Get the latest news on celebrity scandals, engagements, and divorces! Watch The Hot Potato Online Goodvideohost here. Check out our breaking stories on Hollywood?s hottest stars! A secret room hidden in Destiny 2's Tower suggests a conspiracy in the game's universe - could this be a clue of a future story? Share this Rating. Title: Poison Ivy: The Secret Society (TV Movie 2008) 4.4 /10. Want to share IMDb's rating on your own site? Superheroes and secret identities go together like peanut butter and jelly. Unfortunately, so does blabbing about those secret identities and regret.

If we've ever made you laugh or think, we now have a way where you can thank and support us! Your movie has begun and things are occurring, but now you need to convey. First teased in a secret midnight screening at the Sundance Film Festival, “Get Out” represents a searing political statement wrapped in the guise of a more. I only remember one practical writing lesson from my three years as an English major: Whenever you can, put the best bits at the end of the sentence. Put the next. When the 1982 Swamp Thing movie was getting underway, costume designer William Munns debated whether to give the plant hero a penis. The dong analogue didn’t wind.

Character Japanese voice actor English UK voice actor (StudioCanal, 2011) English US voice actor (Disney, 2012) Arrietty (アリエッティ, Arietti). As “It” hits theaters, we rank every Stephen King film adaptation, from “The Shining” to “Pet Sematary.”.

Arrietty - Wikipedia. Arrietty, titled The Borrower Arrietty(Japanese: 借りぐらしのアリエッティ,Hepburn: Kari- gurashi no Arietti) in Japan and The Secret World of Arrietty in North America, is a 2. Japanese animated fantasy film produced by Studio Ghibli and directed by Hiromasa Yonebayashi as his feature film debut as a director. The novel was adapted as a screenplay by Hayao Miyazaki and Keiko Niwa,[2] based on The Borrowers by Mary Norton, an English author of children's books, about a family of tiny people who live secretly in the walls and floors of a typical household, borrowing items from humans to survive. The film stars the voices of Mirai Shida, Ryunosuke Kamiki, Shinobu Otake, Keiko Takeshita, Tatsuya Fujiwara, Tomokazu Miura, and Kirin Kiki, and tells the story of a young Borrower (Shida) befriending a human boy (Kamiki), while trying to avoid being detected by the other humans. Ghibli announced the film in late 2.

Yonebayashi making his directorial debut. Miyazaki supervised the production as a developing planner.[3] The voice actors were approached in April 2. Cécile Corbel wrote the film's score as well as its theme song.

The film was released in Japan on 1. July 2. 01. 0, Arrietty received very positive reviews, praising the animation and music. It became the highest grossing Japanese film at the Japanese box office for the year 2. The film also won the Animation of the Year award at the 3.

Japan Academy Prize award ceremony.[5] Two English language versions of the film were produced, a British dub distributed and released by Studio. Canal in the United Kingdom on 2. July 2. 01. 1, and an American dub released by Walt Disney Pictures in North America on 1. February 2. 01. 2. A boy named Shō tells the audience he still remembers the week in summer he spent at his mother's childhood home with his maternal great aunt, Sadako, and the house maid, Haru. When Shō arrives at the house on the first day, he sees a cat, Niya, trying to attack something in the bushes but it gives up after it is attacked by a crow.

Shō gets a glimpse of Arrietty, a young Borrower girl, returning to her home through an underground air vent. At night, Arrietty's father, Pod, takes her on her first "borrowing" mission, to get sugar and tissue paper. After obtaining a sugar cube from the kitchen, they travel inside a hollow wall to a bedroom which they enter through an intriguing dollhouse with working electric lights and kitchen utensils. However, it is Shō's bedroom; he lies awake and sees Arrietty when she tries to take a tissue from his night table.

Startled, she drops the sugar cube. Shō tries to comfort her, but Pod and Arrietty quietly leave and go home. The next day, Shō puts the sugar cube and a little note beside the air vent where he first saw Arrietty. Pod warns Arrietty not to take it because their existence must be kept secret from humans. Nevertheless, she sneaks out to visit Shō in his bedroom. She drops the sugar cube on the floor, letting him know that she is there.

Without showing herself, she tells Shō to leave her family alone and that they do not need his help. On her return, Arrietty is intercepted by her father. Realizing they have been detected, Pod and his wife Homily decide that they must move out. Shō learns from Sadako that some of his ancestors had noticed the presence of Borrowers in the house and had the dollhouse custom- built for them.

The Borrowers had not been seen since, however. Pod returns injured from a borrowing mission and is helped home by Spiller, a Borrower boy he met on the way. He informs them that there are other places the Borrowers could move to. While Pod is recovering, Shō removes the floorboard concealing the Borrower household and replaces their kitchen with the kitchen from the dollhouse, to show he hopes them to stay.

However, the Borrowers are frightened by this and instead speed up their moving process. After Pod recovers, he goes to explore possible new living quarters. Arrietty goes to bid farewell to Shō, but in the course of the conversation he suggests to her that the Borrowers are becoming extinct. Arrietty tells him fiercely that they will not give up so easily. Shō apologises that he has forced them to move out and reveals he has had a heart condition since birth and will have an operation in a few days.

The operation does not have a good chance of success. He believes that there is nothing he can do about it, saying that eventually every living thing dies. While Sadako is out, Haru notices the floorboards have been disturbed. She unearths the Borrowers' house and captures Homily.

Alerted by her mother's screams, Arrietty leaves Shō in the garden and goes to investigate. Saddened by her departure, Shō returns to his room. Haru locks him in and calls a pest removal company to capture the other Borrowers alive. Arrietty comes to Shō for help; they rescue Homily and he destroys all traces of the Borrowers’ presence. On their way out during the night, the Borrowers are spotted by the cat Niya. Sleepless, Shō goes into the garden for a stroll and the cat leads him to the “river”, where the Borrowers are waiting for Spiller to take them further. Shō gives Arrietty a sugar cube and tells her that her courage and the Borrowers' fight for survival have made him want to live through the operation.

Arrietty gives him her hair clip as a token of remembrance. The Borrowers leave in a floating teapot with Spiller. The Disney international dubbed version contains a final monologue, where Shawn states that he never saw Arrietty again and returned to the home a year later, indicating that the operation had been successful. He is happy to hear rumors of objects disappearing in his neighbors' homes. Production[edit]Development[edit]On December 1. Studio Ghibli announced Karigurashi no Arrietty as their film for next year.[1.

This film is based on the novel The Borrowers by the British writer Mary Norton.[1. The novel won the Carnegie Medal for children's literature in 1. TV series at the time. Studio Ghibli founders Isao Takahata and Hayao Miyazaki had been contemplating an adaptation of this novel for around 4. The director of the film was announced as the animator Hiromasa Yonebayashi on the same day.[1. Hiromasa Yonebayashi was one of the animators for the Studio Ghibli films Howl's Moving Castle, Ponyo, and Spirited Away.[1. He was also the reserve director for the film Tales from Earthsea.[1.

Miyazaki was announced as the production planner for the film.[1. Casting[edit]The Japanese voice cast of the film was announced on April 1.

Actress Mirai Shida was cast as the voice of Arrietty.[1. Arrietty was Shida's first voice acting role.[1. In addition, Ryunosuke Kamiki, who has voiced characters in other Studio Ghibli films, including Spirited Away, and Howl's Moving Castle was cast as Sho.[1. Besides them, the film’s cast includes Tomokazu Miura, Shinobu Otake, Keiko Takeshita, and Kirin Kiki.[1. The four actors have previous voice acting experience, but none of them have been in a Studio Ghibli film before.[1.

Miura and Otake were respectively cast as Arrietty's parents Pod and Homily.[1. In addition, Takeshita voiced Sho's aunt and Kiki voiced one of the helpers in the human family.[1. On January 8, 2. 01. Bridgit Mendler was cast as Arrietty for the film's North American release.[9] Besides Mendler, the cast included Will Arnett, Amy Poehler, Carol Burnett, and David Henrie.[8] The film had a different voice cast for the United Kingdom release.[7] The cast included Saoirse Ronan, Tom Holland, Mark Strong, Olivia Colman, Phyllida Law, and Geraldine Mc.

Ewan.[7]Arrietty's Song[edit]"Arrietty's Song" is a song performed by French recording artist musician Cécile Corbel. Corbel also performed the film's theme song, "Arrietty's Song", in Japanese, English, German, Italian and Breton.

Background[edit]Corbel became known to Ghibli filmmakers when she sent them a fan letter showing her appreciation of their films, together with a copy of her own album.[1.

Film Review: ‘Get Out’ – Variety“Guess Who’s Coming to Dinner” meets “The Stepford Wives” in “Get Out,” in which a white girl brings her black boyfriend home to meet her parents, whose superficially warm welcome masks an unthinkably dark secret. Blending race- savvy satire with horror to especially potent effect, this bombshell social critique from first- time director Jordan Peele proves positively fearless — which is not at all the same thing as scareless. In fact, from the steady joy- buzzer thrills to its terrifying notion of a new way that white people have found to perpetuate the peculiar institution of slavery, “Get Out” delivers plenty to frighten and enrage audiences. But it’s the fact that Peele doesn’t pull a single one of his punches that makes his Blumhouse- backed debut a must- see event. First teased in a secret midnight screening at the Sundance Film Festival, “Get Out” represents a searing political statement wrapped in the guise of a more innocuous genre: the escape- the- crazies survival thriller, à la “Deliverance” or “The Wicker Man,” where sympathetic characters are held captive by a deranged cult. Except in this case, the crazies are the liberal white elite, who dangerously overestimate the degree of their own enlightenment — which means that Peele hasn’t gone after the easy target (assumed- racist Trump voters) but the same group that voted for Obama (and would’ve elected him to a third term, if they could). In theory, horror may seem like a stretch for Peele (one half of the “Key and Peele” sketch- comedy duo), and yet both genres feed on the desire to provoke a physical reaction from audiences.

In “Get Out,” the protagonist, a dark- skinned black man named Chris (Daniel Kaluuya, most recently seen in “Sicario”), is an up- and- coming big- city photographer who’s been dating a white girl, Rose (Allison Williams of “Girls”), for five months — long enough that he can’t wriggle out of an invitation to visit her family, even if the thought makes him nervous. Do they know I’m black?” he asks.

Their love is color- blind, but the world isn’t — and Chris is rightfully wary of how other people might react to seeing them together. When they get to her folks’ house, however, the Armitage family’s reception couldn’t be warmer. Played by Catherine Keener and Bradley Whitford, her parents are a hypnotherapist and a neurosurgeon, who welcome Chris into their tastefully furnished home without so much as batting an eye. But there’s something off about the help. Live- in handyman Walter (Marcus Henderson) and housekeeper Georgina (Betty Gabriel) are the only black people for miles around, and to Chris’ eyes, they seem just a little too obedient, moving in an almost lobotomized daze. When not busy with chores, Walter runs at top speed around the estate, while Georgina wastes long hours gazing at her own reflection — zombie- like behaviors whose significance will eventually be revealed, but strike Chris (and the audience) as more than a little unsettling in the meantime.

Equally unnerving are Chris’ hyper- polite interactions with Mr. Mrs. Armitage, who pretend not to notice their guest’s skin color, while secretly congratulating themselves on how accepting they are, as when Rose’s father shares how proud he is that his dad ran alongside Jesse Owens in the 1.

Olympics, where the gold- medalist’s wins put Hitler in his place — clearly not an opinion he would feel compelled to share if Chris were white. It all strikes the young man as weird, though Chris is obliged to smile and nod, while his only way to reality- check the situation is to ask Rose (who’s convinced that he’s reading too much into everything), or else to call his black best friend, a worst- case- scenario- inclined TSA officer played by comedian Lil Rel Howery. Rose’s advice: Relax. Their ill- timed visit coincides with a big annual gathering, which brings a bunch of rich people over for a picnic — all of them white, except for a token Asian and one other “brother” (Lakeith Stanfield), whom audiences have seen abducted in the film’s tone- setting opening scene. The Armitages’ friends also seem far more accepting of Chris than he would have anticipated, though their questions leave him feeling uncomfortable, and when he presses Stanfield’s character for his take on the situation, the guy snaps, uttering the unheeded warning of the film’s title. By this time, however, Chris has gotten in too deep, as the feel of “Get Out” shifts from eerie suspense- setting to full- on horror- movie mode — though it should be said that Peele has effectively kept audiences on edge since the beginning, sending occasional jolts through the crowd that, once viewers realize they’ve been tweaked, translate into appreciative “you got us!” laughs.

Practically all horror movies use humor to modulate the tension, but Peele takes it further, carving out room for full- blown comedy to coexist alongside the increasingly unsettling mystery of what the Armitages have in store for their guest. The disconcerting score and occasional jump- scares have been there all along, but it’s not until Chris awakens to find himself officially held captive that the movie finally starts to really feel like a Blumhouse production — and Peele relishes how over- the- top he can finally go. By this point, audiences have come to realize whom Chris must kill to get out, and that struggle is pitched at such a degree that audiences actually cheer as he gorily eliminates the white people who stand in his way. Call it payback for all the expendable black characters that Hollywood horror movies have given us over the years.

Here’s a movie in which a person of color actually makes it to the closing credits, though Peele might question whether that qualifies as a happy ending. Clearly, “Get Out” will play very differently to black and white audiences — and if the film doesn’t rile a significant contingent of the latter, it simply isn’t doing its job. But there’s something telling in the underlying anxiety that Peele’s script exploits, from the opening scene (in which an uneasy black man walking alone in a predominately white suburb recalls the fate of Trayvon Martin) to the last, when the arrival of a police car suggests a near- certain turn for the worse. What a watershed feat Peele has pulled off, delivering such a gloriously twisted thriller that simultaneously has so much to say about the state of affairs in post- Obama America. Get Out” goes there, so to speak, and though one could argue that it crosses the line, the film’s subversive p.

By revealing how the ruling majority gives freedoms, but they can also take them away, Peele seizes upon more than just a terrifying horror- movie premise; he exposes a reality in which African- Americans can never breathe easy.