Movement is about. It is exactly what America needs to see right now. It's the most evocative and redemptive documentary because it links the heart of Father God and the ultimate hope for us all When fathers are doing the job we are called to do, most of that crud goes away.
Grab your family. Grab some other dads. Mark your calendar for the premiere of Show Me the Father, September This movie had us riveted from the first minute and cheering, yes, we actually jumped out of our seats toward the end. The time for this critical message is right now for our society. Every family needs to see it and act as God leads. You, and all those you know and love, need to see this film.
Bob Reccord, Author, National Speaker. It's time for the resurgence of Christ-filled, Godly fathers and Affirm Films is inspiring the great awakening of the power of dad.
Go see this film. Study it and unleash the power of God's call for true, loving, and courageous fatherhood for a broken, directionless world. Shanan E. Jones, M. Former Lifeway Men's Ministry Leader. I can see God using it like their other movies, with this one possibly causing a revival among dads of all ages.
I came away moved, motivated, and convicted! There are options and different ways that men can become positive influences in fatherless children that then changes lives and future generations.
Without reserve I heartily recommend this movie for all to see and share. So powerful. A must see. For those who may or may not be struggling with an estranged father, an absent father, or even a deceased father, this film reminds us that we can find rest knowing our Heavenly Father will take care of us and He can provide us with someone in the earthly realm to fill that void. Knowing we have a Heavenly Father that will step in and step up in their place is not only reassuring, but can offer a true peace that only God Himself can offer.
However, the women explored in each segment are hardly defined by their success in securing a happy union. Both Wheel of Fortune and Fantasy and Drive My Car incorporate themes of the erotic thrill of crafting a narrative, the power in playing pretend, and the malleable and ever-transmogrifying nature of human relationships.
Jim Cummings tends to play men who refuse to lose control. His characters feel similar, but then so do many white, cisgender, heterosexual, elder millennial men—unable to wield power over their domain, they flail belligerently through these, their End Times. They find closure in slapping around a corpse Thunder Road , or they turn to folklore and cryptozoology to explain a world they no longer understand at all The Wolf of Snow Hollow. Everything is terrifying, everyone is watching, and the least noble thing any of them can do as the teeth rot from their mouths is rage against a universe that no longer wants them.
A white millennial man cornered by obsolescence—or worse, an obsolescence no one gives much of a shit about—will scratch and whine for scraps of satisfaction. Just any iota that someone gives about what he wants—that he matters. And his handle on genre remains deft but slippery. Which is much funnier than it sounds. Because everyone is watching and everything is terrifying. The Beta Test never attempts to refute how lame Jordan is, how ineffectually he inhabits this plane of existence, how much of a baby he is, how unhelpful he will be as the planet devolves into the kind of chaos where violence and oblivion just occur in the background.
His medieval epic based on the book of the same name by Eric Jager—concerning the last judicial duel of France—is conveyed across three chapters. In a narrative device easily comparable to Rashomon , another film which details the conflicting accounts surrounding a rape, the script co-penned by stars Matt Damon and Ben Affleck alongside Nicole Holofcener , sends us back to the beginning three times. The Last Duel retreads the path already taken, but each occasion with a different guide.
In some instances, diplomatic actions become violent ones, off-handed glances become indicative of deceit, relationships drastically change, words take on different meanings, and the world is suddenly observed as if we were seeing it for the very first time. Which is why, when we are introduced to the knight Jean de Carrouges Damon , we come face-to-face with a grizzled, esteemed war hero. He charges into a brutal battle and valiantly hacks away at the enemy forces.
Spears enter chests, viscera is sliced, blood sprays to near-comical effect. But as the narrative shifts over, we understand that this is not entirely true. And in the eyes of Marguerite, Carrouges is nothing but a brute she was forced to love, and le Gris is a lustful freak to whom she is only superficially attracted.
The character is handled elegantly by Comer, who carries Marguerite with composure masking the ubiquitous glint of terror in her eyes; the quivering yet entirely routine fear of a person whose personhood has been rendered negligible from birth. Delivery to your home or office Monday to Saturday FT Weekend paper — a stimulating blend of news and lifestyle features ePaper access — the digital replica of the printed newspaper.
Team or Enterprise Premium FT. Pay based on use. Does my organisation subscribe? Group Subscription. Premium Digital access, plus: Convenient access for groups of users Integration with third party platforms and CRM systems Usage based pricing and volume discounts for multiple users Subscription management tools and usage reporting SAML-based single sign-on SSO Dedicated account and customer success teams.
PPP loans have received some updates and clarifications. Right now, both of those are dead in the water. The primary variable costs are going to be hourly payroll and film rent. Rent, of course, is a huge one as well.
AMC has among the highest occupancy costs that are out there. Cineworld, a bit behind them. Ron has been in the movie theater exhibition industry for over 30 years. Prior to Southern, Ron was president for 14 years of Wehrenberg Theatres, a regional theater exhibitor based in Saint Louis with screens across four states.
Ron is also an Advisory Board Member at National Association of Theatre Owners, the largest exhibition trade organization in the world, representing roughly 32, movie screens in all 50 states, and additional cinemas in countries worldwide.
0コメント