Dark Waters ?Pirate Bay?


Cast=Tim Robbins. Todd Haynes. Story=A corporate defense attorney takes on an environmental lawsuit against a chemical company that exposes a lengthy history of pollution. Duration=2H 6 minute. 3631 vote. 8 / 10 Stars.

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What a great guy ??. Free Movie Dark water damage restoration. Robert Bilott(Mark Ruffalo) a corporate lawyer-turned-informant against his firm's client DuPont, is in the intensive care unit, recovering from a transient ischematic attack. Robert was nowhere near a dry cleaners. He had a seizure at work, in his boss' office after learning from Tom Terp(Tim Robbins) the Taft, Stennius & Hollister CEO, that he'll be expected to take another pay cut, his fourth pay cut. Robert's three boys attend a private Catholic school. The wife will be furious. This chemical company has made Robert allergic to family life. "Dark Waters" directed by Todd Haynes, is an unofficial sequel to his second film, Safe" which partly put the onus on the victim, not the culprit, because the filmmaker didn't know who the culprit was. Twenty-five years later, we know, and "Dark Waters" names names. The science is in. Modern life can kill you. Although the doctor(Terri Clark) explains to Sarah Bilott(Anne Hathaway) herself, a corporate lawyer, who met Robert at his law firm, that Robert's problem was neurological, brain-related. The wife, however, has reservations about the preliminary analysis, having witnessed, first-hand, so much corporate malfeasance, the former workman's comp assassin-turned homemaker can't help but ask if there is any possibility that her husband might have been poisoned. Wilbur Tennant(Bill Camp) a farmer, taught the couple to never take anything at face value, since every action and inaction, at the end of the day, is profit-motivated. Only a man with a twelfth-grade education would know this. A rich man with a law degree from an Ivy League school doesn't know or cares that the system is rigged, because the system never let them down. But Robert Bilott didn't attend Harvard, or Yale, or even Dartmouth. In Goliath's eyes, Robert is David, too, no different from the farmer with the dead cows. "Dark Waters" is about a changed man's crusade against a Goliath in the chemical industry, who knowingly contaminated a backwater West Virginia town's drinking water supply with chlorofluorocarbons. Outside her husband's hospital room, Sarah chastises Tom for making Robert feel like a failure. "You and I may not know what that is, she scolds the law firm's main partner, which means that Sarah doesn't care about the little man, but she cares about what her husband cares about. The "is" the audience knows, is roots. Robert Bilott went to Ohio State, a "no-name" school, according to James(William Jackson Harper) a Taft associate. Wilbur knows Robert's grandmother. That's because the hotshot lawyer grew up in rural West Virginia.
It's all in the head, people keep trying to persuade Carol White(Julianne Moore) a privileged San Fernando Valley trophy wife, especially her general practitioner, Dr. Hibbard(Steven Gilborn) who refers his patient to a colleague; a "shrink" because whatever is ailing this otherwise "healthy" woman, it's not showing up on her x-rays. "Safe" Todd Haynes' second feature, was a horror film disguised as a social satire about the consumer culture that defined the late-eighties. Set in 1987, Haynes, a filmmaker trained in semiology, updates Brian Forbes' The Stepford Wives" adapted from the Ira Levin novel, by tweaking the role of the homemaker. In the 1972 original, the women were domestic automatons, obsessing over housecleaning products and pleasing their breadwinning husbands in bed. These southern California wives have maids. They never have to lift a finger. Furniture, the audience suspects, gets them off, because they're shopping addicts and money is the drug. These Hispanic domestics clean the beautiful stuff their employers have bought and curated, which transforms their luxurious homes into temples of 20th century excess. Carol was one of them. At home, and this is because of Haynes' mastery of the mis-en-scene, the audience sees how this privileged woman must always be the focal point; her maid, Fulvia(Martha Velez) a mere planet constantly revolving around the sun, her mistress, always threatening the maid's elliptical orbit, because of their tilted symbiotic relationship. "Fulvia! Fulvia! Carol calls offscreen, even though Fulvia is preoccupied, showing the new girl how to polish silverware. Carol can't find the telephone book. Finding it herself, in this milieu, counts as hard work, and the delegation of work, that's what the missus does. Carol overexerts herself; she sits down and asks Fulvia for a glass of milk. Through the kitchen opening, we see two men at work, painting a wall. Although visual cues are aplenty, in which exposure to chemicals and air pollutants(like car exhaust) provide evidence for this woman's degraded condition, the cause and effect is compromised by the audience's disdain for this somewhat problematic protagonist. On Carol's haler days, Fulvia would fetch the missus her milk, regardless, because power over the help is the only power she holds. It's hard to root for the idle rich. The filmmaker knows this. Carol has to prove that she's one of us before the audience can get behind her. That moment arrives during the baby shower sequence. Carol goes on the fritz, similar to the woman during the pool party scene in "The Stepford Wives" who walks aimlessly among the partygoers, repeating: I'll just die if I don't get this recipe." Haynes riffs on the concept of woman as malfunctioning human android into woman as alien. Carol, suddenly, feels like a stranger among the members of her very exclusive clique; an oncoming dread that blossoms into terror when she no longer can speak the shared language of her tribe. Carol knows the words, but not the music; she's still fluent, asking Linda(Susan Norman) her best friend: Did you wrap that? and, as if they're reading from a script, the self-aware knows the right way to respond: I've seen you wrap things." These women aren't talking; it's a pitch-perfect speech performance. Improvisation in "Safe" is double-edged, because it's not just the actors who stick to the script, so do the characters they play. This rote memory of correct things to say wipes Carol out. The audience thinks it's the carpet. She asks Barbara(Ronnie Farer) for the whereabouts of her bathroom. Wrong word. "Powder room, Barbara corrects her guest. Once inside, she stares at herself in the mirror, a foreshadowing of the film's final scene. The perm, the makeup, the pretty dress; these things, Carol thinks, is not her. A glass of tap water sits on the countertop. Carol returns to the fold, managing to play her role in the good life for a little while longer. Barbara's daughter sits on the alien's lap, watching the future mother open another gift. Carol's breathing becomes labored. The child is frightened. Carol breaks script; she improvises. The alien can't breathe, like the living room suddenly turned into Mars. The host calls 911. An audience in 1995 could debate about the trigger. There are several suspects; the little girl's permed hair, carpet, sofa. air conditioner. 2019 audiences will see something different; tap water from the bathroom faucet. Chorale music is used as a sound bridge when "Dark Waters" transitions from the intensive care ward to a Catholic church. Did TIA kill the lawyer? In the pew, Carol and her three boys sing a hymn, followed by a series of expository shots, which surveys the cathedral's geography and congregation density, before ending with Robert, who sits slightly apart from his family near the aisle, in frame. So the father was there all along, hiding in the negative space, during that first shot of the incomplete Bilott family, when for an instant, the audience thinks they're witnessing a funeral. It's a variation on a theme, linking the corporate lawyer with Carol White; a thematic match, depicted through mis-en-scene, which shows how Robert is simultaneously close and far away from his family. In "Safe" the homemaker talks to Greg, her husband, and Rory, her stepson, from a different room, the kitchen, where she had volunteered to serve coffee for two. Instead of returning to the dining table, Carol lingers in a blind spot, from the family's perspective, as if she lost her way back. Robert, like Carol White, feels disconnected from his milieu. The corporate lawyer, too, meets new people and doesn't know who he is anymore. Robert ingratiates himself within a lower socioeconomic class, the denizens of Parkersburg, West Virginia, his clients, whereas the San Fernando Valley girl loses touch with her fancy, high-maintenance jetsetter friends to live with other chemically-sensitive people on a secluded commune in the New Mexico desert. Fifteen years later, since Wilbur Tennant interrupted Robert during a meeting at his law firm with a rambling monologue in an inpenetrable Appalachian dialect and a box of VHS tapes, the corporate lawyer has changed, and Sarah, despite loving her husband, calls him out. His physical body may be present, but the mind housed in that body, it's somewhere else, probably rural West Virginia. Sarah has to update this empty shell, doing a poor impersonation of the man she married, on the family and extended family's trials and tribulations. Carol White asks: Where am I? Right now? Robert is worse, because these are questions that never dawns on him to ask, and Sarah knows it. Dupont reneged on their promise to take care of the people they knowingly poisoned. The chemical giant tore up the contract, because they could afford to. The corporate giant expected Robert Bilott to back down. They didn't count on the lawyer having the wherewithal and perseverance to chip away at the thirty-five-hundred unsettled cases, one plaintiff at a time. The courtroom becomes his safe house. As a nod to the allegorical science fiction elements of "Safe" the judge announces: At this rate, we're going to be here 'til 2890 if we're lucky, so we better get started." Robert Bilott, a real-life Superman, is allergic to panies.
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"Dark Waters" is a stunning and surprising film that gets under your skin.
In this drama based on a true story, an attorney takes on an environmental case against a large chemical company exposing a lengthy history of pollution.
From the beginning of the film, Dark Waters" never lets go. It's a shocking and informative drama that will have you questioning if you've been exposed to this type of pollution. I was very surprised how much I enjoyed this film and thought that Mark Ruffalo was fantastic in the lead. It's a solid dramatic thriller that will have you enthralled throughout and have you talking about it afterwards.

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Free movie dark waters tv show. This image released by Focus Features shows Mark Ruffalo in a scene from "Dark Waters. " (Mary Cybulski/Focus Features via AP) LOS ANGELES ? Mark Ruffalo learned about corporate attorney Rob Bilott, who for 20 years battled DuPont to expose the harmful effects of the chemical PFOA, along with most of the country: In 2016 through an article in The New York Times Magazine. A cold call from a West Virginia famer in 1998 who believed his creek was being contaminated and his animals poisoned by DuPont runoffs began the long investigation that ended in 2017 when DuPont and Chemours Co. agreed to pay more than $600 million in a class action lawsuit on behalf of thousands. Ruffalo was captivated and immediately set out to acquire the rights to make Nathaniel Rich’s “The Lawyer Who Became DuPont’s Worst Nightmare” into a legal thriller in which he’d play Bilott. “It’s a horror story that has to be told, ” Ruffalo said. “It’s a story for our time. ” The result, “Dark Waters, ” directed by Todd Haynes and co-starring an impressive ensemble including Anne Hathaway, Tim Robbins, Bill Camp, William Jackson Harper and Bill Pullman opens Thursday night in theatres. Bilott also authored a book about the ordeal, “Exposure, ” which hit shelves in October. DuPont said in a statement that it believes the film “misrepresents things that happened years ago, including our history, our values and science. ” The company also said it supports regulating the chemicals spotlighted in “Dark Waters. ” Ruffalo spoke to The Associated Press about the film. Remarks have been edited for clarity and brevity. ___ AP: Was it difficult to get the rights? RUFFALO: I was in the process of acquiring the rights after reading (the article) and I got a call from my friends at Participant Media who said, “Hey I think we’re actually bidding against each other for this story. We love it. Would you like to join forces with us? ” I’d done “Spotlight” with them and I was like, “I would like that. ” And then we started to develop it … This thing happened in record time. It (usually) takes 5-7 years to get a movie made. AP: Why did you think of Todd Haynes to direct? RUFFALO: We’d been bumping into each other for years and I’d been such a big fan of his. I thought he would do something really beautiful with this. It needs that kind of spaciousness and depth to really make it work because there’s so much legalese and data that unless we’re attached to this character and really understand him, no one will stay with this story. (Haynes) would figure out a way to bridge 20 years in a movie elegantly and he would make the most gorgeous version of this movie. AP: When did you meet Rob Billot and start to develop a relationship with him? RUFFALO: Very early on. While we were in talks of acquiring the story, I wanted to talk to him about it. I was on the phone with him for quite some time laying out my vision for it. But I wanted to know more. I felt like the whole story wasn’t really in that New York Times article. Especially concerning his relationship to (his law firm) Taft and what that must have been like and how difficult that must have been. The article really doesn’t get into that. AP: Was there anything that surprised you about him? RUFFALO: He’s passionate (but) he’s not emotional. He’s the opposite of what, as an actor, you’d want him to be. He’s deeply righteous but he’s not political. He doesn’t have an axe to grind. He’s a corporate defence attorney! He’s the guy who would normally defend these companies. That was so remarkable to me. That’s what made the story. That’s what made me thought this could be a movie. AP: When you read that initial story, did you have a late-night moment like Rob does in the movie where you’re throwing out all the Teflon products? RUFFALO: Yes. I (changed) everything. I have a water filter on the house. I’ve stopped buying even my favourite progressive sports brands that use PFOA in their waterproofing. AP: What are you hoping audiences take from this? RUFFALO: Just having the knowledge. Knowledge is power. Before you didn’t know so you couldn’t even make a choice. We were living with this stuff. It was all around us and we had no idea so we couldn’t even decide whether it was something we wanted in our life or not. There’s power in that, just being able to say, “Hey I don’t want this in my life. This causes six diseases so I’m not going to cook on this anymore, I’m not going to buy these products anymore. I’m going to find the alternative. ” It’s like the priest molestation scandal in “Spotlight. ” What really made the change in the world was what people learned from what that they didn’t know about before, told in a human story that they could relate to in their hearts and minds. Follow AP Film Writer Lindsey Bahr on Twitter: Lindsey Bahr, The Associated Press.
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Free movie dark waters book. Credit... Bryan Schutmaat for The New York Times Feature Rob Bilott was a corporate defense attorney for eight years. Then he took on an environmental suit that would upend his entire career ? and expose a brazen, decades-long history of chemical pollution. Rob Bilott on land owned by the Tennants near Parkersburg, Credit... Bryan Schutmaat for The New York Times J ust months before Rob Bilott made partner at Taft Stettinius & Hollister, he received a call on his direct line from a cattle farmer. The farmer, Wilbur Tennant of Parkersburg,, said that his cows were dying left and right. He believed that the DuPont chemical company, which until recently operated a site in Parkersburg that is more than 35 times the size of the Pentagon, was responsible. Tennant had tried to seek help locally, he said, but DuPont just about owned the entire town. He had been spurned not only by Parkersburg’s lawyers but also by its politicians, journalists, doctors and veterinarians. The farmer was angry and spoke in a heavy Appalachian accent. Bilott struggled to make sense of everything he was saying. He might have hung up had Tennant not blurted out the name of Bilott’s grandmother, Alma Holland White. White had lived in Vienna, a northern suburb of Parkersburg, and as a child, Bilott often visited her in the summers. In 1973 she brought him to the cattle farm belonging to the Tennants’ neighbors, the Grahams, with whom White was friendly. Bilott spent the weekend riding horses, milking cows and watching Secretariat win the Triple Crown on TV. He was 7 years old. The visit to the Grahams’ farm was one of his happiest childhood memories. When the Grahams heard in 1998 that Wilbur Tennant was looking for legal help, they remembered Bilott, White’s grandson, who had grown up to become an environmental lawyer. They did not understand, however, that Bilott was not the right kind of environmental lawyer. He did not represent plaintiffs or private citizens. Like the other 200 lawyers at Taft, a firm founded in 1885 and tied historically to the family of President William Howard Taft, Bilott worked almost exclusively for large corporate clients. His specialty was defending chemical companies. Several times, Bilott had even worked on cases with DuPont lawyers. Nevertheless, as a favor to his grandmother, he agreed to meet the farmer. ‘‘It just felt like the right thing to do, ’’ he says today. ‘‘I felt a connection to those folks. ’’ The connection was not obvious at their first meeting. About a week after his phone call, Tennant drove from Parkersburg with his wife to Taft’s headquarters in downtown Cincinnati. They hauled cardboard boxes containing videotapes, photographs and documents into the firm’s glassed-in reception area on the 18th floor, where they sat in gray midcentury-modern couches beneath an oil portrait of one of Taft’s founders. Tennant ? burly and nearly six feet tall, wearing jeans, a plaid flannel shirt and a baseball cap ? did not resemble a typical Taft client. ‘‘He didn’t show up at our offices looking like a bank vice president, ’’ says Thomas Terp, a partner who was Bilott’s supervisor. ‘‘Let’s put it that way. ’’ Terp joined Bilott for the meeting. Wilbur Tennant explained that he and his four siblings had run the cattle farm since their father abandoned them as children. They had seven cows then. Over the decades they steadily acquired land and cattle, until 200 cows roamed more than 600 hilly acres. The property would have been even larger had his brother Jim and Jim’s wife, Della, not sold 66 acres in the early ’80s to DuPont. The company wanted to use the plot for a landfill for waste from its factory near Parkersburg, called Washington Works, where Jim was employed as a laborer. Jim and Della did not want to sell, but Jim had been in poor health for years, mysterious ailments that doctors couldn’t diagnose, and they needed the money. DuPont rechristened the plot Dry Run Landfill, named after the creek that ran through it. The same creek flowed down to a pasture where the Tennants grazed their cows. Not long after the sale, Wilbur told Bilott, the cattle began to act deranged. They had always been like pets to the Tennants. At the sight of a Tennant they would amble over, nuzzle and let themselves be milked. No longer. Now when they saw the farmers, they charged. Wilbur fed a videotape into the VCR. The footage, shot on a camcorder, was grainy and intercut with static. Images jumped and repeated. The sound accelerated and slowed down. It had the quality of a horror movie. In the opening shot the camera pans across the creek. It takes in the surrounding forest, the white ash trees shedding their leaves and the rippling, shallow water, before pausing on what appears to be a snowbank at an elbow in the creek. The camera zooms in, revealing a mound of soapy froth. ‘‘I’ve taken two dead deer and two dead cattle off this ripple, ’’ Tennant says in voice-over. ‘‘The blood run out of their noses and out their mouths.... They’re trying to cover this stuff up. But it’s not going to be covered up, because I’m going to bring it out in the open for people to see. ’’ The video shows a large pipe running into the creek, discharging green water with bubbles on the surface. ‘‘This is what they expect a man’s cows to drink on his own property, ’’ Wilbur says. ‘‘It’s about high time that someone in the state department of something-or-another got off their cans. ’’ At one point, the video cuts to a skinny red cow standing in hay. Patches of its hair are missing, and its back is humped ? a result, Wilbur speculates, of a kidney malfunction. Another blast of static is followed by a close-up of a dead black calf lying in the snow, its eye a brilliant, chemical blue. ‘‘One hundred fifty-three of these animals I’ve lost on this farm, ’’ Wilbur says later in the video. ‘‘Every veterinarian that I’ve called in Parkersburg, they will not return my phone calls or they don’t want to get involved. Since they don’t want to get involved, I’ll have to dissect this thing myself.... I’m going to start at this head. ’’ The video cuts to a calf’s bisected head. Close-ups follow of the calf’s blackened teeth (‘‘They say that’s due to high concentrations of fluoride in the water that they drink’’), its liver, heart, stomachs, kidneys and gall bladder. Each organ is sliced open, and Wilbur points out unusual discolorations ? some dark, some green ? and textures. ‘‘I don’t even like the looks of them, ’’ he says. ‘‘It don’t look like anything I’ve been into before. ’’ Bilott watched the video and looked at photographs for several hours. He saw cows with stringy tails, malformed hooves, giant lesions protruding from their hides and red, receded eyes; cows suffering constant diarrhea, slobbering white slime the consistency of toothpaste, staggering bowlegged like drunks. Tennant always zoomed in on his cows’ eyes. ‘‘This cow’s done a lot of suffering, ’’ he would say, as a blinking eye filled the screen. ‘‘This is bad, ’’ Bilott said to himself. ‘‘There’s something really bad going on here. ’’ Bilott decided right away to take the Tennant case. It was, he says again, ‘‘the right thing to do. ’’ Bilott might have had the practiced look of a corporate lawyer ? soft-spoken, milk-complected, conservatively attired ? but the job had not come naturally to him. He did not have a typical Taft résumé. He had not attended college or law school in the Ivy League. His father was a lieutenant colonel in the Air Force, and Bilott spent most of his childhood moving among air bases near Albany; Flint, Mich. ; Newport Beach, Calif. ; and Wiesbaden, West Germany. Bilott attended eight schools before graduating from Fairborn High, near Ohio’s Wright-Patterson Air Force Base. As a junior, he received a recruitment letter from a tiny liberal-arts school in Sarasota called the New College of Florida, which graded pass/fail and allowed students to design their own curriculums. Many of his friends there were idealistic, progressive ? ideological misfits in Reagan’s America. He met with professors individually and came to value critical thinking. ‘‘I learned to question everything you read, ’’ he said. ‘‘Don’t take anything at face value. Don’t care what other people say. I liked that philosophy. ’’ Bilott studied political science and wrote his thesis about the rise and fall of Dayton. He hoped to become a city manager. But his father, who late in life enrolled in law school, encouraged Bilott to do the same. Surprising his professors, he chose to attend law school at Ohio State, where his favorite course was environmental law. ‘‘It seemed like it would have real-world impact, ’’ he said. ‘‘It was something you could do to make a difference. ’’ When, after graduation, Taft made him an offer, his mentors and friends from New College were aghast. They didn’t understand how he could join a corporate firm. Bilott didn’t see it that way. He hadn’t really thought about the ethics of it, to be honest. ‘‘My family said that a big firm was where you’d get the most opportunities, ’’ he said. ‘‘I knew nobody who had ever worked at a firm, nobody who knew anything about it. I just tried to get the best job I could. I don’t think I had any clue of what that involved. ’’ At Taft, he asked to join Thomas Terp’s environmental team. Ten years earlier, Congress passed the legislation known as Superfund, which financed the emergency cleanup of hazardous-waste dumps. Superfund was a lucrative development for firms like Taft, creating an entire subfield within environmental law, one that required a deep understanding of the new regulations in order to guide negotiations among municipal agencies and numerous private parties. Terp’s team at Taft was a leader in the field. As an associate, Bilott was asked to determin
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