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Rick Rycroft/AP Show More Show Less 5 of6 Steve Johnson, brother of U.S. Scott White appeared in the New South Wales state Supreme Court for a sentencing hearing after he pleaded guilty in January to the murder of the Los Angeles-born Canberra resident Scott Johnson, whose death at the base of a North Head cliff was initially dismissed by police as suicide. Rick Rycroft/AP Show More Show Lessģ of6 4 of6 Steve Johnson, right, and his wife Rosemarie arrive at the Supreme Court in Sydney, Monday, May 2, 2022, for a sentencing hearing in the murder of Scott Johnson, Steve's brother. murder victim Scott Johnson, hugs his wife Rosemarie as they arrive at the Supreme Court in Sydney, Monday, May 2, 2022, for a sentencing hearing in the murder of Scott. Rick Rycroft/AP Show More Show Less 2 of6 Steve Johnson, brother of U.S. Spoiler alert: they land on the moon.1 of6 Steve Johnson, right, with his sisters, Terry, left, and Rebecca and his wife Rosemarie, second right, arrive at the Supreme Court in Sydney, Monday, May 2, 2022, for a sentencing hearing in the murder of Scott Johnson, Steve, Terry and Rebecca's brother.
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Nevertheless, this is a fantastic example of why most biopics should just be documentaries and why the fanatical fear of spoilers is a tad silly. Spare us the teary-eyed patriotism and the clips of Nixon, a disgraceful criminal, and vile racist, yammering on about the world becoming one. If there is any fault to find here, it is most definitely with the film’s MAGA style yearning for a time and place that never existed. The vibrant score adds a layer of ferocious tension, while the breakneck pace gives the feel of a rollercoaster ride. Not only does this film reinvigorate the moon landing with the power that it once held, but it does so in a way that is more thrilling than anything the Marvel CGI wizards could muster.
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It’s stunning to think that at one point or another we had collectively seen a bulk of the footage in this film, and yet somehow let it lay dormant until the moon landing had been reduced to black and white stills in our collective imaginations. What makes Apollo 11 stand out is its sharp minimalist approach, allowing the archival footage of the mission to the moon to speak for itself. Jonah Hill's directorial debut is beautiful in every sense of the word. The emotional range of the film will take the audience from the depths of empathy to laughing out loud, but there is no compromise to the weight of each moment. With a smaller dynamic range of color and the familiar dust/scratches, the 16mm film compliments gritty and emotional moments of Mid90s. Filmed in a 4:3 aspect ratio, Mid90s doesn't concern itself with grandiose filmography, but instead the aspect ratio almost reflects the tonal and metaphorical aspects played out on screen. From an opening of physical abuse to scenes of drug usage and traumatic experiences, Mid90s is a meditation not only on culture, but also a subtle examination of what it means to be human, to reach emotional and physical limitations, and to seek acceptance. Jonah Hill, writer and director, examines the complexities of trying to fit in and the difficult choices one has to embrace individualism. But instead of taking on the HIV crisis, Mid90s is a much more tender, poignant reflection on coming of age in 90's skate culture. It wouldn't be too far of a reach to evoke Kids (1995) while diving into Mid90s.
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