Ninety-five members of the Writers Guild of America have signed a letter sent to the guild’s board of directors urging that it divest from gun companies and any companies that support the NRA.
The letter, sent to the Board Tuesday, warns “Gun violence enabled by the ready availability of military grade weapons, has become one of the biggest threats to the safety and security of the American people.” The letter continues, “We urge the WGA and the WGA Pension Plan to divest of all stocks of any gun or ammunition manufacturer, and any company that provides material support to the gun industry lobbying organization called The National Rifle Association, whether through donations, deductions or other means (e.g. Federal Express), until such time as sensible national gun reform legislation is passed.”
It is signed by 95 members of both WGA West and WGA East.
You can read the letter in...
The letter, sent to the Board Tuesday, warns “Gun violence enabled by the ready availability of military grade weapons, has become one of the biggest threats to the safety and security of the American people.” The letter continues, “We urge the WGA and the WGA Pension Plan to divest of all stocks of any gun or ammunition manufacturer, and any company that provides material support to the gun industry lobbying organization called The National Rifle Association, whether through donations, deductions or other means (e.g. Federal Express), until such time as sensible national gun reform legislation is passed.”
It is signed by 95 members of both WGA West and WGA East.
You can read the letter in...
- 4/4/2018
- by Denise Petski
- Deadline Film + TV
A journey into blindness, strange magic from Japan, and an Iranian spine-tingler are among the year’s must-sees
• Observer critics’ reviews of the year in full
Every year we hear the same horror story; that cinema is overrun by formulaic franchise fodder, with nothing but superheroes and sequels on display. Yet turn your attention away from the monotony of the multiplexes, where the dreary Batman v Superman: Dawn of Justice and the disappointing Suicide Squad may rule the roost, and the picture is quite different. At independent cinemas around the UK, we are constantly reminded of the stunning breadth and scope of modern movies, thanks to films such as Peter Middleton and James Spinney’s electrifying Notes on Blindness, an exceptional sensory experience, based on the audiotape memoirs of theologian John M Hull.
Notes on Blindness was just one of several superb homemade indie pics released in the UK this year.
• Observer critics’ reviews of the year in full
Every year we hear the same horror story; that cinema is overrun by formulaic franchise fodder, with nothing but superheroes and sequels on display. Yet turn your attention away from the monotony of the multiplexes, where the dreary Batman v Superman: Dawn of Justice and the disappointing Suicide Squad may rule the roost, and the picture is quite different. At independent cinemas around the UK, we are constantly reminded of the stunning breadth and scope of modern movies, thanks to films such as Peter Middleton and James Spinney’s electrifying Notes on Blindness, an exceptional sensory experience, based on the audiotape memoirs of theologian John M Hull.
Notes on Blindness was just one of several superb homemade indie pics released in the UK this year.
- 12/4/2016
- by Mark Kermode
- The Guardian - Film News
A fine performance by an actor with Down’s syndrome drives this poignant British film about love and loss
A terrific central performance from Steven Brandon, a young man with Down’s syndrome, is the driving force of this heartfelt British independent picture. In a neat reversal of expected roles, Luke (Brandon) has become the care-giver for his prickly but loving mother. However, when she dies, the authorities ignore the fact that he can and does live independently and shunt him into a residential care home. A sequence in a car, in which the camera rests on Luke’s face as he mourns both his lost mother and lost independence, is achingly poignant and beautifully acted. The addition of the abrasive, discordant score is superfluous – everything the scene needs is in Brandon’s face.
Luke gradually opens up to Eve (Shana Swash), a pretty, perky care worker, and to troubled,...
A terrific central performance from Steven Brandon, a young man with Down’s syndrome, is the driving force of this heartfelt British independent picture. In a neat reversal of expected roles, Luke (Brandon) has become the care-giver for his prickly but loving mother. However, when she dies, the authorities ignore the fact that he can and does live independently and shunt him into a residential care home. A sequence in a car, in which the camera rests on Luke’s face as he mourns both his lost mother and lost independence, is achingly poignant and beautifully acted. The addition of the abrasive, discordant score is superfluous – everything the scene needs is in Brandon’s face.
Luke gradually opens up to Eve (Shana Swash), a pretty, perky care worker, and to troubled,...
- 11/6/2016
- by Wendy Ide
- The Guardian - Film News
This debut feature has a secret weapon in Steven Brandon, who gives a magnetic performance as a man with Down’s syndrome who is forced into a group home
Luke (Steven Brandon, a gifted performer and the film’s secret weapon) is a very competent young man with Down’s syndrome who singlehandedly cares for his elderly, bedridden mother (Eileen Pollock). But when she dies in her sleep, he’s forced by the authorities to move into a group home with other adults with complex needs, many of whom are much less able than himself. Bereaved, angry and lonely, Luke slips out against house rules to go on long walks, and discovers a mysterious feral girl (played by contortionist Pixie Le Knot, possibly not her real name). She’s been injured by a fox trap and he nurses her back to health in a barn. Meanwhile, Luke gradually grows closer...
Luke (Steven Brandon, a gifted performer and the film’s secret weapon) is a very competent young man with Down’s syndrome who singlehandedly cares for his elderly, bedridden mother (Eileen Pollock). But when she dies in her sleep, he’s forced by the authorities to move into a group home with other adults with complex needs, many of whom are much less able than himself. Bereaved, angry and lonely, Luke slips out against house rules to go on long walks, and discovers a mysterious feral girl (played by contortionist Pixie Le Knot, possibly not her real name). She’s been injured by a fox trap and he nurses her back to health in a barn. Meanwhile, Luke gradually grows closer...
- 11/3/2016
- by Leslie Felperin
- The Guardian - Film News
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