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First cow free watch english. Well I was going to say something about the cinematography or the score or how unique it seems but looks like every single person in the comment section already beat me to it... Based on Jonathan Raymond's novel The Half-Life, First Cow follows a cook and a Chinese immigrant as they make money using a borrowed prized milking cow throughout the Oregon Territory in the 1820s. The story was adapted by Raymond and director Kelly Reichardt and stars John Magaro, Orion Lee and René Auberjonois. Released by A24, the film will premiere in theaters on March 6, 2020. Rob McElhenney took a break from It's Always Sunny in Philadelphia to go on a new quest ? producing and starring in a series for Apple TV+. The show will take place in a video game development studio and follow the office antics of the team that creates the biggest multiplayer video game of all time. Also starring F. Murray Abraham, Danny Pudi, Charlotte Nicdao, Jessie Ennis, and David Hornsby, Mythic Quest: Raven's Banquet is slated for release on February 7, 2020. Danny MacAskill is known for shredding stunning landscapes, abandoned cities, and golden states. But with the new year in full swing, the Scottish Trials Bike legend is hitting the gym. While the scenery may not be as impressive as the Scottish countryside, his tricks are. At CES in Las Vegas, Toyota announced plans to build Woven City. The 175-acre city of the future is set to be located at the base of Mt. Fuji in Japan and will be powered completely by hydrogen fuel cells and solar panels. Acting as a living laboratory, the company can test and develop new technology including autonomy, robotics, personal mobility, smart homes, and artificial intelligence in a real-world environment. The metropolis will feature three street types divided between faster vehicles, a mix of lower speed, personal mobility, and pedestrians, and a park-like promenade for pedestrians only while its 2, 000 residents will live in sustainable wood homes constructed using traditional Japanese wood joiner. Toyota expects to break ground in early 2021. Instead of waiting for Tesla's Cybertruck to hit the market and get exported all the way to Russia, the team at Garag54 took a more direct approach: Building their own. Using Elon Musk's futuristic-shaped EV as their inspiration, Garag54 recreated the design on the frame of a concrete-armored UAZ truck. After reuniting at the Caljam music festival in 2018, the surviving members of Nirvana are back together again. Dave Grohl and Krist Novoselic returned to the stage along with touring guitarist Pat Smear to perform at Hollywood Palladium for the Art of Elysium's Heaven Is Rock & Roll Gala fundraiser. During their five-song set, the group performed originals "Lithium, " "In Bloom, " "Been a Son, " and "Heart-Shaped Box" with St. Vincent, Beck, and Grohl's 13-year-old daughter Violet filling in for former frontman Kurt Cobain. When you put superheroes in a horror film, you get this X-Men spin-off. A group of young mutants just developing their powers are held in a secret facility and instead of saving the world, they'll have to save themselves. Starring Anya Taylor-Joy, Maisie Williams, Charlie Heaton, Henry Zaga, Blu Hunt, and Alice Braga, The New Mutants is slated for release April 3, 2020. Get Uncrate Delivered To Your Inbox & Receive 15% Off Your Next Uncrate Supply Order. Some exclusions apply.
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There are plenty of movies about business, but few that consider it primally, with a view of the lemonade stand, actual or idealized, with which commerce begins. Kelly Reichardt’s new film, “First Cow, ” does exactly that, and turns the exertions of its firsthand, bootstrap entrepreneurs into exciting and suspenseful drama. Paradoxically, the film undercuts its suspense from the start, because Reichardt has a clear idea of where business leads: she begins the movie with an Ozymandias scene (as in Shelley’s poem, illustrating the vanity of ambition) set in current-day Oregon, in which a woman (Alia Shawkat), wandering through the woods with her dog, finds and excavates from just below the topsoil two ancient skeletons lying side by side. The rest of the movie is, in effect, a flashback, to eighteen-twenties Oregon. There, two itinerant laborers?Otis (Cookie) Figowitz (played by John Magaro), indentured under cruel conditions to trappers, and King Lu (Orion Lee), an immigrant from China?meet in dire circumstances and team up to share a shack together and eke out a subsistence living while nonetheless dreaming big. Their idea is to get to San Francisco and open a hotel there; but King Lu embodies the reality principle, discerning the high cost of travel, the vast investment needed, the difficulty of the city’s competition. Cookie?a talented chef who, in his youth, had been indentured and apprenticed to a Boston baker?is a dreamer in other ways, too. He provides pleasant albeit modest victuals for himself and King Lu but dreams of biscuits made with milk, a commodity that’s impossible to come by at their outpost. There is?as the title suggests?one cow in the area; its arrival, by barge, was something of a local spectacle. It belongs to a local grandee, the so-called Chief Factor (Toby Jones). King Lu convinces Cookie, who knows how to milk a cow, to join him on a nocturnal raid on the farm to steal some milk. Under King Lu’s guidance and with his salesmanship, the pair turn their pleasure into business: they bring batter and a pan to the muddy local town square and sell Cookie’s fresh-made “oily cakes. ” The treats, with their “secret” recipe (of course, including stolen milk), are the very exemplar of the cliché of a product “selling like hotcakes. ” Lines form for their cakes; the last one of the day gives rise to bidding wars. Cookie and King Lu are making money, which they stash in their “bank”?a hole in a tree. But Cookie is increasingly uneasy about their nocturnal missions. They’ve gotten away with their filching so far, but he fears that their luck will run out. When the Chief Factor, an Anglophile epicurean, tastes a cake and discerns its secret ingredient, the two entrepreneurs find themselves ensnared in an inescapable web of deceit. Reichardt’s scenes of the two men on their expeditions to steal milk have a basic and powerful tension: Will they or won’t they get away with it? The rigors the pair endured before teaming up, and their upstanding plans for the money once they’ve got it, give the audience an extreme rooting interest in them. If they succeed, then the movie gives honest and beleaguered working men a necessary glimmer of hope, a way out and even up. Plus, the movie implies that the Chief Factor from whom they’re stealing is a bigger thief, one who succeeds only through privilege, ruthlessness, and impunity. Yet Reichardt approaches these scenes with a double dose of principled cinematic inhibition. They are built of spare and isolated gestures and compositions, a sort of cinematic theme and variations in which the variations don’t vary much except as the plot dictates. Moreover, the pleasure of watching Cookie and King Lu carry out their scheme is undercut by the willful air of hopelessness that runs through the film. Reichart seems almost embarrassed to allow her audience to root for them. Writing the script with Jon Raymond (in an adaptation of his novel “ The Half-Life ”), Reichardt endows King Lu with a gnomically philosophical sensibility (in one notable aphorism, he asserts that history hasn’t yet reached Oregon) to go with his perspicacious and hard-nosed business sense. He does the practical reckoning to determine whether and what kind of San Francisco is feasible, and how much money they’d need both to get there and to go into business. He also offers terse, insightful reflections about the fur trade to explain why he doesn’t export pelts to China. King Lu is a prototype of the latter-day business philosopher. It’s easy to imagine him, when history reaches Oregon, as the discerning entrepreneur and shrewd free marketeer who issues lofty pronouncements that get published as a book and burnish his public image as a thinker and leader?even as his unbridled ambition steers his business into ruin. Reichardt’s sympathies lie more firmly with Cookie, the artisan whose aspirations are tempered with prudence; her sympathy is blended with pity for him as an intelligent and capable person whose practical efforts appear doomed to failure in the absence of self-destructive recklessness?or depraved ruthlessness. The story she’s telling asserts the inherent corruption of business and trade, however small or local?and it overleaps these specifics as if illustrating abstractions about the canker at the root of capitalism. The movie’s vision of the Chief Factor, who wields a vague authority over the locale, lines up to illustrate the thesis. A frontier mock-up of a British grandee, the Factor is determined to import not just livestock and its practical benefits (the bull and the calf died on the journey) but also the sort of cultural refinement that he and his circle can achieve?and show off?in land he considers rude and savage. Here, Reichardt’s inspiration is observational, her curiosity is ardent, and her method is discerning. He’s married to a Native American woman whose extended family lives with them; notably, when they speak together, their dialogue isn’t subtitled. The Factor’s wife (played by Lily Gladstone, whose performance was the revelation of Reichardt’s previous film, “Certain Women”) translates their dialogue, in a Chinook language, into English for him, and, implicitly, for viewers. (In the role of her father, Totillicum, Gary Farmer gives a performance of fine irony and bluff humor. ) Reichardt emphasizes the isolation of Anglophone settlers from the indigenous people whose land they’re inhabiting, and aptly portrays the discourse and the arts of the Chinook people as aspects of grand culture in and of themselves?which, of course, the Factor and his Europhile guests don’t notice and wouldn’t believe. In short, “First Cow” is a movie divided against itself. Reichardt’s keen and spare sensibility simultaneously stokes suspense while shying away from it, leans toward perception while rushing toward judgment. Her abstemious repertory of images and tightly focussed drama suggest that she took greater pleasure in conveying her premise than in the also vital cinematic pleasure discovering her characters. The movie’s proportions and contours give rise to yet another familiar, altogether too common, failing of movies of overt political import: impersonality. The spare quasi-objectivity of the images, which appear to declare facts rather than states of mind, reflect a repudiation of the heterogenous, a lack of interest in aspects of character and behavior that don’t line up in the same direction or lead to the predetermined outcome. The long nights in the cabin, the inevitable tale-spinning, reminiscences, confessions?the characters of King Lu and of Cookie, although not completely silenced, are truncated and diminished, relegated to their function as the bearers of Reichardt’s deterministic design. There’s a minor subplot that ultimately plays a large role in the film?one akin to that of “ Parasite, ” in which the rich pit the poor against each other in a struggle for survival?but Reichardt is content to drop it in at arm’s length and leave it totally undeveloped and unconsidered. “First Cow” gathers elements of extraordinary experience, analytical insight, and historical perspective, but renders them narrow, didactic, faux-objective; its empathy and curiosity are too severely rationed.
First cow free watch game. First Cow Free watch dogs. Could you nickname domino dirty dom because he keeps getting dirty this is just an idea. Do you have a barn. A24 just knows how to make actually good movies, thank you. 2020 Directed by Kelly Reichardt Written by Kelly Reichardt and Jon Raymond Starring John Magaro, Orion Lee, Toby Jones, and Ewen Bremner Synopsis Kelly Reichardt once again trains her perceptive and patient eye on the Pacific Northwest, this time evoking an authentically hardscrabble early nineteenth century way of life. A taciturn loner and skilled cook (John Magaro) has traveled west and joined a group of fur trappers in Oregon Territory, though he only finds true connection with a Chinese immigrant (Orion Lee) also seeking his fortune; soon the two collaborate on a successful business, although its longevity is reliant upon the clandestine participation of a nearby wealthy landowner’s prized milking cow. From this simple premise Reichardt constructs an interrogation of foundational Americana that recalls her earlier triumph Old Joy in its sensitive depiction of male friendship, yet is driven by a mounting suspense all its own. Reichardt again shows her distinct talent for depicting the peculiar rhythms of daily living and ability to capture the immense, unsettling quietude of rural America.
Movie Review: 'First Cow' Director Kelly Reichardt set her latest western drama in Oregon in the 1820s. It's the story of two drifters who come up with a unique money-making scheme in the midst of a gold rush. Movie Review: 'First Cow' Director Kelly Reichardt set her latest western drama in Oregon in the 1820s. It's the story of two drifters who come up with a unique money-making scheme in the midst of a gold rush. MICHEL MARTIN, HOST: And finally today, two male bonding quest movies opened in theaters this week. The one that got mixed reviews involves animated elf brothers. The one that's getting raves is about drifters in the Old West. Critic Bob Mondello says the film "First Cow" examines an unusual friendship and a good deal more. BOB MONDELLO, BYLINE: We begin in the here and now with a dog finding two skeletons side by side in the Oregon woods. Then director Kelly Reichardt flashes back two centuries to explore how they might have gotten there, to an 1820s Gold Rush that's long on hardship, short on creature comforts and ripe for dreamers hoping to get rich quick. (SOUNDBITE OF FILM, "FIRST COW") ORION LEE: (As King Lu) There's no way for a poor man to start. You need capital. We need some kind of miracle. JOHN MAGARO: (As Cookie Figowitz) Need leverage. LEE: (As King Lu) Or a crime. MONDELLO: Runaway Chinese immigrant King Lu is the brains here. Hash-slinger Cookie Figowitz is the talent. He foragers for mushrooms and berries and provides meals for trappers that fall on deaf tastebuds, as it were. But he tells King Lu if he had some milk, he could make an oily cake, sort of a fritter. Intriguing because the camp is abuzz about a new arrival, the first cow in Oregon, which gives King Lu an idea. LEE: (As King Lu) We have to take what we can when the taking is good. MAGARO: (As Cookie Figowitz) Seems dangerous. LEE: (As King Lu) So is anything worth doing. MONDELLO: Cookie goes along on a nighttime milking expedition, and properly fortified, his oily cakes hit the spot. UNIDENTIFIED ACTOR #1: (As character) Good lord. Give me another. UNIDENTIFIED ACTOR #2: (As character) I'll give you six ingots for that last one. UNIDENTIFIED ACTOR #3: (As character) I taste London in this cake. MONDELLO: That last voice belongs to the cow's owner, a smug, self-satisfied have among the have-nots of the town. He loves the cakes and only wishes his cow were providing more cream to go with them. UNIDENTIFIED ACTOR #3: (As character) She barely produces a thing. MONDELLO: Which means he's none the wiser about their pilfering - yet. Filmmaker Kelly Reichardt is telling a tale here of friendship between men who have little in common besides their state in life, drifters trying to make it in a frontier outpost that's marked by capitalism at its rawest, civilization not yet civil, society barely formed but already growing rigid. LEE: (As King Lu) History isn't here yet. It's coming, but maybe this time we can take it on our own terms. MONDELLO: In Reichardt's telling, things rarely happen the way characters expect or the way the audience expects. How those first skeletons get there at the beginning, for instance? "First Cow's" twisty narrative offers a sort of answer, though Reichardt's in no hurry to get to it. So she can take time out to marvel at natural splendors and human frailty to examine dreams and deceit and devotion, and to take lots of unexpected detours to tell, in short, a resonant, funny and quite moving shaggy cow story. I'm Bob Mondello. Copyright © 2020 NPR. All rights reserved. Visit our website terms of use and permissions pages at for further information. NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.
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