✧✫✸✵★﹡⁕❉♡✧♣✫★✱♧×✵✹٭ . The Rhythm Section star Jude Law https://stream-flick.com/16611.html?utm_source=form_run ✦⟰♲⍟⁕⦂▲∞⊛❋∞×⬆⇧♣§❋✵⇑ The Rhythm Section is a movie starring Blake Lively, Jude Law, and Sterling K. Brown. A woman seeks revenge against those who orchestrated a plane crash that killed her family / rating: 1937 Votes / 6,2 / 10 Star / Directed by: Reed Morano / casts: Sterling K. Brown. The rhythm section reaction. The rhythm section movie release date. The Rhythm sections. The Rhythm section 508. The rhythm section blake lively. The rhythm section trailer reaction. The rhythm section rating. Edit The Rhythm Section (2020) See agents for this cast & crew Directed by Reed Morano Writing Credits Mark Burnell... (screenplay by) Mark Burnell Cast Blake Lively... Stephanie Patrick Jude Law... B Sterling K. Brown... Mark Serra Daniel Mays... Dean West Max Casella... Leon Giler Raza Jaffrey... Proctor Richard Brake... Lehmans Geoff Bell... Green Jade Anouka... Laura Fuller Jack McEvoy... Conor Ivana Basic... Oksana David Duggan... David Patrick Nasser Memarzia... Suleman Kaif Tawfeek Barhom... Reza Ibrahim Renno... Vincent Amira Ghazalla... Alia Kaif Degnan Geraghty... Punter Fleur Phoenix Munroe... Working Girl Elly Curtis... Sarah Patrick Hugh Scully... Lyle Maceo Oliver... Jimmy Shane Whisker... Christopher Patrick Nuala Kelly... Joan Albert Christmas... Porter Una Carroll... Alia's friend Peter Newington... Reza Friend Carmen Calle... Manifestation member Abril Keinrath... Walking girl Wentao Ma... College student Mark Quigley... Army Pal (uncredited) Produced by Barbara Broccoli... producer Alastair Burlingham... co-executive producer executive producer Christelle Conan... Stuart Ford... Vaishali Mistry... Redmond Morris... co-producer Andrew Noakes... Denise O'Dell... David Pope... Gary Raskin... Sabine Schenk... line producer: NY Unit Greg Shapiro... Jayne-Ann Tenggren... Simon Williams... Gregg Wilson... Michael G. Wilson... Music by Steve Mazzaro Cinematography by Sean Bobbitt Film Editing by Joan Sobel Casting By Debbie McWilliams Production Design by Tom Conroy Art Direction by Dídac Bono Louise Mathews... (Irish Unit) Gary McGinty Nenazoma McNamee Christina Moore... supervising art director Ernesto Solo... (New York Unit) Set Decoration by Crispian Sallis Costume Design by Eimer Ni Mhaoldomhnaigh Makeup Department Catherine Argue... key hair stylist Vivian Baker... personal makeup designer and artist for blake lively Víctor Javier Bernardos... makeup artist crowd dailies Alma Casal... makeup assistant for Blake Lively Carla Edwards... makeup trainee Doone Forsyth... hair & makeup artist Jesús García... hair stylist/hair assistant Sian Grigg... Make up Hair and Prosthetics Designer Pati Martí Donoghue... assistant makeup artist: Spain Lorraine McCrann... crowd make up artist ireland Aisling Nairn... key makeup artist Almudena Persa... make up/hair crowd dailies: Spain Jennie Readman... hair stylist Susie Redmond... Sean Sansom... prosthetic makeup technician Miguel Sesé Guillot... Stunt & crowd make up artist spain Lucho Soriano... stunt and crowd hair stylist spain (as Lluís Soriano) Tristan Versluis... special makeup effects artist Production Management Pilar Amer... production manager: spain - Pre-Production Patrick O'Donoghue... unit production manager David Ocaña... production manager Kino Reyes... Unit manager Michael Solinger... post-production supervisor Uxue Sáenz... unit manager (Prep - Spain Unit) Second Unit Director or Assistant Director Ian Adams... trainee assistant director Anna Bates... Jonny Benson... second assistant director Amy Burke... daily trainee assistant director: crowd Mairéad Campbell... crowd assistant director Mark Coffey... Chris Corbould... second unit director Marta Criado... production assistant Glenn Delaney... 1st AD action unit Aoife Doyle... Miriam Ferguson... Conor Flannery... additional assistant director: dailies Oisín Fleming... Vincent Giarratano... second assistant director: New York Unit Anna Harrison... third assistant director Mike Hayes... first assistant director: second unit - Ireland Nicola Jackson... additional third assistant director Juan Jiménez... first assistant director: spain Siobhan Kavanagh... daily trainee assistant director David Kennedy... crowd second assistant director Carmen Kovacs... Joe Landry... second second assistant director: New York Unit Nick Laurence... Colmán Mac Cionnaith... Jairo Murray... first assistant director: Spain Colm O'Brien... Aoise O'hUiginn... Angie Paúl... second second assistant director Jason Rickwood... Richard Styles... first assistant director George Walker... Kieron Walshe... third assistant director: extras Art Department Matthew Amenta... property master: New York Unit Dermot Blighe... stand-by props Pablo Buratti... storyboard artist Gareth Byrne... set dresser Alix Cafferky... props buyer assistant Laia Castellvi... buyer Federico Ciommo... chargehand standby props Rebeca Comerma... assistant set decorator Fiona Cooney... graphic designer Melanie Downes... graphic designer: dailies Javier Escandell... swing gang 4 (uncredited) Marc Estrugo... assistant art director Mick Flood... property master Jorge Flores... Fede Fueraparte... Joxean Goya... leadman: Spain James Grimes... props Jason Groarke... Joel Herrera... Clare Hynes... assistant buyer: dailies Darren Kearney... h. o. d. scenic Irina Kuksova... Javier López Antía... leadman Sandra Castro Martin... art department assistant Eva Mazo... production buyer Ricardo Molina... standby carpenter José Luis Moya... construction manager spain Sophie-Anne Mullen... set decorator trainee Florian Müller... Javier Navarrete Fernández-Nieto... dressing prop Oli Novadnieks... UK Buyer Rupert O'Neill... standby props Fabien Oman... props supplier Iulia Petrescu... Julian A. Phillips... Adrià Porta... production buyer assistant Lois Afonso Rodríguez... storeman Óscar Romero... stand by props Markus Ruiz... stand by painter Emma Ryan... art dept assistant Robbie Ryan... trainee dressing prop Sergio Sanchez Selva... Víctor Santacana... set decoration buyer: Cádiz Jessica Timlin... prop buyer assistant Tex Toomey... María Turreira... s/by props assistant Paco Valderrama... scenery painter Pilar Valencia... Ana Valle... scenic painter spain Ivan Vera... Ian Wallace... dressing props Justine Wright... assistant production buyer Vanessa Zanardo... draughtsperson Tim Zydel... leadman: New York Sound Department Hugo Adams... foley supervisor Juan Borrell... second unit sound Alayn Crespo... boom operator: spain Gary Dodkin... production sound mixer Oliver Ferris... foley assistant Sue Harding... foley artist Sophia Hardman... Conor Kelly... sound mix technician Gilbert Lake... re-recording mixer Dash Mason-Malik... Key 1st Assistant Sound Stuart McCowan... sound effects editor Tom Melling... Premix Technician Adam Mendez... foley mixer Dean Murray... second assistant sound: Ireland Sean O'Toole... second assistant sound Candela Palencia... Rebecca Peace... Nick Roberts... adr mixer Gabriel Sanders... boom operator: second unit Robbie Scott... studio manager Oliver Tarney... supervising sound editor Rachael Tate... dialogue & adr supervisor Robert Karlsson... dolby consultant (uncredited) Special Effects by special effects supervisor Lynne Corbould... Special Effects Buyer/Coordinator Mark Day... engineer Michael Fox... senior technician / special effects senior technician Charlie Harper... SFX Health & Safety Advisor Marc Headland... special effects crew Dan Homewood... workshop supervisor Matthew Johnson... Special Effects Senior Technician Sam Lewis... special effects Ian Lowe... special effects floor supervisor-Spain Kevin Nolan... special effects foreman Harry Rhys... special effects technician Luke Turner... Visual Effects by Lucy Ainsworth-Taylor... executive visual effects producer Angela Barson... executive visual effects supervisor Sarah Byers... matchmove artist: BlueBolt Kev Cahill... visual effects supervisor Billy A. Campbell... visual effects editor Phillip Charles-Sweeting... digital compositor Finlay Duncan... digital compositor: BlueBolt Karen Elliott... Catriona Falla... Richard Frazer... visual effects supervisor: BlueBolt Sandro Henriques... Jack Owen Hughes... compositor: TPO VFX (as Jack Hughes) Adam Jackson... Chris Lunney... graphics supervisor: nvizible Adriano Mulè... compositor Ian Sargent... screen graphics designer Megan Louise Smith... visual effects coordinator: BlueBolt Maggie Starzer... visual effects production coordinator: BlueBolt David Tejero... Panos Theodoropoulos... visual effects producer: BlueBolt Kim Tobin... Melissa Yung-Hok... digital matte painter Stunts Daniel Adams... stunt rigger Mehrzad Asgi-Kermani... stunts (as Mehrzad Agi-Kermani) Estephany Balaguer... stunt performer (as Stefany Balaguer) Lemuel Black... stunt performer Renato Camargos... Lorenzo Casares... stunts Adrián de Cea... James Cosgrave... Edurne de Pablo... stunt department coordinator spain Jamie Dobb... stunt driver Eduardo Gago Muñoz... Yves Girard... assistant stunt coordinator Evangelos Grecos... Conor Hegarty... David Hernández Silva... Jason Hunjan... Martin Ivanov... stunt driver double: Jude Law Josh Lakatos... María Jesús Lucas... stunt double: Hafsia Harzi / stunt double: Samira Hassan Alejandro López Estacio... hod stunt rigger Boris Martinez... assistant stunt coordinator / stunt coordinator: Spain Fernando Martín Maestro... Yvon McCarthy... Stunt Swimming Double: Blake Lively Eduardo Moratilla... Lee Morrison... stunt coordinator Vanda Móczár... Stunt Double: Blake Lively (as Vanda Mocár) Abian Padrón... stunt performer / stunts Tilly Powell... stunt driving double: Blake Lively Ashley Pynn... Ricardo Rocca... Brandy Rodríguez... Olivier Schneider... Supervising Stunt Coordinator Sebastien Soudais... stunt double Ivan Vodenicharov... Kaloian Vodenicharov... Laura Vörtler... Rachel Walker... Martin White... Diego Álvarez... Camera and Electrical Department Keith Anderson... loader: second unit Aitor Axpe... electrician Garret Baldwin... gaffer: Ireland Alex Sánchez Buell... Eduardo Cabrera... Diego Campos... gennie operator Roberto Campos... generator by Óscar Cano... best boy grip Rodrigo Casullas... gaffer: Spain Sonya Deegan... a cam trainee: Irish Unit Warren Evans... rigging gaffer James Fagan... Video Assist Michael Fennelly... lighting technician Jose A. Díaz Fernández... John Foster... b camera grip Gonzalo Frías... Mario García... Shantall González... Camera Trainee (as Shantal González) Charlie Gray... Specials Photographer Patrick Griffin... camera trainee/second assistant 'b' camera Tommy Griffin... second assistant camera: "a" camera Sarah Guenther... second assistant camera: "a" camera, New York unit José Haro... still photographer Mark Durdant Hollamby... Best boy rigging grip Conor Keary... video assist trainee Nic Lawson... cinematographer: 2nd Unit Sean Leonard... digital imaging technician Alan Lynch... rigging: set electrician Jesús Martínez... additional grip Adam Masters... Desk Op Adriana Mateos... second assistant camera: b camera Andrew McGill-Coggin... daily grip / splinter unit grip Esme Pum McNamee... b camera assistant / b camera first assistant Ruder Miranda... electrician (uncredited) Álvaro Morales... key grip: Spain Jem Morton... key grip William Newell... gaffer: new york unit Niall O'Connor... digital imaging technician: Spain Andrew O'Reilly... a camera focus puller Dani Pajares... dailies electrician Sergio Peralta... video assist David Polo... best boy: Spain Conor Quinn... Cathal Mac Reamoinn... second unit camera trainee Cristina Rodríguez... action unit Mike Scott... steadicam operator David Smith... gaffer Patrick Sokley... first assistant camera: "a" camera New York Peter Wignall... steadicam operater dailies Casting Department Nerea Herrero... crowd casting director assistant Diana Magan... Jemima McWilliams... casting associate Pilar Moya... crowd casting director Costume and Wardrobe Department Nuria Barrio... set costumer Amy Brady... costume daily Annie Crawford... costume supervisor Connor Dalton... crowd costumer Deborah del Pino... costumer Paula Fajardo... junior costumer Eva Fervenza... Grace Lennon... costume coordinator Diana Luque... seamstress / seamstress: Spain Katie O'Brien... costume buyer junior Leticia Palomares... key costume breakdown artist: Spain Stephanie Powers... assistant costume designer: New York City Koke Riera... Karen Rigg... key costumer Molly Smith... personal costumer to Jude Law: New York unit Cristina Sopeña... costume supervisor: Spain Maria Valls... José Vico... assistant costume designer Jessica Zavala... Carmen Madrigal... costume runner (uncredited) Editorial Department Juan Carlos Alvarez Vasquez... post-production coordinator Fiorenza Bagnariol... data technician Lucie Barbier... color assistant Remy Bonett... post production executive assistant Aaron Carroll... digital lab grading technician Shing Hong Chan... colour assistant Andrew Dearnley... feature finishing producer Danielle El-Hendi... assistant editor Chris Francis... Jonas Jangvad... Lara Khachooni... Todd Kleparski... head of production: Company 3 UK Laura Metcalfe... Finishing Producer Robert O'Connor... assistant editor: Ireland Melanie Oliver... additional editor Lauren Orlowski... Tom Poole... digital intermediate colorist Debs Richardson... first assistant editor Caitlin Spiller... Alex Williams... Ofe Yi... Pete Conlin... post production (uncredited) Heather Goodwillie... Michael Ritter... senior producer digital cinema (uncredited) Location Management Eva Andújar... location assistant Grant Bobbett... locations scout Juan Antonio Clemente... location manager Carolina Cosmen... location coordinator Michael Farrell... Tate Fernandez... Gine Lui... location scout: new york Davide Manera... assistant base camp manager Jack Murphy... location trainee Stan Nangle... assistant location manager Barry Newman... Leanne O'Hagan... Brendan O'Sullivan... Anthony Pisani... Félix Rosell... supervising location manager Michael Swan... location scout Gordon Wycherley... Music Department Aldo Arechar... score mixer assistant Lorne Balfe... additional music Robin Baynton... music editor Lori Castro... score technical assistant Chuck Choi... Technical Score Consultant Ian Herbert... music clearance Steven Kofsky... music production services Alejandro Moros... technical assistant Aminé Ramer... Ryan Rubin... music consultant Jed Smith... trailer music Seth Waldmann... score mixer Hans Zimmer... executive music producer Script and Continuity Department Jeanette McGrath... script supervisor Veronica Mulero... additional script supervisor Transportation Department Virginia Arostegui... picture vehicle assistant supervisor Guillermo Beltrán Mateos... unit driver Claudia Calvo Varo... Picture Vehicle Assistant Coordinator Chantal Celiz... Picture Vehicles Coordinator Luis Cuenda... truck man/driver Paul Cullen... transportation captain Elena Falcones de Celis... transport manager: Spain Chele Guardia... recce driver Leon Keegan... Facility Captain Vince Levins... head of department: tech trucks Macarena Martinez Lopez... Transport Coordinator Alberto Navas... Pepe Prado... transportation manager Diego Rodríguez Lobalzo... picture vehicle supervisor Víctor Trigueros... camera department driver Stuart Miles Green... tech trucks senior project manager: translux international (uncredited) Chris Nuttall... tech trucks project manager: Translux International (uncredited) Other crew Sinéad Ní Bhroin... Travel & Accommodation Coordinator / travel and accommodation coordinator Sarah H. Browne... cashier Paula Byrden... clearance coordinator Karen Byrne... production assistant: daily Iustina María Chirita... assistant to Reed Morano Roxanne Clarke... assistant to Blake Lively: Spain Shauna Costello... trainee Matt Curtis... titles designer Helen de Winter... Completion Guarantor Joshua Delaney... Miscellaneous crew: Madrid Unit Niall Delaney... production accountant Emer Egan... assistant accountant Wendy Espinal... assistant production coordinator Marta Ferrer Garcia... Office Manager Babieka Emer Fitzpatrick... first assistant accountant James Fox... Insurance Broker Kate Garbett... production coordinator: UK John P Gleeson... financing and tax advisor Pauline Glomaud-Murmann... assistant to Ms. Schenk: New York (as Pauline Glomaud) Maryllis Gonzalez... production accountant: Spain Silvia González Rangil... health&safety officer Spain Jacqui de Padoin Goodman... international acquisitions: IM Global Bárbara Guerrero... safety and security Laura Hayes... accounts payable Lorraine Hewson... production coordinator Ellen Hyde... production trainee Ailise James... Asia Jarzyna... George Lambert... background production assistant: New York Unit Christian Laws... Set PA Jamie Lieberman... Dept. Manager, Physical Production Mathias Luque... production assistant: New York Unit Nadine Luque... for Ingenious Media Kati Martí Donoghue... Miriam McLoughlin... Stewart Scott Mitchell... production resources Ali Moshref... production executive: completion guarantor Liliana Niespial... apoc Josh Nixon... cost accountant Robert Nolan... Alan O'Brien... payroll accountant Helena Pajares... payroll accountant: Spain Nayra Petrini... unit nurse Natasha Phelan... executive assistant: Mr Pope Natasha Radski... ADR Juan Ramírez... key set pa Jordi Roca Agut... executive assistant to Ms. O'Dell Filipa Ruiz... cashier: Spain Don Saladino... trainer: Blake Lively Donal Sheehan... Johnny Silmon... Trainer Jose Sosa... 1st assistant accountant: Spain A. W. Stevenson... stunt department coordinator ireland Location Scout Emily Tebbitt... payroll assistant Sophia Travaglia... assistant: Blake Lively John Udall... Iseult Timmons Ward... Andrew Woltman... unit pa Thanks Amal ElWardi... special thanks See also Release Dates | Official Sites Company Credits Filming & Production Technical Specs Getting Started Contributor Zone  » Contribute to This Page ad feedback Details Full Cast and Crew Storyline Taglines Plot Summary Synopsis Plot Keywords Parents Guide Did You Know? Trivia Goofs Crazy Credits Quotes Alternate Versions Connections Soundtracks Photo & Video Photo Gallery Trailers and Videos Opinion Awards FAQ User Reviews User Ratings External Reviews Metacritic Reviews TV TV Schedule Related Items News Showtimes External Sites Explore More Show Less Create a list  » User Lists Related lists from IMDb users 2020 a list of 37 titles created 1 month ago a list of 47 titles ANTICIPADAS 2019 a list of 27 titles created 21 Jan 2019 Bäst 2020 (Oscarsprep Indiestuff) a list of 24 titles created 1 week ago Watch 2020 a list of 43 titles See all related lists  ». The Rhythm section. Average rating 3. 48 · 1, 103 ratings 148 reviews | Start your review of The Rhythm Section (Stephanie Patrick #1) This book was a great story; I can see it absolutely killing it as a movie. The Rhythm Section is a mashup of Bourne Identity and trilogy, and Stephanie Patrick reminded me of a combination of Lisbeth Salander and Dominika Egorova. Reading through the reviews, I recognize a few issues some people will have with this book. 1) I notice a lot of women read this and did not enjoy it. They found it "tropey" (because it was written by a dude, and apparently only women are allowed to write female.. I chose to read this because it's being turned into a movie. I can see why. It should be a fun action/spy movie. I can't remember the last time a book had me and lost me and won me back in such a circular fashion. The main character is absolutely fascinating and makes up for not being James Bond by being something 180 degrees from him. All the sex and violence here is grimly realistic and played for grit not flash. Stephanie is such vividly dire straits, it nearly overwhelms the espionage plot, which is where a lot of the problems lie. Once her missions begin, the book gets bogged down in the kind of.. I unfortunately lost interest halfway through. It was interesting at first, but then became much too confusing and frankly, drawn out in my opinion. Overall I can see why this book is going to make a good movie, but reading it was painful. The main character is woman who’s written by a male author and it’s very obvious. I never felt connected to any of the characters, the main character especially. And at 400+ pages it felt like much of the content in the middle could have been cut out and distilled. Sadly, only the last 40 pages were my favorite part of the book. Have you seen the movie trailer for the film adaptation of this book with Blake Lively? The theme song (ballad: MY GIRL - covered here by the Sleigh Bells, and previously famously covered by Kurt Cobain) is haunting. Movie trailer:... Sleigh Bells cover of My Girl ballad:... I bet sales of this book are going to go through the rough after this movie comes out. Check out my blog at for more reviews and bookish content. I was looking for something to listen to during my work day. I love suspense, thriller genre books but... you have got to be joking with this one. We start the book with a plane crash, and then we meet Lisa, a drugged out prostitute who needs to be rescued by a man to turn her life around. A journalist who started out by just trying to get her story and who helped her get sober from drugs. I have no.. 3. 5 stars I had the same experience as Ed states in his review below: it had me, lost me and then won me back. The story starts out very good and it had me interested in Stephanie from the beginning. But then all the characters and connections just became too much, getting me confused and less committed to the story. Now I must be honest and admit that possibly my letting other books getting in the way of reading this one regularly, may have contributed to that. The last part though won me back.. I loved how this book blended fast moving action with deeper exploration of love, sex and the effects of trauma. Highly recommended for lots of reasons The cinematic release of Christie's Death on the Nile has been pushed forward to 2020... Was hyped to read this book because reviews and even the dust jacket compare it to La Femme Nikita, which was a favorite TV show of mine in the 90s. But bratty Stephanie is no Nikita. We're told repeatedly that Stephanie is really really smart, but the author rarely lets us see her intelligence in action. Instead, she spends most of the book stumbling from one male character to the next, using them for a crutch or cashing in on their profession/reconnaissance via sex and threats. It becomes.. Didn't enjoy the characters, plot, or writing. The movie will likely be good though. This was a slow read, and I'm not going to bother finishing it. Hard to really like the main character - the author somehow felt the need to continuously remind the reader that Stephanie is a former prostitute which was repetitive, useless and just plain lazy. The changes from first to second person narratives were odd and clunky, especially when done mid chapter. Skip this book I'd read this 20 years ago. It is, at last, about to come out as a movie. Fortunately, in re-reading it, I remembered nothing, other than that I'd loved it. It is as good the second time around! The series of four Stephanie Patrick novels (or as I think of them, Petra Reuter novels) are as good as anything that LeCarre or Steinhauer wrote. A reasonably capable thriller series championed by "The Economist. " Think "Alias" with more sex and fewer gadgets. Interesting read. I’ll be curious to see the movie This book is about a woman who has lost her family in a plane crash and tries to find herself.. Stephanie Patrick takes on different names and roles from Prostitute, drunk, addict, German assassin, business woman and enters into the world of international espionage while avenging her family and finding Her real identity. Stephanie is the main and leading character and the story evolves around her. She is intelligent with a temperament and is difficult to handle and has a smart mouth. A movie is.. Really not my type of story. When it first started I thought I was going to like it but it is just not my genre and I was pretty bored and uninterested in the story. I really don't think I will bother continuing the series. Blah read! The idea seemed wonderful. The execution was terrible. The plot and the characters were bland. It simply did not capture my interest nor intrigue me enough to even want to finish. Certainly wanted to like this more than I did. This is disappointing.. female hero is through a male eyes (to be quality she must be damaged and a former mething that NEVER goes without reminding). Hard to get through and uninspired. Maybe the movie will be more interesting? #PopsugarReadingChallenge 2019 Prompt - A book becoming a movie in 2019 This is going to be one of those times where I enjoy the movie more than the book. Maybe; because after reading this, I'm not sure that I even want to watch the movie. Not my kettle of fish. Way too slow. Couldnt finish it. Not my type of book. I see how it will be a movie though. Loved this, great read, very exciting and highly unpredictable. Have the book here if anyone wants to read it next:) Really good read loved central character will find others in series asap This book tried to do too much. The switching between first and third person narrative did nothing to improve it either. Should’ve quit. Listened anyway. Felt dated and way too long with an abrupt ending. I don’t care enough to continue the story. If you like spy novels you may enjoy just not my cuppa tea. Maybe the movie will be better! I can see how Blake Livey could make this work in a movie! A guy wrote a female character but it was too clear a guy wrote it (hope that makes sense). This a sexist trope. Prostitute turned spy. The rhythm section plot. The rhythm section. The Rhythm section 1. The rhythm section showtimes. The rhythm section movie. This photo of the Atlanta Rhythm Section in 1972 shows some typical rock rhythm section instruments: guitars, piano, drums and electric bass. A rhythm section (also called a backup band) is a group of musicians within a music ensemble or band that provides the underlying rhythm, harmony and pulse of the accompaniment, providing a rhythmic and harmonic reference and "beat" for the rest of the band. The rhythm section is often contrasted with the roles of other musicians in the band, such as the lead guitarist or lead vocals whose primary job is to carry the melody. The core elements of the rhythm section are usually percussion instruments, especially the drum kit. The drums and bass provide the basic pulse and groove of a song. The section is augmented by other instruments such as keyboard instruments and guitars that are used to play the chord progression upon which the song is based. The bass instrument (either double bass or electric bass, or another low-register instrument, such as synth bass, depending on the group and its style of music) plays the low-pitched bassline that supports the chord progression, typically by playing a musically interesting bassline that fits with the harmony. The term is common in modern small musical ensembles, such as bands that play jazz, [1] country, blues, and rock. Instruments [ edit] A typical rhythm section comprises one or more guitars (either electric guitars, in rock music bands; acoustic guitars, in country music, folk music and blues or both electric and acoustic in some bands); and/or a keyboard instrument ( piano, electric piano, Hammond organ, synthesizer, etc. ) a double bass or electric bass (depending on the style of music), and drums (usually acoustic, but in some post-1980s styles, the drums may be electronic drums). [1] The bassist, guitarist, drummer, and keyboardist for The Fiery Furnaces. In some styles of music, there may be additional percussionists playing instruments such as the djembe or shakers. Some styles of music often have two electric guitarists, such as rock genres like heavy metal music and punk rock. Some styles of music use multiple keyboard instrument performers simultaneously (e. g., piano and Hammond organ or electric piano and synthesizer) for a fuller sound. A rhythm section could be as small as two or three instruments (e. g., a guitarist and a bassist or a power trio of bass, drums and guitar) or it may be a fairly large ensemble with several keyboardists, several guitarists, auxiliary string players ( mandolin, ukulele, etc. ), a drummer and percussionists. The largest rhythm sections may be led by a bandleader or a conductor who indicates the tempo of each song, starts each song, leads slow-downs of the music at cadences (sections of songs where the music comes to rest on a chord), and indicates when to change soloists and how and when the song will end. The instrumentalists used in a rhythm section vary according to the style of music and era. Modern pop, rock and jazz band rhythm sections typically consist of a drummer, a bass player, and one or more players of chordal instruments (e. g., a pianist, guitarist, etc. ). [2] The term rhythm section may also refer to the instruments in this group (named collectively the "rhythm section instruments"). In music industry parlance, the amplifiers and some of the instruments are nicknamed the " backline. " Backline instruments are commonly provided for bands at music festivals and other concerts where several bands will play during an event. By providing these backline instruments, the changeover process is quickened when new bands take the stage. The backline typically includes large and heavy items that are hard to transport, including large bass amplifiers and guitar amplifiers and their speaker cabinets, the drum kit (usually minus the cymbals and the snare drum, which each drummer brings from home), a Hammond organ, stage piano, and a keyboard amplifier. Even when a venue or festival provides a backline amplification, musicians must still supply some instruments themselves, such as guitars, an electric bass, and, in some cases, the cymbals and/or the snare drum. The venue informs musicians about which instruments are supplied as the backline for a specific concert or stage and in many cases, the contract signed by the band and the venue/promoter contains an explicit list of the backline gear that will be on stage, even specifying brand names and model numbers. Roles [ edit] In modern rock music, a rhythm guitarist specializes in rhythmic and chordal playing (as opposed to the melodic guitar solos and lead melody lines played by the lead guitar), often repeating quaver (eighth-note), half note or whole note chords. In the louder genres, such as hard rock, heavy metal and punk rock, rhythm guitarists often play power chords with distortion. Rhythm guitarists often strum open chords in pop, rock, country and folk music and play barre chords in many pop and rock styles. Although rhythm sections spend much of the time providing accompaniment (backing parts) for songs, in some cases, they provide other musical roles. In some songs or styles of music, instruments from the rhythm section may play soloistic roles on occasion (e. g., improvised guitar solos or solo breaks) or play a melodic role (e. g., a rhythm guitarist may play a lyrical countermelody behind a singer or a melodic intro line before the lead vocalist starts to sing). Since rhythm sections generally provide the background music for lead instruments and solo singers, rhythm sections are typically not as prominent as a singer or soloist. However, since rhythm sections provide the underpinning for a good performance by the lead instruments and vocalists, good rhythm sections are valued in the music industry. Some of the most accomplished rhythm sections have become famous, such as The Band, the E Street Band and Sly Dunbar and Robbie Shakespeare (the latter in reggae). In some popular bands, all of the band members, including rhythm section members, have become famous as individuals (e. g., the rhythm section members of The Beatles, The Rolling Stones, The Who, etc. ). In almost all genres of popular music and traditional music that use rhythm sections, ranging from rock to country to jazz, the rhythm section members are expected to be able to improvise (make up) their parts or prepare their own parts for a given song by listening to the CD at home. Once the bassist and chord-playing instruments are provided with the chord progression on a lead sheet (in which chords are typically named using the root note of the chord and its quality; e. g., C Major, d minor, G7, etc. ), they are expected to be able to improvise or prepare a bass line and chord voicings, respectively, that suit the style of the song. In each style of music, there are different musical approaches and styles that rhythm section members are expected to use. For example, in a country music song, the guitarist will be expected to be able to perform a chord progression using an intricate fingerpicking style; in a heavy metal song, the guitarist will be expected to play power chords and complex, precise rhythmic patterns; in a jazz song, a guitarist will be expected to be able to play "jazz voicings" of the chords, which emphasize the third, seventh and often the sixth or ninth chord tones (this contrasts with the barre chord voicings used in pop and rock, which emphasize the root, fifth, and to a lesser degree, the third of the chord). Drummers and percussionists are expected to be able to improvise or prepare rhythm parts that suit the style of a given song. In some cases, an arranger, orchestrator or composer will provide a written-out bass part or drum part written in music notation (the five-line staff in which the notes are round symbols with or without stems). It is rare in jazz or rock for chords to be written out in music notation; the arranger or songwriter typically writes the chord symbol and expects the guitarist to improvise the appropriate chord voicing. Other roles [ edit] Rhythm section members may be expected to sing backup vocals or harmony parts in some styles of music. In some styles of music, notably 2010s-era pop, hip hop music and funk, rhythm section members may be required to perform a rhythmic dance routine, which may range from a simple body movement to a complex dance choreography that requires significant dance skills. In some types of heavy metal music, rhythm section members (guitar, bass, drums) may be expected to be able to "headbang" (move their head in an up and down fashion in time with the beat) while performing. Less commonly, some rhythm section members may sing lead vocals (e. g., Phil Collins or Sting). In some groups, one rhythm section member may have other roles, such as bandleader (e. g., jazz bassist Charles Mingus), conductor (often the case in 2010s-era musical theatre shows), songwriter, composer or arranger. Components [ edit] Jazz [ edit] Two members of Duke Ellington 's rhythm section at the Hurricane Ballroom: a jazz guitarist and an upright bass player. In the case of swing bands, the classic rhythm section comprises a quartet of electric guitar, piano, double bass, and drums; a noted example is that of the Count Basie Orchestra with Freddie Green, the Count, Walter Page, and Jo Jones. Earlier jazz bands had used banjo in place of guitar, and other bass instruments such as the tuba for recording purposes prior to the advent of microphone technology in studios. As bebop evolved, smaller jazz groups dropped the guitar, and many free jazz ensembles dropped the piano as well. Auxiliary percussion such as claves, bongos or maracas can also be used, especially in music influenced by strains from Latin America such as salsa and samba. In theory any instrument or instruments can provide a steady rhythm: for example, in the trio led by Jimmy Giuffre the late 1950s, the clarinet, valve trombone and guitar all switched between lead and supporting roles. In the 1950s, some jazz bandleaders began to replace the double bass with the then-newly invented electric bass. However, the electric bass really made a big impact on jazz in the 1970s, with the advent of jazz rock and jazz fusion. The electric bass was much easier to amplify to stadium-filling volumes using large bass speaker cabinets and amplifiers than an upright bass. The electric bass also began to be used as an expressive solo instrument, as exemplified by the performances of Jaco Pastorius and Stanley Clarke. In the 1970s, the main chordal rhythm instruments were often electric instruments such as the Rhodes electric piano or electric clavinet, often run through effects units such as fuzz, phasers, or wah-wah pedals and amplified through loud keyboard amplifiers. The jazz fusion rhythm section followed the lead of the rock rhythm sections of the era, and used banks of speakers and powerful amplifiers to create a massive sound large enough for stadium concerts. In the later 1980s and subsequent decades, jazz fusion bands such as the Chick Corea Elektric Band used synthesizers in the rhythm section, both for chordal accompaniment and for synth bass parts. R&B, rock and pop [ edit] This Polish group's rhythm section consists of a Hammond organist, an electric bassist, and a drummer. R&B and rock and roll groups in the 1950s emphasized rhythm, so their backup bands generally consisted only of the standard swing band rhythm section of guitar, piano, bass, and drums supporting a vocalist, and in some cases omitting the keyboards. The bass guitar took over from the double bass in the 1950s, and had almost completely taken over the bass role in the 1960s. As the 1960s progressed the term "rhythm section" as used in a pop music context sometimes came to refer to just the bass and drums. For example, Paul McCartney and Ringo Starr of the Beatles were referred to as the band's rhythm section. In the 1970s, chordal instruments such as the electric and/or acoustic guitar and various keyboards (piano, electric piano, Hammond organ, clavinet) continued to be used to augment the bass and drums in soul, funk, and reggae groups. The sound of late 1960s and 1970s rhythm sections was often given a unique tone and sound due to the use of effects units. Funk bass players would play through auto-wah or envelope follower pedals. Reggae guitarists would plug into echo pedals. Rock guitarists would run their electric guitars through distortion and wah pedals. Electric piano or clavinet players also used effects. In the 1980s, many rock and pop bands continued to be based around the basic rock rhythm section established by 1960s and 1970s bands: electric bass, drums, and electric guitar or keyboards. In the 1980s, the first widely-affordable digital synthesizer, Yamaha 's DX7, was released. The distinctive FM synthesis tone of the DX7 is a key part of the sound of many 1980s pop and dance singles. As electronic effects became more sophisticated, with the development of digital signal processing, during the 1980s, there was some crossover between the roles played by electronic keyboards and electric guitar. Even though electronic keyboards or organs were the standard instruments used to create sustained "pads" of sound (e. g., held backing chords) for ballads, with the introduction of digital delay pedals and other modern effects, electric guitars could produce similar "pads" or " walls of sound ". The Edge, the guitarist from the rock band U2, often used digital delay and reverb-drenched electric guitar arpeggios (chords played one note after the other) to create a shimmering, sustained "pad" for the group. These arpeggio pads created a sustained sound that was similar to the sound of an electronic keyboard. By the late 1980s, the price of digital effects pedals dropped, making these effects units available to the general public. During the 1980s era, rhythm sections in some styles of pop took an increasing turn towards electronic instruments. A 1980s-era dance pop band might be backed up by a rhythm section of a synth bass, electronic drums (or drum machine) and various synthesizer keyboards. In some 1980s and 1990s bands, live human rhythm sections were sometimes replaced by sequenced MIDI synthesizer rhythm tracks made in the studio. In the 1980s and 1990s, the roots rock scene went in the opposite direction from dance pop; roots rock favoured traditional instruments in the rhythm section such as acoustic piano, acoustic guitar, mandolin, pedal steel guitar, acoustic bass guitar and upright bass. Another 1980s-era trend that helped revive interest in acoustic instruments was the " MTV Unplugged " style of performances, in which a rock band performs with acoustic instruments, including acoustic guitars and an acoustic bass guitar. In rock and pop, rhythm sections range in size from the barest, stripped-down size of the " power trio " (guitarist, bassist, and drummer) and the organ trio (Hammond organist, drummer, and a third instrument) to large rhythm sections with several stringed instrument players (mandolin, acoustic guitar, electric guitar, etc. ), multiple keyboard players (e. g., piano, Hammond organ, electric piano, synth), two instruments playing a bass role (e. g., bass guitar and synth bass) and a group of auxiliary percussionists (congas, shakers, etc. ) to fill out (or "sweeten") the sound. Some rhythm sections combine electronic/digital instruments that are sequenced, pre-recorded backup tracks and live instruments (including electric, electronic and acoustic instruments). Musical roles [ edit] Jazz is one of the styles that often features rhythm section members on solos. The drums and bass both supply a rhythmic pulse for the music, and the bass instrument supplies a harmonic foundation with a bassline. The types of basslines performed by the bass guitarist vary widely from one style of music to another. Despite all of the differences in the styles of bassline in most styles of popular music, the bass guitarist fulfills a similar role: anchoring the harmonic framework (often by emphasizing the roots of the chord progression) and laying down the beat (in collaboration with the drummer). The importance of the bass guitarist and the bass line varies in different styles of music. In some pop styles, such as 1980s-era pop and musical theater, the bass sometimes plays a relatively simple part, and the music forefronts the vocals and melody instruments. In contrast, in reggae or funk, entire songs may be centered around the bass groove, and the bassline is very prominent in the mix. Similarly, the role of the drummer varies a great deal from one style of music to another. In some types of music, such as traditional 1950s-style country music, the drummer has a rudimentary "timekeeping" role, and the drums are placed low in the mix by the sound engineers. In styles such as progressive rock, metal, and jazz fusion, the drummers often perform complex, challenging parts, and the drums may be given a prominent placement in the mix; as well, the drummer may be often given prominent solo breaks, fills, or introductions that put the spotlight on their technical skills and musicality. In the more experimental forms of free jazz and jazz fusion, the drummer may not play the strict "timekeeping" role that is associated with drums in pop music. Instead, the drums may be used more to create textured polyrhythmic soundscapes. In this type of situation, the main pulse is often provided by the bass player rather than the drummer. The rhythm section members sometimes break out of their accompaniment role when they are asked to perform keyboard solos, bass breaks, or drum solos. In genres such as progressive rock, art rock, or progressive metal, the rhythm section members may play complicated parts along with the lead guitar (or vocalist) and perform extended solos. In jazz groups and jazz fusion bands, the rhythm section members are often called on to perform improvised solos. In jazz, the drummer may "trade" short solo sections with a saxophone player or trumpet player; this practice, nicknamed "trading fours", typically involves the drummer and the horn player alternating four bar solo sections during a jazz tune. They can also trade eights, twos, ones, or other numbers depending on the musical context. Variants [ edit] Organ trios [ edit] In organ trios, the lower octaves of a Hammond organ or electronic keyboard are used as a substitute for bass guitar or double bass. The organist can play the bassline using the bass pedal keyboard or using the lower manual. As well, the organist could play right-hand chords and melodies. Organ trios were a widely used type of jazz ensemble in the 1950s and 1960s to play hard bop. Organ trios are sometimes used in rock as well. The Doors ' keyboardist Ray Manzarek used a keyboard bass to play the bass lines. Manzarek, guitarist Robby Krieger, and drummer John Densmore would act as an organ trio with the addition of singer Jim Morrison. Dixieland bands [ edit] Dixieland band rhythm sections sometimes use a tuba for the bassline. New Orleans or Dixieland jazz bands occasionally use tuba, sousaphone, or bass saxophone in place of the double bass that was common in 1920s-era jazz bands. This tradition developed from the origins of New Orleans music in marching bands, which used instruments that could be carried on harnesses or with straps. Marching bands use a mixture of brass, woodwind, and percussion instruments, because all of these instruments can be played while marching. Other variants [ edit] Not all rhythm sections follow the standard model of drummer-bassist-chordal instrument. Some bands have no drummer. In bands without a drummer, one or more instruments from the rhythm section often play in styles that replace the drum kit role—that is laying down the beat and backbeat. Traditional bluegrass bands typically do not have a drummer. In bluegrass bands, the timekeeping role is shared between several instruments: the upright bass generally plays the on-beats while the mandolin plays chop chords on the off-beats, with the banjo also keeping a steady eighth note rhythm. This distributed nature allows for rhythmic continuity while players take turns highlighting the melody. In funk-oriented groups that do not have a drummer, the electric bass player may take over some of the drummer's role by using slap bass. With slap bass, the bassist slaps the low strings to create a strong "thump" (similar to the bass drum's role) and "snaps" or "pops" the high strings to create a percussive effect (the latter takes over some of the role played by the hi-hat cymbals). In some bands, there may be no bass player—the basslines may be played by the piano player, synth player, or guitarist. Using a guitar player to provide basslines is particularly effective if a guitar player has a seven-string guitar with a low "B" string. Some jazz duos consist of a singer accompanied by a single piano player. In these duos, the jazz piano player has a challenging task; they have to provide all of the rhythmic and harmonic foundation that would normally be provided by a full rhythm section. A jazz pianist accompanying a singer in a duo needs to play a deep bassline, chords, and fill-in melody lines while the singer is performing. The pianist often improvises an instrumental solo in between vocal melodies. References [ edit]. The rhythm section film. The rhythm section movie trailer. The rhythm section soundtrack. The rhythm section where did you sleep last night. The rhythm section movie theater release. The rhythm section parents guide. The rhythm section reviews. The rhythm section release date. The rhythm section interview. The rhythm section csfd. The rhythm section movie cast. The rhythm section novel. The rhythm section nirvana. The Rhythm Section Theatrical release poster Directed by Reed Morano Produced by Barbara Broccoli Michael G. Wilson Written by Mark Burnell Based on The Rhythm Section by Mark Burnell Starring Blake Lively Jude Law Sterling K. Brown Music by Steve Mazzaro Cinematography Sean Bobbitt Edited by Joan Sobel Production company Global Road Entertainment Eon Productions Danjaq LLC Ingenious Distributed by Paramount Pictures Release date January 31, 2020 (United States) Running time 109 minutes Country United Kingdom United States Language English Budget $50 million [1] Box office $2. 8 million [2] The Rhythm Section is a 2020 American action drama film directed by Reed Morano and written by Mark Burnell, based on Burnell's novel of the same name. [3] The film stars Blake Lively, Jude Law, and Sterling K. Brown, and follows a grieving daughter who sets out for revenge after discovering the plane crash that killed her family was no accident. The Rhythm Section was released in the United States on January 31, 2020, by Paramount Pictures. Premise [ edit] Stephanie Patrick is a woman who seeks to uncover the truth behind a plane crash that killed her family three years earlier. [1] Patrick was also meant to be on the flight. After she discovers that the crash was not accidental, she embarks on a mission to track down those responsible by assuming the identity of an assassin. [4] Cast [ edit] Blake Lively as Stephanie Patrick Jude Law as Iain Boyd Sterling K. Brown as Marc Serra Max Casella as Leon Giler Daniel Mays as Dean West Geoff Bell as Green Richard Brake as Lehmans Raza Jaffrey as Keith Proctor Tawfeek Barhom as Reza David Duggan as David Patrick Production [ edit] On August 16, 2017, it was reported that Paramount Pictures had acquired the rights to the film. [5] It has a production budget of around $50 million and is produced by EON Productions, the film company known for producing the James Bond films. [1] Principal photography on the film began in December 2017 in Dublin, Ireland. [6] Production was halted temporarily after Lively was injured on the film set, with filming scheduling to begin again in June. [7] Sterling K. Brown joined the film, as production resumed in Spain in mid-2018. [8] In July 2018, the film was shot in Almería with Law and Lively. [9] [10] Release [ edit] The film was originally scheduled to be released on February 22, 2019 but was pushed back to November 22, 2019 following Lively's on-set injury, and later again to January 31, 2020. [11] [12] Reception [ edit] Box office [ edit] In the United States and Canada, the film was released alongside Gretel & Hansel, and was originally projected to gross $9–12 million from 3, 049 theaters in its opening weekend. [13] However after making just $1. 2 million on its first day (including $235, 000 from Thursday night previews), projections were lowered to $3 million. [14] It went on to debut to just $2. 8 million, marking the worst opening weekend ever for a film playing in over 3, 000 theaters. [15] Critical response [ edit] On review aggregator Rotten Tomatoes, the film holds an approval rating of 33% based on 110 reviews, with an average rating of 4. 74/10. The website's critical consensus reads: "Blake Lively delivers an impressive lead performance, but The Rhythm Section plods predictably through a story that could have used some flashier riffs. " [16] On Metacritic, the film has a weighted average score 44 out of 100, based on 35 critics, indicating "mixed or average reviews". [17] Audiences polled by CinemaScore gave the film an average grade of "C+" on an A+ to F scale, and PostTrak reported it received an average 2. 5 out of 5 stars, with 35% of people saying they would definitely recommend it. [15] Writing for Variety, Peter DeBruge stated that Blake Lively–unlike the protagonists in Atomic Blonde, Red Sparrow and La Femme Nikita –displayed "near-incompetence in the face of danger [that] makes her relatable in ways very few cinematic assassins have ever been. " [18] References [ edit] ^ a b c Galuppo, Mia; Kit, Borys (January 29, 2018). "Blake Lively Spy Thriller 'The Rhythm Section' Suspends Production (Exclusive)". The Hollywood Reporter. Retrieved December 15, 2018. ^ "The Rhythm Section (2020)". Box Office Mojo. IMDb. Retrieved February 2, 2020. ^ "Reed Morano: Production break on 'The Rhythm Section' was a 'blessing in disguise' for Blake Lively thriller". Yahoo. Retrieved December 15, 2018. ^ Busch, Jenna (January 29, 2018). "The Rhythm Section: Blake Lively Film Shuts Down Production".. Retrieved December 15, 2018. ^ Jr, Mike Fleming (August 16, 2017). "Paramount Lands Blake Lively Spy Thriller 'The Rhythm Section' By 007 Producers & IM Global". Deadline. Retrieved August 17, 2017. ^ Busch, Jenna (December 4, 2017). "The Rhythm Section: Blake Lively Injured on Set".. Retrieved December 6, 2017. ^ Galuppo, Mia (December 4, 2017). "Blake Lively Injured on Set of 'The Rhythm Section ' ". Retrieved December 31, 2017. ^ Kit, Borys (May 31, 2018). "Sterling K. Brown Joins Blake Lively ian 'Rhythm Section' as Spy Movie Resumes Production (Exclusive)". Retrieved May 31, 2018. ^ "El rodaje de 'The rhythm section' llegará a Almería a finales de junio". Europa Press (in Spanish). Almería. 21 February 2018. Retrieved 3 July 2018. ^ EFE (7 November 2017). "Almería acogerá el rodaje de 'The Rhythm Section' con Jude Law y Blake Lively". Ideal (in Spanish). Almería: Corporación de Medios de Andalucía, S. A. Retrieved 3 July 2018. ^ Donnelly, Matt (January 25, 2019). "Blake Lively's Action-Thriller 'Rhythm Section' Moves to Thanksgiving (EXCLUSIVE)". Variety. Retrieved January 25, 2019. ^ McNary, Dave (August 24, 2019). "Blake Lively's 'Rhythm Section' Moved Back to 2020". Retrieved August 24, 2019. ^ Jeremy Fuster (January 28, 2020). " ' The Rhythm Section' Arrives During Super Bowl Slump Weekend for Box Office". TheWrap. Retrieved January 29, 2020. ^ Dave McNary (January 31, 2020). "Box Office: Blake Lively's 'Rhythm Section' Opens Quietly With $235, 000 on Thursday Night". Retrieved January 31, 2020. ^ a b Anthony D'Alessandro (February 2, 2020). " ' Bad Boys For Life' Scores Over Super Bowl Weekend With $17M+; 'Rhythm Section' Is A Mess". Deadline Hollywood. Retrieved February 2, 2020. ^ "The Rhythm Section (2020)". Rotten Tomatoes. Fandango. Retrieved February 1, 2020. ^ "The Rhythm Section Reviews". Metacritic. CBS Interactive. Retrieved February 1, 2020. ^ ‘The Rhythm Section’: Film Review Peter DeBruge, Variety, January 29, 2020 External links [ edit] The Rhythm Section on IMDb. The rhythm section 2019. The rhythm section (2020) trailer. The rhythm section book. The rhythm section book wikipedia. The rhythm section movie rotten tomatoes. The rhythm section music. The rhythm section movie wikipedia. Critics Consensus Blake Lively delivers an impressive lead performance, but The Rhythm Section plods predictably through a story that could have used some flashier riffs. 33% TOMATOMETER Total Count: 113 43% Audience Score Verified Ratings: 324 The Rhythm Section Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. The Rhythm Section Videos Photos Movie Info Blake Lively stars as Stephanie Patrick, an ordinary woman on a path of self-destruction after her family is tragically killed in a plane crash. When Stephanie discovers that the crash was not an accident, she enters a dark, complex world to seek revenge on those responsible and find her own redemption. Rating: R (for violence, sexual content, language throughout, and some drug use) Genre: Directed By: Written By: In Theaters: Jan 31, 2020 wide Runtime: 109 minutes Studio: Paramount Pictures Cast News & Interviews for The Rhythm Section Critic Reviews for The Rhythm Section Audience Reviews for The Rhythm Section The Rhythm Section Quotes News & Features. The rhythm section movie reviews. The rhythm section by mark burnell. Publisher: Adrian Bold https://twitter.com/AdrianEBold