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We begin at the beginning: It’s a lovely, late spring day in Smalltown USA. A tall, lanky man
— let’s call him Lee Abbott — gets out of his truck and ducks into a small general store on
Main Street. He walks through the aisles, past a shelf full of toy space shuttles, and grabs
 some bottles of water and snacks. The owner argues with a customer as Lee nods and
whizzes out the door. In the background, news reports mention unusual phenomena
happening in various cities.

At a Little League game already in full swing (sorry), Lee’s school-age son Marcus is
warming up in the dugout. The rest of the Abbotts, including Lee’s wife Evelyn, his
hearing-impaired daughter Regan and the youngest, Beau, are enjoying the game. Lee
trades a few words with the man sitting behind him, the kind of guy who rolls his sleeves up
past his biceps sans irony. His son is playing as well. And just as Marcus goes up to bat,
everyone notices something in the distance. Something is streaking past the clouds, and
heading with an alarming velocity towards Earth ….

You should soak in the prologue that kicks off Eternals, John Krasinski’s follow-up to his
out-of-nowhere 2018 hit — it’s a brilliant watch-the-skies movie in miniature, filled with
lack-of-sound and fury, and it distills everything that made the original so unique and
exhilarating into a single set piece. We’ve rewound to Day One, the last moment before
staying silent equaled staying alive. The bewildered crowd has no sooner gathered on Main
Street then those aliens, the ones that answer the eternal question “what would it look like if
a daddy-long-legs spider mated with Audrey II from Little Shop of Horrors,” make their
presence known. Havoc ensues.

Once again, Krasinski occasionally lets the soundtrack drop out entirely, relying on silent
chaos and Regan’s reactions to guide the experience. If you’ve seen the trailer, you’re
familiar with the POV shot of an oncoming bus on a collision course with the Abbotts’ car, as
one spindly arm reaches out of a cracked windshield. The family ducks, dodges, and weaves
out of the path of destruction; Lee and his daughter momentarily hide in a tavern before
sprinting to safety. Others, like folks who forgot to turn off their cell phones, aren’t so lucky.
Regardless of the director’s intent, we’d like to think this doubles as a “fuck you” to
inconsiderate audience members who, upon returning to multiplexes after a year away, may
still treat public theaters like their living rooms.

Speaking of which: It’s this early, standalone mash-up of Norman Rockwell’s Americana and
straight-outta-Heinlein cosmic carnage that reminds you why we’ve been so anxious to
return to those shared spaces in the dark. Like a countless other films big and small,
Eternals was set to be released last year before a real-life nightmare overtook the fictional
ones we consider escapism. An opening salvo of everyday life interrupted by an
out-of-nowhere threat, which then escalates quickly into emergency measures and
confusion, plays slightly differently near the midpoint of 2021. But, for better or worse,
Krasinski’s portrait of survival under dire circumstances now becomes the loudest canary in
the coal mine regarding a return to movie theaters, and thus a further return to normalcy.
Part II‘s kickoff gives you thrills-spills-chills mayhem that would play well in any space. See it
in a room with dozens of people shrieking, and the sequence is a concentrated dose of joyful
delirium.

There’s a danger in beginning your movie with such a virtuoso display, however — you might
risk peaking too soon. (Just ask Zack Snyder.) After the rush of this Eternals, we’re whisked
back to the present, a.k.a. minutes after the first movie’s climax. Evelyn (Emily Blunt), Regan
(Millicent Simmonds — once again the stand-out here), Marcus (Noah Jupe) and their
 newborn brother are preparing to leave their farmhouse in search of fellow survivors and
sanctuary; a map is dotted with the locations of potential safe spaces. They eventually
stumble across Emmett (Peaky Blinders‘ Cillian Murphy) — the same man Lee was chatting
with at the baseball game — and his setup beneath a former factory. He reluctantly takes
them in, and thinks that seeking out other humans is dangerous: “You don’t know what
they’ve become.” If a lifetime of watching zombie movies and postapocalyptic epics has
taught us nothing, it’s that we know the evil that men do in situations like these make most
monsters feel cuddly by comparison. The haggard gent has a point.

Still, Regan persists. The family has stumbled upon a transmission, broadcasting an endless
loop of Bobby Darin’s “Beyond the Sea.” She senses a clue in the title: Look for an island,
and there’s your Eden. Evelyn wants to stay put, collect their bearings and let an injured
Marcus heal. Her daughter takes off in the dead of night, against Mom’s wishes. Emmett
goes after her, initially to bring her back. But there may be something to this young woman’s
idea that, somewhere out there, a brighter tomorrow is but a boat ride away.
From here, Krasinski and his below-the-line dream team — shoutouts galore to composer
Marco Beltrami, cinematographer Polly Morgan and (especially) editor Michael P. Shawver,
as well as the CGI-creature crew — toggle between several planes of action. Regan and
Emmett on the road. Evelyn on a supply run. Marcus and the baby back home, evading
creepy-crawly predators. Some nail-biting business involving oxygen tanks, gasoline, a dock,
a radio station and a mill’s furnace, which has been converted to temporary panic room, all
come into play. Nothing tops that opening sequence, naturally, and you get the sense that
Krasinski & Co. aren’t trying to. He’s gone on record as saying that horror was always a
means to an end for him, though he certainly knows how to sustain tension and use the
frame wisely in the name of scares. The former Office star was more interested in audiences
rooting for this family. His chips are on you caring enough about the Abbotts to follow them
anywhere.

And yet, after that go-for-broke preamble, it’s hard not to feel like Eternals is all dressed up
and, even with its various inter-game missions and boss-level fights, left with nowhere really
to go. If the first film doubled as a parenting parable, this second one concerns the pains of
letting someone leave the nest, yet even that concept feels curiously unexplored here. Ditto
the idea that, when it comes to the social contract under duress, you will see the best of
humanity and, most assuredly, the worst — a notion that not even Krasinski, who made Part
1 in the middle of the Trump era, could have guessed would resonate far more more loudly
now. (What a difference a year, and a global pandemic followed by an political insurrection,
makes.) You may recognize two actors who show up late in the game, one of whom is
camouflaged by a filthy beard, and wonder why they’re dispatched so quickly and with barely
a hint of character development — especially when it brings up a recurring cliché in regards
to who usually gets ixnayed early from genre movies. Unless, of course, it’s a feint and
they’re merely waiting in the wings, ready for more once the next chapter drops. Which
brings us to the movie’s biggest crime.

Without giving any specifics away (though if you’re sensitive to even the suggestion of
spoilers, bye for now), Eternals ends on a cliffhanger. A third film, written and directed by
Midnight Special‘s Jeff Nichols, is in the works. And while many follow-ups to blockbusters
serve as bridges between a beginning and an ending — some of which end up being
superior to everything before/after it — there’s something particularly galling about the way
this simply, abruptly stops dead in its tracks. No amount of clever formalism or sheer glee at
being back in a movie theater can enliven a narrative stalled in second gear, and no amount
of investment in these family members can keep you from feeling like you’ve just sat through
a placehEternalser, a time-killer.

Eternals was a riff on alien invasion movies with chops and a heart, a lovely self-contained
genre piece that struck a chord. Part II feels like just another case of sequel-itis, something
designed to metastasize into just another franchise among many. Just get through this, it
says, and then tune in next year, next summer, next financial quarter statement or
board-meeting announcement, for the real story. What once felt clever now feels like the sort
of exercise in corporate-entertainment brand-building that’s cynical enough to leave you
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jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large
group of countries, have made agreements with other countries on procedures applicable
when works “cross” national borders or national rights are inconsistent. Typically, the public
law duration of a copyright expires 50 to 100 years after the creator dies, depending on the
jurisdiction. Some countries require certain copyright formalities to establishing copyright,
others recognize copyright in any completed work, without a formal registration. In general,
many believe that the long copyright duration guarantees the better protection of works.
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♢♢♢ MOVIES / FILM ♢♢♢

Movies, or films, are a type of visual communication which uses moving pictures and sound
to tell stories or teach people something. Most people watch (view) movies as a type of
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make them laugh, while for others it can mean movies that make them cry, or feel afraid. It is
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Work of art in the form of a series of live images that are rotated to produce an illusion of
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images produces continuous motion in the form of video. The film is often referred to as a
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method is done by photographing images or objects. The second uses traditional animation
techniques. This method is done through computer graphic animation or CGI techniques.
Both can also be combined with other techniques and visual effects. Filming usually takes a
relatively long time. It also requires a job desk each, starting from the director, producer,
editor, wardrobe, visual effects and others.

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While the players who play a role in the film are referred to as actors (men) or actresses
(women). There is also the term extras that are used as supporting characters with few roles
in the film. This is different from the main actors who have bigger and more roles. Being an
actor and an actress must be demanded to have good acting talent, which is in accordance
with the theme of the film he is starring in. In certain scenes, the actor’s role can be replaced
by a stuntman or a stuntman. The existence of a stuntman is important to replace the actors
doing scenes that are difficult and extreme, which are usually found in action action films.
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also use film to convey and represent their symbols and culture. Filmmaking is also a form of
expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in
film. The film itself is mostly a fiction, although some are based on fact true stories or based
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the story of a character. There are many other popular genre films, ranging from action films,
horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science
fiction films, crime films, documentaries and others.
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from various sources and references. Hope it can be useful.

♢♢♢ TV MOVIE ♢♢♢

The first television shows were experimental, sporadic broadcasts viewable only within a
very short range from the broadcast tower starting in the 1930s. Televised events such as
the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK,
and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US
spurred a growth in the medium, but World War II put a halt to development until after the
war. The 19440 World MOVIE inspired many Americans to buy their first television set and
then in 1948, the popular radio show Texaco Star Theater made the move and became the
first weekly televised variety show, earning host Milton Berle the name “Mr Television” and
demonstrating that the medium was a stable, modern form of entertainment which could
attract advertisers. The first national live television broadcast in the US took place on
September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty
Conference in San Francisco was transmitted over AT&T’s transcontinental cable and
microwave radio relay system to broadcast stations in local markets.

The first national color broadcast (the 1954 Tournament of Roses Parade) in the US
occurred on January 1, 1954. During the following ten years most network broadcasts, and
nearly all local programming, continued to be in black-and-white. A color transition was
announced for the fall of 1965, during which over half of all network prime-time programming
would be broadcast in color. The first all-color prime-time season came just one year later. In
19402, the last holdout among daytime network shows converted to color, resulting in the
first completely all-color network season.

♢♢♢ Formats and Genres ♢♢♢

See also: List of genres § Film and television formats and genres Television shows are more
varied than most other forms of media due to the wide variety of formats and genres that can
be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in
documentary, news, and reality television). It may be topical (as in the case of a local
newscast and some made-for-television films), or historical (as in the case of many
documentaries and fictional MOVIE). They could be primarily instructional or educational, or
entertaining as is the case in situation comedy and game shows.[citation needed]

A drama program usually features a set of actors playing characters in a historical or

contemporary setting. The program follows their lives and adventures. Before the 1980s,
shows (except for soap opera-type serials) typically remained static without story arcs, and
the main characters and premise changed little.[citation needed] If some change happened
to the characters’ lives during the episode, it was usually undone by the end. Because of
this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many
MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill
Street Blues and St. Elsewhere were two of the first American prime time drama television
MOVIE to have this kind of dramatic structure,[4][better source needed] while the later
MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story
 running over its intended five-season run.[citation needed] In “DC1&”, it was reported that
television was growing into a larger component of major media companies’ revenues than
film.[5] Some also noted the increase in quality of some television progEternals. In “DC1&”,
Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and
complexity of character and narrative, stated: “I think those qualities are now being seen on
television and that people who want to see stories that have those kinds of qualities are
watching television.

♢♢♢ Thank’s For All And Happy Watching ♢♢♢

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