71st Annual Directors Guild of America Awards Winners

Saturday night the guild had their awards ceremony and as expected Alfonso Cuarón got the top award which makes a big celebratory win as it was Guillermo del Toro who presented with the award.

Most interesting milestone is since 2014 -with the exception of 2017- top award have been given to a Mexican-born director, 2014 Alfonso Cuarón, 2015 Alejandro G. Iñárritu, 2016 Alejandro G. Iñárritu, 2018 Guillermo del Toro and 2019 Alejandro G. Iñárritu again.  All these directors went to win the Oscar for Directing therefore we can predict Alfonso Cuarón is not only the front-runner but also the most likely Oscar winner.  A milestone that will make Oscar history too and shows the dominance of very creative and imaginative filmmakers.



Worth mentioning Bo Burnham as the winner of the First-Time Feature Film and Adam McKay who was nominated for top award but lost, got it for his directing work in Dramatic Series for Succession, Celebration.  Kudos also go to Ben Stiller directorial achievement in Movies for Television and Limited Series category win.

Winners are in *BLUE. To check winners in all categories go official site here.

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1/19/19
Yesterday the Directors Guild of America President Thomas Schlamme announced the five nominees for the DGA Award for Outstanding Directorial Achievement in Feature Film for 2018.

“To be chosen by one’s peers in a year full of such extraordinary films is the true mark of outstanding directorial achievement,” said Schlamme. “In bringing all elements of the filmmaking process together, each of these directors has demonstrated an exceptional command of the medium, creating excellence for the screen. Congratulations to all of the nominees.”

To refresh our memory will share that for the first feature-length film category eligible directors must have released their film theatrically in Los Angeles or New York during 2018.  Foreign films are eligible and the director does not need to be a DGA member.

Guild went back to nominate only men for top award but in my humble opinion there were not many female directors with relevant films, perhaps the exception goes to Chloe Zhao and her magnificent The Rider which could/should occupy controversial Farrelly's spot.  Still, believe that spot belongs more to a HUGE omission, as Yorgos Lanthimos should have been nominated for his -fabulous body of work and-  most (mass) accessible film, The Favourite. Sigh.

If film critics are right this year then this award -and the Oscar- should go to Alfonso Cuarón, which has my award and my absolute admiration for his fantastic work visualizing and conducting Roma.  As Bradley Cooper is nominated twice, wouldn't be surprised if he gets the first-time award even when perhaps Bo Burnham deserves more the award.

This year the guild will honor Kathleen McGill with the Frank Capra Achievement Award and Marian Deaton with the Franklin J. Schaffner Achievement Award.  The DGA Diversity Award is a rare honor, given only when exceptional leadership in inclusive hiring is exhibited and this time the award goes to FX Networks.

These are the Nominees

Outstanding Directorial Achievement in Feature Film
Bradley Cooper for A Star is Born
*Alfonso Cuarón for Roma
Peter Farrelly for Green Book
Spike Lee for BlacKkKlansman
Adam McKay for Vice



Outstanding Directorial Achievement in First-Time Feature film
*Bo Burnham for Eighth Gade
Bradley Cooper for A Star is Born
Carlos López Estrada for Blindspotting
Matthew Heineman for a Private War
Boots Riley for Sorry to Bother You

Outstanding Directorial Achievement in Documentary
Morgan Neville for Won't You Be My Neighbor?
Ramell Ross for Hale County This Morning, This Evening
Elizabeth Chai Vasarhelyi and Jimmy Chin for Free Solo
*Tim Wardle for Three Identical Strangers
Betsy West and Julie Cohen for RBG

To check nominees for all categories go to official site here for film and here for documentaries plus all other categories.  Awards ceremony will be on Saturday, February 2, 2019 at the Hollywood and Highland Center's Ray Dolby Ballroom in Hollywood.

Widows (2018)

Huge doesn’t even come close to describe how big of a fan I am of Steve McQueen, the British director not the American actor. It comes without saying that I was very looking forward to Widows, his fourth feature film. Unfortunately, my cinema didn’t show it so I had to wait for the home release to watch it.

The story follows three women who don’t know each other, Veronica Rawlings (Viola Davis), Alice (Elizabeth Debicki), and Amanda (Michelle Rodriguez), and whose only connection is their criminal husbands who got killed by the police during a heist. When Veronica learns that her husband, Harry (Liam Neeson), stole $2 million from Jamal Manning (Brian Tyree Henry), a crime boss and politician, and that Jamal wants her to give him his money back, she enlists the other widows and decides to carry out a $5 million worth heist planned by his late husband.

Widows is completely different from the films McQueen has made so far —Hunger, Shame, and 12 Years a Slave— and you can tell right away from its plot whose purpose is mainly to entertain —he still addresses sexual, political and racial issues, but they are on the background— and it’s entertaining. And engaging and interesting. The problem is that there are too many subplots and not enough time to develop all of them properly —it feels like a collection of stories with a forced connection—, there are many plot holes and coincidences, and the twist, although you don’t see it coming, doesn’t quite have the effect it’s supposed to have.

The characters too were a bit of a disappointment. This is the first time McQueen focuses on female characters and, since Gillian Flynn co-wrote the screenplay with him, I was expecting great characters. Unfortunately, they aren’t that fleshed out —because of this, I found it hard to connect emotionally with them—, and, if it wasn’t for the actresses playing them, they would be overshadowed by the male characters.

The cast, as I was saying, does a wonderful job though and makes you forget the many flaws in the script. Viola Davis is great as usual in the role of a strong woman who is very reminiscent of her character from How to Get Away With Murder, Michelle Rodriguez is feisty as always, Chyntia Erivo is barely in the film and yet manages to make a strong impression, but it's Elizabeth Debicki who steals the show for me as a fragile, vulnerable housewife who is done being mistreated. The actors also do a good job, the strongest performance coming from Daniel Kaluuya as he delivers quite a terrifying performance in the role of a psychotic henchman. 

20th Century Fox

Great performances from the cast aren't the only thing that McQueen delivers with Widows though. The tension he builds is nothing short of spectacular and keeps you on the edge of your seat for most of the film's running time. The cinematography is beautiful and adds a sense of realism to the film and the thrilling score fits the story very well. 

Gully Boy :Best bollywood movies 2019,movies box office collections,gully boy trailer,gully boy cast,gully boy release date.

Best bollywood movies 2019 Gully Boy is a movie about a 22-year-old boy "Murad" (Ranveer Singh) from a ghetto in Mumbai, India. The son of a driver, his parents worked hard to get him educated so that he could have a better job. Meanwhile, Murad realizes his to be a rapper. Authentic Hip Hop in India is a recent phenomenon and like anywhere else in the world, is rising from the streets.Art is a very distant dream for the colonial poor of India, and this story is about the journey of Murad while feeling his love for the rap and chasing his dream unknowingly of his class. The film showcases street rap from the crevices of Mumbai's by lanes. The poetry is conscious of the city's socio-economic fabric and highlights the challenges faced by the disenfranchised youth in the minority peoples.

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Release: 14 February 2019 (USA)

Director: Zoya Akhtar

Music director: Shankar–Ehsaan–Loy

Producers: Zoya Akhtar, Farhan Akhtar, Ritesh Sidhwani

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more Links:-

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>Thackeray:upcoming bollywood movies 2019 ,Star cast,review of the movie,Full story of thackeray,Release date And Official teaser,thackeray full movie download .
> Sonchiriya upcoming bollywood movies 2019,sonchiriya cast,sonchiriya story release date .

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Bollywood movies 2019                   External Links
page on wikipedia:-                    https://en.wikipedia.org/wiki/Gully_Boy .

gully boy box office collections

box office days	collections
first day	19.40 crore
second day	13.10 crore
third day	18.65 crore
fourth day	21.30 crore
fifth day	8.65 crore
sixth day	8.05 crore
seventh day	6.05 crore
eighth day	5.10 crore
total of week collections	100.30 crore

Velvet Buzzsaw (2019)

I loved Dan Gilroy's Nightcrawler and specifically adored Jack Gyllenhaal's performance in it so I was really looking forward to seeing them team up again. And it finally happened with Velvet Buzzsaw, a horror film about the art world.

The story mainly follows Morf Vanderwalt (Jake Gyllenhaal), a pompous and feared art critic who can make or break an artist with a single review and is connected with artists and other people in the art business, including Josephina (Zawe Ashton), the young assistant of Rhodora Haze (Rene Russo), a big name art dealer. When Josephina steals the paintings left behind by her deceased neighbour to show Morf and Rhodora and eventually sell them, Morf becomes obsessed with finding out more about the painter. Meanwhile, the people who are profiting from the dead artist's art are targeted by a supernatural entity.

Velvet Buzzsaw doesn't have much of a plot with its threads that go nowhere as they are picked up only to be discarded pretty soon. Despite this, it is genuinely interesting and gripping as it does a good job at critiquing modern art world, a world driven by greed and hypocrisy, a world in which money is more important and art itself and the artist. It also shows how the work of a critic can affect an artist, not only professionally.

The dialogue is pretty empty but it sounds so sophisticated it ends up being quite charming. And the over-the-top and pretentious characters, although some of them could have used more dimension and development, are interesting and somewhat likeable, and invested me right from the beginning.

As for the performances, most of them are great. Jake Gyllenhaal does a wonderful job as Morf and yet again proves himself to be one of the most skilled actors alive. He embodies Morf completely, to the point that it doesn't feel like watching Gyllenhaal but the actual over-the-top, silly character he plays here. The other standout is Toni Collette who plays an art adviser and steals most of the scenes she is in —when she shares the screen with Gyllenhaal, the eyes are on him. The other actors too give fascinating performances, Zawe Ashton being the only exception —I didn't like her at all, specifically because of the weird way she delivers her lines.

Netflix

The cinematography is gorgeous, as it should be in a film about art, and the score is effective at making some scenes more intense, suspenseful and thrilling, especially when it comes to the artistic deaths, which I really enjoyed. That said, I feel like Gilroy should have stuck just to the satire about the art world and avoided the horror genre as it doesn't add much to the film other than a bit of entertainment factor.

Glass Movie Review

Glass (2019)

Watch the trailer
Written by: M. Night Shyamalan
Directed by: M. Night Shyamalan
Starring: James McAvoy, Bruce Willis, Samuel L. Jackson, Anya Taylor-Joy, Sarah Paulson
Rated: PG-13

Plot
Security consultant David Dunn uses his supernatural abilities to find Kevin Wendell Crumb, both ending up in a psychiatric hospital with Mr. Glass where a doctor attempts to convince them they're delusional.

Verdict
This has a great first third, starts to drag in the middle, and the ending is a bit underwhelming. It's fun to see these three comic book characters together, but a large portion of the movie keeps them prisoner instead of having them use their abilities. The exposition that links this story back to comics is frequently awkward
This does have some amazing shots. So much that it almost distracts, and McAvoy is amazing, switching between characters. This movie just isn't as grounded as it should be. We're told this is an origin story, but I don't want the result.
While this isn't as bad as reviews led me to believe, there are a few disappointing choices and the conclusion is entirely underwhelming.
It depends.

Review
This is part of a trilogy with Unbreakable (2000) and Split (read my review).

Glass has a great first act, opening with the Beast having kidnapped kids. It's very much what we saw in Split. Then we cut to David Dunn, the protagonist of Unbreakable nineteen years later. Unbreakable was this grounded look at a super human. How it weaves the antagonist and protagonist together was very effective. In Glass, Dunn works with his son as a security consultant. It's a neat touch having same actor nineteen years later play his son.

Dunn is a vigilante, walking the streets for criminals. He's trying to find the Beast and free the imprisoned girls. They face off, and I thought that would be a preview of things to come, but it really isn't. Dunn and the Beast are captured, but the cops are lined up outside with special lights to subdue the Beast and that's a fair amount of mobilization. How did they know where Dunn and the Beast were? How did they set all of that up and not try to rescue the kidnap victims directly? That wasn't spur of the moment. It's orchestrated and little problems like this plague the movie.

All of the marketing shows Mr. Glass, David Dunn, and the Beast in a psychiatric hospital. That's neat at first, but this is also where the movie starts to drag. I kept wondering where will this go. The doctor that has three days to treat them attempts to convince them they aren't super despite all the evidence to the contrary that the movie conveniently ignores. I have an issue with that, but the movie does address that later though it's pretty much an easy out.
There is an escape, and that's another issue. The escapees just walk past the guards. The security in this building isn't sufficient at all. There are large gaps that are present only to allow the story to progress. 

The movie takes a strange stance arguing that comic books are an almost historical document. It's shaky, and it's just as easy to say they are inspired by truth that is stranger than fiction, but this movie takes that a step too far claiming them to be a written record. The whole push to link this to comics could be removed and lose nothing. The exposition linking comics and the plot is always forced, and that exposition only increases as we get near the end.

This has some really nice shots that almost border on too flashy. The framing overpowers the scene as I'm thinking about what a cool angle it is rather than what's actually happening. Though this does have a few neat scenes, but they were never quite electric. Something Unbreakable managed well.
McAvoy does an amazing job switching characters. As good as he is, he still doesn't get enough credit.

Each of the three mains, Glass, Dunn, and the Beast have a side character that showed them kindness. I thought the movie would do more with the side characters and the theme of kindness and understanding. I wondered why these characters were even present. It's an interesting angle that doesn't play a part in anything which seems like a missed opportunity. Another opportunity missed is the "showdown" promised through unneeded exposition. The showdown is lackluster. I expected a really cool fight, not overblown and over the top like Marvel movies, but something smaller yet satisfying. It doesn't happen, and it's completely underwhelming.

You know this will have some kind of twist, but this is more of a reveal. I won't spoil it, but it does more harm than good. It seems poised to set up another movie, but I don't want that. As grounded as Unbreakable and Split were this stretches suspension of disbelief too far. You could strip this part from the movie and not lose anything. Keeping the story self contained instead of opening this up for another movie could have made the conclusion more effective. A solid ending could have really helped this.

Unbreakable (2000)

Believe it or not, I was completely unaware of the existence of Unbreakable until a couple of weeks ago when it came up in a conversation about Glass and me not being interested in seeing it. I wasn't that interested in seeing Unbreakable either, to be honest, but then I saw it on Netflix and decided to give it a chance. 

The story follows David Dunn (Bruce Willis), a security guard who not only is the sole survivor of a horrific train crash that killed 131 people but also got away without a single scratch on him. As David starts to wonder what has happened to him and why he was able to walk away like that, he is approached by Elijah Prince (Samuel L. Jackson), a mysterious stranger who has a very far fetched theory about it, that David is unbreakable.

The plot is pretty far fetched —it's a superhero movie, afterall— and has the potential to be very cheesy, but M. Night Shyamalan knows what he's doing and delivers an incredibly compelling and gripping origin story that gets you hooked right from the start —it is very fascinating to see David discovering his abilities and each revelation to him feels like a revelation to us as well—and keeps you glued to the screen until the end with its amazing twist that will leave you speechless even if you saw it coming —like I did.

The characters, while they could have used more development, specifically David's wife (Robin Wright) and son (Spencer Treat Clark) who are really, really shallow, are likeable and feel realistic and therefore we care about them and connect with them.

And the acting isn't bad either. Bruce Willis is believable as the average father and pessimistic security guard who is struggling to find his place in the world. He yet again plays the hero but this time around he is a more grounded, human man. Samuel L. Jackson does a wonderful job as Elijah, a passionate comic book art dealer. He plays a bit of an unusual character as Elijah is very polite in opposition to the loud and cursing characters he usually plays; that's why his performance sticks with you.

Buena Vista Pictures

What makes Unbreakable better than most comic book/superhero origin movies is that, instead of relying on action like these movies usually do, it relies on the interactions between the characters, and on the suspense and tension delivered through the mystery that unfolds as the plot moves forward. Yes, it is slower than your average comic book/superhero flick, but it is also a more fascinating and rewarding experience.

Ek Ladki Ko Dekha Toh Aisa Laga Review

In this article , we will be giving our review of the latest bollywood movie 'Ek Ladki Ko Dekha Toh Aisa Laga' starring Anil Kapoor , Sonam Kapoor , Rajkumar Rao and Juhi Chawla . 
 

EK LADKI KO DEKHA TOH AISA LAGA  Review

Ek ladki ko dekha toh aisa laga review

OVERVIEW

• The first mainstream Hindi film that, somewhat gives the required respect to the theme of same-sex love, Ek Ladki Ko Dekha Toh Aisa Laga is easy to relate to and grasp . 

• The second half is  a bit predictable . 

• The writing isn’t all top-grade, but this film has its heart in the right place and sometimes that’s all that really matters.

• The film aims to send out a message of “let love be” and “set love free” . 

RATING 

Overall Rating -  ★★★★  

( We know you love Mathematics . But this is not the right place to show off your skills . )

1. Story - ★★★1/2
2. Performance - ★★★★★
3. Screenplay - ★★★ 1/2
4. Dialogues - ★★★★  
5. Music -  ★★ 
6. Direction - ★★★★

PERFORMANCES

ANIL KAPOOR

Just love using the adjective 'Jhakaas' for Ak . Only he can do justice to this one . What an act . Livens the movie not just with his act ,  but his presence is enough . The adorable romantic comedy between Kapoor and Juhi Chawla is a sure-shot winner .

SONAM KAPOOR

Sonam Kapoor definitely needs an applause for choosing this film. Yes , she has been extremely experimental with her roles recently but this one raised the bar a lot more higher . 

Truly fearless . I beleive no other actor could have done the same amount of justice to the character of Sweety , as Sonam does .  

Ek ladki ko dekha toh aisa laga 

RAJKUMAR RAO 

Rajkumar is successful in delivering his mark even though among Anil Kapoor and Juhi Chawla . He brings smile to your faces whenever he is on the screen . Really happy to see him next in this one after 'Stree' (  I want to erase the '5wedings' memory from my mind ) .

JUHI CHAWLA

I wonder why she is'nt doing much films . She is so good . A scene stealer !!
 And her chemistry with Anil Kapoor is really interesting . Their innocent chemistry brought a genuine smile on my face  Hope we'll see more of her in the future . 

(I tried my best to explain their roles , but yaar "Inkebaare mein jitna bhi likho , kam hai ." )

REST  

Special mention to the Gifty Biji (you'll get it , once you have watched the movie ) , one more show stealer . 
The rest of the cast too has done their job pretty well .    

Dialogues

Dialogues by Ghazal Dhaliwal are sure shot winners . Specially in the first half  . Really quirky and straight to the point . Even the family drama scenes never felt boring . Such good are the dialogues . 

Music 

No one would be very interested in talking about the music of the film . I never expect a blockbuster album , but a decent one . Audience would remember only 2 songs when they are out of the theatres, title track 'Ek ladki' and 'Gud Naal' that too just because, they are remakes . Not much efforts from the makers to atleast add even a slightly rememberable new element . Disappointing !!  

Direction 

Shelly Chopra is really good at it . Handled the pressure really well , being a sister of the 'Blockbuster Producer' , Vidhu Vinod Chopra (Sanju , PK , 3 idiots , Munna Bhai) . 
Leaving aside 2-3 sequences ,  she has complete control over the movie . 
More respect for handling such a sensitive subject , the way it should be ,SENSIBLY .  

This is what Akshay Kumar has to say about the movie and the cast - 

"We just watched Ek Ladki Ko Dekha Toh Aisa Laga and in one word, it's brilliant. Anil Kapoor, Sonam Kapoor and Juhi Chawla great performances and aptly cast and Rajkummar Rao, what a role! Guys, do watch it, I loved it . Still thinking about this beautiful film, #EkLadkiKoDekhaTohAisaLaga - hats off to this woman! @sonamakapoor take a bow for making this film, deals with an important subject so wonderfully."

My Opinion 

• Hats off to the makers of the film for choosing such a topic . It needed attention . 
• But choosing the subject is'nt enough . Entertainment is the top most priority . 
• And this is where the makers need appreciation . How often do we see such great subjects being totally wasted because of less attention to other aspects . 
• Vidhu Chopra along with Shelly Chopra ensures that this movie replaces the 'Dostana' example whenver someone talks about 'same sex love' . 
• Definitely a mind opener for the mostly conservative Indian audience . Highly Recommended . 

FACTS

• Ek Ladki Ko Dekha Toh Aisa Laga is Sonam and Anil Kapoor's first film together.
• Director Shelly Chopra Dhar is the sister of producer Vidhu Vinod Chopra and this is their first collaboration .  
• The title 'Ek Ladki Ko Dekha Toh Aisa Laga' has been taken from Anil Kapoor's film only '1942 : A Love Story' . 

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