiving -- let alone admitting -- the hypocritical contradictions inherent in their position. Even sadder is that such people are not few and far between, but are instead all too common throughout the ages. In their enthusiasm to oppose the enemies of freedom, they become enemies of freedom. The worst kind of enemies, because they are the enemy within, which is all the more ironic when their betrayals come in pursuit of supposed internal enemies. Bridge of Spies is the true story of a man defending freedom and democracy from enemies within. He does so first by defending a spy hiding among us, and then by trying to help that spy return home. In the process, we see how much we have to lose if we stop defending liberty against internal enemies masquerading as patriots.
In ten films over the last 15 years, director Steven Spielberg hasn't made a movie that grossed less than $130 million, and only two of the ten films grossed less than $219 million. Those ten films combined for $3.5 billion in worldwide box office. He is among the most successful and most popular filmmakers of our time.
Tom Hanks has had a lead role in 13 films over the last 15 years, with a total worldwide gross of $4.2 billion. Only two of those 13 films made less than $112 million. Seven of them topped $200 million, and five of those topped $300 million. He is among the most successful and most popular actors of our time.
Bridge of Spies is Spielberg's and Hanks' fourth film together. Their previous collaborations -- Saving Private Ryan, Catch Me If You Can, and The Terminal -- together took more than $1 billion in combined global receipts. It is likely that Bridge of Spies will be a contender for multiple high-profile Oscar nominations, including Best Picture, Best Director, Best Actor, Best Supporting Actor, Best Cinematography, and possibly Best Original Screenplay. It is a sort-of spy thriller, an adult historical drama, and as such the story itself will have appeal across different genres and generations, on top of the fanbase for Spielberg and Hanks.
Which is all to say that Bridge of Spies will probably do well in theaters. With a roughly $15-18 million domestic opening weekend shaping up, that could translate into $75+ million in North America if it develops some legs. If it opens closer to $20 million (due to some of the expected adult drama competition fizzling out a bit) and holds well enough, then it might climb toward $90-100 million.
Overseas, it should perform strong in Europe, less so perhaps in Asia, and end up with somewhere between maybe $80-100 million, give or take. Which all adds up to a final worldwide tally of anywhere from $150+ million on the lowest end, to as much as $200 million. We have to see how it opens and how well it holds on the first couple of weekends, to have a better sense of where it is likely to end up.
Will audiences be interested in another Cold War period film, after mostly declining to attend The Man From U.N.C.L.E. this summer? Especially with The Martian seeing such big holds, and some other adult-skewing films like Rock the Kasbah and Our Brand Is Crisis tempting viewers away too. If Bridge of Spies opens on the low end of estimates and has a smaller multiplier, then that would suggest a final tally more in the $60+ million range domestically and maybe another $80-100 million overseas. Again, though, this is the lowest range in which it could likely fall.
But it's always smart to bet on Spielberg, and with Hanks on board plus a 'true historical drama' angle at the right time of year, things look good for Bridge of Spies. With a very modest $60 million budget, the bar for success is equally modest, so I don't foresee any problems for this picture. Especially since the reviews are so positive and the audience word of mouth is likely to be equally good.
Now, turn the page and read on for my full review!
Growing up in the 1980s, the fear of nuclear war was an ever-present part of life. We lived with certainty that inevitably, probably soon, the world would come to a firey end. The flashpoint was always Europe, always Germany, always Berlin. Soviet tanks would blast their way into Western Europe, NATO would counterattack, and the missiles would fly. Always it revolved around those battle lines drawn in Europe, embodied in a most literal sense by a menacing wall dividing a great city and leaving the world to huddle in its vast shadow, waiting for the final day of reckoning.
I remember clearly the day the Berlin Wall came down. Massive crowds approached, people climbed up and over, strangers pulled one another up to embrace atop the barrier that for so long represented a brutal, deadly division of East and West. It was impossible not to feel swept up in the emotion as an oppressed people, through sheer force of will, liberated themselves and stripped the wall of all its power. So many had died trying to escape over or under that wall. For so long it had been a symbol of a tyrannical system that imprisoned its people in their own land. But just like that, it was over.
I traveled to Europe for three weeks in September and October this year, spending five days in Berlin. While there, I repeatedly sought out the remains of the Berlin Wall -- and there are many places where it still stands, in long graffitied portions (as in the photograph I took, above). Standing at the wall, touching it, I thought about those days in 1989 when I watched the crowds overtake the wall, cheering and crying. It's one of the most important memories of my life, and I relived it again there in Berlin at the end of September, just a couple of weeks before returning to the U.S. and seeing Bridge of Spies.
Bridge of Spies takes place first in the U.S., and then later in East Germany. It has drama, humor, and several suspenseful moments. There is a lot to appreciate in this film, not least of which is the fact it is primarily two hours of negotiations and debate about ideology, reality, and why we must honor our values if we want to keep them. But within all of that, there is something more, and it revolves around that horrible wall.
The greatest sequence in Bridge of Spies is one depicting the Berlin Wall's construction. People watch, realizing with increasing dread exactly what it means. The wall is only about waist-high at first, workers slowly stacking the bricks higher one by one, and we track along the wall as it grows and as people seek ways around it or simply stare in shock.
Watch as a young man and woman on the Eastern side realize what is about to happen. Watch their desperate attempt to reach an opening before they are entirely sealed in. Watch as a final big piece of repressive granite slides into place, blocking out the last view of the sun visible through the wall. It is gripping and emotionally exhausting.
We see the wall repeatedly during the second half of the film, as Hanks walks along it taking instructions for his mission the next day. Later, the wall suddenly leaps into view during what we thought was a lighter moment, reminding us -- and Hanks -- with bone-chilling brutality just where this is and just what the stakes really are. East Berlin is a prison, everyone is an inmate, and the message is that nobody is getting out of here alive.
But the truth is, it's talking about people on both sides of the wall. Everyone, on both sides, is an inmate because of the wall and what it represents. And none will get out alive if the evil spirit of the wall is allowed to rule over us. It strips us of humanity, it denies us choices, it tells us that even victory is hollow because of how much we lose, how much we must sacrifice, in order to win.
This is what Hanks is fighting for in the film -- the notion that the enemies of liberty, the enemies of hope, exist on both sides of that wall. On both sides, they subvert freedom as part of the war for power and dominance, they sacrifice innocent lives to score points, and they would kill us all in pursuit of annihilating their perceived enemy. Hanks realizes those who seek to ignore Constitutional guarantees and deny rights to a Soviet Spy are guilty of eroding the only thing that separates the U.S. from the U.S.S.R. He realizes leaving an innocent young man to rot in prison, in favor of rescuing a military soldier who gathered intelligence against the Russians, is not what a freedom-loving nation does. He sees people die trying to escape the wall, and he sees how short the distance is from one side of the wall to the other. It is just a few steps from here to there, just a few small steps from freedom to tyranny.
This is Bridge of Spies' theme, and it's most powerfully stated not in the admittedly convincing little speeches Hanks makes about why he's defending the communist spy, but rather in these great moments in East Germany involving the wall. These are also Hanks' best moments in the film -- his change from casual amusement to speechless shock in one instant, his similar good humor fading to terrible remembrance in a call-back sequence. For all of his other typically impressive scenes, the actor is at his best in the juxtaposing of his relatively comfortable theoretical perspectives on maintaining freedom, and the violent reality of what loss of that freedom looks like in real life. As he argues so strenuously and with such conviction, the Constitution is what makes us Americans, and is the thing that prevents us from being the Soviet Union. Knowing how true that is, the realities of life in the Eastern Block are all the scarier, because a piece of paper is what saves us from it. And this drives home the importance of stopping those who treat Constitutional guarantees as if they're optional.
Opening the film with an extended, lingering sequence of events transpiring largely in silence, Spielberg is patient and meticulous in setting up his story. He is equally patient in establishing the second strand of the story, with U.S. pilots recruited and questioned, slowly working their way through training and into the skies over Eastern Europe for covert operations on behalf of the C.I.A. It's all methodical, moving so slowly in order to let our anticipation grow nearly to the point of discomfort, and the mounting suspense works precisely as well as Spielberg knew it would.
In the only real 'action' scene of the movie, a U-2 spy plane is shot from the sky, and Spielberg makes the moment realistic enough to be thrilling and scary, but it is also economical and doesn't waste any time or linger longer than necessary. This same economy of storytelling appears during the courtroom portions of the story as well, with only a few broad strokes necessary to fill in the picture so we can move on. Another filmmaker might've spent too much time on pure courtroom drama, might've been tempted to draw out the action scene involving the plane crashing and the pilot being captured, and might've inserted more espionage-like moments to spice up the story and allow for more action beats. Spielberg, though, reserves his time for the suspense and emotional drama of everything that takes place in between those big, obvious moments. He knows the real story and themes are found by paying attention to the nuances of character and life, and what people do when the dust settles after the big, obvious moments and it's time to move forward.
Visually, Janusz Zygmunt Kamiński creates a beautiful picture in Bridge of Spies. This is among his best work of the last decade, alongside War Horse and The Diving Bell and the Butterfly. The film has an overall distinct style, while each location has its own particular visual feel as well. I don't honestly think the movie will win in most of the other Oscar categories, but it has its closest shot with cinematography.
Hanks is a master at understated performances as an ordinary guy finding himself in extraordinary circumstances, and he delivers the goods here once again. Mark Rylance meanwhile serves up some wonderfully sardonic wit in a role that maintains humble dignity despite the reality of his circumstances and factual guilt. Besides the cinematography, this supporting turn is the other possible/likely Oscar nod that has a better chance of actually taking home the gold.
Bridge of Spies reminds us of the precariousness of our position and the narrow distance between us and our enemies. It's smart, nuanced storytelling from a director still proving he's one of the best in the business.
All box office figures and tallies based on data via Box Office Mojo and TheNumbers.
Follow me on Twitter, on Google+, and on Quora. Read my blog.