county Harvey: Last News

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All news where county Harvey is mentioned

variety.com
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Publicist Alla Plotkin Partners With Jillian Roscoe at Birch Public Relations (EXCLUSIVE)
Marc Malkin Senior Film Awards, Events & Lifestyle Editor Power publicist Alla Plotkin is teaming up with Jillian Roscoe, becoming a partner in Birch Public Relations. Roscoe launched the firm in March 2023 after leaving ID PR. Plotkin also departed ID at about the same time but didn’t announce her next move until her new partnership with Roscoe. Plotkin’s clients, including Sarah Paulson, Nicholas Braun, Bette Midler, Holland Taylor, Harvey Guillen and Titus Burgess, will join Birch’s roster, which includes Donald Glover, Jeremy Allen White, Sharon Horgan, John Cho, James Marsden, Kemp Powers, Gerard Butler, Judy Greer, Jesse Garcia, Mandy Moore, David Duchovny, Lake Bell, Jim Parsons, Fred Armisen, Jake Johnson, Ben Schwartz, Jesse Tyler Ferguson, Melissa Rauch, Hannah Fidell, Ken Marino, Sarah Chalke, London Hughes, Lewis Howes, Zach Woods, Ty Burrell, Clay Tarver, Kevin Tancharoen, Julian Dennison, Jake Szymanski, Nicolette Robinson, Anna Drezen, Dan Perrault and Noah Pink.
variety.com
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‘Cobweb’ Review: Things Go Bump in the Night in a Creepy Domestic Horror
Dennis Harvey Film Critic If “Barbarian” handily won as last year’s premier monster-in-the-basement movie, 2023’s prize might well end up going to “Cobweb” — a less inspired effort, but one decently creepy enough to get the job done. Chris Thomas Devlin’s script feels like a composite of some prior horror conceits, and there is not much depth to the narrative or characters. Still, director Samuel Bodin’s first theatrical feature is atmospheric, and departs from stock slasher conventions just enough to make for an entertaining if unexceptional scarefest. Lionsgate is releasing the U.S.-produced feature (which was apparently shot in Bulgaria in 2020) to limited theaters on July 21.  It begins with the familiar device of a child having night terrors that are probably not entirely in his or her imagination. Eight-year-old Peter (Woody Norman, from “C’mon C’mon”) is a sad loner, bullied at school, who’s woken from sleep by noises seemingly behind his bedroom wall — it sounds like something or somebody is moving around back there. When he taps on the wall, “it” taps back, which sends him screaming to his parents. But they dismiss it as an old house’s bumps in the night. 
variety.com
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‘Bird Box Barcelona’ Review: A Dystopian Sci-Fi Redux, With Less Punch This Time
Dennis Harvey Film Critic Five years ago seems aeons in an era so disrupted by COVID. So it comes as a surprise to realize that the original screen “Bird Box” arrived a full 14 months or so in advance of pandemic restrictions — becoming an early Netflix pop-culture phenomenon before lockdown made that sort of thing a regular occurrence. Susanne Bier’s film of Josh Malerman’s sci-fi horror novel was intriguing and suspenseful enough, even if its emphasis on psychological drama over thrills made for a somewhat unlikely breakout hit.  Inevitably, if belatedly, there’s now a follow-up — but not an adaptation of Malerman’s own print sequel, which continued the travails of the character played by Sandra Bullock. Instead, “Bird Box Barcelona” is a “parallel story” set on another continent entirely. Written and directed by Alex and David Pastor, whose prior genre efforts “The Last Days” (2013) and “Carriers” (2009) both had similar basic premises, it finds a different cross-section of humanity imperiled by unseen but presumed space aliens. When glimpsed, they induce immediate, overwhelming suicidal urges — or, in a chosen few, mind-controlled subservience that drives them to lead unsuspecting others to their doom.
variety.com
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‘5 Seasons of Revolution’ Review: Raw Reports From a Civil War Front
Dennis Harvey Film Critic The sensation of a nation crumbling from within — not in slo-mo deterioration, but amid the chaos of widespread violence and political upheaval — is unimaginable to most people. Yet it’s something many will live to experience. Offering a primer of sorts in that grim prospect is “5 Seasons of Revolution.” Made by the pseudonymous Lina, this very first-person documentary doesn’t offer a lot of explanatory background or big-picture commentary on Syria’s still-ongoing civil war. But in charting the filmmaker’s attempts at reportage alongside the fates of her imperiled group of friends between 2011-15, it provides one vivid perspective on a whole country in freefall.  At that timespan’s beginning, the pro-democracy protests of the Arab Spring reach our English-language narrator’s homeland, where she’s an aspiring video journalist. Her likewise twentysomething close associates, introduced at the start here, are fellow journalists, social workers, activists. All grew up in a de facto police state now controlled by President Bashar al-Assad, whose father presided over the country’s transformation into a military dictatorship decades prior. Defying an official media blackout, she interviews demonstrators and those who witnessed their being fired on by government forces. We see joyful still images of street actions, suggesting a turning point may be at hand.
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‘The Artifice Girl’ Review: A Thought-Provoking Speculative Drama About AI Bait For Online Predators
Dennis Harvey Film Critic Artificial Intelligence has been increasingly in the news of late, with observers worried that it will soon become difficult for teachers to tell if students actually completed a project themselves (or a program did it for them), for anyone to recognize whether a supposed breaking evidential video is in fact a deepfake, and so forth. “The Artifice Girl,” however, frames the problems raised by ever-growing technological sophistication in a familiar narrative framework: that of the machine intelligence that begins to surpass its human “masters.”  Unlike portrayals from “2001” to “Ex Machina” and beyond, however, Franklin Ritch’s debut feature does not treat that dynamic in thriller terms, as a hostile takeover. Instead, this smaller-scaled speculative fiction is more concerned with ethics, as pondered in a series of dialogue sequences that aren’t static but might also have worked on stage, and require nothing in the way of FX. The results may not be what fantasy fans in need of action and spectacle are looking for. But Ritch’s film, which won the Best International Feature Audience Award at Fantasia last year, is engaging food for thought for viewers willing to let ideas rather than visuals fire up their futuristic imagination. XYZ Films is releasing it April 27 to limited U.S. theaters, as well as on-demand and digital platforms. 

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