If you were born sometime after 2009, you probably have some awareness of the event that became known as “The Miracle on the Hudson.” Airline captain Chesley “Sully” Sullenberger and his co-pilot Jeff Skiles were just taking off from LaGuardia Airport when their plane was struck by a flock of birds. Not an unusual incident, but this one was unprecedented when both engines were taken out of commission. The pilots remained calm and the flight attendants did their jobs, but with total engine failure there was no time to get to any runway in New York or New Jersey. Sully’s only option was to attempt a landing on the Hudson River. And he did so successfully (luckily it was the early part of January so boat traffic was virtually non-existent), saving all 155 souls on the plane. It was a remarkable story, Sully became a new American hero, and he’s used that experience to advocate for better safety measures for airplanes.
Hollywood has always had a reputation for people getting ahead because of either the “casting couch” or nepotism. With the arrival of the new sci-fi thriller Morgan, it won’t be hard to ignore the fact that this stripped down, niche film got a major studio release due to director Luke Scott’s relationship with one of the producers, Ridley Scott, his father. Papa Scott gave 20th Century Fox a hit with the original Alien, and is currently at work on more Alien-related films (under the Prometheus banner), so it probably was a no-brainer for the studio to do a favor for Scott.
Baltimore’s Creative Alliance held its fifth annual Rainbow Film Fest July 28th to 30th. A memorial to LGBT activist Kathleen Happ, Rainbow kicked off with a happy hour hosted by the Latino group IRIS Baltimore (Individualidad, Respeto, Integrided, y Sexualidad), whose name recalls the Spanish word arcoiris – rainbow. The group works “to address gay issues particular to the Latin community,” says Juan Ortiz.
You know when you’re watching a movie with Meryl Streep that she’s going to do an exceptional job. Sometimes she’s completely effortless, embodying the character so that you forget it’s Meryl Streep. Other times, all you can see is Meryl Streep acting her heart out in the hopes that yet another Oscar nomination comes her way (I’m looking in your direction August: Osage County). Thankfully this is not the latter of the two Streeps.
You might feel like your heart is going to pound its way through your chest, almost to the very last scene of writer/director Jeremy Saulnier’s riveting third full-length feature Green Room (A24 / Broadgreen), but it’s only a movie. Because of that, the film takes its place at the head of the class of the new generation of horror/suspense flicks such as The Witch, It Follows, and The Babadook.
REACHING OUT TO THE GAY AND LESBIAN COMMUNITY?
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