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citizenscreen · 5 years

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Murder, breathtaking vistas, heartbreaking stories, humor, and celebrations of life. These are a few of the themes covered in these year’s Hollywood’s Hispanic Heritage Blogathon to commemorate Hispanic Heritage Month, roots of which go back to 1968. It’s an honor to host these passionate discussions of the kinds of stories and cultures that have enriched motion pictures since their inception.

If you’re curious about the list of entries, visit the announcement post here. Otherwise, I’ll get right to it.

The first submission received for this event is a great one from Kellee at Outspoken & Freckled. Here Kellee takes a look at a 70-year-old still relevant movie that casts “blame and credit…on both sides of the border.” Here is her look at Anthony Mann’s Border Incident (1949).

Friend Ana Eire contributes a terrific write-up on a low-budget B-movie that packs a punch, Kurt Neumann’s The Ring (1952). She certainly make me want to see this one!

This year’s enthusiasm award goes to Terry at A Shroud of Thoughts who submits four awesome entries to this event: a 30th Anniversary tribute to Stand and Deliver (1988), a celebration of West Side Story (1961), a write-up on Border Incident (1949), and a tribute to Robert Cabal.

Real Weegie Midget Reviews discusses the story of rock ‘n’ roll star Richie Valens as told in Luis Valdez’s La Bamba (1987).

Movie Rob brings us Tyrone Power as Don Diego Vega in Rouben Manoulian’s The Mark of Zorro (1940), the story of “an aristocratic Spaniard who dons a mask in order to fight for justice in Los Angeles.”

Paddy, better known to many as Caftan Woman for her fabulous classic film writing, brings us a fantastic, long overdue sampler from the career Pedro de Cordoba.

Poppity Talks Classic Film focuses on Cesar Romero in Captain From Castile (1947), a role for which he was hand-picked by Darryl Zanuck.

Romero with Tyrone Power in Captain from Castile

From Dubsism, an interesting discussion of Sports Analogies Hidden in classic movies with a focus on Sweet Charity (1969) and its Ricardo Montalban connection. Also, the legendary Chita Rivera is featured.

Montalban and Shirley MacLaine in Sweet Charity

Gorgeous scenery, compelling stories, and a deep and interesting past are featured in Sean Munger‘s Landscape of the epic past: a history of Spain in the movies

There are Troubles in Tijuana as The Midnite Drive-In focuses on the hit comedy, Born in East L.A. (1987)…

Cheech Marin in Born in East L.A.

Pale Writer spotlights Ricardo Montalban in a rare film noir of the 1940s that focuses on forensic science. Here is Bone Collector: Ricardo Montalban in Mystery Street (1950), a personal favorite.

I’m particularly thrilled with this choice by Debbie at Moon in Gemini of a movie I’ve never seen, the 1984 Argentinian film Camila, “a captivating mixture of romance, lush costume drama, and political commentary.”

My own contribution is a partial recounting of the history of Cuba in the Movies.

I hope you enjoy these entries as much as I do. There are more to come as the day progresses.

Thank you for visiting this blog and supporting this event!

Bloggers Celebrate Hollywood’s Hispanic Heritage Murder, breathtaking vistas, heartbreaking stories, humor, and celebrations of life. These are a few of the themes covered in these year's…

#Hispanic Heritage Month #Hispanic Themes in Movies #Hollywood&039;s Hispanic Heritage

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amstcrdamarchived · 6 years

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☁ riley ☁ delilah ☁ catalina ☁ sydney ☼brandon ☼hayden ☼layton ☼sawyer ☼lucas ☼ross (me?? going overboard w memes bc i wanna know how u see them ?? more likely than u think )

riley: oversized knit sweaters, the smell of a homecooked meal, sunday mornings laying in bed, the warmth of the sun at 2pm, odd socks, ribbon tied into bows, bubblegum chapstick, eating nutella on the kitchen counter, bear hugs, tear stained tissues, bubble baths, slow dancing in the moonlight, hidden notes, breakfast at tiffany’s, doe eyes, i’m gonna be okay texts, lingering hugs.

delilah (bear w me i haven’t interacted with her as much): living paycheck to paycheck, yesterday’s eyeliner, missed calls, messy buns, chockers, unanswered questions, miming a finger gun to her head, loud music, house parties, 2am walks down the street, rooftops, empty sighs, bright lights, vacant expressions, too many cups of coffee, gas stations, crying in the shower, empty bottles of vodka.

catalina (mainly just from the first thread): silk sheets, lollipops, (43) text messages, eye rolls, thick wallets, lip biting, towels wrapped around her body, short skirts, frat parties, teasing, roses, playing with the wind in a moving vehicle, expensive jewellery, macbooks, unopened text books, snapchat filters, sunbathing poolside, lingerie, middle finger raised, booty pics, red lipstick, hickeys, convenient stores, after parties, texting in class, pearly whites, late night drive thru, face masks.

sydney: unanswered texts, impromptu road trips, center of attention, high heels, “daddy’s girl”, pressed flowers, tequila shots, hangovers, tight dresses, movie references, collection of wine bottles, front row seats, designer bags, bar stools, hair flicking, painted nails, coming home to an empty bed, devil on your shoulder, skinny jeans, too much confidence, clean kitchen, turning your back on a loved one, heels on concrete, the one that got away.

brandon: cheeky grins, bookshelf of classics, non-prescription glasses, licking your lips, too much free time, random (useless) facts, button up shirts with rolled up sleeves, dress shoes, glasses of whiskey at eleven in the morning, getting up to no good, old movies, witty comebacks, secretly liking cats, sticky notes, fancy analog watches, rough make out sessions, pissing people off, sitting in the gutter at 3am, fingers gliding through curls, tapping a pen against the table.

hayden: rays of sunshine peaking through blinds, grandma’s recipe, family portraits, road trips back home, kisses from momma, accidental bruises, going the extra mile, helping a stranger carry their bags, laying in fields, trying too hard, sore muscles, giving little kids piggy backs, big happy dogs, breakfast in bed, bottled up feelings, quiet moments, lazy sundays, running in the morning, lake visits, “have you eaten today?” texts

layton: unidentifable contact numbers, 3am messages, earphones, sport bags, parted lips, shirtless just because, back of the class seats, baseball cups backwards, big jumpers, notification tones, charming smirks, head between your thighs, fingers around neck, calls from your little brother, eating out with the boys, the other room at a party, snapchat videos, short captions, hair gel, wearing the towel around your waist, hugging your mother tightly, sneaky snaps, same face selfies, working out to kendrick lamar.

sawyer: cracked spines of paperback books, notes in the margins, eating apples, cheap vodka with lemonade, the same black clothes, walking in the rain, unfinished letters, unanswered phone calls, hanging up too quickly, pushing people away, vinyl records, “it was better in the 70s”, leaving parties early, walking home alone, unexplained cuts, wasted time, water dripping off of pipes.

lucas: heart on your sleeve, back massages, giving your their coat in the rain, worried faces, unanswered decisions, caring too much, helping you find your car, pushing the shopping cart, picnics at the park, bareback horse riding, unintentional plaid shirts, scruffy hair, homesick days, facetiming your folks, drive-in movies, hand holding, carrying you to bed, out the door the second you need them, stepping up to the bad guy, superhero movies.

ross: dinosaur figurines, textbooks on the shelves, lingering stares, chasing the wrong girl, falling asleep at the desk, pushing instead of pulling doors, half finished coffee cups, reading the newspaper in the morning, probably ugly sweaters, overanalysing anything, saying the wrong thing at the wrong time, pens that don’t work, cheesy finger gun actions, waiting too long, missed opportunities, not saying what’s on the mind, stupid facts.

#w ow there was a lot i needed to put it under a readmore smh cass #ofcynics #「 ❛ aesthetics › BRANDON.#「 ❛ aesthetics › HAYDEN.#「 ❛ aesthetics › LAYTON.

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amycondit · 5 years

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This great post on The Longest Yard is one of many in the Great Villain Blogathon hosted by Silver Screenings, Speakeasy, and Shadows and Satin!

#burtreynolds #football #robert aldrich #prisonfilms

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mfmagazine · 5 years

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Hunting Club

Article by Monica Alvarez

Photo by Matt Mead

The Midwest. I want it. Whatever is in their water. Or maybe it's something in the air. Doesn't matter. I want in. From the music I hear coming out of their neck of the woods, to the people I meet who were born and raised out there, there is always something good to be said. Here is Minnesota's own Hunting Club. Is there a theme or concept for this album? What was going on in your personal lives while the album was being written and recorded? What are these songs about? Eric: This album to me has classic man vs. self overtones. The plaid album is apt because the crossing patterns and textured layers represent struggle. The songs are about understanding, that understanding isn't absolute. There are things that we'll probably never know and should be content in not knowing. Fortune Machine is an analogy for fatalism. The "Raising Arizona" title came from our unhealthy love for Nicolas Cage. "Cactai" was nice imagery about finding happiness in the middle of desolation. It's got some cool 6th chords which give it this island feel, being from Hawaii, it’s a message and a flavor that really connected. Justin: Saucy Banana is our sassiest song… there is no arguing this point. So, what's the story behind "How'd It Get Burned?" and "How'd It Get Burned Again?" How DID it get burned? Justin: The opening track “How’d It Get Burned?” is actually a recording straight from the bedroom and started off as an organ sound and bass progression that Kyle came up with. The other elements of the song are my initial reactions to hearing it and recording some guitar and piano on the spot. It ended up having a really cool feel to it because it sounds a bit unsure, and in that way it is sort of posing a question I suppose. Anyways, since we’re constantly recording new ideas without really knowing what the point of the song is or what the lyrical content will be, we’re tasked with giving the home recording a file name that we’ll be able to remember and associate with the song. Enter Nic Cage. I guess I won’t gush too much over this all too curious thespian, but we like his work and we like the intensity that he delivers some of his lines with. Watch The Wicker Man and you’ll know the origin of this song title (or just watch the best of compilation of the movie on YouTube). Since the original song title seemed to fit the unsure nature of the song, it just stuck. “How’d It Get Burned Again?” is the demo recording of the song performed live in Eric’s basement, and there’s even a studio version that didn’t make the album. I guess we felt like the song and its multiple iterations served as an overarching theme and musical palette cleanser to the album since the first and second halves are a bit different from one another. I've read about how you guys spend a lot of time perfecting the layered sound and progressions that are found on yourself titled album. How did the recording process of this album differ from recording your EP? Justin: Well, we recorded both the EP and full length with Jeff Halland at both our home studio and his studio (Vaudeville) in St. Paul. Jeff didn’t really know us all that well when we set out to do our EP, but after recording it he wanted to be a part of the next project and record it in a manner where there were no time constraints or pressure to get it done. He really wanted to work with us to help make the album we wanted to make, and knew how meticulous we were about the sounds we wanted and the overall mixing and production. So, outside of taking a lot more time to make the album with someone we now felt comfortable with, I think the main differences were just being together for another year as a group, adding in a new member (Nate Dykstra - bass), and hopefully traveling a bit further down our musical rabbit hole. If the band was stranded a la "Alive" who would die and get eaten first? Bob: I would eat myself. Nate: Probably me. My survival skills are pretty weak. Other wise, Eric Pasi. I'm sure the Wisconsin born members have the best chance of survival for obvious reasons. Eric: Kyle because he's skinny as shit and needs insulin to live (okay that's a lie). Kyle: Nate Dykstra. He looks most edible. Justin: I would eat my brother so that I would have the power of two Steen’s. Then I would yell “Anything’s possible!” like Kevin Garnett might. What's the music scene in your community like? How's the local vibe? What is it missing, if anything at all? What do you feel you are contributing to the community and industry? Justin: I think that with Minnesota and the Twin Cities, there’s really a good representation of a lot of styles and genres of music (there’s definitely a pretty large hip-hop community too with the Rhymesayers Label being in Minnesota). It also helps that there are some pretty good radio stations like Minnesota Public Radio – The Current and Radio K playing eclectic mixes of music. As a whole, I think that Minnesota is well represented with all types of artists, and there is no shortage of venues and people that will come out and support shows. More in our realm of music though, I think we do represent something that’s missing from the both the local, and to some degree the national scene. I’m really proud that I think our debut is a sort of indie rock album that isn’t afraid to be aggressive, ambitious, sad, happy, experimental, poppy, droning, or whatever we wanted it to be. I think far too often artists get a bit too influenced with what seems to be getting popular, and by the time they trade in their instrumentation for whatever’s popular at the moment, and get their image makeover, music has already gone somewhere else…that’s not saying that trying new things and experimentation isn’t what being an artist is all about, but more that it’s better to be inspired by what’s happening around you than only trying to duplicate it. At our core, I think we’re completely dedicated to making good songs that are infused with a sense of curiosity in where our music can go. We’re completely cognizant and inspired by what’s going on around us, but we’re not giving into being a band that we think will get local attention at the cost of being just another version of something happening at the national level. Do you guys have a favorite venue to play at? Where would you like to play? What would be your dream gig's line up and venue setting? Justin: There’s a local venue called the 331 Club that has a stage we barely fit on, but the place is usually packed and we usually have a great time there. I would love to play Lollapalooza or Coachella someday… or any overseas festival tour type thing. Dream gig lineup? Hunting Club playing before Radiohead at Lollapalooza. Do you guys watch television? What are your favorite shows? Bob: Room Raiders, Legends of the Hidden Temple and the 700 Club. Nate: Current Shows: Breaking Bad, Dexter, True Blood, Community, Treme, The Pacific -- Old Shows: The Wire - best show ever made in my opinion. Eric: Just recently got into the Bachelorette for the absurdity of it all. Almost all reality television, to me, reflects the worst things in our culture. Lost was also huge in our lives. Kyle: The life and times of Tim, The Ricky Gervais Show, and MST3K. Justin: It’s Always Sunny in Philadelphia, Top Chef, Survivor, Lost. Twins? You think they'll go far this season? Bob: No, no I don’t. Nate: Big Twins fan and hope they go far, but realistically I think they will make the playoffs and hopefully win a series or two. Obviously I hope they go all the way though! Eric: Nate and I are big fans (got half season tickets); went to the 91 series and have been hooked ever since. Do I think they have as good of a team this year? You betcha! Power throughout the lineup, solid D, and decent pitching; they have issues with leaving runners on and unfamiliar pitchers. If they stay healthy and don't let the Yankees get in their heads, they got the best shot in years. Kyle: Only if Chuck Knoblauch returns to the team. Justin: I’m with Bob; I hope they lose every game. Have you prepared anything in case PETA tries to start beef for the whole antlers/hunting thing? Just wondering. Nate: I've never hunted once in my life and don't ever really plan to. Just not something I'm interested in. Plus, being that my girlfriend is a vegetarian I think I would get shot if I even though about it. Eric: If they got beef they can talk to our Smith & Wesson's. We hunt for sport, not practicality; it's the American way. Kyle: We have already created a video apology stating that we killed the innocent deer merely for its antlers, and not to eat it. They should be cool with that. Justin: As long as we were attacked by some blowhard celebrity pretending to care about anything on behalf of PETA, I’d be okay with it. Plus, for the record, none of us have anything to do with the mistreatment of animals. Are you already working on new material for the next album? When you have the urge/need/whatever to get something new made, what's the process like? Justin: Yeah, we’ve already got some new material that’s in the works. I think we’re like a lot of artists now that are reaping the benefits of technology and being able to record right from our basements or bedrooms. The core of a lot of our songs start out as recordings submitted by myself or Kyle, with everyone else adding in and helping the song come to life in a more live setting. Whether something sounds good recorded or not, I think our test for any song being good enough is figured out by playing the stuff over and over together. Typically if we can jam to the same thing for twenty minutes straight and enjoy it, we know we’ve got something that has potential. After that, it’s all about the details and trying to make interesting structures, sounds and beats. Then we might re-record the songs or parts of them to work on additional vocals and other percussion parts. It’s really nice to be able to live with the songs for some time prior to the album recording so that you can tell whether you’ll hate them in a couple months or not. What are you currently listening to? New and old... Bob: The National, Future Islands, Kurt Vatland. Nate: New: Local Natives - Gorilla Manor, Sleigh Bells - Treats, The National - High Violet, Frightened Rabbit - Winter of Mixes Drinks, Broken Social Scene - Forgiveness Rock Record, The Black Keys - Brothers, Besnard Lakes - Roaring Night. Old: Failure - Fantastic Planet - still one of my favorite albums of all time, Menomena - Friend and Foe, Snowden - Anti Anti, Besnard Lakes - Dark Horse. Eric: Besnard Lakes - Roaring Night, Sondre Lerche - Phantom Punch, Beach House - Teen Dream, Camera Obscura - Let's Get Out of This Country, Prince - Everything, The Clash - Black Market Clash. Kyle: Elliot Smith, Marky Mark and the Funky Bunch. Justin: Elliot Smith – Either/Or, Beach House – Teen Dream, Radiohead – Amnesiac, Deerhunter.

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spicynbachili1 · 5 years

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The 300 Week 47: New Game Plus

By which we go above and past 300 films in 2018

Get up, Crono, it’s time for The 300, my radical dream to see greater than 300 films in theaters in 2018. I’ll be watching new releases, classics, hidden gems, and competition movies to expertise the vast world of cinema in all its kind. With a lot moviegoing selection, there’s in all probability one thing you’d be fascinated with as effectively.

As at all times, there are three guidelines for The 300:

The film have to be at the very least 40 minutes lengthy, assembly the Academy of Movement Image Arts and Sciences’ definition of a characteristic movie.

I have to watch the film at a movie show, screening room, or out of doors screening venue.

Whereas I can watch films I’ve seen earlier than 2018, I can’t depend repeated viewings of the identical movie in 2018 a number of instances.

I hit 300 films in final week’s installment of The 300, which implies I’m beginning this week north of the purpose. Contemplate this a victory lap. I’m undecided what number of films I’ll see past 300 given the vacations and journey plans, however I’ll proceed to trace my full 12 months of filmgoing every week by means of 2018. This in all probability means I’ll write a prime 50 films of the 12 months fairly than a prime 20. Additionally, if I hit a sure variety of films by December 31, I’ll even get the dinosaur ending.

A bit strapped for time this week, however I’ll have some further ideas on this prolonged movie-watching expertise within the December installments this sequence. The top of the 12 months is at all times a fantastic excuse to look again earlier than trying ahead. For now, it’s again to the grind.

And so, onward.

301 of 300: Nonetheless Strolling (2008) (aka 歩いても歩いても; Aruitemo aruitemo)

Director: Hirokazu Kore-eda Starring: Hiroshi Abe, Yui Natsukawa, Kirin Kiki, Kazuya Takahashi Nation: Japan Seen at The Movie Society of Lincoln Heart (New York, NY) Wednesday, November 21st

It made sense to observe Hirokazu Kore-eda’s exceptional After Life (The 300 Week 46) with some type of playful pun. Therefore the primary movie after 300 is Nonetheless Strolling, one other deeply affecting Kore-eda film. This film is firmly in Kore-eda’s wheelhouse, specializing in the trivia of household dynamics and what that has to say about our connections to people who find themselves near us. On a sizzling summer time’s day, a household comes collectively to commemorate the loss of life of the eldest son 15 years in the past. In only a single afternoon and night, we perceive the contours of the totally different relationships on display, and the interpersonal and generational frictions of those well-rendered, imperfect folks. I discovered myself notably drawn to Nonetheless Strolling’s exploration of familial disappointments. Youngsters typically fail to reside as much as their mother and father’ beliefs, and vice versa. What then? We maintain going, clearly.

It’s fascinating to see this movie after seeing Kore-eda’s Shoplifters on the New York Movie Pageant (The 300 Week 39). We’re instructed in Shoplifters that the households we select are typically preferable to those we’re born into. What I see in Nonetheless Strolling is the troublesome, begrudging love we have now with blood relations, and the way these bonds are maintained even when they’re so bothersome. I additionally see the thought of households we construct ourselves handled with unbelievable heat in the way in which Ryota (Hiroshi Abe) and Yukari (Yui Natsukawa) work together; he’s her second husband, and she or he has a toddler from the earlier marriage. I’m tempted to rewatch Kore-eda’s Like Father, Like Son to intensify this exploration of familial connection, and the way this kinship might be about blood relation on its floor however is finally about a lot extra.

On this lengthy 12 months of filmgoing, Nonetheless Strolling additionally jogged my memory of how a shot might be completely accomplished by the passing of a prepare. It’s a thought that I first had whereas watching Chantal Akerman’s hauntingly unhappy Les Rendez-vous d’Anna (The 300 Week 43), reified by Kore-eda just a few weeks later. In my thoughts this notion is sort of a prepare experience began a month in the past, accomplished solely simply now.

302 of 300: PlayTime (1967)

Director: Jacques Tati Starring: Jacques Tati, Barbara Dennek Nation: France/Italy Seen at Metrograph (New York, NY) Saturday, November 24th

PlayTime is a continuing sensory delight from starting to finish. Whereas a monetary failure on the time of launch, the film is Jacques Tati’s comedian masterpiece. This was my first likelihood to see the movie on the massive display, and I used to be struck by how a lot I caught when the film was projected massive. PlayTime covers a day within the lifetime of an ultra-modern Paris, touring from airports to expos to flats to stylish eating places. The skinny plot is secondary to the dense, layered pleasures of simply watching.

PlayTime makes a sport out of the act of watching the movie. The primary sport is within the airport. Can you see sure quirky background extras as they reappear? The film is populated with false Monsieur Hulots, Tati’s comedian persona that’s a bit like a suaver Charlie Chaplin and a extra agile Mr. Bean. The following sport is discovering these faux-Hulots. There’s one other sport about monitoring a blue folder, the figuring out mark of the person the actual Hulot should discuss to amid the confusion of a busy cubicle-filled office. Later PlayTime video games are about figuring out trigger and impact, and utilizing your reminiscence, and making an attempt to note one thing in a shot you’ve by no means observed earlier than.

PlayTime’s major philosophical focus is on the world’s unavoidable homogeneity and dehumanization as a consequence of know-how. Journey posters for various international locations characteristic the identical oppressive brick of a skyscraper dominating the native taste. Extra real human interplay and cultural aptitude have been misplaced to the grey tastes of the fashionable world. But significant connection can nonetheless be discovered amongst folks, even in the way in which the fashionable world refracts the beauties of the pure world. Contemplate how the bulbed stems of metallic avenue lamps bend just like the bowed heads of bellflowers. Perhaps one solution to treatment the malaise of modernity is to interact in a type of energetic, empathetic type of day by day play; and, when attainable, to view a few of the world as if it had been a grand image ebook we’ve occurred to stroll into.

303 of 300: The Sisters Brothers (2018)

Director: Jacques Audiard Starring: John C. Reilly, Joaquin Phoenix, Jake Gyllenhaal, Riz Ahmed Nation: USA/France Seen at Roxy Cinema Tribeca (New York, NY) Sunday, November 25th

The Sisters Brothers is completely high-quality, although I hoped for extra. A bit bit revisionist western and somewhat bit darkish comedy, the movie follows Eli and Charlie Sisters (John C. Reilly and Joaquin Phoenix), two employed weapons on the tail of somebody who’s cheated their boss. Eli is a delicate soul who’s turned gunslinger to look at over his drunken screw-up brother. Because the movie unfolds, the film explores a want to depart the vary life, and the cruelties out on the open path. Among the notes in regards to the Wild West vs. pastoral domesticity jogged my memory of John Ford’s The Searchers, one among many style touchstones allude to by director/co-writer Jacques Audiard. And but I felt just like the story might have gone father though it sustained my curiosity, or might have mentioned extra.

Then once more, possibly the film merely is what it’s, and it’s a nice showcase for Reilly’s appearing vary. Eli is a captivating brother’s keeper kind, and appears obsessive about higher-minded and extra romantic concepts about being a gunslinger. Whereas stopping by the city of Mayfield, Eli’s awkward roleplay-foreplay with a prostitute feels chivalrous fairly than kinky. It’s such a humorous but so human (and subsequently unhappy) scene, and Reilly’s voice and infantile frustration and physique language talk a lot so effectively. Perhaps I’d identical to a film about Eli given how a lot I like Reilly as an actor.

304 of 300: Creed II (2018)

Director: Steven Caple, Jr. Starring: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Dolph Lundgren Nation: USA Seen at AMC Village 7 (New York, NY) Monday, November 26th

Creed II was an okay rehash of Rocky II-IV, however Adonis Creed (Michael B. Jordan) was the weakest a part of his personal movie. Consider it like this: Rocky Balboa is a lovable underdog who received’t surrender, kind of like Joe Frazier; and Apollo Creed was the charismatic showman who jabs with phrases, kind of like Muhammad Ali. Adonis Creed, who lacks a real-world analog, is like an offended teenager with daddy points. That isn’t all that compelling to me. Rocky is extra compelling right here, with Sylvester Stallone seeming to say goodbye to the franchise. The identical goes for Bianca Taylor (Tessa Thompson), who’s juggling a profession and different tasks whereas Adonis goes by means of his private disaster. I even discovered the story of Ivan and Viktor Drago (Dolph Lundgren and Florian Munteanu) extra compelling given how a lot they’ve misplaced, how strained that father-son relationship is, and possibly even how underwritten their elements had been.

I’m wondering if my disappointment stems from the screenplay, which Stallone co-wrote. I discussed above that this appears like Rocky is leaving the franchise for good, and balancing the development of Adonis’s character with the exit of Rocky Balboa is a troublesome job, particularly with how a lot plot is within the movie. With out Ryan Coogler as director, Creed II doesn’t really feel fairly as massive because it may very well be. The fights aren’t as effectively finished, the drama not as high-stakes, and whereas there are some transferring emotional highs, there are many lulls. Creed II is a by-the-numbers sequel that goes the space, by no means hitting fairly as arduous as I hoped regardless of some nice concepts to work with.

Present runtime of The 300: 31,877 minutes (22 days, three hours, 17 minutes)

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junker-town · 7 years

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Giancarlo Stanton and Aaron Judge is the Home Run Derby final the universe deserves

It’s the Home Run Derby final that the universe demands. That doesn’t mean we’ll get it, though.

Aaron Judge is the flavor of the month, the rookie who looks like two Mark McGwires in a trenchcoat trying to sneak into an R-rated movie, and I can respect why everyone is excited. He’s new, he’s fresh, and he looks like someone was screwing with the sliders in the create-a-player setting.

Giancarlo Stanton seems like the Aaron Judge from Christmas past, the T-800 to Judge’s T-1000. That almost rings true, except Judge is just two years younger. Stanton is also an ogre, also eager to flay and skin baseballs just enough that they will go and tell the other baseballs what happened. Stanton has done what Judge is doing, but for much longer.

If there is justice in the universe, Stanton and Judge will meet in the Home Run Derby final, and they’ll be responsible for folktales that are told after the collapse of civilization. Both of them consume whole goats as villagers throw stones at them, and it’s only fair if we get to watch them in the Home Run Derby, sending ball after ball into the spinning-marlin wormhole while kids run into each other below. Let this be one of your baseball wishes for the 2017 season.

It probably won’t happen. But it should.

But it probably won’t.

It probably won’t happen because baseball doesn’t quite work like that. Think of the Home Run Derby like the bracket of World Series hopefuls before the postseason starts. You know what your dream matchup is. You know the World Series you want. Your job is usually to set those expectations on fire.

Think about 2013. It could have been A’s/Pirates! That would have been a small-market delight, but it also could have been Dodgers/Tigers, a classic matchup of two original teams without a lot of championship success in the last 30 years. Heck, even Rays/Braves would have been interesting, just because of the freshness.

Instead, here, have some Cardinals and Red Sox. It’s good for you. Open your mouth and eat your Cardinals and Red Sox. Don’t make me get your father.

Think about 2014. We could have had the Pirates/Royals. If you’re into national matchups, the Nationals/Orioles or Dodgers/Angels would have been a pip! And if you had to see the stupid Giants again, at least there would be a chance that they would rehash the Earthquake Series.

Instead, you saw the stupid Giants again, and they were matched up with a perennial underdog, and they won again.

Think about 2015. I polled readers about which World Series matchup was the best possible, and here’s what you answered:

Three of them, most of us agreed, would have been pretty cool. And yet.

This is how it will almost certainly be for the 2017 Home Run Derby. You want Aaron Judge and Giancarlo Stanton. The fans at the ballpark want it. The people watching on TV want it. The players want it. Their agents want it. Rob Manfred would sacrifice a chicken to get it. And when you look up, it’s going to be Mike Moustakas and Charlie Blackmon, and there’s not a damned thing you’ll be able to do about it.

They’re fine players, and they’ll still hit the ball really far, and all. It’s just not Stanton and Judge.

We can take that bit about the possible World Series matchups back for years and years, and the story is generally the same. The best potential pairing rarely happens, mostly because of the tyranny of permutations.

And yet.

IT HAPPENED. This was the Aaron Judge and Giancarlo Stanton of World Series matchups, and it happened. Although I guess for the analogy to hold completely true, you would sort of have to get eternally annoyed with the winner of this particular Home Run Derby, which seems impossible.

Every so often, the pachinko ball of this sport clicks off the right spinner, the right bumper, and it careens exactly where you want it to go.

I don’t want to make this too dramatic. This isn’t some sort of allegory, a clash of the metaphors where the beefy big boy sees the beefier big boy trying to outbeef his way to a beefy-big-boy fiefdom of beef that can only be solved with a big boy beef-off. This doesn’t have to be old vs. new.

No, these are just two of the best home run hitters who have ever lived, aesthetically speaking. That’s all. There don’t need to be layers with this. Giancarlo Stanton hits baseballs hard.

Here's Giancarlo Stanton taking aim at the Coke bottle during BP: http://pic.twitter.com/VTfx3YfGxw

— Alex Pavlovic (@PavlovicNBCS) July 9, 2017

It’s hard to explain just what those home runs mean to someone intimately familiar with the park. Home runs don’t go there. They absolutely don’t. Stanton was doing it several times in the same batting practice session. He is the product of an experiment by the architect of your simulation.

Aaron Judge hits baseballs hard.

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And that’s what the Home Run Derby is. It’s an event specifically crafted to avoid layers. There are no layers. There are no hidden meanings. There are just grown men hitting baseballs as hard as they possibly can, and here we have two players who are the best in history at hitting baseballs as hard as they possibly can. They’re home runs that make teammates do things like this:

They’re home runs that make peers do things like this:

We are all Charlie Blackmon. And we’ve earned this.

The final will probably be Miguel Sano/Justin Bour (cool in several respects) or Cody Bellinger/Gary Sanchez (really, just a delightful pairing), and that’s fine. But if you don’t want to watch the spectacle of two planets crashing into each other, you’re lying to yourself. Aaron Judge and Giancarlo Stanton is the best possible Home Run Derby one-on-one since the silly exhibition was created.

The only thing that makes me confident that it might happen is that the rules allow the players with the most home runs to keep going. With any luck, we’ll get what we’re asking for. Because those guys are pretty good at doing just that.

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dubsism · 3 months

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Sports Analogies Hidden In Classic Movies – Volume 151: “The Godfather II”

Today’s Movie: The Godfather II Year of Release: 1974 Stars: Al Pacino, Robert Deniro, Robert Duvall Director: Fransic Ford Coppola This movie is on my list of essential films. NOTE: This installment of Sports Analaogies Hidden in Classic Movies is not being done as part of a blog-a-thon. Instead, this is a monthly event hosted by MovieRob called Genre Grandeur. The way it works is every…

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#Baseball #Classic Movies #Los Angeles Dodgers #Movies #San Francisco Giants #Sports Analogies Hidden In Classic Movies

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dusudaunord · 7 years

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Things to do in Montréal: March 10 to 16

Montréal adds a twist to the classics this week: Roger Waters’ The Wall becomes an opera, winter festival MONTRÉAL EN LUMIÈRE has us ice sliding and zip-lining downtown, butterflies float through an indoor garden, and Arcade Fire’s Kanaval Kanpe brings the tropics to the city.

Lights and action

Arts, culture and fine dining festival MONTRÉAL EN LUMIÈRE makes downtown even brighter until March 11 with an exciting program of performing arts, inspired fine dining options and the free and family-friendly outdoor site at Place des Festivals, where you’ll find great local food and drink, from Québec cheeses to Cabral porto, live music and performances such as X-Lumina, an illuminated Ferris wheel, the super-fun urban ice slide, mini slide and zip line, and classic Canadian sport Curling en lumière. Take a walk around downtown’s Quartier des Spectacles to see the high-tech interactive light art of Illuminart or explore the underground city to see Art Souterrain‘s miles of art installations.

Montréal’s Spring Break

If you’re here to let loose, follow our guide to restaurants, bars and parties for spring break in Montréal, but if you’re here with your kids, we’ve got you covered too with all kinds of things to do for families during spring break. Spend an afternoon ice sliding, skating and playing games at Mammouth Village at the Olympic Stadium Esplanade or frolic among the butterflies indoors at the nearby Botanical Garden’s Butterflies Go Free event, part of the Montréal Space for Life‘s many activities. Bota Bota boat-spa opens its water circuit to kids 10 years and up, March 6-10.

Une publication partagée par Pha9pic (@sxrxh_photographie) le 17 Févr. 2017 à 18h40 PST

The Montreal Fine Arts Museum hosts a special program for kids with art, music and dance activities related to the Chagall: Colour and Music exhibition, while Pointe-à-Callière, McCord Museum and Stewart Museum all offer history-oriented workshops and games. The Montréal Science Centre drops its prices on IMAX films and hands-on exhibitions during Spring Break, and the Montréal Children’s Film Festival screens features and shorts from around the world, to March 12. Mickey, Minnie, Elsa, Dory and more beloved characters appear in Disney on Ice Presents Follow Your Heart at the Bell Centre, March 8-12, while the characters of classic comic Astérix step off the page at Grévin Montréal wax museum’s exhibition. The best female gymnasts in the world compete at International Gymnix at the Claude-Robillard Sports Complex, March 9-12, and the Montréal Canadiens take on the Blackhawks at the Bell Centre on March 14.

Food and drink

Alongside MONTRÉAL EN LUMIÈRE‘s many gastronomic delights, from one-of-a-kind gourmet meal experiences to roasting marshmallows on an open fire, several new Montréal restaurants entice with their own creativity. Warm up with a cup of tea at Montréal’s tea houses, a big bowl of pho or Japanese authentic ramen, a signature winter cocktail at one of Montréal’s Hidden Bars, or an evening of decadence next to Montréal’s coziest fireplaces. Follow it all up with a trip to the candy shop. Speaking of sweet stuff, it’s that time of year again: sugaring off season. Indulge in a Québecois sugar shack meal in the country or the city or dig into lunch at the Casino de Montréal’s tropical-themed Copacabanashak Buffet.

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Stage and screen

A star in Montréal’s 375th anniversary celebrations, composer Julien Bilodeau’s Another Brick in the Wall, a grand operatic version of Roger Waters’ The Wall, makes its world premier at Place des Arts March 11-27. Montréal’s winter-spring dance program includes the incredible contemporary choreography of Louise Lecavalier’s Mille batailles March 8-10 at Usine C and two works by Lina Cruz presented by Agora de la Danse at the Wilder March 15-18. In theatre: follow the lives of a Korean-Canadian family in Ins Choi’s hit comedy Kim’s Convenience at Segal Centre March 8-19; see Centaur Theatre‘s thoughtful, humorous family drama You Will Remember Me; or delight in wonderful nature- and family-themed all-ages production Beaver Dreams, March 9-12 at Mainline Theatre. Step into the Virtual Reality Garden and Montréal 3/60 video installation at the Phi Centre or watch Bruce McDonald’s newest film, Weirdos, on March 11. See the awe-inspiring films of Clyde Henry Productions’ Chris Lavis and Maciek Szczerbowski (animated short Madame Tutli-Putli, video promos for Arcade Fire and Patrick Watson) at the Cinémathèque québécoise’s free installation Détectives de la Pataphysique. Immerse yourself in high-tech films Inertia and Morphogenesis in the Satosphere dome. And test your film knowledge: did you know that these movies were filmed in Montréal?

Museums and galleries

Don’t miss the bright and bold beauty of CHAGALL: COLOUR AND MUSIC at the Montreal Museum of Fine Arts, featuring 340 pieces by the Russian-French artist accompanied by music. The Musée d’art contemporain shows moving work by foremost Mexican artist Teresa Margolles, as well as Québec artist Emanuel Licha’s Now Have a Look at This Machine documentary installation. Galerie de l’UQAM presents noted Scottish artist Graham Fagen‘s video and music-based installation The Slave’s Lament. Part of the 375th programming, kanien’kehá:ka (Mohawk) artist Skawennati’s solo exhibition Tomorrow People explores time and identity in analog and digital forms at Oboro. In Old Montréal, Belgian artist Wim Delvoye provokes at DHC-ART. Never Apart’s winter exhibition celebrates Black heritage, Indigenous women and more, and celebrates prolific Canadian artist Evergon with a screening of Margaret and Evergon followed by a Q&A on Saturday. And find art and architecture in the city’s most stunning churches and other sacred sites.

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Classical concerts

The final days of MONTRÉAL EN LUMIÈRE showcase high-drama classical concerts: on March 10-11, Opera McGill’s Lisl Wirth Black Box Festival presents a 24-hour Binge Opera Festival while Les Violins du Roy presents leading harpsichordist Jean Rondeau at Bourgie Hall on March 10, and pianist Karin Kei Nagano plays on March 12 at Bougie Hall. Meanwhile: the Orchestre symphonique de Montréal‘s three-day Italian Festival under the direction of Carlo Rizzi, featuring The Italian Violin: From Vivaldi’s Four Seasons to Paganini on March 14, Verdi & The Great Operatic Choruses with soprano Marianne Fiset on March 15, and The Pines of Rome & Famous Italian Film Soundtracks on March 16. And Yannick Nézet-Séguin conducts the Orchestre Métropolitain in concert The Force Of Destiny at Maison Symphonique on March 12.

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More live music

Among MONTRÉAL EN LUMIÈRE‘s musical offerings on Friday night: eclectic singer-songwriter Devendra Banhart at Métropolis, hot-stuff Quebecois artist Alex Nevsky at Métropolis, local experimenters Suuns and Sarah Davachi at Club Soda, underground Japanese postrocker Mouse on the Keys at L’Astral, and a Glam Cabaret evening of Broadway-style jazz at Le Balcon, followed on Saturday by a night of live Motown, soul and disco. Also on Friday night, Carpenter Brut and Le Matos bring turbo beats to Theatre Berri, fab Montréal band The Luyas launches a new album at Bar le Ritz P.D.B. and Bear Grillz and Herobust crank the bass at New City Gas, followed on Saturday night by the trap/bass of Yellow Claw and Grandtheft. Sunday brings 3 Doors Down and openers The Falling to Métropolis and All Them Witches to Bar le Ritz P.D.B. On Tuesday, it’s British singer-songwriter Passenger at Métropolis and British folk-rock trio The Staves at Théatre Fairmount. On March 15, party for a great cause at Kanaval Kanpe with Arcade Fire, Coeur de pirate, Paul Beaubrun, Fwonte and many more artists at Métropolis, jam with Simple Plan at the Bell Centre or dive deep into drone-metal with Sunn O))) and Big Brave at the SAT. Chill out with the locals Black Le Gary band on Thursday at Divan Orange or L.A. folk-pop duo Johnnyswim at La Sala Rossa.

Up next: The OSM celebrates Montréal’s 375th anniversary

The post Things to do in Montréal: March 10 to 16 appeared first on Tourisme Montréal Blog.

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itsworn · 7 years

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This ’68 Dodge Charger Is The Ultimate Pro Street Reboot!

For Dodge stylist Richard Sias, the 1968 Charger proved to be an amazing contribution to automotive history. A Michigan native who studied at the Art Center College of Design in Pasadena, California, Sias was a young man on a mission when he was given the directive to put body lines to the 1968 rendering of the car by his bosses at Chrysler’s design studio. Despite mis-pronouncements by some higher-level managers, his model prevailed as the one released in late 1967. Ironically, after this amazing project, he would leave Detroit soon after and never designed another OEM combination, eventually going to Boeing for decades where he put his talent on things like airplane equipment.

The 1968 Charger, in many ways, defines this whole era when it came to muscle car styling. The curved fender bulges, turbine cues in the taillights and dash cluster, the flying buttress rear window, deeply-inset grille, and body-stamped paired scallops gave it a refined but aggressive stance. It did not rely on scoops, gimmicks, or colors; the only additional performance cue was a pair of twin stripes that wrapped around the rear as part of the Dodge Scat Pack on R/T versions. Whether Sias foresaw it or not, popular culture “got it” right away, heralding it on magazine covers and in test reviews. Indeed, even Hollywood gravitated to the design almost immediately, with the ’68 model showing up in the 1969 Steve McQueen movie classic Bullitt as well as supporting roles ranging from Cannonball to Christine.

The example here is modified, but really not a far cry from what Mr. Sias’ original vision entailed. Recently completed by builder Scott Bonowski of Hot Rods & Hobbies, a shop in Signal Hill well-noted in street rod and restoration circles, the Charger features visual tweaks on the outside and big changes under the skin. The car was actually a multi-year project for owner Darren Moore, whose background lies more in the world of prewar Packards (including a Packard-powered P-51D) and rare Ferraris. Darren wanted a muscle car that he could drive, and had always appreciated the Charger’s design.

“I had always liked the Charger since I was a kid and it is my favorite muscle car,” he recalls. “When I sold my business and retired, I had a little money and decided to have one built as a hot rod. Scott has done other cars for me, but this would be my first hot rod.”

The chase for the perfect muscle car led to a candidate that appeared to be just right. Dressed up as an R/T with a mildly reworked 440 engine, he bought the car and had it sent directly to Scott’s shop. This is when the rude awakening happened, as a lot of mechanical make-up had hidden the car’s true condition.

Scott recalls what was actually there on this so-called restoration. “Well, the car was complete but built to be sold quick,” says the award-winning car builder. “Bad blends and repairs had been made to look original but were done very poorly. So when we pulled up the carpet and took out the seats, there were no floorboards! The fenders and hood were smashed. Just major problems…”

Nevertheless, the men proceeded to come up with a plan to resolve all of this. Since driving was part of the reason for Darren’s purchase, they decided to simply go all out on making that its role. That said, there were some parameters set up going in. First, no radical body changes on the outside—no extras scoops or Daytona wings or stuff like that. In fact, Darren even wanted to stay with a 15-inch steel wheel that looked OEM rather than Cragars or the American Racing five-spokes that came on the car when he bought it. Second, since there would be additional suspension mods, the engine would become a classic gen-2 Hemi. Third, there was not to be big changes to the interior. Bonowski, whose clientele are far-ranging and well-informed, began looking at how he could complete the idea.

“Darren wanted basically a stock restoration but he also wanted to add some power, to be a real muscle car,” Scott says. “Since the engine was not numbers-matched, we looked at possible motor combinations and that 572 came up. I like the sound of that—big horsepower—but now how we make it handle then? How do we make it stop better?”

“The Hemi kind of got chosen as we went along,” remembers Darren now. “The 440 that was in it was not in great shape, and Scott decided that if we got the Hemi crate motor and had it built up, that would make this car something special.”

So for horsepower, Bonowski turned to Joe Jill at Superior Automotive Engineering in Placentia. Old-school guys may remember Joe from his Speedwin days when the ’68 Charger was new. Back then, he was in Long Island, New York, building and tuning engines for guys like Charlie Castaldo, a noted Big Apple Super Stock and Pro Stock racer. Now a long-time builder in California, Joe started with an Indy Maxx Hemi engine package with a big arm down below, bringing the displacement up to 572 cubes. Balanced and using a COMP cam he had developed, the motor pushed the dyno needle hard.

“Indy sends this block to us rough-bored. We do all of the boring, the honing, the deck work here,” Joe notes. “On these engines, we do a very exact balancing. The head work, tricks on the camshaft, and how we set that up, and a lot of valvetrain work, geometry-wise; it is all synergistic. We optimize that before we even order the cam. COMP makes the cam for us once we see where we are at on our flowchart. We tuned the EFI for the engine right on the dyno, and it made just under 800 horsepower. We like them to bring it back here once it is in the car and we can put it up on our chassis dyno and get it exact.”

FAST came through with an EFI and ignition system, bringing the engine management into the present era. As we prepared to go to press with our story, the decision has been made to use a NASCAR-style cowl-based fresh-air layout in place of the present front-routed tube design seen here.

Since this was not going to be a pinion-climbing drag car, Scott selected a well-built Torqueflite equipped with a Gear Vendors overdrive bolted on the tailshaft. This in turn feeds power to the differential and out to the massive Hoosier blackwall 29×15.5-15 tires mounted on custom steelies with pie-pan caps. This, of course, is the first indication that the car is a little more hairy than its predecessors, even from McQueen’s day.

“Darren was dead set on the 15-inch wheels. He really didn’t want it to look too hot rod,” says Scott. “However, with all the horsepower, it needed real tires in the back. Since we had to do the floors anyway, we ordered the narrowed rear and tubbed it a little bit. The tubs are four inches over stock, but the gas filler neck is in the same spot and the special fuel cell was narrowed because of the four-link.”

Working with a Reilly Motorsports Alter-K-tion front suspension, a number of changes were made both fore and aft. Up front, this Charger sports coilovers and rack-and-pinion steering. Not what the purist guys might jump into with both feet, but a design that would let Darren feel the road the way he wanted to. Subframe connectors tie those parts into a custom four-link rear suspension made from Art Morrison components. This is set into the basic OEM forward mounts, which Scott achieved with careful planning before anything was cut. The fat rubber out back meant 4-inch tubs, which in turn required a bottom mount fuel cell that still holds 20 gallons of go-fast juice. With coilovers also employed here, the heavy OEM leaf springs also ended up in the parts pile, meaning the rear view is comprised of nothing but frame rails, custom bent chrome tail pipes, and the fuel tank.

What is perhaps most impressive are the subtle changes that required considerable effort but are barely noticeable. The rear fenders are flared out by about 1.5-inch per side. The side marker lights were filled in, and the bumpers were slightly narrowed (stuff guys like NASCAR legend Harry Hyde once did but never told anyone when Chargers first showed up). The lower front valance was closed up, a custom front chin spoiler was added, and an auxiliary trans cooler was located in the area once occupied by the K-member. Most importantly, the stance of the car was not given a rake, despite the tire size differences, a direct result of careful suspension adjustments thanks to the upgrades. It looks the part of “not really stock.” Along with these these changes, most of the chrome and emblems were left intact, no graphics were added, and a deep mix of green pearl helped make this Charger appear more nasty than usual.

If Darren were to offer you a shotgun seat blast down the freeway near his Palos Verdes home, you might comment, “nice, but what’s up with this AM radio?” Not so fast, kemosabe. Everything behind that dash is modern—Bluetooth connectivity and tucked-away speakers by Art of Sound are only the start. The gauges are modern analog and digital units that tell the exact story of what is going on. The factory seats were redone in leather by Elegance Auto Interior, a Hurst T-handle is in the console, the tach redlines at 7,500, and the speedo only goes to 160 mph, which is okay considering the NASCAR guys found out at Daytona that the Charger’s grille/rear window combo meant it wanted to come off the ground not far above that margin.

You are getting a true first look at this car. After finishing third at the legendary Grand National Roadster Show in Pomona, we got it into the studio before Scott had gotten a chance to actually drive it and final-tune it for delivery. Meanwhile, Darren is getting ready to see the 24-month project out on the open road.

“I have not driven it once yet,” he admitted. “I’m not really a car show guy, and I’m not a kid growing up anymore, either. I think I will probably just get on it a few times but basically just cruise it; it has the overdrive capability to let me enjoy it. A real true car guy will realize what is there as he looks at it.”

Fast Facts

1968 Dodge Charger | Darren Moore | Palos Verdes, CA

ENGINE Type: 572ci 426 gen-II Hemi Bore x stroke: squared at 4.5 (bore) x 4.5 (stroke) Block: Indy MAXX aluminum; machined at Superior Automotive, honed on a Rottler with a plateau finish for correct ring seal, deburred and painted Race Hemi orange Rotating assembly: Eagle crank and rods, Diamond forged pistons Compression: 10.4:1 Cylinder heads: Indy aluminum with Superior’s custom port modification/rework, 439 cfm flow (intake), 280 cfm flow (exhaust) Camshaft: COMP Cams solid lifter .640-/.633-inch lift, ground to Superior’s design specifications, installed on 114-degree centerline Valvetrain: Indy rockers, 2.400-inch intake valves, 1.940-inch exhaust valves Induction: Indy intake Fuel system: FAST EFI Exhaust: 3-inch diameter stainless exhaust Ignition: FAST Cooling: Mattsons Fuel: 91-octane pump gas Output: 775 at 6,000, 741 ft-lbs at 4,800 Engine built by: Joe Jill/Superior Automotive

DRIVETRAIN Transmission: A727 TorqueFlite 3-speed automatic with Gear Vendors overdrive Driveshaft: Driveline Service Rearend: Art Morrison Ford 9-inch, 3.70 gears

CHASSIS Construction: Scott Bonowski of Hot Rods & Hobbies Front suspension: Alter-K-tion layout, coilover QA1 shocks Rear suspension: Art Morrison components custom-fitted to OEM mount locations, coilover QA1 shocks Steering: Reilly Motorsports Alter-K-tion rack-and-pinion Front brakes: Wilwood 4-piston DynaLite discs with 12-inch rotors Rear brakes: Wilwood 4-piston DynaLite discs with 12-inch rotors

WHEELS & TIRES Wheels: stock-style steelies, 15×7 (front), 15×10 (rear) Tires: BFG 215/65R15, front; Hoosier 29×15.5R15, rear

INTERIOR Seats: custom leather over 1968 framework by Elegance Auto Interior Instruments: custom sweep-design with digital adjustment Stereo: 21st century connectivity housed behind factory design facing Steering wheel: custom refinished original Shifter: Hurst T-handle

The head-on view of Darren Moore’s 1968 Charger is the first impression that there is more than meets the eye. Yes, that front bumper is narrowed and shaved thanks to careful work by Scott Bonowski of Hot Rods & Hobbies. Shades of NASCAR tricks…

Got meat? A careful fitting of the rear end plus light fender flaring allows these big Hoosier to disappear under the car. Darren wanted to avoid the attention of aftermarket wheels, sticking with widened 15-inch steelies as a result.

One of the best styling cues done by Richard Sias and his crew were the cast turbine-style taillamps. These were unique to this single model year, and distinguish these cars from all others from behind.

Under the hood is big thunder: a FAST fuel-injected 572ci Indy-based Hemi built by Joe Jill of Superior Automotive. The induction system seen here will be superseded by a change to cowl induction in the near future.

Darren truly wanted to maintain a street look at first glance, forgoing aftermarket shiners for these 15 inchers widened to 10 inches, shod in fat, non-descript blackwall Hoosiers.

Looking like nothing to come off a 1960s assembly line, this Alter-K-Tion layout allows for modern handling accessories beneath the legendary sheet metal.

Here is what the interior appears like after a light reworking: fresh gauging, a digital stereo, and reupholstered bucket seats. These changes are all done within the original 1968 design.

Using components from Art Morrison, the view underneath from behind is as radical as that from the front. Here the leaf springs were eliminated, and the AME components are worked into the OEM mounting points.

Chrome fitted plumbing for the radiator and more make this a unique vehicle from every angle. It was this level of attention by Scott Bonowski that helped garner honors at Pomona’s long-running Grand National Roadster Show.

By using an Art Morrison aftermarket differential, the car sports DynaLite rear disc brakes thanks to Wilwood. This was again part of allowing the car to be enjoyed.

The car still appears quite stock despite the changes, again a testament to the effort by Hot Rods & Hobbies. Note that the side markers were filled in during the course of the body work.

The post This ’68 Dodge Charger Is The Ultimate Pro Street Reboot! appeared first on Hot Rod Network.

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