For the first time ever, an animated film won the Ace Eddie Best Edited Feature Film Award in the organization's 59-year history!
"Wall-e's" editor, Stephen Schaffer was awarded the comedy/musical trophy. In the drama category, "Slumdog Millionaire's" editor Chris Dickens earned top honors!
"Man On Wire's" Jinx Godfrey won for documentary.
Here's the complete list of the winners of the 59th annual Ace Eddie Awards:
Edited Feature Film (Dramatic)
.Slumdog Millionaire,. Chris Dickens
Edited Feature Film (Comedy Or Musical)
.Wall-e,. Stephen Schaffer
Edited Documentary
.Man on Wire,. Jinx Godfrey
Edited Half-hour Series For Television
.30 Rock: Reunion,. Meg Reticker
Edited One-hour Series For Commercial Television
.Breaking Bad: Pilot,. Lynne Willingham, A.C.E.
Edited One-hour Series For Non-commercial Television
.True Blood: Strange Love,. Michael Ruscio, A.C.E. and Andy Keir
Edited Miniseries Or Motion Picture For Non-commercial Television
.Recount,...
"Wall-e's" editor, Stephen Schaffer was awarded the comedy/musical trophy. In the drama category, "Slumdog Millionaire's" editor Chris Dickens earned top honors!
"Man On Wire's" Jinx Godfrey won for documentary.
Here's the complete list of the winners of the 59th annual Ace Eddie Awards:
Edited Feature Film (Dramatic)
.Slumdog Millionaire,. Chris Dickens
Edited Feature Film (Comedy Or Musical)
.Wall-e,. Stephen Schaffer
Edited Documentary
.Man on Wire,. Jinx Godfrey
Edited Half-hour Series For Television
.30 Rock: Reunion,. Meg Reticker
Edited One-hour Series For Commercial Television
.Breaking Bad: Pilot,. Lynne Willingham, A.C.E.
Edited One-hour Series For Non-commercial Television
.True Blood: Strange Love,. Michael Ruscio, A.C.E. and Andy Keir
Edited Miniseries Or Motion Picture For Non-commercial Television
.Recount,...
- 2/16/2009
- by Manny
- Manny the Movie Guy
Danny Boyle's Oscar-nominated movie Slumdog Millionaire has bagged another clutch of prizes - scooping top honours at separate awards dinners on Sunday.
Slumdog editor Chris Dickens was handed the best-edited feature film prize at the 59th annual American Cinema Editors (ACE) awards, at the Beverly Hilton Hotel in Los Angeles.
On the same night, Slumdog cinematographer Anthony Dod Mantle was honoured in the cinematic feature category at the prestigious American Society of Cinematographers (ASC) awards, at the Hyatt Regency Century Plaza Hotel in L.A.
The Dark Knight director Chris Nolan was also a winner at the ASC awards - he was presented with the ASC Board of Governors Award in recognition of his contribution to the filmmaking industry.
Screen legend Clint Eastwood was on hand to present the ASC Lifetime Achievement Award to his longtime collaborator Jack Green, while Donald McAlpine was the recipient of The ASC International Achievement Award. Robert Liu was given the Career Achievement in Television Award.
At the ACE Awards, Arthur Schmidt and Sidney Katz were awarded the Career Achievement prize, while Wall-E made history by becoming the first animated feature film to win an ACE award. The movie's editor Stephen Schaffer also won best edited feature comedy or musical.
Jinx Godfrey was presented with the best edited documentary award for Man on Wire, while Meg Reticker, Lynne Willingham, Michael Ruscio, Andy Keir and Scott Powell were honoured in the television categories.
Slumdog editor Chris Dickens was handed the best-edited feature film prize at the 59th annual American Cinema Editors (ACE) awards, at the Beverly Hilton Hotel in Los Angeles.
On the same night, Slumdog cinematographer Anthony Dod Mantle was honoured in the cinematic feature category at the prestigious American Society of Cinematographers (ASC) awards, at the Hyatt Regency Century Plaza Hotel in L.A.
The Dark Knight director Chris Nolan was also a winner at the ASC awards - he was presented with the ASC Board of Governors Award in recognition of his contribution to the filmmaking industry.
Screen legend Clint Eastwood was on hand to present the ASC Lifetime Achievement Award to his longtime collaborator Jack Green, while Donald McAlpine was the recipient of The ASC International Achievement Award. Robert Liu was given the Career Achievement in Television Award.
At the ACE Awards, Arthur Schmidt and Sidney Katz were awarded the Career Achievement prize, while Wall-E made history by becoming the first animated feature film to win an ACE award. The movie's editor Stephen Schaffer also won best edited feature comedy or musical.
Jinx Godfrey was presented with the best edited documentary award for Man on Wire, while Meg Reticker, Lynne Willingham, Michael Ruscio, Andy Keir and Scott Powell were honoured in the television categories.
- 2/16/2009
- WENN
"Slumdog Millionaire's" triumphant march across the Hollywood awards landscape continued Sunday night at the 59th annual Ace Eddie Awards, where the film's Chris Dickens took home the trophy for the best edited feature film drama.
At the American Cinema Editors awards dinner at the Beverly Hilton Hotel, "WALL-E" also made history for the organization by becoming the first animated feature film to win an Eddie, when its editor Stephen Schaffer captured the prize for best edited feature comedy or musical.
"Man on Wire," the documentary about tightrope-walker Philippe Petit, was named best edited documentary, with the award going to Jinx Godfrey.
Television winners included "30 Rock: The Reunion," edited by Meg Reticker; "Breaking Bad: Pilot," Lynne Willingham; "True Blood: Strange Love," Michael Ruscio and Andy Keir; "Recount," Alan Baumgarten; and "24: Redemption," Scott Powell.
For the second year, the awards added a best edited nonscripted/reality series category,...
At the American Cinema Editors awards dinner at the Beverly Hilton Hotel, "WALL-E" also made history for the organization by becoming the first animated feature film to win an Eddie, when its editor Stephen Schaffer captured the prize for best edited feature comedy or musical.
"Man on Wire," the documentary about tightrope-walker Philippe Petit, was named best edited documentary, with the award going to Jinx Godfrey.
Television winners included "30 Rock: The Reunion," edited by Meg Reticker; "Breaking Bad: Pilot," Lynne Willingham; "True Blood: Strange Love," Michael Ruscio and Andy Keir; "Recount," Alan Baumgarten; and "24: Redemption," Scott Powell.
For the second year, the awards added a best edited nonscripted/reality series category,...
- 2/16/2009
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
The American Cinema Editors chose The Curious Case of Benjamin Button, The Dark Knight, Milk, Slumdog Millionaire and Frost/Nixon to be nominated for top drama at the 59th annual Ace Eddie Awards.
Check their official website right here.
Winners for the Ace Eddie Awards will be announced Feb. 15th.
Here's the complete list of Ace nominees:
Feature Film (Dramatic):
The Curious Case of Benjamin Button. - Angus Wall & Kirk Baxter
The Dark Knight. - Lee Smith, A.C.E.
Frost/Nixon. - Mike Hill, A.C.E. & Dan Hanley, A.C.E.
Milk - Elliot Graham
Slumdog Millionaire - Chris Dickens
Feature Film (Comedy Or Musical):
.In Bruges. - Jon Gregory, A.C.E.
.Mamma Mia!. - Leslie Walker
.Tropic Thunder. - Greg Hayden
.Vicky Cristina Barcelona. - Alisa Lepselter...
Check their official website right here.
Winners for the Ace Eddie Awards will be announced Feb. 15th.
Here's the complete list of Ace nominees:
Feature Film (Dramatic):
The Curious Case of Benjamin Button. - Angus Wall & Kirk Baxter
The Dark Knight. - Lee Smith, A.C.E.
Frost/Nixon. - Mike Hill, A.C.E. & Dan Hanley, A.C.E.
Milk - Elliot Graham
Slumdog Millionaire - Chris Dickens
Feature Film (Comedy Or Musical):
.In Bruges. - Jon Gregory, A.C.E.
.Mamma Mia!. - Leslie Walker
.Tropic Thunder. - Greg Hayden
.Vicky Cristina Barcelona. - Alisa Lepselter...
- 1/12/2009
- by Manny
- Manny the Movie Guy
Sundance Film Festival
PARK CITY -- In "Marie and Bruce", a film version of Wallace Shawn's 1979 stage comedy about a bickering New York couple, tone is everything. Deadpan deliveries of cruel verbal abuse coupled with mock serious staging by director Tom Cairns give the film a touch of the absurd. Its extreme theatricality Will Divide audiences but probably not 50-50. This near-hallucinogenic journey through a single day in the lives of a forlorn married couple will alienate many, yet the perverse wit in Shawn's dialogue (Cairns shares in the adaptation credit) and droll portrayal of middle-class languor will tickle a select few.
While not quite as absurdist as, say, a Eugene Ionesco play, "Marie and Bruce" is not afraid to load the dialogue of its stars, Julianne Moore and Matthew Broderick, with unnatural, full-sentence verbiage that sounds at times like something a foreigner learning English might construct. The manner of their discourse is often abstract as if they are at an emotional removal from the heat and chill of their words.
The urban couple at the center of the story is seemingly at a cross roads in their lives -- but then again, maybe not. Addressing the audience, Marie Moore) informs us as the alarm clock hits 7 a.m. that she intends to leave Bruce (Broderick) this day. As she berates him over breakfast, he is curiously passive, hardly registering her hurtful words. He remains adoring as she grows more venomous.
They part company, and we follow each one's separate paths over the day. Her aggressiveness diminishes as she wanders aimlessly through city streets. In a touch of Harry Potter, she follows a large dog through an alley that transports her into a lush meadow surrounded by trees, where she sleeps peacefully.
Meanwhile, Bruce has lunch with his pal Roger (Bob Balaban), who chatters away on completely inane topics that nevertheless appear to fascinate Bruce. Later he half-heartedly tries to pick up a young woman but settles for a dingy hotel room by himself for a go at autoeroticism.
The couple meets up that evening at a cocktail party given by a friend. Here Bruce comes out of his shell to drink voluminously and flirt with others, while Marie settles into a mind-weary stupor. Will they break up? Will anyone care, including Bruce and Marie?
One gets the impression that Shawn isn't even sure of what he wants to say. The script falls short of satire but is equally unwilling to leap fully into the absurd. At times the dialogue seems to stem from the characters' subconscious and other times from the mischievous writer, commenting on his own characters.
Under Cairns' precise direction, the actors perform beautifully, which in this case means that we watch them act. Every gesture, every sentence is a performance. Cinematography, art and costume design point the film in different directions: The streets and interiors are all too real, but the lives lived within them are patently artificial, including fantasy sequences that mock the characters' dreary lives. At the end, one can almost feel the curtain coming down.
MARIE AND BRUCE
Holedigger Films
in association with Little Bird Development
Credits:
Director: Tom Cairns
Screenwriters: Wallace Shawn, Tom Cairns
Based on the play by: Wallace Shawn
Producer: George VanBuskirk
Executive producers: David Newman, Jerome Swartz, Joseph Caruso III, Julianne Moore, Jonathan Cavendish, Amy Robinson
Director of photography: Patrick Cady
Production designer: Susan Block
Music: Mark De Gli Antoni
Costume designer: Carol Oditz
Editor: Andy Keir
Cast:
Marie: Julianne Moore
Bruce: Matthew Broderick
Roger: Bob Balaban
Guy: Brian McConnachie
Frank: Tom Riis Farrell
Running time -- 87 minutes
No MPAA rating...
PARK CITY -- In "Marie and Bruce", a film version of Wallace Shawn's 1979 stage comedy about a bickering New York couple, tone is everything. Deadpan deliveries of cruel verbal abuse coupled with mock serious staging by director Tom Cairns give the film a touch of the absurd. Its extreme theatricality Will Divide audiences but probably not 50-50. This near-hallucinogenic journey through a single day in the lives of a forlorn married couple will alienate many, yet the perverse wit in Shawn's dialogue (Cairns shares in the adaptation credit) and droll portrayal of middle-class languor will tickle a select few.
While not quite as absurdist as, say, a Eugene Ionesco play, "Marie and Bruce" is not afraid to load the dialogue of its stars, Julianne Moore and Matthew Broderick, with unnatural, full-sentence verbiage that sounds at times like something a foreigner learning English might construct. The manner of their discourse is often abstract as if they are at an emotional removal from the heat and chill of their words.
The urban couple at the center of the story is seemingly at a cross roads in their lives -- but then again, maybe not. Addressing the audience, Marie Moore) informs us as the alarm clock hits 7 a.m. that she intends to leave Bruce (Broderick) this day. As she berates him over breakfast, he is curiously passive, hardly registering her hurtful words. He remains adoring as she grows more venomous.
They part company, and we follow each one's separate paths over the day. Her aggressiveness diminishes as she wanders aimlessly through city streets. In a touch of Harry Potter, she follows a large dog through an alley that transports her into a lush meadow surrounded by trees, where she sleeps peacefully.
Meanwhile, Bruce has lunch with his pal Roger (Bob Balaban), who chatters away on completely inane topics that nevertheless appear to fascinate Bruce. Later he half-heartedly tries to pick up a young woman but settles for a dingy hotel room by himself for a go at autoeroticism.
The couple meets up that evening at a cocktail party given by a friend. Here Bruce comes out of his shell to drink voluminously and flirt with others, while Marie settles into a mind-weary stupor. Will they break up? Will anyone care, including Bruce and Marie?
One gets the impression that Shawn isn't even sure of what he wants to say. The script falls short of satire but is equally unwilling to leap fully into the absurd. At times the dialogue seems to stem from the characters' subconscious and other times from the mischievous writer, commenting on his own characters.
Under Cairns' precise direction, the actors perform beautifully, which in this case means that we watch them act. Every gesture, every sentence is a performance. Cinematography, art and costume design point the film in different directions: The streets and interiors are all too real, but the lives lived within them are patently artificial, including fantasy sequences that mock the characters' dreary lives. At the end, one can almost feel the curtain coming down.
MARIE AND BRUCE
Holedigger Films
in association with Little Bird Development
Credits:
Director: Tom Cairns
Screenwriters: Wallace Shawn, Tom Cairns
Based on the play by: Wallace Shawn
Producer: George VanBuskirk
Executive producers: David Newman, Jerome Swartz, Joseph Caruso III, Julianne Moore, Jonathan Cavendish, Amy Robinson
Director of photography: Patrick Cady
Production designer: Susan Block
Music: Mark De Gli Antoni
Costume designer: Carol Oditz
Editor: Andy Keir
Cast:
Marie: Julianne Moore
Bruce: Matthew Broderick
Roger: Bob Balaban
Guy: Brian McConnachie
Frank: Tom Riis Farrell
Running time -- 87 minutes
No MPAA rating...
Sundance Film Festival
PARK CITY -- In "Marie and Bruce", a film version of Wallace Shawn's 1979 stage comedy about a bickering New York couple, tone is everything. Deadpan deliveries of cruel verbal abuse coupled with mock serious staging by director Tom Cairns give the film a touch of the absurd. Its extreme theatricality Will Divide audiences but probably not 50-50. This near-hallucinogenic journey through a single day in the lives of a forlorn married couple will alienate many, yet the perverse wit in Shawn's dialogue (Cairns shares in the adaptation credit) and droll portrayal of middle-class languor will tickle a select few.
While not quite as absurdist as, say, a Eugene Ionesco play, "Marie and Bruce" is not afraid to load the dialogue of its stars, Julianne Moore and Matthew Broderick, with unnatural, full-sentence verbiage that sounds at times like something a foreigner learning English might construct. The manner of their discourse is often abstract as if they are at an emotional removal from the heat and chill of their words.
The urban couple at the center of the story is seemingly at a cross roads in their lives -- but then again, maybe not. Addressing the audience, Marie Moore) informs us as the alarm clock hits 7 a.m. that she intends to leave Bruce (Broderick) this day. As she berates him over breakfast, he is curiously passive, hardly registering her hurtful words. He remains adoring as she grows more venomous.
They part company, and we follow each one's separate paths over the day. Her aggressiveness diminishes as she wanders aimlessly through city streets. In a touch of Harry Potter, she follows a large dog through an alley that transports her into a lush meadow surrounded by trees, where she sleeps peacefully.
Meanwhile, Bruce has lunch with his pal Roger (Bob Balaban), who chatters away on completely inane topics that nevertheless appear to fascinate Bruce. Later he half-heartedly tries to pick up a young woman but settles for a dingy hotel room by himself for a go at autoeroticism.
The couple meets up that evening at a cocktail party given by a friend. Here Bruce comes out of his shell to drink voluminously and flirt with others, while Marie settles into a mind-weary stupor. Will they break up? Will anyone care, including Bruce and Marie?
One gets the impression that Shawn isn't even sure of what he wants to say. The script falls short of satire but is equally unwilling to leap fully into the absurd. At times the dialogue seems to stem from the characters' subconscious and other times from the mischievous writer, commenting on his own characters.
Under Cairns' precise direction, the actors perform beautifully, which in this case means that we watch them act. Every gesture, every sentence is a performance. Cinematography, art and costume design point the film in different directions: The streets and interiors are all too real, but the lives lived within them are patently artificial, including fantasy sequences that mock the characters' dreary lives. At the end, one can almost feel the curtain coming down.
MARIE AND BRUCE
Holedigger Films
in association with Little Bird Development
Credits:
Director: Tom Cairns
Screenwriters: Wallace Shawn, Tom Cairns
Based on the play by: Wallace Shawn
Producer: George VanBuskirk
Executive producers: David Newman, Jerome Swartz, Joseph Caruso III, Julianne Moore, Jonathan Cavendish, Amy Robinson
Director of photography: Patrick Cady
Production designer: Susan Block
Music: Mark De Gli Antoni
Costume designer: Carol Oditz
Editor: Andy Keir
Cast:
Marie: Julianne Moore
Bruce: Matthew Broderick
Roger: Bob Balaban
Guy: Brian McConnachie
Frank: Tom Riis Farrell
Running time -- 87 minutes
No MPAA rating...
PARK CITY -- In "Marie and Bruce", a film version of Wallace Shawn's 1979 stage comedy about a bickering New York couple, tone is everything. Deadpan deliveries of cruel verbal abuse coupled with mock serious staging by director Tom Cairns give the film a touch of the absurd. Its extreme theatricality Will Divide audiences but probably not 50-50. This near-hallucinogenic journey through a single day in the lives of a forlorn married couple will alienate many, yet the perverse wit in Shawn's dialogue (Cairns shares in the adaptation credit) and droll portrayal of middle-class languor will tickle a select few.
While not quite as absurdist as, say, a Eugene Ionesco play, "Marie and Bruce" is not afraid to load the dialogue of its stars, Julianne Moore and Matthew Broderick, with unnatural, full-sentence verbiage that sounds at times like something a foreigner learning English might construct. The manner of their discourse is often abstract as if they are at an emotional removal from the heat and chill of their words.
The urban couple at the center of the story is seemingly at a cross roads in their lives -- but then again, maybe not. Addressing the audience, Marie Moore) informs us as the alarm clock hits 7 a.m. that she intends to leave Bruce (Broderick) this day. As she berates him over breakfast, he is curiously passive, hardly registering her hurtful words. He remains adoring as she grows more venomous.
They part company, and we follow each one's separate paths over the day. Her aggressiveness diminishes as she wanders aimlessly through city streets. In a touch of Harry Potter, she follows a large dog through an alley that transports her into a lush meadow surrounded by trees, where she sleeps peacefully.
Meanwhile, Bruce has lunch with his pal Roger (Bob Balaban), who chatters away on completely inane topics that nevertheless appear to fascinate Bruce. Later he half-heartedly tries to pick up a young woman but settles for a dingy hotel room by himself for a go at autoeroticism.
The couple meets up that evening at a cocktail party given by a friend. Here Bruce comes out of his shell to drink voluminously and flirt with others, while Marie settles into a mind-weary stupor. Will they break up? Will anyone care, including Bruce and Marie?
One gets the impression that Shawn isn't even sure of what he wants to say. The script falls short of satire but is equally unwilling to leap fully into the absurd. At times the dialogue seems to stem from the characters' subconscious and other times from the mischievous writer, commenting on his own characters.
Under Cairns' precise direction, the actors perform beautifully, which in this case means that we watch them act. Every gesture, every sentence is a performance. Cinematography, art and costume design point the film in different directions: The streets and interiors are all too real, but the lives lived within them are patently artificial, including fantasy sequences that mock the characters' dreary lives. At the end, one can almost feel the curtain coming down.
MARIE AND BRUCE
Holedigger Films
in association with Little Bird Development
Credits:
Director: Tom Cairns
Screenwriters: Wallace Shawn, Tom Cairns
Based on the play by: Wallace Shawn
Producer: George VanBuskirk
Executive producers: David Newman, Jerome Swartz, Joseph Caruso III, Julianne Moore, Jonathan Cavendish, Amy Robinson
Director of photography: Patrick Cady
Production designer: Susan Block
Music: Mark De Gli Antoni
Costume designer: Carol Oditz
Editor: Andy Keir
Cast:
Marie: Julianne Moore
Bruce: Matthew Broderick
Roger: Bob Balaban
Guy: Brian McConnachie
Frank: Tom Riis Farrell
Running time -- 87 minutes
No MPAA rating...
- 1/21/2004
- The Hollywood Reporter - Movie News
NEW YORK -- One of the leading political figures of our age is profiled in this comprehensive and authorized documentary, which offers an unusually intimate portrait of a leader who is usually depicted as more of an icon than a man. A film of historical as well as cinematic importance, Jo Menell and Angus Gibson's "Mandela" should do well theatrically before enjoying a long life on video and cable. Recently showcased in the New York Film Festival, it's due for theatrical release in March.
The filmmakers were granted an amazing degree of access, with the result that Mandela's humanity is stressed as much as his politics. Although it offers a fairly comprehensive portrait of the political developments in South Africa in the past 50 years, the film will be best appreciated by those already familiar with the history. "Mandela" should become a staple in schools and colleges.
The film combines amazing archival footage -- including an interview with a bearded, heavier Mandela that was conducted when he was in hiding in the early 1960s -- with an up-close-and-personal look at the man today. He is interviewed at great length, in tight close-up, and he narrates a tour of locales that hold significant importance for him, from his ancestral grave site to the prison where he spent 27 years. There is also commentary, most of it admiring, from various friends, colleagues and family members.
Despite the closeness of the portrait, Mandela emerges as no less an amazing figure, with his dignity, modesty and gentle humor shining as brightly as his passion and integrity. Still, the film doesn't shy away from mentioning the less-attractive aspects of his personality, such as the callous way he treated his first wife, who adds her comments.
Adding the appropriate flavor is the musical score, which includes contributions by many prominent South African musicians.
MANDELA
Island Pictures
Clinica Estetico Prods.
Directors Jo Menell, Angus Gibson
Producers Jonathan Demme, Edward Saxon,
Jo Menell
Executive producers Chris Blackwell,
Dan Genetti
Co-producer Peter Saraf
Photography Dewald Aukema,
Peter Tischauser
Editor Andy Keir
Music Cedric Gradus Samson with
Hugh Masakela
Color/stereo
Running time -- 120 minutes
No MPAA rating...
The filmmakers were granted an amazing degree of access, with the result that Mandela's humanity is stressed as much as his politics. Although it offers a fairly comprehensive portrait of the political developments in South Africa in the past 50 years, the film will be best appreciated by those already familiar with the history. "Mandela" should become a staple in schools and colleges.
The film combines amazing archival footage -- including an interview with a bearded, heavier Mandela that was conducted when he was in hiding in the early 1960s -- with an up-close-and-personal look at the man today. He is interviewed at great length, in tight close-up, and he narrates a tour of locales that hold significant importance for him, from his ancestral grave site to the prison where he spent 27 years. There is also commentary, most of it admiring, from various friends, colleagues and family members.
Despite the closeness of the portrait, Mandela emerges as no less an amazing figure, with his dignity, modesty and gentle humor shining as brightly as his passion and integrity. Still, the film doesn't shy away from mentioning the less-attractive aspects of his personality, such as the callous way he treated his first wife, who adds her comments.
Adding the appropriate flavor is the musical score, which includes contributions by many prominent South African musicians.
MANDELA
Island Pictures
Clinica Estetico Prods.
Directors Jo Menell, Angus Gibson
Producers Jonathan Demme, Edward Saxon,
Jo Menell
Executive producers Chris Blackwell,
Dan Genetti
Co-producer Peter Saraf
Photography Dewald Aukema,
Peter Tischauser
Editor Andy Keir
Music Cedric Gradus Samson with
Hugh Masakela
Color/stereo
Running time -- 120 minutes
No MPAA rating...
- 10/16/1996
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.