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Abstract=A woman seeks revenge against those who orchestrated a plane crash that killed her family
Average Rating=6,1 of 10 Star
creators=Mark Burnell
Daniel Mays
Genres=Drama
directed by=Reed Morano

“She can do my eyebags in 15 minutes” Hi Id like to volunteer as tribute. All natural eyebags for u, will take no time to install.
This movie might be good but this trailer is edited so badly.

0:20 so this is the background story of L from death note. With apologies to Leiber and Stoller, Ill start my review sung to Elvis: Numb right after 7:00, when I went to see The stupidest revenge flick I ever did see It was dumber, oh boy, than Chitty Chitty Bang Bang This whole “Rhythm Section” with stupid terrorist gangs — Im gonna mock. Everybody, will mock. Everybody in the whole cinema Was complaining about this big crock. Female director Reed Morano (apparently it matters now if a director is female, so people have a reason to complain during Oscar nominations) did solid work as a cinematographer. I loved the indie film she shot, Frozen River. Its safe to say, she will be a director that isnt nominated in 2020, at least not for this. Morano gave us a moronic picture, a predictable revenge thriller, thats so utterly bad. Its based on one of the four Mark Burnell novels featuring Stephanie Patrick (he also wrote the screenplay. Shes a junkie prostitute, who is visited by a john…err…journalist. He paid his good money for a 30 minute…conversation. What he gets instead is tossed out on his ear. But he leaves behind his business card. They always do. It cracks me up when movies have so many cliches and similar styles. In fact, this movie starts in Tangiers, with her approaching someone at the computer, and putting a gun to his head. A quick cut goes to the start of the story and well see what happens with these two later. Almost an identical scene to the opening of The Gentleman (in theaters now) with Matthew McConaughey sitting at a bar and having a man approach and put a gun to his head, with blood splattering into his mug of beer. Blake Lively is okay in this part, not wearing make-up and looking ragged. The problem is that she reminded me of Bridget Fonda in Point of No Return ( La Femme Nikita for American audiences) especially when wigs are used in various killings. And, why would a junkie prostitute want to start killing? Well, because she learns that the plane crash that killed her family, was a terrorist act. And she wants revenge. Its just odd that someone who was an Oxford educated, brilliant woman…would become a druggie after such a tragedy. Only in fictional stories. Reporter Keith Proctor (Raza Jaffrey) must be good at his job. Hes got that thing all investigators (or serial killers) have on their walls in movies — various newspaper clips, maps, photos, and arrows drawn and things written, showing that they really did their research and know whats going on. He also decides he can let Stephanie come and go as she pleases, giving her keys to his flat; because thats what we usually do with a druggie we just meet. Stephanie travels to Scotland, where an ex-CIA agent (Jude Law) wants nothing to do with her, but then ends up training her; because…well, shes determined. Its like Rocky bugging Mickey until he relents, but with hitmen instead of boxers. And when he starts the rigorous training (which, like all movies, involves vomiting) she shows shes a tough pupil. She swims in cold water, lets him beat her up and smash her into walls and tables, and even ramming her off the road in a car. He becomes so confident that she can calm down while shooting (slowing the breathing, like the bass and drum rhythm section of a band)…that he puts on a bulletproof vest and insists she shoot him. Any guess on what happens there? One of my many movie pet peeves, is someone being trained to become the ultimate killer. Especially female characters. Were supposed to watch a movie like Atomic Blonde, Peppermint, or Red Sparrow, and just think with proper training, a woman could beat up bigger, stronger men. I had a hard enough time buying that when it was Bruce Lee surrounded by folks, Im not going to be persuaded that a woman a few months from a smack addiction could do this. At least in this, Stephanie usually comes close to losing each fight shes involved in. Stephanie takes on the identity of one of the toughest hitwomem ever — Petra Reuter. Everyone thought she died, but…assuming her identity gets her a meet with Marc Serra (Sterling K. Brown, in one of the few performances from him I havent liked. He is able to feed her the info she needs, and to be assigned new hits, which gives her a little spending money. Hey…for 2 mil a hit, I might let Jude Law smash my face into a wall for training. It would be an interesting dynamic that she is so bad when it comes to facing off with the various bad guys, and freezing up at the big moment. Yet weve seen that before, too. Theres also one of those dopey scenes where she has to pretend to be a high-end call girl, meeting up with a john she needs to kill. It might be the dumbest scene you see in a film all year. Not a single scene in this movie rings true, and its a weak plot. It also has some pacing problems. Tack onto all that, the annoying shaky cam. It is shot okay in some interesting locations, and theres one great car chase. Im just curious as to how many wigs were harmed in the filming of this. I would give it credit for the great collection of songs used. We hear VUs “Waiting for the Man, ” Brende Lees “Im Sorry, ” Elvis “Its Now or Never, ” and the film ends with a smokin hot version of Lead Bellys “Where Did You Sleep Last Night. ” Yet even that collection of great tunes feels like simply like something all these types of movies do now (Ive noticed this trend after Pulp Fiction. Yet its the only reason Im giving this 1 star out of 5. Skip the theatres this weekend and stay home watching all the Super Bowl stuff instead. Spoiler Alert: The Mountain Dew/Bryan Cranston parody spot on The Shining shines.

Relatable, because every happy family has that one distant friend/acquaintance that knows everything about going off the grid and killing people. Wait... Just what we needed Sonic the hedgehog movie. YouTube. Ford v Ferrari Starring : Bruce Wayne Jason Bourne The Punisher From the Director of Logan.

Does anyone know what song is in this trailer? I really liked the beat to it

Im reading scorpia right now. snakehead is next, right. Ok, looks amazing, but you really have to deliver almost the whole movie on this trailer.

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Average rating 3. 48 1, 103 ratings 148 reviews, Start your review of The Rhythm Section (Stephanie Patrick #1) This book was a great story; I can see it absolutely killing it as a movie. The Rhythm Section is a mashup of Bourne Identity and trilogy, and Stephanie Patrick reminded me of a combination of Lisbeth Salander and Dominika Egorova. Reading through the reviews, I recognize a few issues some people will have with this book. 1) I notice a lot of women read this and did not enjoy it. They found it "tropey" because it was written by a dude, and apparently only women are allowed to write female... I chose to read this because it's being turned into a movie. I can see why. It should be a fun action/spy movie. I can't remember the last time a book had me and lost me and won me back in such a circular fashion. The main character is absolutely fascinating and makes up for not being James Bond by being something 180 degrees from him. All the sex and violence here is grimly realistic and played for grit not flash. Stephanie is such vividly dire straits, it nearly overwhelms the espionage plot, which is where a lot of the problems lie. Once her missions begin, the book gets bogged down in the kind of... I unfortunately lost interest halfway through. It was interesting at first, but then became much too confusing and frankly, drawn out in my opinion. Overall I can see why this book is going to make a good movie, but reading it was painful. The main character is woman whos written by a male author and its very obvious. I never felt connected to any of the characters, the main character especially. And at 400+ pages it felt like much of the content in the middle could have been cut out and distilled. Sadly, only the last 40 pages were my favorite part of the book. Have you seen the movie trailer for the film adaptation of this book with Blake Lively? The theme song (ballad: MY GIRL - covered here by the Sleigh Bells, and previously famously covered by Kurt Cobain) is haunting. Movie trailer. Sleigh Bells cover of My Girl ballad. I bet sales of this book are going to go through the rough after this movie comes out. Check out my blog at for more reviews and bookish content. I was looking for something to listen to during my work day. I love suspense, thriller genre books but. you have got to be joking with this one. We start the book with a plane crash, and then we meet Lisa, a drugged out prostitute who needs to be rescued by a man to turn her life around. A journalist who started out by just trying to get her story and who helped her get sober from drugs. I have no... 3. 5 stars I had the same experience as Ed states in his review below: it had me, lost me and then won me back. The story starts out very good and it had me interested in Stephanie from the beginning. But then all the characters and connections just became too much, getting me confused and less committed to the story. Now I must be honest and admit that possibly my letting other books getting in the way of reading this one regularly, may have contributed to that. The last part though won me back... I loved how this book blended fast moving action with deeper exploration of love, sex and the effects of trauma. Highly recommended for lots of reasons The cinematic release of Christie's Death on the Nile has been pushed forward to 2020... Was hyped to read this book because reviews and even the dust jacket compare it to La Femme Nikita, which was a favorite TV show of mine in the 90s. But bratty Stephanie is no Nikita. We're told repeatedly that Stephanie is really really smart, but the author rarely lets us see her intelligence in action. Instead, she spends most of the book stumbling from one male character to the next, using them for a crutch or cashing in on their profession/reconnaissance via sex and threats. It becomes... Didn't enjoy the characters, plot, or writing. The movie will likely be good though. This was a slow read, and I'm not going to bother finishing it. Hard to really like the main character - the author somehow felt the need to continuously remind the reader that Stephanie is a former prostitute which was repetitive, useless and just plain lazy. The changes from first to second person narratives were odd and clunky, especially when done mid chapter. Skip this book I'd read this 20 years ago. It is, at last, about to come out as a movie. Fortunately, in re-reading it, I remembered nothing, other than that I'd loved it. It is as good the second time around! The series of four Stephanie Patrick novels (or as I think of them, Petra Reuter novels) are as good as anything that LeCarre or Steinhauer wrote. A reasonably capable thriller series championed by "The Economist. Think "Alias" with more sex and fewer gadgets. Interesting read. Ill be curious to see the movie This book is about a woman who has lost her family in a plane crash and tries to find herself... Stephanie Patrick takes on different names and roles from Prostitute, drunk, addict, German assassin, business woman and enters into the world of international espionage while avenging her family and finding Her real identity. Stephanie is the main and leading character and the story evolves around her. She is intelligent with a temperament and is difficult to handle and has a smart mouth. A movie is... Really not my type of story. When it first started I thought I was going to like it but it is just not my genre and I was pretty bored and uninterested in the story. I really don't think I will bother continuing the series. Blah read! The idea seemed wonderful. The execution was terrible. The plot and the characters were bland. It simply did not capture my interest nor intrigue me enough to even want to finish. Certainly wanted to like this more than I did. This is disappointing... female hero is through a male eyes (to be quality she must be damaged and a former mething that NEVER goes without reminding. Hard to get through and uninspired. Maybe the movie will be more interesting? PopsugarReadingChallenge 2019 Prompt - A book becoming a movie in 2019 This is going to be one of those times where I enjoy the movie more than the book. Maybe; because after reading this, I'm not sure that I even want to watch the movie. Not my kettle of fish. Way too slow. Couldnt finish it. Not my type of book. I see how it will be a movie though. Loved this, great read, very exciting and highly unpredictable. Have the book here if anyone wants to read it next: Really good read loved central character will find others in series asap This book tried to do too much. The switching between first and third person narrative did nothing to improve it either. Shouldve quit. Listened anyway. Felt dated and way too long with an abrupt ending. I dont care enough to continue the story. If you like spy novels you may enjoy just not my cuppa tea. Maybe the movie will be better! I can see how Blake Livey could make this work in a movie! A guy wrote a female character but it was too clear a guy wrote it (hope that makes sense. This a sexist trope. Prostitute turned spy.

Christy Lemire January 31, 2020 Blake Lively gives it her all in “The Rhythm Section, ” but the movie only meets her halfway. The glamorous star gets grungy for the role of Stephanie Patrick, an ordinary young woman who transforms herself into an international assassin to avenge the killing of her family. Lively previously has shown a yearning not only for this kind of darker material, as in her standout supporting role in Ben Affleck s “ The Town, ” but also for the physical demands of an action film, as she did so convincingly while fighting off a great white shark in the minimalist thriller “ The Shallows. ” Advertisement Shes deeply committed and down for everything “The Rhythm Section” throws her way, often quite literally. But despite some impressively inventive camerawork from cinematographer-turned-director Reed Morano (“The Handmaids Tale, ” “I Think Were Alone Now”) and a couple of intense action sequences, the film as a whole feels rushed and frustratingly empty. Although writer Mark Burnell adapted the screenplay from his 1999 novel of the same name, the story seems truncated; its as if he understandably wanted to include as much as possible from his source material, yet still had to work within the constraints of a reasonable running time. Giant leaps take place in terms of time and emotion, leaving us behind in confusion and rendering the human connections hollow and baffling. Livelys British accent is a bit spotty but she makes a strong impression from the start, when her character is at her lowest. Its been three years since Stephanies father, mother, sister and brother died in a plane crash—a flight she was meant to take, as well. Now, she numbs the unimaginable pain with drugs and feeds her habit by working as a prostitute at a London brothel. Morano intercuts increasingly tight close-ups of Stephanies face—her shaggy hair, tear-stained cheeks and swollen eyes—with snippets of brightly lit flashbacks to happier times with her family, underscoring the shocking nature of her decay. When an investigative journalist (Raza Jeffrey) tracks her down and tells her the crash was no accident but rather an act of terrorism, it lights a fire under Stephanie to take back her life by taking out the killer. “The Rhythm Section” comes from James Bond producers Michael G. Wilson and Barbara Broccoli, and it features the kind of globetrotting, espionage and tangles with an international array of bad guys youd expect from a 007 movie. Stephanie travels from London to Northern Scotland, Madrid, New York, Tangiers and Marseille in her pursuit of justice with a variety of wigs and identities at her disposal. But the film is trying to do something different in making Stephanies stumbles a central part of her character. Shes not slick, shes frequently in over her head and her missions dont always go as planned. In fact, they never do. Livelys vulnerability is as compelling as her raw combat skills, and Moranos female gaze is clear-eyed rather than ogling. But somewhere along the way, Stephanie becomes too enigmatic, despite the fact that shes on screen nearly the entire time. We know very little about who she was before the tragedy, which was by design, but even a smidgen more backstory would have made the dangerous path she forges somewhat more plausible. When the exiled MI6 agent whod been the journalists informant takes her in and trains her, it makes sense, although Jude Law is solid as the gruff character known only as B. Eventually, theres a passing reference in the script to the fact that shes spent months with this guy at his remote hideout at the edge of a Scottish loch, yet theres little indication that theyve formed the kind of emotional connection that would result from that kind of intense, intimate time together. And yet a pivotal fight training scene in Bs cramped kitchen—shot in a single take—is riveting because its so flailing and imperfect, and because theres nowhere to hide. Livelys demeanor has morphed from that of a wounded animal to a scrappy predator. Later, Moranos claustrophobic depiction of a car chase through the narrow streets of Tangiers, with cinematographer Sean Bobbitt (“ 12 Years a Slave ”) inside the vehicle, also provides a visceral jolt. Stephanie also meets up in Madrid with Sterling K. Brown s character, a former CIA officer who now sells the intel he gleans to the highest bidder. Hes a crucial figure in her quest, but their relationship develops in ways that are both entirely unbelievable and narratively predictable. As charismatic as Lively and Brown are individually, they arent afforded the opportunity to establish any real chemistry with each other. And an interlude with an arrogant and wealthy bad guy ( Max Casella) who also played a key role in the airplane attack raises way more questions than it answers. That scene is a prime example of the films clangy tendency toward on-the-nose needle drops to comment on the action and set the mood. As Stephanie struts down Central Park West in a disguise, stalking her prey, we hear the ironic strains of the Brenda Lee classic “Im Sorry”; later, as Stephanie closes in on her ultimate target, Elvis Presley s “Its Now or Never” plays. The title itself refers to a technique B teaches Stephanie to help her calm down and regain control during moments of panic: “Your heart is the drums, your breathing is the bass, ” he says. “The Rhythm Section” itself could have used a little bit of soul. Reveal Comments comments powered by.

In case you hadn't noticed, former  Gossip Girl   Blake Lively has been on a bit of a roll in recent years, starring in a string of solid indie flicks like  The Age of Adaline,  The Shallows, and  A Simple Favor. Now,  Lively is looking to continue that hot streak by playing against part in Reed Morano's ass-kicking espionage drama  The Rhythm Section. Based on a popular novel of the same name, the film follows Lively's Stephanie Patrick as she rains terror down on the nefarious band of baddies who coordinated a plane crash that killed her family. The first trailer for  The Rhythm Section  dropped recently — and it promises the film will be every bit the bone-breaking, action-packed thriller such a setup would merit. It may also be the female-led, James Bond -styled franchise the world has been waiting for. Additionally,  The Rhythm Section  is definitely the moody, character-driven sort of tale one would expect of a film directed by Reed Morano ( Meadowland,  I Think We're Alone Now. Of course, much of the propulsive moodiness running through the trailer comes via the crunchy wash of guitars and howling vocals of the song playing over the action. So, what's the song you ask in  The Rhythm Section  trailer? Well, it's a stone-cold classic from way, way back called "In the Pines. " They Rhythm Section trailer borrows its rhythm from Lead Belly It's entirely possible that you've seen the song titled "Where Did You Sleep Last Night. or even "My Girl. Regardless of what it's been called over the years, In The Pines" is a brooding beast of a folk song that can be traced  all the way back to Civil War times. It was first made popular by the 1941 recording from bluegrass icon Bill Monroe and his Bluegrass Boys. Of course, most folks are probably a bit more familiar with the haunting, racially-charged cover recorded by blues legend Huddie "Lead Belly" Ledbetter a few years later — an alternate version that took on a different meaning with the lyric change from "My girl, my girl, don't cha lie to me" to "Black girl, black girl, don't cha lie to me. " If you're curious about the heavy-hitting cover you hear in  The Rhythm Section  trailer, it comes via indie rock stalwarts Sleigh Bells, who recorded their very own version of the song for the movie. It was a task the pair did not take lightly, addressing the song's legacy in a recent tweet. Sleigh Bells noted that some other versions of the iconic folk tune are "total classics. and that recording their own version "was terrifying but we went for it. It certainly sounds like they did just that, putting a unique spin on a generation-spanning classic. "In the Pines" is an oft-covered song Though we're absolutely digging what we've heard of Sleigh Bells' In the Pines" cover in the trailer for  The Rhythm Section, it's worth noting that they're far from the first artists to cover the track in the years since Lead Belly put his stamp on the material. In the decades since, In the Pines" has been covered by a wide swathe of musicians — including country mavens like Loretta Lynn and Dolly Parton, folkies Joan Baez and Laura Gibson, and indie rockers Smog. Most recently, fans of Starz's adaptation of Neil Gaiman 's  American Gods even heard composer Brian Reitzell and former Screaming Trees frontman Mark Lanegan put their own eerie twist on the song for the show's soundtrack. Perhaps the most famous cover of "In the Pines" titled "Where Did You Sleep Last Night. on the official tracklist) was set to tape in 1994, when grunge rock gods Nirvana closed their legendary "MTV Unplugged" set with a version of the song that erred particularly close to the style of Lead Belly, whom Nirvana frontman Kurt Cobain then claimed was his favorite performer. Per a 1994  New York Times piece, it was apparently Lanegan (himself a mainstay on the Seattle scene) who first exposed Cobain to Lead Belly and his take on "In the Pines. Oddly enough, the version that Cobain and co. laid down during their acoustic set on MTV really did prove a show-stopper, and became a surprise hit amongst their fervid fanbase upon release. It even made an instant fan of legendary rocker Neil Young, who famously called  Cobain's vocals on the track "unearthly, like a werewolf, unbelievable. " If you've yet to hear Nirvana's take on "In the Pines. we'd urge you to do so immediately. If you're dying to hear Sleigh Bells' take on the track, for now you'll just have to keep replaying  The Rhythm Section  trailer for that tasty snippet — though the band is assuring their own fans that their lush, pop-centric cover of the iconic folk tune should be available everywhere music is streamed in "a couple of weeks. Let's hope it gets here sooner than later. If nothing else, we'd wager the song might also feature prominently in  The Rhythm Section, which is slated to hit theaters on January 31, 2020.

Literally makes any type of sound Alien: So you've chosen death. Weve heard this time and time again, that new releases will show a "new side" of established actors. BBut this time it may actually be true. Most audiences probably know actress Blake Lively as the star of Gossip Girl and films like The Age of Adaline. Shes shown more of her talent and range in movies like The Shallows, The Town and A Simple Favor, but this weekend youll be able to see the blonde bombshell as youve truly never seen her before in The Rhythm Section. Revenge movies never go out of style and this one from The Handmaids Tale director Reed Morano stars a nearly unrecognizable Blake Lively as a broken woman named Stephanie Patrick who finds a new violent purpose when she discovers that the plane crash that killed her family was not an accident. The Rhythm Section is based on a series of books by Mark Burnell who adapted his own work for the movies screenplay. So, how is it? Well, that will really depend on who you ask. The first reviews for The Rhythm Section are in and critics are divided on this one. CinemaBlends own Mike Reyes was a fan though and gave The Rhythm Section 3. 5 out of 5 stars in his review. Mike wrote: The Rhythm Section and Blake Livelys Stephanie Patrick are given a truly R-rated start to something rougher than most spy films we've seen. Which is brilliant, considering the world has wondered if wed ever get a female James Bond, and Mark Burnells screenplay (based on his very own novel) proves that we dont need one. The James Bond comparisons are not surprising given that The Rhythm Section comes from Eon Productions, which also makes those spy films. But according to Mike, The Rhythm Section is something different, something that is brutal and brilliant. There is no need for a female Bond when there are original female characters like Blake Livelys Stephanie Patrick. Mike wasn't the only one who enjoyed The Rhythm Section. Variety 's Peter DeBruge also appreciated Reed Morano's film, especially the approach to the lead character and Blake Lively's performance in the role. In his review Peter wrote: The plot may be boilerplate in this female-driven revenge thriller, but Blake Lively sells it, playing an action hero who fights like a real person: badly. Unlike Daniel Craig's James Bond or Liam Neeson's Bryan Mills or Charlize Theron's Lorraine Broughton, Blake Lively's Stephanie Patrick is not a highly-skilled, cold-blooded assassin. In fact, she's pretty bad at first and basically stumbles her way through. That approach to this kind of character sets The Rhythm Section apart from many of its contemporaries. Variety highlighted Blake Lively's performance and it wasn't the only one. The strength of the actress's work in The Rhythm Section is a common thread in many of the reviews for the film. Digital Spy 's Ian Sandwell gave The Rhythm Section 3 out of 5 stars and wrote: Through it all though, The Rhythm Section is propelled by a compelling performance from Blake Lively…Following on from the excellent A Simple Favor, it's another dark role for her and it's clear she relishes playing against type. She manages to make corny lines work – ‘How would you do that? she's asked of her mission and replies, ‘Violently – and convinces in the brutal one-on-one fight scenes It seems that Blake Lively more than proves her action chops in The Rhythm Section and manages to elevate the film despite its flaws. However, for some critics even a great performance doesn't make up for The Rhythm Section 's story failings. The Hollywood Reporter 's Frank Scheck wrote: Fortunately, there's Lively, adopting a convincing British accent, who almost, but not quite, manages to infuse the convoluted goings-on with enough gravitas to make them convincing. Those convoluted goings-on cited by Frank Scheck proved to be too much for some critics, with the weakness of the film's script popping up in multiple reviews for The Rhythm Section. One critic who found those weaknesses particularly offensive was The Chicago Sun Times ' Richard Roeper. He gave The Rhythm Section 1. 5 out of 4 stars and wrote: Despite a game performance by Lively, The Rhythm Section is a junk pile of missteps, from the convoluted screenplay that hops from locale to locale in Advil-inducing fashion to the overly stylized directing to the self-consciously 'cool' oldies pop music selections. We've heard about Blake Lively's performance, but this is a revenge spy thriller and if you've seen the trailers for The Rhythm Section you know that there is plenty of violence and action in this movie. So how do those elements stack up? Fairly well according to The Guardian 's Peter Bradshaw, who gave The Rhythm Section 3 out of 5 stars in his review and said: Reed] Morano puts together good fight scenes, robust stunt work and tasty car chases. Its destined to be viewed on a million long-haul flights, but it works perfectly well as a thriller. While many audience members might not know it, The Rhythm Section is the first in a series of books. So the feature film adaptation could in theory be the first of multiple movies. It's too early to know if that will be the case, but it seems there is potential there, at least in part because of the lead performance and the fact that the film isn't overly concerned with it. Forbes ' Scott Mendelson wrote: The Rhythm Section isnt concerned with franchise-set up or worldbuilding. Its just, warts and all, a pretty good character study with a terrific lead performance. So as you can probably tell, critical consensus is fairly hard to come by on this one. The Rhythm Section is clearly not perfect and it really comes down to whether you think the strength of the action and Blake Lively's performance outweighs the weaknesses of script and story. If you're a Blake Lively fan or a fan of the books it's a must. Otherwise it's probably 50/50. Right now The Rhythm Section sits at 48% on Rotten Tomatoes based on 25 reviews. Then again, over a decade ago another January revenge film received a rotten score and it wound up being a fan favorite. We'll see starting this weekend if The Rhythm Section can pull a Taken and kick off a franchise. The Rhythm Section hits theaters on January 31. Check out our 2020 Release Schedule to keep track of all this year's biggest movies and for the latest entertainment news, stay tuned to CinemaBlend.

If I had a nickel every time Chris and Jeremy disagreed on a movie... Songs and music featured in The Rhythm Section Soundtrack My last month's online earning was 17593 just by doing an easy job online. Easiest home based online job to earn extra dollars every month just by doing work for maximum 2 to 3 hrs a day. I have joined this job about 3 months ago and in my first month i have made 12k+ easily without any special online experience. Everybody on this earth can get this job today and start making cash online by just follow details on this websiteGood lock for click here.

January 28, 2020 4:24PM PT “ The Rhythm Section, ” Reed Morano s new espionage thriller about a female assassin who sets out to avenge her familys untimely death, is not a female-led approximation of a “James Bond” film. Though Barbara Broccoli, the magnate producer whose family has been solely responsible for the franchise, is producing the movie, “ The Rhythm Section ” is decidedly not a “James Bond” wannabe. The protagonist, played by an eminently versatile Blake Lively, receives her training as an assassin from an exiled MI6 agent living in Scotland, and — in the course of her revenge — disguises herself as a chemical blonde one moment and a German anarchist the next. “Everyones saying, ‘Oh, can a woman be James Bond? Why would a woman want to be James Bond! ” Broccoli asked, walking the red carpet at a special screening of “The Rhythm Section” in New York City on Monday evening, hoping to dispel the constant chatter that the “Bond” producer was up to something tricky. “A woman wants to be Stephanie Patrick, a complex, interesting character. ” “The Rhythm Section, ” based on Mark Burnells thriller novel of the same name, tells the story of a young woman tortured by the death of her family in a terror-driven plane crash. Bent on a path toward self-destruction, the imperfect, cunning and surely not trained spy named Stephanie embarks on a revenge mission after she learns the crash was no accident. Directed by Morano, “The Rhythm Section” marks the latest in an encouraging trend of movies — including Brie Larson in “Captain Marvel, ” Anya Taylor-Joy and Maisie Williams in “New Mutants” and Charlize Theron in everything from “Atomic Blonde” to “Mad Max” — that place strong female roles at the heart of action thrillers. “I really wanted to see a woman who felt like an attainable persona, not some Barbie doll in stiletto heels that no woman can relate to, ” Morano told Variety on the red carpet at Brooklyn Academy of Music on Monday night. “On a practical level, if youre an assassin, youre not always going out in stilettos and a leather mini skirt. How are you going to do what you need to do? ” she laughed. In other words, Stephanie Patrick is a new character, independent of any resemblance to intelligence officer 007. In fact, the filmmakers think making a James Bond-like film helmed by women, re-gendering an already established franchise under the guise of some equity, plays directly into the hand that keeps women down. “It feels like a consolation prize to give us a female James Bond, ” Morano told Variety. “Why cant we make new movies that simply star women in these roles? Let women have their own person. James Bond is James Bond. As an audience member and as a female growing up a fan of movies, we shouldnt be allowed to just have one female-led movie every 20 years and everybody say, ‘Yeah, thats it. Thats all you get. '” And, when women do produce, direct and star in a genre otherwise relegated to masculinity, you get a lot more. “You have different shades, ” Broccoli said. “That ‘The Rhythm Section is directed by a woman means its not voyeuristic. Its not hyper-sexualized. She is multifaceted. ” The hero isnt bulletproof. She isnt unfeeling, and, imaginably, her martini is properly — and correctly — stirred. “ You have the producers of ‘Bond, but theres femininity, humanity to Stephanie, ” Lively told Variety. “Theres emotionality. You see her emotions in a way that you dont often in movies like this where a man is at the center. Ive never seen a man in a car chase screaming the entire time because hes terrified. And whats honest about that? ” she exclaimed. “Men have told some of the most beautiful stories about women that Ive ever seen, ” Lively continued. “But sometimes you get that thing where they want to make her likable, or they want to be sure she seems strong or still seems attractive. Theyre worried about these things because theyve never been a woman. ” CREDIT: Gregory Pace/Shutterstock Matt Bomer has gone to dark places in “American Horror Story” and beyond, but his role on “The Sinner” pushed him to a totally different space. “This is the most challenging role Ive had, but its also the most rewarding as an artist, ” Bomer told Variety at the shows Season 3 premiere Monday at the. Oscar week has come early this year. With the shortened awards season, the festivities kick off during the first days of February. Voting closed on Feb. 4, so now its time to sit back, relax and enjoy some partying. From brunches, lunches and late-night dinner soirees, theres plenty to do before the 92nd Academy Awards. Edward Norton won a Golden Globe for his film debut in 1996s “Primal Fear” and, at Thursday nights 35th Annual Artios Awards ceremony, he shared the innovative way he nabbed the audition by making the most of the electronic communications of the day. “I sent a fax to her at Paramount. Dating myself, ” Norton said. Apple TV Plus new series “Mythic Quest: Ravens Banquet” may be a comedy about the video game industry, but that doesnt mean it wont address more serious issues about the business. “We really wanted to talk about the fact that theyre trying to get more women into working in games, but that its still a. Nothing was going to stop director Greta Gerwig from shooting “Little Women” on film. Speaking at the Kodak Film Awards in Hollywood, Gerwig who accepted the Auteur Award said, “It was a fight every step of the way, ” she said while accepting an Auteur Award on Wednesday at the Kodak Film Awards in Hollywood. Fortunately. While the prospect of a sequel series to Ron Howard‘s 1988 fantasy feature “Willow” has gotten fans frothing at the mouth, Howard told Variety that Disney Plus still hasnt made a final decision on the show as of yet. Reports that Howard was in talks to develop the series with writer Jonathan Kasdan emerged last May. “The Rhythm Section, ” Reed Moranos new espionage thriller about a female assassin who sets out to avenge her familys untimely death, is not a female-led approximation of a “James Bond” film. Though Barbara Broccoli, the magnate producer whose family has been solely responsible for the franchise, is producing the movie, “The Rhythm Section” is decidedly not.

Awesome drummer/musician. Blake is an amazing versatile actress, I just luv her. Movies, Ride With Blake Lively in a Car Chase Scene From ‘The Rhythm Section anatomy of a scene The director Reed Morano narrates a harrowing sequence that has the movies lead character navigating narrow roads and fleeing gunfire, all filmed from the passengers seat. Video transcript transcript ‘The Rhythm Section, Anatomy of a Scene The director Reed Morano narrates a car chase scene from her film featuring Blake Lively. Hi, Im Reed Morano, and Im the director of “The Rhythm Section. ” In this sequence, our main character, Stephanie Patrick whos played by Blake Lively, is out on her first job. And it sort of goes completely awry. And she ends up inadvertently in a car chase she didnt plan for. The reason why I wanted to do the movie overall is the same reason why I wanted to shoot the car chase this way. And that was because its sort of like a POV driven story. The scariest place for me after watching dozens and dozens of cinemas best car chases was from within the car. And any time Ive watched one and we cut out of the car, I feel like the tension dropped for me. Something about being in the car and having this limited visibility and having the camera bring us to what we need to see at the front or the back or at the character makes you kind of feel like youre in the seat next to her, which is the last place I think anyone in the audience would want to be. Because shes not a superhero. Shes not an action hero. Shes not a real assassin. Shes just this regular woman. In order to see the necessary things, in order to make the audience feel what shes feeling, we were going to have to coordinate really particularly between what Blake was doing in the car as Stephanie and what was happening outside in the front versus what was happening in the back or the side of the car. And Sean Bobbitt, my DP, was super excited about this as well. So what happened was was we had this old Merc, this old Mercedes. And this was the tiniest car ever. And Sean Bobbitt is a really big guy. But they took out all the seats on the passenger side and built like a slider, like a rail system, with a little seat that he would sit on. But he could slide back and forth. But he was also secured in other ways. But he had mobility to kind of be up front by the window. He could pan towards Stephanie. And he could also pan towards the back window. But he could also slide really far back when he needed to get another view. Part of the reason why the chase is so successful is not only because of all the coordinated efforts of all the stunt people were happening at the right time. It was also Blake carries the scene, and her energy is changing, you know, up and down and throughout like an emotional roller coaster. And shes really making it fun and scary to be in a car with her. The director Reed Morano narrates a car chase scene from her film featuring Blake Lively. Credit Credit. Bernard Walsh/Paramount Pictures In “Anatomy of a Scene, ” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series each Friday. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel. After watching dozens of car chase scenes in movies, the director Reed Morano said that the scariest place to be visually as an audience member was inside the car. “Anytime Ive watched one and we cut out of the car, the tension drops for me, ” she said in an interview. So for her action thriller “The Rhythm Section, ” about a woman, Stephanie Patrick (Blake Lively) who becomes an assassin, Morano wanted to build maximum tension with a car chase sequence that didnt ever leave the car. Instead, all the action is shot hand-held from the passengers seat, the camera panning front and back to capture the chaos and danger happening outside the car, as well as Stephanies expressions as she navigates the car. The sequence appears as an unbroken shot (though it was a few stitched together) and involved some elaborate staging to put together. Moranos director of photography, Sean Bobbitt, shot from the passengers side seated on top of a sliding rail system that gave him mobility to shoot either closer to the windshield, or slide toward the back. Outside the car, Morano said, “we had these amazing stunt people that, all the way down the line, had things to do: cars, motorcycles, guys jumping out in the street, people on bikes. ” “It was definitely the most fun thing to shoot, ” she said. Read the “Rhythm Section” review. Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics Picks and more.

This actually looks pretty good. Kinda disappointed that Jude gets another supporting role since I've been dying to see a new lead from him, but we all know he's still gonna be great. “Theres a point at 7,000 RPMs where everything fades. The machine becomes weightless. It disappears. All thats left, a body moving through space, and time. At 7,000 RPM, thats where you meet it. Thats where it waits for you.”. Lmaooo oh man. 🤣🤣🤣🤣🤣🤣🤣.

It was really sensational. WHAT IS IT ABOUT. Amazing trailer and song. This website uses cookies to provide you with a better experience You can adjust your cookie settings through your browser. If you do not adjust your settings, you are consenting to us issuing all cookies to you.

I dont think disney remembered the sad ending Stargirl had. What you're describing is called concussive force. The sonic shock wave is moving at the speed of sound. At the distance she's at in this video the only thing she really has to worry about its fragmentation. WOW, this just popped up on my feed. I thought it was a Netflix original. Fine, laidback sounds for smoky bars and seaside hangouts on warm, moonlit nights.

This trailer makes it seem way better than it actually was... I saw it when it was in theaters for 9 and this is the only movie I've ever felt like I wasted my money on it. I honestly should have waited until it just came on television which is so sad of me to say because I wanted to like it and I typically love or at least like most movies I watch. It just fell short in a lot of ways. The only thing I really liked about it was Anna Kendrick's acting and that's about it...

Looks like there won't be much in the way of quality content coming out any time soon. Maybe I should take a whole bunch of classes or live in a monastery for a while... Song is where did you sleep last night covered by sleigh will be available on most streaming services in about 1 or 2 weeks.

I will literally watch anything if Blake Lively is in it lol 😍 Love her. If you think star girl as a name is bad, theres a girl at my school who tells everyone, even the teachers to call her kitty. Can any one help me to know what the name of song in 1:07 thanks. We used to kane this tune and this tune would kane us. I like revenge movies- this is interesting take, that she cant really do something. Guy is 72 and looks like he's 40. Music keeps you young.

 

This photo of the Atlanta Rhythm Section in 1972 shows some typical rock rhythm section instruments: guitars, piano, drums and electric bass. A rhythm section (also called a backup band) is a group of musicians within a music ensemble or band that provides the underlying rhythm, harmony and pulse of the accompaniment, providing a rhythmic and harmonic reference and "beat" for the rest of the band. The rhythm section is often contrasted with the roles of other musicians in the band, such as the lead guitarist or lead vocals whose primary job is to carry the melody. The core elements of the rhythm section are usually percussion instruments, especially the drum kit. The drums and bass provide the basic pulse and groove of a song. The section is augmented by other instruments such as keyboard instruments and guitars that are used to play the chord progression upon which the song is based. The bass instrument (either double bass or electric bass, or another low-register instrument, such as synth bass, depending on the group and its style of music) plays the low-pitched bassline that supports the chord progression, typically by playing a musically interesting bassline that fits with the harmony. The term is common in modern small musical ensembles, such as bands that play jazz, 1] country, blues, and rock. Instruments [ edit] A typical rhythm section comprises one or more guitars (either electric guitars, in rock music bands; acoustic guitars, in country music, folk music and blues or both electric and acoustic in some bands) and/or a keyboard instrument ( piano, electric piano, Hammond organ, synthesizer, etc. a double bass or electric bass (depending on the style of music) and drums (usually acoustic, but in some post-1980s styles, the drums may be electronic drums. 1] The bassist, guitarist, drummer, and keyboardist for The Fiery Furnaces. In some styles of music, there may be additional percussionists playing instruments such as the djembe or shakers. Some styles of music often have two electric guitarists, such as rock genres like heavy metal music and punk rock. Some styles of music use multiple keyboard instrument performers simultaneously (e. g., piano and Hammond organ or electric piano and synthesizer) for a fuller sound. A rhythm section could be as small as two or three instruments (e. g., a guitarist and a bassist or a power trio of bass, drums and guitar) or it may be a fairly large ensemble with several keyboardists, several guitarists, auxiliary string players ( mandolin, ukulele, etc. a drummer and percussionists. The largest rhythm sections may be led by a bandleader or a conductor who indicates the tempo of each song, starts each song, leads slow-downs of the music at cadences (sections of songs where the music comes to rest on a chord) and indicates when to change soloists and how and when the song will end. The instrumentalists used in a rhythm section vary according to the style of music and era. Modern pop, rock and jazz band rhythm sections typically consist of a drummer, a bass player, and one or more players of chordal instruments (e. g., a pianist, guitarist, etc. 2] The term rhythm section may also refer to the instruments in this group (named collectively the "rhythm section instruments. In music industry parlance, the amplifiers and some of the instruments are nicknamed the " backline. Backline instruments are commonly provided for bands at music festivals and other concerts where several bands will play during an event. By providing these backline instruments, the changeover process is quickened when new bands take the stage. The backline typically includes large and heavy items that are hard to transport, including large bass amplifiers and guitar amplifiers and their speaker cabinets, the drum kit (usually minus the cymbals and the snare drum, which each drummer brings from home) a Hammond organ, stage piano, and a keyboard amplifier. Even when a venue or festival provides a backline amplification, musicians must still supply some instruments themselves, such as guitars, an electric bass, and, in some cases, the cymbals and/or the snare drum. The venue informs musicians about which instruments are supplied as the backline for a specific concert or stage and in many cases, the contract signed by the band and the venue/promoter contains an explicit list of the backline gear that will be on stage, even specifying brand names and model numbers. Roles [ edit] In modern rock music, a rhythm guitarist specializes in rhythmic and chordal playing (as opposed to the melodic guitar solos and lead melody lines played by the lead guitar) often repeating quaver (eighth-note) half note or whole note chords. In the louder genres, such as hard rock, heavy metal and punk rock, rhythm guitarists often play power chords with distortion. Rhythm guitarists often strum open chords in pop, rock, country and folk music and play barre chords in many pop and rock styles. Although rhythm sections spend much of the time providing accompaniment (backing parts) for songs, in some cases, they provide other musical roles. In some songs or styles of music, instruments from the rhythm section may play soloistic roles on occasion (e. g., improvised guitar solos or solo breaks) or play a melodic role (e. g., a rhythm guitarist may play a lyrical countermelody behind a singer or a melodic intro line before the lead vocalist starts to sing. Since rhythm sections generally provide the background music for lead instruments and solo singers, rhythm sections are typically not as prominent as a singer or soloist. However, since rhythm sections provide the underpinning for a good performance by the lead instruments and vocalists, good rhythm sections are valued in the music industry. Some of the most accomplished rhythm sections have become famous, such as The Band, the E Street Band and Sly Dunbar and Robbie Shakespeare (the latter in reggae. In some popular bands, all of the band members, including rhythm section members, have become famous as individuals (e. g., the rhythm section members of The Beatles, The Rolling Stones, The Who, etc. In almost all genres of popular music and traditional music that use rhythm sections, ranging from rock to country to jazz, the rhythm section members are expected to be able to improvise (make up) their parts or prepare their own parts for a given song by listening to the CD at home. Once the bassist and chord-playing instruments are provided with the chord progression on a lead sheet (in which chords are typically named using the root note of the chord and its quality; e. g., C Major, d minor, G7, etc. they are expected to be able to improvise or prepare a bass line and chord voicings, respectively, that suit the style of the song. In each style of music, there are different musical approaches and styles that rhythm section members are expected to use. For example, in a country music song, the guitarist will be expected to be able to perform a chord progression using an intricate fingerpicking style; in a heavy metal song, the guitarist will be expected to play power chords and complex, precise rhythmic patterns; in a jazz song, a guitarist will be expected to be able to play "jazz voicings" of the chords, which emphasize the third, seventh and often the sixth or ninth chord tones (this contrasts with the barre chord voicings used in pop and rock, which emphasize the root, fifth, and to a lesser degree, the third of the chord. Drummers and percussionists are expected to be able to improvise or prepare rhythm parts that suit the style of a given song. In some cases, an arranger, orchestrator or composer will provide a written-out bass part or drum part written in music notation (the five-line staff in which the notes are round symbols with or without stems. It is rare in jazz or rock for chords to be written out in music notation; the arranger or songwriter typically writes the chord symbol and expects the guitarist to improvise the appropriate chord voicing. Other roles [ edit] Rhythm section members may be expected to sing backup vocals or harmony parts in some styles of music. In some styles of music, notably 2010s-era pop, hip hop music and funk, rhythm section members may be required to perform a rhythmic dance routine, which may range from a simple body movement to a complex dance choreography that requires significant dance skills. In some types of heavy metal music, rhythm section members (guitar, bass, drums) may be expected to be able to "headbang" move their head in an up and down fashion in time with the beat) while performing. Less commonly, some rhythm section members may sing lead vocals (e. g., Phil Collins or Sting. In some groups, one rhythm section member may have other roles, such as bandleader (e. g., jazz bassist Charles Mingus) conductor (often the case in 2010s-era musical theatre shows) songwriter, composer or arranger. Components [ edit] Jazz [ edit] Two members of Duke Ellington 's rhythm section at the Hurricane Ballroom: a jazz guitarist and an upright bass player. In the case of swing bands, the classic rhythm section comprises a quartet of electric guitar, piano, double bass, and drums; a noted example is that of the Count Basie Orchestra with Freddie Green, the Count, Walter Page, and Jo Jones. Earlier jazz bands had used banjo in place of guitar, and other bass instruments such as the tuba for recording purposes prior to the advent of microphone technology in studios. As bebop evolved, smaller jazz groups dropped the guitar, and many free jazz ensembles dropped the piano as well. Auxiliary percussion such as claves, bongos or maracas can also be used, especially in music influenced by strains from Latin America such as salsa and samba. In theory any instrument or instruments can provide a steady rhythm: for example, in the trio led by Jimmy Giuffre the late 1950s, the clarinet, valve trombone and guitar all switched between lead and supporting roles. In the 1950s, some jazz bandleaders began to replace the double bass with the then-newly invented electric bass. However, the electric bass really made a big impact on jazz in the 1970s, with the advent of jazz rock and jazz fusion. The electric bass was much easier to amplify to stadium-filling volumes using large bass speaker cabinets and amplifiers than an upright bass. The electric bass also began to be used as an expressive solo instrument, as exemplified by the performances of Jaco Pastorius and Stanley Clarke. In the 1970s, the main chordal rhythm instruments were often electric instruments such as the Rhodes electric piano or electric clavinet, often run through effects units such as fuzz, phasers, or wah-wah pedals and amplified through loud keyboard amplifiers. The jazz fusion rhythm section followed the lead of the rock rhythm sections of the era, and used banks of speakers and powerful amplifiers to create a massive sound large enough for stadium concerts. In the later 1980s and subsequent decades, jazz fusion bands such as the Chick Corea Elektric Band used synthesizers in the rhythm section, both for chordal accompaniment and for synth bass parts. R&B, rock and pop [ edit] This Polish group's rhythm section consists of a Hammond organist, an electric bassist, and a drummer. R&B and rock and roll groups in the 1950s emphasized rhythm, so their backup bands generally consisted only of the standard swing band rhythm section of guitar, piano, bass, and drums supporting a vocalist, and in some cases omitting the keyboards. The bass guitar took over from the double bass in the 1950s, and had almost completely taken over the bass role in the 1960s. As the 1960s progressed the term "rhythm section" as used in a pop music context sometimes came to refer to just the bass and drums. For example, Paul McCartney and Ringo Starr of the Beatles were referred to as the band's rhythm section. In the 1970s, chordal instruments such as the electric and/or acoustic guitar and various keyboards (piano, electric piano, Hammond organ, clavinet) continued to be used to augment the bass and drums in soul, funk, and reggae groups. The sound of late 1960s and 1970s rhythm sections was often given a unique tone and sound due to the use of effects units. Funk bass players would play through auto-wah or envelope follower pedals. Reggae guitarists would plug into echo pedals. Rock guitarists would run their electric guitars through distortion and wah pedals. Electric piano or clavinet players also used effects. In the 1980s, many rock and pop bands continued to be based around the basic rock rhythm section established by 1960s and 1970s bands: electric bass, drums, and electric guitar or keyboards. In the 1980s, the first widely-affordable digital synthesizer, Yamaha 's DX7, was released. The distinctive FM synthesis tone of the DX7 is a key part of the sound of many 1980s pop and dance singles. As electronic effects became more sophisticated, with the development of digital signal processing, during the 1980s, there was some crossover between the roles played by electronic keyboards and electric guitar. Even though electronic keyboards or organs were the standard instruments used to create sustained "pads" of sound (e. g., held backing chords) for ballads, with the introduction of digital delay pedals and other modern effects, electric guitars could produce similar "pads" or " walls of sound. The Edge, the guitarist from the rock band U2, often used digital delay and reverb-drenched electric guitar arpeggios (chords played one note after the other) to create a shimmering, sustained "pad" for the group. These arpeggio pads created a sustained sound that was similar to the sound of an electronic keyboard. By the late 1980s, the price of digital effects pedals dropped, making these effects units available to the general public. During the 1980s era, rhythm sections in some styles of pop took an increasing turn towards electronic instruments. A 1980s-era dance pop band might be backed up by a rhythm section of a synth bass, electronic drums (or drum machine) and various synthesizer keyboards. In some 1980s and 1990s bands, live human rhythm sections were sometimes replaced by sequenced MIDI synthesizer rhythm tracks made in the studio. In the 1980s and 1990s, the roots rock scene went in the opposite direction from dance pop; roots rock favoured traditional instruments in the rhythm section such as acoustic piano, acoustic guitar, mandolin, pedal steel guitar, acoustic bass guitar and upright bass. Another 1980s-era trend that helped revive interest in acoustic instruments was the " MTV Unplugged " style of performances, in which a rock band performs with acoustic instruments, including acoustic guitars and an acoustic bass guitar. In rock and pop, rhythm sections range in size from the barest, stripped-down size of the " power trio. guitarist, bassist, and drummer) and the organ trio (Hammond organist, drummer, and a third instrument) to large rhythm sections with several stringed instrument players (mandolin, acoustic guitar, electric guitar, etc. multiple keyboard players (e. g., piano, Hammond organ, electric piano, synth) two instruments playing a bass role (e. g., bass guitar and synth bass) and a group of auxiliary percussionists (congas, shakers, etc. to fill out (or "sweeten" the sound. Some rhythm sections combine electronic/digital instruments that are sequenced, pre-recorded backup tracks and live instruments (including electric, electronic and acoustic instruments. Musical roles [ edit] Jazz is one of the styles that often features rhythm section members on solos. The drums and bass both supply a rhythmic pulse for the music, and the bass instrument supplies a harmonic foundation with a bassline. The types of basslines performed by the bass guitarist vary widely from one style of music to another. Despite all of the differences in the styles of bassline in most styles of popular music, the bass guitarist fulfills a similar role: anchoring the harmonic framework (often by emphasizing the roots of the chord progression) and laying down the beat (in collaboration with the drummer. The importance of the bass guitarist and the bass line varies in different styles of music. In some pop styles, such as 1980s-era pop and musical theater, the bass sometimes plays a relatively simple part, and the music forefronts the vocals and melody instruments. In contrast, in reggae or funk, entire songs may be centered around the bass groove, and the bassline is very prominent in the mix. Similarly, the role of the drummer varies a great deal from one style of music to another. In some types of music, such as traditional 1950s-style country music, the drummer has a rudimentary "timekeeping" role, and the drums are placed low in the mix by the sound engineers. In styles such as progressive rock, metal, and jazz fusion, the drummers often perform complex, challenging parts, and the drums may be given a prominent placement in the mix; as well, the drummer may be often given prominent solo breaks, fills, or introductions that put the spotlight on their technical skills and musicality. In the more experimental forms of free jazz and jazz fusion, the drummer may not play the strict "timekeeping" role that is associated with drums in pop music. Instead, the drums may be used more to create textured polyrhythmic soundscapes. In this type of situation, the main pulse is often provided by the bass player rather than the drummer. The rhythm section members sometimes break out of their accompaniment role when they are asked to perform keyboard solos, bass breaks, or drum solos. In genres such as progressive rock, art rock, or progressive metal, the rhythm section members may play complicated parts along with the lead guitar (or vocalist) and perform extended solos. In jazz groups and jazz fusion bands, the rhythm section members are often called on to perform improvised solos. In jazz, the drummer may "trade" short solo sections with a saxophone player or trumpet player; this practice, nicknamed "trading fours" typically involves the drummer and the horn player alternating four bar solo sections during a jazz tune. They can also trade eights, twos, ones, or other numbers depending on the musical context. Variants [ edit] Organ trios [ edit] In organ trios, the lower octaves of a Hammond organ or electronic keyboard are used as a substitute for bass guitar or double bass. The organist can play the bassline using the bass pedal keyboard or using the lower manual. As well, the organist could play right-hand chords and melodies. Organ trios were a widely used type of jazz ensemble in the 1950s and 1960s to play hard bop. Organ trios are sometimes used in rock as well. The Doors ' keyboardist Ray Manzarek used a keyboard bass to play the bass lines. Manzarek, guitarist Robby Krieger, and drummer John Densmore would act as an organ trio with the addition of singer Jim Morrison. Dixieland bands [ edit] Dixieland band rhythm sections sometimes use a tuba for the bassline. New Orleans or Dixieland jazz bands occasionally use tuba, sousaphone, or bass saxophone in place of the double bass that was common in 1920s-era jazz bands. This tradition developed from the origins of New Orleans music in marching bands, which used instruments that could be carried on harnesses or with straps. Marching bands use a mixture of brass, woodwind, and percussion instruments, because all of these instruments can be played while marching. Other variants [ edit] Not all rhythm sections follow the standard model of drummer-bassist-chordal instrument. Some bands have no drummer. In bands without a drummer, one or more instruments from the rhythm section often play in styles that replace the drum kit role—that is laying down the beat and backbeat. Traditional bluegrass bands typically do not have a drummer. In bluegrass bands, the timekeeping role is shared between several instruments: the upright bass generally plays the on-beats while the mandolin plays chop chords on the off-beats, with the banjo also keeping a steady eighth note rhythm. This distributed nature allows for rhythmic continuity while players take turns highlighting the melody. In funk-oriented groups that do not have a drummer, the electric bass player may take over some of the drummer's role by using slap bass. With slap bass, the bassist slaps the low strings to create a strong "thump" similar to the bass drum's role) and "snaps" or "pops" the high strings to create a percussive effect (the latter takes over some of the role played by the hi-hat cymbals. In some bands, there may be no bass player—the basslines may be played by the piano player, synth player, or guitarist. Using a guitar player to provide basslines is particularly effective if a guitar player has a seven-string guitar with a low "B" string. Some jazz duos consist of a singer accompanied by a single piano player. In these duos, the jazz piano player has a challenging task; they have to provide all of the rhythmic and harmonic foundation that would normally be provided by a full rhythm section. A jazz pianist accompanying a singer in a duo needs to play a deep bassline, chords, and fill-in melody lines while the singer is performing. The pianist often improvises an instrumental solo in between vocal melodies. References [ edit.

Cast & Crew Blake Lively Stephanie Patrick Blake Lively was born Blake Ellender Brown in Tarzana, California, to a show business family. Her mother, Elaine Lively (née McAlpin) is an acting coach and talent manager, and her father, Ernie Lively (born Ernest Wilson Brown, Jr. is an actor and teacher. Her brother is actor Eric Lively, and her half-siblings are actors Lori Lively, Robyn Lively and Jason Lively. She followed her parents' and siblings' steps. Her first role was Trixie, the Tooth Fairy in the musical movie Sandman (1998) directed by her father. Her big break came along a few years later, though. Blake was up to finish high school when she got the co-starring role of Bridget in The Sisterhood of the Traveling Pants (2005. Blake was so perfect for the role of Bridget that, with no big references or even auditioning, she landed the role. According to her, all she did was walk in and leave a photo of herself. It was clear that she was the Bridget needed. After the film, Blake went back to high school for her senior year to have the life of a regular teenager. or a very busy regular teenager. She was class president, a cheerleader, and performed with the choir. More Jude Law B Jude Law is an English actor. Law has been nominated for two Academy Awards and continues to build a prolific body of work that spans from early successes such as Gattaca (1997) and The Talented Mr. Ripley (1999) to more recent turns as Dr. John Watson in Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011) as Hugo's father in Hugo (2011) and in the titular role in Dom Hemingway (2013. David Jude Law was born on December 29, 1972 in Lewisham, London, England, to Margaret Anne (Heyworth) and Peter Robert Law, both of whom taught at comprehensive schools; his father later became a headmaster. Law has said that he was named after both the book Jude the Obscure and the song Hey Jude. In 1992, Jude began his stage career. He starred in many plays throughout London, and was nominated for the Laurence Olivier Award of "Outstanding Newcomer" After doing the play "Indiscretions" in London, he moved and did it again on Broadway. This time, he was alongside Kathleen Turner. He then received a Tony Nomination for "Outstanding Supporting Actor. He was then rewarded the Theatre World Award. After Broadway, Jude started on the big screen, in many independent films. His first big-named movie was Gattaca (1997) with Uma Thurman and Ethan Hawke. He also had a good role in Midnight in the Garden of Good and Evil (1997. Jude's latest rise to fame has been because of The Talented Mr. Ripley (1999) in which he plays Matt Damon's obsession. The film did very well at the box office, and critics loved Jude's acting. Following the success of Gattaca (1997) and The Talented Mr. Ripley (1999) Law's feature film career continued to gain momentum throughout the late 1990s and early 2000s with roles in such films as Enemy at the Gates (2001) Road to Perdition (2002) I Heart Huckabees (2004) The Aviator (2004) and many others. Law is one of three actors, along with Colin Farrell and Johnny Depp, to take over acting responsibilities in the Terry Gilliam project The Imaginarium of Doctor Parnassus (2009) following Heath Ledger's death. Law is a partner in the production company "Natural Nylon. His partners include Jonny Lee Miller, Ewan McGregor and his ex-wife Sadie Frost. Law has been active in many charitable activities and supports several different foundations and causes, doing work for organizations including the Make-A-Wish Foundation, Make Poverty History, Breast Cancer Care and others. Law is also a peace advocate, and in 2011, participated in street protests against the rule of Alexander Lukashenko in Belarus. Law married Sadie Frost in 1997 and the couple had two sons (Rafferty and Rudy) and a daughter (Iris) before divorcing in 2003. Law and Alfie (2004) co-star Sienna Miller were engaged to be married in 2005 and separated in 2006 (they would later rekindle their relationship in 2009, splitting once again in 2011. Law and American model Samantha Burke had a brief relationship in 2008 that resulted in the birth of Law's fourth child, daughter Sophia. Law's fifth child, with an ex-girlfriend, Catherine Harding, was born in 2015. More Max Casella Leon Giler Max Casella was born on June 6, 1967 in Washington, District of Columbia, USA as Max Deitch. He is an actor, known for Jackie (2016) Inside Llewyn Davis (2013) and Blue Jasmine (2013. He has been married to Leona Casella since February 7, 2002. They have two children. More RICHARD BRAKE Lehmans Richard Brake was born on November 30, 1964 in Ystrad Mynach, Hengoed, Wales as Richard Colin Brake. He is an actor, known for Doom (2005) 31 (2016) and Kingsman: The Secret Service (2014. More STERLING K. BROWN Mark Serra Emmy Award-winning actor Sterling K. Brown stars in NBC's Emmy and Golden Globe nominated drama series THIS IS US. For his role as Randall Pearson, Brown won an Emmy Award for Outstanding Lead Actor in a Drama Series, as well as a Golden Globe, becoming the first African American actor to win his category in the award show's 75-year history. Additionally, Brown made history by becoming the first African American actor to receive the SAG Award for Outstanding Male Actor in a Drama, and also received a SAG award alongside his cast for Outstanding Performance by an Ensemble in a Drama Series. He has also won an NAACP Image Award and Critics Choice Award, and has been nominated for a TCA Award and a Teen Choice Award. In 2016, Brown portrayed prosecutor Christopher Darden in FX's highly-rated award-winning television event series THE PEOPLE V. O. J. SIMPSON: AMERICAN CRIME STORY. He won an Emmy Award and Critics Choice Award for the role and was nominated for a Golden Globe, SAG Award and NAACP Image Award. Sterling Kelby Brown was born in St. Louis, Missouri, to Aralean Banks and Sterling Brown. His father died when he was ten, after a heart attack. Sterling graduated with a Bachelor of Arts in Drama from Stanford University, before receiving his Master's Degree in Fine Arts from NYU's Tisch School of the Arts. He resides in Los Angeles with his wife and two sons. Brown can be seen in Marvel's record breaking film BLACK PANTHER. Later in the year, he co-starred in Fox's THE PREDATOR (September) and HOTEL ARTEMIS, with Jodie Foster and Brian Tyree Henry. In 2017, Brown co-starred in Open Road's MARSHALL, for which he received an NAACP Image Award nomination for his role. In 2016, Brown co-starred with Tina Fey in Paramount's WHISKEY TANGO FOXTROT. A lover of theater, Brown has performed in a variety of staged shows, including NY and LA productions of FATHER COMES HOME FROM THE WARS (PARTS 1, 2 & 3) for which he won an NAACP Theatre Award and was nominated for an Ovation Award. His additional stage credits include MACBETH, THE BROTHER/SISTER PLAYS and THE RESISTABLE RISE OF ARTURO UI opposite Al Pacino. For seven years, Brown portrayed Dr. Roland Burton in the critically acclaimed Lifetime series ARMY WIVES. Additional television credits include SUPERNATURAL, PERSON OF INTEREST, MASTERS OF SEX, THE MENTALIST, CASTLE and CRIMINAL MINDS. His film credits include OUR IDIOT BROTHER, THE SUSPECT, RIGHTEOUS KILL, TRUST THE MAN and SPACEMAN. More REED MORANO Director Cast & Crew photos provided by TMDb.

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