Vapors Choice Contest Thread
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07/11 Entry #1
I have always loved shark movies, and other water based horror films. I think it's because they are actually somewhat scary to me, since I have a small phobia of the ocean. The odd part is I love surfing and sailing (just not swimming with half my body waiting to be munched on
).
This is a good one - Deep Blue Sea (1999)
I have always loved shark movies, and other water based horror films. I think it's because they are actually somewhat scary to me, since I have a small phobia of the ocean. The odd part is I love surfing and sailing (just not swimming with half my body waiting to be munched on
). This is a good one - Deep Blue Sea (1999)
07/11 Entry #2
I love Stephen King, and this is by far one of the best movies based on one of his stories/books - The Shawshank Redemption (1994)
I love Stephen King, and this is by far one of the best movies based on one of his stories/books - The Shawshank Redemption (1994)
7/11 #1
Dangerous Beauty (1998)
A courtesan in Renaissance Venice finds her fortunes rising and falling with those of the city when war is declared and plague sweeps the streets. A lush period piece with wit and not a few charms.
Dangerous Beauty (1998)
A courtesan in Renaissance Venice finds her fortunes rising and falling with those of the city when war is declared and plague sweeps the streets. A lush period piece with wit and not a few charms.
7/11 #2
Shakespeare in Love (1998)
In the latter days of the sixteenth century, a young playwright named Will Shakespeare (Fiennes) faces writer's block. His condition is made more problematic because Will, who's under contract to seedy theater owner Phillip Henslowe (Rush), is also being wooed by Richard Burbage (Clunes), owner of the upscale Curtain theater. Of course, he's no Christopher Marlowe (played by an uncredited Rupert Everett), but as a rising presence in the theater world, he does have some followers. One such follower is Viola (Paltrow), the daughter of a wealthy family, who, against her will, is betrothed to the grasping Earl of Wessex (Firth), who plans to establish a new dynasty in Virginia built upon the promise of a new crop called tobacco. Society women are not supposed to be too enamored of the theater, let alone participate in it, so, in order to indulge her interest, Viola dons the disguise of a man and brazenly auditions for young Shakespeare's newest comedy, a work in progress that Will calls "Romeo and Ethel, the Pirate's Daughter" for lack of any inspiration. But inspiration strikes when he comes face-to-face with Viola--it's just the sort of coincidence commonly found in Shakespeare's work. Needless to say, "Romeo" undergoes a fair amount of rewrites. A witty, energetic comedy, based on a screenplay by Marc Norman and Tom Stoppard (who penned another Shakespeare-inspired comedy, "Rosencrantz and Guildenstern are Dead") that combines romance, satire, drama, and touches of anachronistic parody with a full-blown period piece. Erudite enough to engage Shakespeare lovers while intelligible enough for those whose sensibilities run to more modern tastes, "Shakespeare in Love" pleased both critics and audiences enough to garner box office success, excellent word-of-mouth, and even (among others) the Academy Award for Best Picture--a feat no comedy had achieved since "Annie Hall" more than twenty years before. Paltrow won Best Actress.
Shakespeare in Love (1998)
In the latter days of the sixteenth century, a young playwright named Will Shakespeare (Fiennes) faces writer's block. His condition is made more problematic because Will, who's under contract to seedy theater owner Phillip Henslowe (Rush), is also being wooed by Richard Burbage (Clunes), owner of the upscale Curtain theater. Of course, he's no Christopher Marlowe (played by an uncredited Rupert Everett), but as a rising presence in the theater world, he does have some followers. One such follower is Viola (Paltrow), the daughter of a wealthy family, who, against her will, is betrothed to the grasping Earl of Wessex (Firth), who plans to establish a new dynasty in Virginia built upon the promise of a new crop called tobacco. Society women are not supposed to be too enamored of the theater, let alone participate in it, so, in order to indulge her interest, Viola dons the disguise of a man and brazenly auditions for young Shakespeare's newest comedy, a work in progress that Will calls "Romeo and Ethel, the Pirate's Daughter" for lack of any inspiration. But inspiration strikes when he comes face-to-face with Viola--it's just the sort of coincidence commonly found in Shakespeare's work. Needless to say, "Romeo" undergoes a fair amount of rewrites. A witty, energetic comedy, based on a screenplay by Marc Norman and Tom Stoppard (who penned another Shakespeare-inspired comedy, "Rosencrantz and Guildenstern are Dead") that combines romance, satire, drama, and touches of anachronistic parody with a full-blown period piece. Erudite enough to engage Shakespeare lovers while intelligible enough for those whose sensibilities run to more modern tastes, "Shakespeare in Love" pleased both critics and audiences enough to garner box office success, excellent word-of-mouth, and even (among others) the Academy Award for Best Picture--a feat no comedy had achieved since "Annie Hall" more than twenty years before. Paltrow won Best Actress.
7/11 #3
Elizabeth (1998)
In the tumultuous years near the middle of the Sixteenth century, England is a country divided by religion and politics. Bloody Mary (Burke), the first Tudor Queen, fears that her childless state will leave the country to 25 year-old Elizabeth (Blanchett in an unnerving personification of the famed English monarch), her half-sister by Henry VIII's marriage to Anne Boleyn. Her conscience will not allow her to do so--even if it means delivering her kingdom into Protestant hands, and thus is the way paved for Elizabeth's ascension to the throne. But in order to survive on the throne, the young woman, whose concerns hitherto had been relegated to her blossoming dalliance with Robert Dudley (Fiennes), Earl of Leicester, must learn to reign in the smoldering hostility of the disenfranchized Catholic nobility, the age-old machinations of Scotland, the aggressive antagonism of the English clergy, and the well-meant but ill-serving recommendations of her advisors. A lush, visually rich recreation of Elizabeth's shaky early reign which, though not always factually correct, derives its power through the strong, tactile performance of Blanchett and strong supporting roles of Rush (as the benignly sinister Sir Walsingham) and Eccleston (as the Duke of Norfolk). Indian director Shekhar Kapur and screenwriter Michael Hirst conveniently avoids direct critical conflict with earlier incarnations of England's Virgin Queen by such legends as Bette Davis in "Elizabeth, the Queen" and Glenda Jackson in "Elizabeth R" (or even Judi Dench in "Elizabeth's" contemporary Oscar contender, "Shakespeare in Love") by focusing less on the monarch's romantic or political affairs and more on her transformation into a powerful woman ruling a country controlled by men who learns to tame her heart in favor of her head.
Elizabeth (1998)
In the tumultuous years near the middle of the Sixteenth century, England is a country divided by religion and politics. Bloody Mary (Burke), the first Tudor Queen, fears that her childless state will leave the country to 25 year-old Elizabeth (Blanchett in an unnerving personification of the famed English monarch), her half-sister by Henry VIII's marriage to Anne Boleyn. Her conscience will not allow her to do so--even if it means delivering her kingdom into Protestant hands, and thus is the way paved for Elizabeth's ascension to the throne. But in order to survive on the throne, the young woman, whose concerns hitherto had been relegated to her blossoming dalliance with Robert Dudley (Fiennes), Earl of Leicester, must learn to reign in the smoldering hostility of the disenfranchized Catholic nobility, the age-old machinations of Scotland, the aggressive antagonism of the English clergy, and the well-meant but ill-serving recommendations of her advisors. A lush, visually rich recreation of Elizabeth's shaky early reign which, though not always factually correct, derives its power through the strong, tactile performance of Blanchett and strong supporting roles of Rush (as the benignly sinister Sir Walsingham) and Eccleston (as the Duke of Norfolk). Indian director Shekhar Kapur and screenwriter Michael Hirst conveniently avoids direct critical conflict with earlier incarnations of England's Virgin Queen by such legends as Bette Davis in "Elizabeth, the Queen" and Glenda Jackson in "Elizabeth R" (or even Judi Dench in "Elizabeth's" contemporary Oscar contender, "Shakespeare in Love") by focusing less on the monarch's romantic or political affairs and more on her transformation into a powerful woman ruling a country controlled by men who learns to tame her heart in favor of her head.
7/11 entry #1
Feb 5 1922 Reader's Digest is founded and the first issue published by Dewitt and Lila Wallace.
Feb 5 1922 Reader's Digest is founded and the first issue published by Dewitt and Lila Wallace.
7/11
#1
We Can't Dance is the fourteenth studio album by the band Genesis, released on 11 November 1991 through Atlantic (United States) and Virgin (Europe).
#1
We Can't Dance is the fourteenth studio album by the band Genesis, released on 11 November 1991 through Atlantic (United States) and Virgin (Europe).
7/11 entry #2
Jul 10 1921The proposal for a trail along the Allegheny Mountain ridges is put forward by regional planner Benton MacKaye. The trail, completed in 1937 and designated officially as the Appalachian National Scenic Trail in 1968, stretches from Maine to Georgia.
Jul 10 1921The proposal for a trail along the Allegheny Mountain ridges is put forward by regional planner Benton MacKaye. The trail, completed in 1937 and designated officially as the Appalachian National Scenic Trail in 1968, stretches from Maine to Georgia.
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