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#Michael Balfour
weirdlookindog · 2 months
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Fiend Without a Face (1958)
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may8chan · 1 year
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Fiend Without a Face - Arthur Crabtree 1958
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Johnny on the Run is the first Children's Film Foundation offering that leaves behind the quaint and loveable and drifts into the realm of genuine quality. Directed by Lewis Gilbert, in the same year he directed Cosh Boy and Albert R.N. this is obviously a cut above from a director who would go on to a long, distinguished, and successful career.
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Young lead actor Eugeniusz Chylek gives a genuinely moving performance as Janek/Johnny and the supporting cast, which includes Sydney Tafler, Michael Balfour, Moultrie Kelsall, Mona Washbourne and, obviously as it is set in Scotland, John Laurie are uniformly excellent.
There's a touch of Dickens about the criminal enterprises of Tafler and Balfour and, while the children of Edinburgh don't come out of it well there are some wonderful location shots of the city.
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There are also some interesting factual stories that spring up from watching this film, not least the idea of a home in Scotland housing war orphans of all nationalities.
There's also Cleo Sylvestre as one of the kids.
All in all, this is in the highest bracket of Children's Film Foundation fare.
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theonlyadawong · 11 months
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Much Ado About Nothing
Royal Shakespeare Company, 2022
Dir. Roy Alexander Weise
Photos by Ikin Yum
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thecrownnetflixuk · 1 year
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The Crown (2016) Seasons 1-5
Inspired by real events, this fictional dramatization tells the story of Queen Elizabeth II and the political and personal events that shaped her reign.
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tavners · 11 months
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missing this FAM fam together
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mariocki · 3 months
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A Ghost Story for Christmas: The Treasure of Abbot Thomas (BBC, 1974)
"In what other parish church in the advowson of the good Abbot Thomas shall we find Bartholomew, Jude, Simon and Matthias all together in one window?"
"Not the 'good' Abbot Thomas, Peter. That was never suggested, not even by himself."
#a ghost story for christmas#the treasure of abbot thomas#horror tv#single play#bbc#1974#m. r. james#john bowen#lawrence gordon clark#michael bryant#paul lavers#virginia balfour#anne blake#sheila dunn#frank mills#john herrington#peggy aitchison#rosemary hill#ok so the festive season may be over‚ but you know what they say: a Ghost Story for Christmas is for life‚ not just for.. uh..#yeah. anyway. continuing to revisit these peerless xmas shockers. i constantly flipflop on favourites and most scariests as i said#in the tags on my Warning to the Curious post‚ but i think this is a strong contender for creepiest entry.. certainly the final 10 minutes#are quite unlike anything else the other stories achieved. i have to point out too one of the greatest uses of silence in classic brit tv;#the final shots are played without a sound and are all the more terrifying for it. beautifully done stuff‚ LGC at his most formal perhaps#in terms of the beautiful composition of this piece. the great Michael Bryant (one of our most undervalued actors) superb as the clergyman#whose noble scholarly intentions and slightly sneering skepticism guve way in one awful rash moment to an impulse of very human greed#but an impulse that won't go unpunished... as ever Clark is content not to spoonfeed‚ leaving us to draw conclusions and connect gaps#(a genuine question for any fans who've seen it: do you think Peter put the treasure back? i never can decide)#a masterclass in subtle writing‚ direction and performance (and sadly everything this year's offering wasn't..)
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For All Mankind Season 1 Press & Promotional Photoshoot
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cantsayidont · 3 months
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November 2019 to present. There's about a season and a half worth of really good TV in this speculative fiction series, co-created by Ron Moore (of BATTLESTAR GALACTICA and DEEP SPACE NINE fame), Matt Wolpert, and Ben Nedivi, which postulates a world where the Soviets beat the U.S. to the moon in 1969 and thus keep the space race running strong for decades afterward. Unfortunately, FOR ALL MANKIND is now in its fourth season, and its smattering of interesting and sometimes stirring moments remain mired in frustratingly erratic pacing (especially in the third season), an aggravating amount of truly shameless melodrama, and character conflicts that are too often driven by contrivance rather than personality.
The strongest moments are near the beginning, where the Soviet landing of a female cosmonaut on the moon triggers a frantic scramble to put an American woman into space — a storyline that also serves as a tribute to real-life pilot Jerrie Cobb (fictionalized as Molly Cobb and played by Sonya Walger, second from left below), who died in 2019 — and the political recriminations about the American space program's supposed timidity snowball into a series of deadly accidents.
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If you like movies like THE RIGHT STUFF and APOLLO 13, the premise is hard to resist, but the further the show gets from the period where it begins, the clumsier it gets, and the more facile its simple-minded politics become. (The first season's apologia for Wernher von Braun's use of Nazi slave labor was quite bad enough, but did the second season really need to valorize Ronald Reagan? In what universe was it defensible for the third season to have Don't Ask, Don't Tell invented by a closeted lesbian Republican and her awful closeted beard husband, or to make the show's obvious Melon Usk pastiche a self-made Black billionaire (played by Edi Gathegi) whose family is from Kenya, rather than a wealthy white South African whose popularity and predatory impulses are inseparable from that background? Why does the show's vision of the Soviet Union more closely resemble the 1982 Clint Eastwood techno-thriller FIREFOX than the historical USSR?) The show also never really recovers from the eventual loss of key members of the original ensemble, in particular Gordo and Tracy Stevens (Michael Dorman and Sarah Jones, pictured above center), who depart at the end of the second season.
A central dilemma with FOR ALL MANKIND is that the storyline covers four decades of alternate history, and the terrible pacing and frequent time-skips make it difficult to sustain any kind of emotional connection to the characters. Even if you're really invested in certain characters' relationships, you have to resign yourself to the fact that they may only have one scene together once every 15 or 20 years of story time — and in the meantime, you'll have to put up with a depressing amount of Ed Baldwin (Joel Kinnaman) being insufferable to Danielle Poole (Krys Marshall), who has the misfortune of being one of this very white show's only recurring Black characters. The current season, set in the early '00s, is still struggling for a coherent story direction, suggesting the series may be running out of gas.
I dunno — I really liked this show at its outset, but the longer it goes on, the harder it becomes to accept its many flaws, and the current season has repeatedly made me wonder why I'm still bothering.
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corallapis · 9 months
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Henry ‘Chips’ Channon: The Diaries (Vol. 1), 1918-38, entry for 29th June 1923
— Friday 29th June Lunched at Lady Cunard’s. The usual potpourri and brilliant chat. She told Lord Balfour he was like God and ‘yet so Christ-like’! Dined with Michael Horby¹ at Shelley House² and we went to Stop Flirting, the popular revue in which two charming little people, Americans, called Fred and Adele Astaire, are the stars.³ Later a most lovely ball at Someries House⁴ ... Lady Zia Wernher’s.⁵ It was successful indeed and starts a new era in entertaining .... I was presented to a tallish gentleman, the Crown Prince of Sweden⁶ ... he is to marry the Lady Louise Mountbatten.⁷ It will be announced next week. What luck for her as she has only about £300 a year and is living in obscurity at Kensington Palace. The Mountbattens after being degraded during the war⁸ to the rank of mere marquises and earls are now much on the ascendant ... they are ever a lucky family, poverty-stricken, they specialise in brilliant marriages. I sat in the garden with Lady Desborough⁹ and found her witty and wily as ever ... does everyone realise, as I do, that she is the character of the age?
1. Michael Charles St John Hornby (1899-1987), son of St John Hornby, was the founding partner of WH Smith.
2. The Hornby family’s house in Chelsea.
3. Frederick Austerlitz (1899-1987), who took the name Fred Astaire, was an American actor, dancer and singer who achieved worldwide fame in the 1930s in a series of Hollywood musicals renowned for their dance routines; and his sister Adele Marie (1896-1981), with whom he began a vaudeville act as children as 1905, when they changed their name to Astaire. By 1923 they had a Broadway act, which they were touring in London.
4. A Crown State property rented by the Wernhers in Regent’s Park, designed by John Nash and damaged by bombing during the Second World War. It was demolished in 1958.
5. Countess Anastasia Mikhailovna of Torby (1892-1977), elder daughter of the Grand Duke Michael Mikhailovich of Russia, and therefore a great-granddaughter of Tsar Nicholas I. She married, in 1917, Harold Wernher (1893-1973), later 3rd Bt. She was granted the rank and precedence of an earl’s daughter after her marriage and stopped using her Russian title, being known as Lady Zia Wernher thereafter.
6. Oscar Fredrik Wilhelm Olaf Gustaf Adolf (1882-1973), from 1950 King Gustaf VI Adolf of Sweden. He was the widower of Princess Margaret of Connaught (1882-1920), whom he had married in 1905; she was the cousin of King George V, and had died suddenly while eight months pregnant with her sixth child. 7. Louise Alexandra Marie Irene Mountbatten (1889-1965), previously Princess Louise of Battenberg, married the Crown Prince of Sweden (vide supra) in 1923, and was Queen Consort of Sweden from 1950. She was daughter of Prince Louis of Battenberg, who became 1st Marquess of Milford Haven when renouncing the German titles in 1917. She had earlier turned down proposals from King Manuel II of Portugal and had been secretly engaged to Prince Christopher of Greece, who was unable to marry her because he had no money; a second engagement was to Stuart Hill, an artist, whom she met while nursing in the Great War and who turned out to be homosexual. 8. There was a protracted debate between Lloyd George, King George V and Lord Stamfordham, the King’s private secretary, in 1917 about the titles to be bestowed on German members of the King’s family who had pledged allegiance to him and had been prepared to forfeit their German ranks. The King was cautioned against granting too many titles and to avoid bestowing any dukedoms. The Mountbatten marquessate was a compromise and their rise would indeed be unstoppable, with the surname of members of the House of Windsor becoming Mountbatten-Windsor in 1960, thirteen years after the marriage of the future Queen Elizabeth II to Philip Mountbatten. 9. Ethel ‘Ettie’ Fane (1867-1952), married in 1887 William Henry Grenfell (1855-1945), 1st Baron Desborough, a former Liberal MP who had joined the Conservatives in 1893 over his disagreement with the second Home Rule Bill for Ireland. Their three sons (qqv) predeceased them, two killed in the Great War and a third in a car crash.
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mandoreviews · 11 months
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📽️ Secondhand Lions (2003)
So I only watched this movie because my dad said it was really good, and he wanted me to watch it with him. I can’t say that it was bad, because it wasn’t, but it was somewhat strange and just not really my thing. It’s a good, clean movie that can be watched with children as there is humor for them and for adults without be raunchy. The weirdness of it would probably actually be pretty funny to children. It’s more of a coming-of-age story, but it can be a family movie. It’s lighthearted while also addressing some deeper meanings. I actually thought it was older than it is because it kind of has the feel of “Where the Red Fern Grows.” Secondhand Lions is a good movie for the whole family.
Sex/nudity: 2/10 (kissing, mild comments that would be missed by young children)
Language: 2/10 (about forty instances of mild language)
Violence: 3/10 (several flashback-type fight sequences, one fight sequence in modern time, mostly mild but played up a bit for laughs)
Overall rating: 7/10
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weirdlookindog · 2 months
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Fiend Without a Face (1958)
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Michael Carbonaro
Making Comic Book Magic Through the Eyes of the Impresario of The Big Apple Con
by Brad Balfour 
Boy, it's hard to keep track of comic book impresario Mike Carbonaro. Maybe he can sit still for a two-hour movie – or so – such as the 93-minute The Night At The Opera, a film as fast paced and crazy-quilt as Carbo himself. He's a Maven of media, especially that which involves superheroes and costumed characters. Now in his mid-60s, this NY-accented character may not be costumed but he is heroic, a rescuer of our pop culture. And he's profiting from it.
At least once, maybe twice a year, Carbo holds the Big Apple Comic Con in the New Yorker Hotel. On Saturday, December 17th, is Christmas Con, then a co-sponsored Trading Card Con on Sunday. And next year, there's the extended March 2023 edition. 
If the New York Comic Con is like a glittery version of a Comic-Con, maybe the Taylor Swift or Bruce Springsteen of cons, then the Big Apple Comic Con is a punk rock equivalent – kind of like The New York Dolls versus The Rolling Stones. It's hard-core for real lovers of the books, their artists and fans. Oh, it has its share of media stars, panels, signings/photo booths and an artist alley but it's really for the basic collector.
A very active collector and buyer of comics, discs, and pop culture memorabilia, Carbo's comic book story began as a young boy who would use his toy dump truck to roll his comics into a treasure chest covered with Superman wallpaper. Over 40 years later, he's still rolling along and buying comics – only now it's in a white SUV, sometimes having woken up in the middle of the night to spend $20k on comics. 
In the '70s, Carbo attended almost every comic book and collectible convention in the NYC area. He paid his way through private school and college with money made by dealing comic books. In the '80s he opened a comic book store in Forest Hills, Queens, NY, which he ran for more than a decade.
Then, ever restless in the 1990s, he launched a new venture – the Big Apple Convention. Over the years, he's run over 75 comic cons locally. Over the course of its history, the convention has been known as the Big Apple Convention, the Big Apple Comic Book, Art and Toy Show, and the Big Apple Comic Book, Art, Toy & Sci-Fi Expo. Larger three-day November shows were known as the National Comic Book, Art, Toy and Sci-Fi Expo and the National Comic Book, Comic Art, and Fantasy Convention. In 2014, the name "Big Apple Convention " was revived by Carbonaro for the March 2015 show. He's sold and then reacquired it. But whenever and wherever he did, Carbo was its ringmaster.
In 2000, the bushy-haired dynamo also kicked off a career as a Senior Buyer for Neat Stuff Collectibles. He spent millions of dollars buying comic books and collectibles during his tenure. Then, Carbonaro helped Dave & Adam's Card World build their comic books business. He's always gearing up to spend billions on every collectible imaginable – comic books, pulp, toys, and sports cards and artwork. Whatever you've got, Carbo will buy it!
In typical Carbo fashion, when we met up, he was in a whirlwind. "Get down here to the public library near the Lions. I'm coming from my accountants, meeting a long-time collector and then you. And I'll be off again."
Michael Carbonaro: This is the most beautiful spot — the Chrysler building right there — 42nd Street, Fifth Avenue, New York Library, and my friend, Arnie Sheinman.
What are your memories of comics and the library? Michael Carbonaro: You know what? I actually want to build a comic book library. This is not it. But I do enjoy the 42nd Street Library when I'm here. But the reason I'm here is my accountant – who is also Arnie's accountant, at least for this year, and is across the street.   I imagine your accountant has a lot of work to do.   Michael Carbonaro: You mean when it comes to me? Well, yes, he's kept things honest and stable for the last 20 years.   You're always running around with all that cash to buy comics. How do you keep track of it all?   Michael Carbonaro: I don't know. The comics keep track of themselves. But Arnie and I were doing business way back, starting in the earliest days. But you were doing business before me, at the comics shows. We were just talking about this new movie, the Shazam! movie, the Black Adam, which is okay. But remember Captain Marvel? There was a time when the Captain Marvels were the X‑Men — when everyone wanted to have Captain Marvels, this whole period. But Marvel Family No. 1, which is now $1,000 to $20,000, nobody cared that much about Marvel Family No. 1 — 25 dollars, maybe 50 dollars, a hundred bucks, would have been a lot for that. Tons of those all the time. Anyhow, it's amazing what the movies will do for the awareness, value of a comic book.   Do the movies make you more motivated about a particular comic book?   Michael Carbonaro: Not personally, but from a fiduciary point of view, yes. It makes me want to buy more because everyone wants them, and the value goes up. Then it goes down, as the movie does well or worse, depending. So yeah, it motivates me a little bit to do it.   So you weren't motivated by Black Adam?   Michael Carbonaro: The comics themselves motivate me.   And Black Adam didn't do it for you?   Michael Carbonaro: It was okay. What can I say?   How about the comic? Shazam No. 26?   Michael Carbonaro: Shazam No. 26? That's another book from the 70s. You can buy it in the dollar bins all of a sudden, the dime bins.   Now you're talking about the Golden Age ones?   Michael Carbonaro: No, no, this is the 1970s appearance of Black Adam – the Shazam one. But then there's Marvel Family.   Arnie Sheinman: So worthless.   Michael Carbonaro: What about Marvel Family No. 1? Didn't that have something in it too?   Arnie Sheinman: No, I'm talking about the Silver [Age] one.   Michael Carbonaro: Right, right. That's what Shazam was – kind of silvery.   Arnie Sheinman: That's the Marvel stories.   Michael Carbonaro: Yeah, that's the one I'm talking about. The 1940s kept Marvel Family as well as the Shazam ones from the '70s.   Did it ever confuse anybody about, there's Marvel’s Captain Marvel, there's a DC Captain Marvel and then there's Shazam, and then there's...   Michael Carbonaro: Yeah. Well, that's the whole thing of a lawsuit with that. I think it's interesting. Marvel – I believe DC actually stopped, or paid off, Fawcett [Press] to stop printing Captain Marvel. Then, later on in the Seventies, Marvel bought the rights to it, or owned the rights somehow, and then created [their own Captain Marvel] and [DC’s version] became Captain Marvel themselves, calling it Shazam.        Arnie Sheinman: They named Marvel "Captain Marvel." It was Captain Mar-VEL.   Michael Carbonaro: Right, right. And then Marvel Comics created a Captain MAR-vel character in the '60s. So it was...   Then it was [morphed] into a woman?   Michael Carbonaro: I believe that's correct, right. Oh, I remember when I had my comics store, that was actually the first graphic novel that really did amazing [business]. We had to keep reordering it, the first printing and the second printing. I had my comic books store in the 1980s – I guess that's '83-'84, when "The Death of Captain Marvel" came out. That graphic was six bucks, and it was great. That's like selling six comic books. So I was making three dollars on every six‑dollar sale. I kept reordering that graphic novel and reordering it.   And that's at the retail rate, right?   Michael Carbonaro: Yeah. That was at my comic books store in Forest Hills – Continental Comics in the '80s. I had just moved back again to Forest Hills, and the guy whose house I moved into and I invested a little, and I'm paying him rent – is one of the kids that used to buy comic books from me in the 1980s. In a $2.2 million house in the Forest Hills Gardens.   So you're in Forest Hills now?   Michael Carbonaro: I'm back.   Is there a difference between the Queens comic book fan versus the Manhattan comic book fan?   Michael Carbonaro: Absolutely not. Everyone likes comic books, it's all equal. We all love them the same. It doesn't matter where you live or where you are. Comic books are equal. Now some people are a little more crazy about the way they love their comics and how they love their comics, but nevertheless we are all equal lovers of comic books. Whether we buy them, sell them, or whatever, right? 
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Now that you're back living in Queens, have you ever thought to set up your house in such a way that it becomes a comic book haven?   Michael Carbonaro: Oh no, no, no, I already have a warehouse, and a basement. Actually the reason I bought it is because of the whole garage and basement of the house, I am turning into a business and an office and all that. And for my Big Apple Comic Book Convention, which is coming up this month. And Christmas.   
BACC is not a corporate show – it's a collectors show. It's not 100,000 people, it's 10,000 people. But we bring celebrities, we bring artists; if you come to the show, you can move around and breathe easily, you can get to see everybody; you can do your comic book business, and that's what I like about it. It's a fun experience. It's real social media with other collectors. That's the thing, you walk into a comic book convention, or you collect comic books, regardless of race, color, creed, anything, you have that common interest. That's something I learned as a kid buying and selling comics, the melting pot of comic books has been a very positive experience for me in my life. 
So Arnie, you told a few stories of me in the past, and one of these is amusing. I would like to negotiate when I buy something, and you mentioned that I negotiated with you and I left the difference on the floor when we did it?
Arnie Sheinman: A little kid used to come over and pay me in change, and he left more change on the table than he spent.   Did he have any valuable change?   Arnie Sheinman: No, just nickels and dimes. But to an 11-year-old...   Michael Carbonaro: But buying comic books back then was pretty cool.   Then you were an 11-year-old...   Michael Carbonaro: No, I was 12 or 13. This is 1970.   So you're 12 or 13. Why is it comics and not something else you collect? Although you do collect a lot of other things, do you?   Michael Carbonaro: No, comics were it. Because I liked collecting comics when I was a kid, I enjoyed it, and comics were – it was something easy to figure out. I liked the numbering system. I liked buying them. I liked seeing them. I liked that Marvel Comics were exciting.
The comic book business is a 24-hour business and when the comics come out, people want to sell them when they want to sell them. And I've had guys I've known since I was 12 years old. So all of these years I've been collecting, and I've had guys I've known all their lives, guys 45 years old, "I'll never sell, I'll never sell." All of a sudden, in the middle of the night they'll call me and go, "Okay. I'm ready to sell." And if I don't answer that bell that day, they'll find someone else to buy it. That's the cool thing about the comic business, it's very liquid. If you need money, you want to sell something right away, you don't have to deal through any brokers. You have to be ready to go. For me, the middle of the night and doing the deal is my life. It was the best dream I could have had, and it came true.    Coins and stamps were dull. My dad collected coins and stamps. He taught me how to collect things, and I liked postcards as well. I collected postcards – Coney Island. I won first prize for my Coney Island collection. That was pretty cool. But Coney Island is, you know, the old Luna Park and Dreamland, and all that, that's all gone now.   Did you go out to Coney Island?   Michael Carbonaro: Yeah, I used to make my mom take me. But it wasn't the same in the '60s.   How was the Mermaid Parade for you?   Michael Carbonaro: Didn't get to that one. That was way back. This was the '70s. But I'm flying out to buy a comic book collection in Florida next week, and I'm probably not even going to see Disney [World]. For me, the comic book collection is Disneyland. New York City has been my home. I've fallen off the roof at Studio 54 [and] I had a comic book store in Jackson Heights. I like the fact that I run the Big Apple Comic Con in New York City. It makes me feel good that I'm a part of New York and I've done something fun here.
www.bigapplecc.com 
Copyright ©2022 PopEntertainment.com. All rights reserved. Posted: December 13, 2022.
Photo ©2022 Brad Balfour. All rights reserved.
Logo ©2022. Courtesy of Big Apple Comic Con. All rights reserved.
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lostinaflashforward · 5 months
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FOR ALL MANKIND - Recensione stagioni 1, 2, 3
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Questo Venerdì For All Mankind ritorna con l'attesissima quarta stagione e per l'occasione vi lasciamo il nostro commento alle passate stagioni.
RECENSIONE STAGIONE 1
RECENSIONE STAGIONE 2
RECENSIONE STAGIONE 3
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thepeoplesmovies · 1 year
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Everyone's Looking For A Way Out In The Runner UK Trailer
Everyone's Looking For A Way Out In The Runner UK Trailer #TheRunner #EdouardPhilipponnat @Reel2reelF @AimPublicity
Everyone’s looking for a way out, that way out will come later this month when Michelle Danner‘s The Runner will be released in the UK. Reel 2 Reel Films have sent us the UK Trailer for the film of a talented young runner races headlong into trouble. The tense, gripping coming of age indie thriller about a troubled and talented runner (Edouard Philipponnat). A young man going places who gets…
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alexpeteronoja · 2 years
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For All Mankind Season 3 Episode 1 – 10 (Complete)
For All Mankind Season 3 Episode 1 – 10 (Complete)
depiction of a “alternate history” in which the USSR succeeds in making the first manned Moon landing, sparking a race for space on a global scale. Cast: Joel Kinnaman, Sonya Walger, Krys Marshall, Jodi Balfour, Wrenn Schmidt, Shantel VanSanten, Sarah Jones, Michael Dorman Mp4 Download For All Mankind Season 3 – Nollywood movie 720p 480p , x265 x264 , torrent , HD bluray popcorn, magnet mkv…
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