tag:blogger.com,1999:blog-57395881303920433942024-03-18T09:48:59.425+00:00 Buck Theorem's Hide-out "Nothing bothers some people. Not even flying saucers."
- The Beast of Yucca FlatsBuck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.comBlogger699125tag:blogger.com,1999:blog-5739588130392043394.post-17237959585401658042024-03-09T22:51:00.008+00:002024-03-09T22:51:58.334+00:00Out of Darkness<p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: Heebo;"></span></span><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1l0P-xV8qUVeuZAnMJCBFtvxB39e7wcM0qXDfidtj7DsCbflkOoWs7ojBPu5zHCYNOOr_LzqoT3ll_md5jZEDbJrQST850dpn5LpxjZhPy4x2VGe5CQT3jsdBx_SxgnEnk1S46y-mI2JyKWuCbd9eDpJyzZaESC-wSH7RqCQVa9g7W0zlJt2Od7RXDLI/s750/OutOfDarkness-HomePageMobile-750x414.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="414" data-original-width="750" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1l0P-xV8qUVeuZAnMJCBFtvxB39e7wcM0qXDfidtj7DsCbflkOoWs7ojBPu5zHCYNOOr_LzqoT3ll_md5jZEDbJrQST850dpn5LpxjZhPy4x2VGe5CQT3jsdBx_SxgnEnk1S46y-mI2JyKWuCbd9eDpJyzZaESC-wSH7RqCQVa9g7W0zlJt2Od7RXDLI/w640-h354/OutOfDarkness-HomePageMobile-750x414.jpg" width="640" /></a></span></p><!--[if gte mso 9]><xml>
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<p></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><b style="font-family: Heebo;"><i><u><span style="font-variant: small-caps; line-height: 107%;">Out of Darkness</span></u></i></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Heebo;">Director
~ Andrew Cumming</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Heebo;">Writers
~ Ruth Greenberg, Andrew Cumming, Oliver Kassman</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Heebo;">2022,
United Kingdom</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Heebo;">Stars
~ Iola Evans, Arno Lüning, Rosebud Melarkey</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Heebo;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Heebo;">Horror
tropes in a Stone Age setting makes for a freshening of familiar material. There
are deep shadows, conflicts in the group, noises in the dark and a pit of bones
and remains. The mood is dour and desperate with the wide-open spaces just as
threatening as the claustrophobia of the dense forest. Its most impressive and
distinguishing feature is the invented language that the characters/actors
speak – called “Tola”, invented by Daniel Andersson and based on Arabic and
Basque, a defining highlight that is akin to the linguistic attention and
ambition of Robert Eggers. It certainly sounds meticulous and convincing. But
this conceit doesn’t crimp the pace as Ruth Greenberg’s script and Oliver
Kassman directs to tear through the familiarities and with the accent on
characterisation. </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Heebo;"> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Heebo;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn1ep51t4IBbTogmtdgtfQiSaw1bHL7IYxfL7iX0wSdrWyGQurnCiG80nBq6vowdoGJ9LZU60fSff2ZN_NYDV9WXkQooeNaWmO_xvBhBvHf9iqAN8AfbkZWuNU1N3QIjRIBGbvpaCshEMGJzvR_hYS2YUB_St0XE1yRRvtHJ7Xj2LEskoz2Dsq_oBcJr4/s900/Out-of-Darkness-horror-movie-review.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="900" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn1ep51t4IBbTogmtdgtfQiSaw1bHL7IYxfL7iX0wSdrWyGQurnCiG80nBq6vowdoGJ9LZU60fSff2ZN_NYDV9WXkQooeNaWmO_xvBhBvHf9iqAN8AfbkZWuNU1N3QIjRIBGbvpaCshEMGJzvR_hYS2YUB_St0XE1yRRvtHJ7Xj2LEskoz2Dsq_oBcJr4/w400-h266/Out-of-Darkness-horror-movie-review.jpg" width="400" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Heebo;">This is a
group not of familial bonds but one brought together by despair and necessity.
They are not the usual two-dimensional characters that this kind of scenario
can coast on, although the script is clear to make clear how their identities
are subsumed by hierarchy and their designated status in the social unit. They
are recognisably layered outcasts, defined by the roles they must play and the
conflict this has with their deeper personalities. This is then the point, an
attempt at a realistic rendition of the brutality needed to survive and at the basis
of civilisation. <span> </span></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Heebo;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Heebo;">In this
way, it makes this tale of a burgeoning civilisation an introspective, pensive,
and credible one. <i>‘Out of Darkness’ </i>emerges from its use of tropes to
make a commentary on the brutality inherent in the survival and brutality of
civilisation, developing as a headier excursion than it seems to superficially begin.
It’s this that elevates it more than just its entertaining allusions to horror.
<span> </span>If not quite exceptional, a little bit
of a minor gem.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Heebo;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfbsyto8kzwWSJuJt7jGAiPolSCINO_DlgTe6G7sUGwPdNuC1ZPmuR67P6NJL7Iek0o3mXZVLo0YhmAE8IF4JZED-TDLTxlfeN7Emqn0nQjxRLPlodKrUpEYAfzm37nKbNPg_TTvFr_nqoOO-qJ2znFWsYZOs5wPsz8HlHoYpRjblcFC7SyPVS58WWFKQ/s2460/out-of-darkness.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="936" data-original-width="2460" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfbsyto8kzwWSJuJt7jGAiPolSCINO_DlgTe6G7sUGwPdNuC1ZPmuR67P6NJL7Iek0o3mXZVLo0YhmAE8IF4JZED-TDLTxlfeN7Emqn0nQjxRLPlodKrUpEYAfzm37nKbNPg_TTvFr_nqoOO-qJ2znFWsYZOs5wPsz8HlHoYpRjblcFC7SyPVS58WWFKQ/w640-h244/out-of-darkness.jpg" width="640" /></a></span></div><p></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-57398832690221541602024-02-28T20:14:00.000+00:002024-02-28T20:14:28.119+00:00The Iron Claw<p><span style="font-size: large;"><span style="font-family: Lora;"></span></span><span style="font-size: large;"><span style="font-family: Lora;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6OYpm164gGkn60Nrz1SUwxl5xCSPNp_A8J3wUGrWqpFgVz92XWvLxjLobDwiK5wOVskgZWWk-kmTIt2xmpeaALUbdDMT3giXJsP8NnGeY5vi1qXSlfCFkQVIYKnAQZ4C08VG8WDLAhKVB_qF3Mn_QLzElDFZV2vZszi1YZ-GSxMP8Zb7lQOTmE8P22dA/s1481/Iron%20Claw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1481" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6OYpm164gGkn60Nrz1SUwxl5xCSPNp_A8J3wUGrWqpFgVz92XWvLxjLobDwiK5wOVskgZWWk-kmTIt2xmpeaALUbdDMT3giXJsP8NnGeY5vi1qXSlfCFkQVIYKnAQZ4C08VG8WDLAhKVB_qF3Mn_QLzElDFZV2vZszi1YZ-GSxMP8Zb7lQOTmE8P22dA/w432-h640/Iron%20Claw.jpg" width="432" /></a></span></div><!--[if gte mso 9]><xml>
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<p></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><b style="font-family: Lora;"><i><u><span style="font-variant: small-caps; line-height: 107%;">The Iron Claw</span></u></i></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Lora;">Director
~ Sean Durkin</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Lora;">Writer
~ Sean Durkin</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Lora;">2024,</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Lora;">Stars
~ Zac Efron, Jeremy Allen White, Harris Dickinson</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;">Perhaps expecting a telling of the
all-wrestling Von Erich family to go the way of all tropey sports films, it was
only when realising that Sean Derkin was directing that I became intrigued.
Derkin’s <i>‘The Nest’</i> had a faintly off-kilter manner, a chill and
distance and a sensibility for melodrama that felt more indie than mainstream
that I prefer. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;">The target of <i>‘The Nest’</i> is
a self-deluded, desperate charlatan of a father, and <i>‘The Iron Claw’</i>
similarly ultimately lays the blame of constant tragedy at the feet of toxic
masculinity, enabled by a distracted/indifferent mother. Holt MacCallany gives
an excellent bristling and bullying turn as the patriarch that turns his family
into a cult. Or, as Letterboxd commenter dylan troesken writes, <a href="https://letterboxd.com/dylantroesken/film/the-iron-claw-2023/" target="_blank">“when your“family curse” is just the mere existence of your father”</a>. Fritz's way is more manipulation
and psychological shoving whilst he leaves the physical punishment to the ring (as far as the film goes).
</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;"></span></span></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"> </span></div><span style="font-size: medium;">The fights are brutish and there is
no doubt that they that they bruise, no matter the camaraderie of the faux-adversaries
behind the scenes. This is violence made family-friendly and almost huggable by
the set-ups and pantomime, by the operatic depiction of machismo. But faking it
hurts and Durkin leaves no doubt to that. All this is as expected, but these fights
that you assume to be the fulcrum of the melodrama are not the peak moments, as
damaging and ferocious as they are, for they are almost the backdrop for the
wider family narrative (and relegated to montages at times, made necessary to
pack in as much story as possible). It’s the family drama that dominates and it
is here that Durkins’ way with melodrama is most at play. </span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: medium;"><span style="font-family: Lora;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3MLHTXgtXO40hyphenhyphenUFCNfG6e3yG5ky9X5wbSrjBrqTWZhCGBiW4R1Vx1sOu1Hdq6-jTvm_ul0iLu-8djcp6IUKIFf0xxNXJ6BXIH3A86kIxIcFiVc7cTWVbR_rInMce5RxkyBy5UCbelvLdxyxMPehXV6sngb74XEUSHQDDaRF6MfTT3-M1uJ-2CcBKihE/s1638/IronClaw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="922" data-original-width="1638" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3MLHTXgtXO40hyphenhyphenUFCNfG6e3yG5ky9X5wbSrjBrqTWZhCGBiW4R1Vx1sOu1Hdq6-jTvm_ul0iLu-8djcp6IUKIFf0xxNXJ6BXIH3A86kIxIcFiVc7cTWVbR_rInMce5RxkyBy5UCbelvLdxyxMPehXV6sngb74XEUSHQDDaRF6MfTT3-M1uJ-2CcBKihE/w400-h225/IronClaw.jpg" width="400" /> </a> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;">The Von Erich brothers have a
strong bond, despite and because of parental figures that seem to swing between
poles of dominance and disinterest: we see them partying but not in the kegging
jock way we are familiar with such films. Their closeness is rendered in
vignettes as well as bouts. We know the tropes, so when one brother says he’s
going for a ride during an emotional peak, we know the narrative rules, but we
skip to the consequences. It’s in daddy’s disappointed glare. It’s in the
striking scene where mom has a grief-stricken fashion crisis when she realises
she is wearing the same black dress as last funeral. The film is full of such
moments and if there is inevitably a skipping-stone narrative over the major
points, it doesn’t dimminish the cumulative gut-punch. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;">And for sure, those that know that
story might be disappointed with omissions, which defines these kinds of films.
Indeed, the Letterboxd comments is dotted with accusations that the film is a
soft on Fritz. If you didn’t know the story ~ and I didn’t ~ it’s a shock to
learn that there was another wrestling brother that followed a similar path. In
passing, Mark Kermode’s review mentions that Durkin omitted Chris because: how
much tragedy can you take? And yes, it would feel like heavy-handedness, surely?
I mean, you can’t sell all this as fiction, right? Indeed, but this additional
detail only belies a pattern, not a curse, of something damaged and damaging.
No supernatural curse here.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;">There is a quiet anger marinated in
heart ache here. But it’s Zac Efron’s performance as a somewhat gentle giant
Kevin that stands out, a stunning wrestler’s physique almost blocking out all
else until the nuances shine through. All this tragedy culminates in a moment
where he gets to truly stick the landing with a most singular instant
heartbreaker of a line. Like <i>‘Past Lives’</i>, another film where you don’t truly
realise the emotional impact until the finale. </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Lora;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy8Abax-nkQpz6yMKQOan5gjXp4B8wDySNc8_zxHKT29whhBmo6BD4d1e4dfSy1VsTkVMUkq4OVZ2stZMXTJFQzSZ6Bsi6Orvsme4eYo1VscT3r8W0HvsFS7J3etsNTGa-kEp6g2JhyliZ-2HhAtTEuFfgVNYarZ3BChjdXT85kn7H-wTzJFujUBL2fLk/s1250/iron-claw-preview.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="781" data-original-width="1250" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy8Abax-nkQpz6yMKQOan5gjXp4B8wDySNc8_zxHKT29whhBmo6BD4d1e4dfSy1VsTkVMUkq4OVZ2stZMXTJFQzSZ6Bsi6Orvsme4eYo1VscT3r8W0HvsFS7J3etsNTGa-kEp6g2JhyliZ-2HhAtTEuFfgVNYarZ3BChjdXT85kn7H-wTzJFujUBL2fLk/w640-h400/iron-claw-preview.jpg" width="640" /></a></span></div><p></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-18027646210020608422024-02-25T11:47:00.002+00:002024-02-25T11:47:12.981+00:00"Signs of Radical Midnight" - album by Buck Theorem<p> This one is ambient & instrumental. Designed for when your mind drifts with tales of animals and space, loss and snack-times. </p><p><br />
Recorded at The Hide-Out, finished February 2024.</p>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1175564595/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 786px; width: 350px;"><a href="https://bucktheorem.bandcamp.com/album/signs-of-radical-midnight">Signs of Radical Midnight by Buck Theorem</a></iframe></div>Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-65349137676653301352024-02-21T19:36:00.002+00:002024-02-21T20:03:42.113+00:00Sinbad and the Eye of the Tiger<div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtz9NVmk9wXaZTBa9rQk28LFHQITqnnyPwNqI9iO4FjZeBNWSGK-kGRkjFCx8ADq2HKdrufg1u06jeEMGw9ex05xpnxuXFnAC7oInRmccnWlcS6yZG2jM047Lq1q6lo82st730nVzxnxv80NjCNd605q0pFuwS05VDZhJ2JWG4sq31orRtz-Mdf9rxLdA/s1600/Sinbad%20and%20the%20Eye%20if%20the%20Tiger.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1136" data-original-width="1600" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtz9NVmk9wXaZTBa9rQk28LFHQITqnnyPwNqI9iO4FjZeBNWSGK-kGRkjFCx8ADq2HKdrufg1u06jeEMGw9ex05xpnxuXFnAC7oInRmccnWlcS6yZG2jM047Lq1q6lo82st730nVzxnxv80NjCNd605q0pFuwS05VDZhJ2JWG4sq31orRtz-Mdf9rxLdA/w640-h454/Sinbad%20and%20the%20Eye%20if%20the%20Tiger.webp" width="640" /></a></span></div><span style="font-size: medium;"></span><!--[if gte mso 9]><xml>
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<p></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><b style="font-family: trebuchet;"><i><u><span style="font-variant: small-caps; line-height: 107%;">Sinbad and the Eye of the tiger</span></u></i></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><i style="font-family: trebuchet;">Director
~ Sam Wanamaker</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><i style="font-family: trebuchet;">Writers
~ Beverley Cross, Ray Harryhausen</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><i style="font-family: trebuchet;">1977,
UK</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><i style="font-family: trebuchet;">Stars
~ Patrick Wayne, Jane Seymour, Taryn Power</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;">Both the
characterisation and dialogue veers between bad and bland, and often the story
depends upon stupidity (“Are you looking for THIS? And THIS?” “Let me try this
magic potion on a mosquito that looks like a bee!…”) and there’s a streak of inconsistency
and daftness, as if this is just a first draft script. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;">“Best to
keep him caged,” then he’s playing chess on deck, etc). </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify; text-indent: 36pt;"><span style="font-size: large;"><span style="font-family: trebuchet;">Or:</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;">“Sounds
like an earthquake!”</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;">“There
can be only one possible answer!”</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;">“The
witch…!”</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;">Oh, so
“earthquake” wasn’t the logical answer?</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify; text-indent: 36pt;"><span style="font-size: large;"><span style="font-family: trebuchet;">Or:</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;">How does
he think he’ll win the fight on the stairs?</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify; text-indent: 36pt;"><span style="font-size: large;"><span style="font-family: trebuchet;">Or:</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;">One
minute Trog fears the temple entrance; the next he’s helping them lift the lock
on the door.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;"> Or:</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;">The
gull-foot seems to be forgotten about.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;">And a
little casual sexism and racism and full of both impressive and bad matte work.
But you don’t really go to a Harryhausen film for the script (by Harryhausen
and Beverley Cross) we’re here for Harryhausen creations and in that we can be
satisfied. The opening ghoul attack is promising, but mostly it’s oversized
animals rather than monsters. The Minaton radiates inhuman menace (apparently
Patrick Mayhew was the stand-in, having just been ‘<i>Star Wars’</i> Chewbacca)
and the Trogolyte and the baboon out-act everyone else. Whereas Margaret
Whiting gives the hammiest villain she can ham, the subtlety and nuance of
Harryhausen’s amazing work on the baboon is perhaps lost because it is not making
realistic the fantastic but realising something more recognisable and by
extension, less magical. <span> </span>Of all the
sets, it’s the journey through the ice tunnels with all the frescos of frozen
victims that impresses most.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: trebuchet;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9wfepvxofzCUz4jY8p6dK1Vw1BDIj9yZ4J71qzG_F6ZHqCe-yCOiteVhhabcBv10-wINQwQWxxtrNJJCuv52xBtkCoEPWILhb1uB6kmXy_EaKqdTCvewp3cPzWDy8wi1wf3wKt6asNwl9oqsDGRGE9afRvvUHq8-tyvPZOeGp1dqNc03FGTu9kbX_Hx0/s706/sinbadandtheeyeoftiger30-3059632396.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="395" data-original-width="706" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9wfepvxofzCUz4jY8p6dK1Vw1BDIj9yZ4J71qzG_F6ZHqCe-yCOiteVhhabcBv10-wINQwQWxxtrNJJCuv52xBtkCoEPWILhb1uB6kmXy_EaKqdTCvewp3cPzWDy8wi1wf3wKt6asNwl9oqsDGRGE9afRvvUHq8-tyvPZOeGp1dqNc03FGTu9kbX_Hx0/w400-h224/sinbadandtheeyeoftiger30-3059632396.webp" width="400" /> </a> <br /></span></div><span style="font-size: large;">It's then
a weaker work ~ yes, the Minaton creates a bit of a shudder of intimidation
although its demise is a bit ignoble; the baboon is a fascinating achievement,
but we live in a time w<br /><br />here realistic sci-fi talking racoon is just a standard
and one of a rash of CGI realistic critters on offer at any cinema season. Of
course, <i>‘Sinbad and the Eye of the Tiger’</i> came out the same year as <i>‘Star
Wars’</i> and a new age was obviously being ushered in. The realism given a
fantastical dinosaur in <i>‘Godzilla Minus Zero’</i> is astonishing, and yet there
is always a place for going back to old-school stop-motion, because being aware
that it is the work of one man’s dedication is still thrilling and
jaw-dropping. So there is still awe and pleasure in Harryhausen’s effects work,
but it is a shame that more strength of story doesn’t ward off datedness.</span><p></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: trebuchet;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivP45ON9eHPNZJ_ht5OWZOG_lZRJPiZEyRoWE-87k4GhseoCXHP0WqGm2LRzS6vtcGP0zQKWDhJ4XhIyK3LOckfLh3w27c8RHoZgpD-WM0Vkhsnw5Qh165VjKrkSB6J2Cip7rMXVCAmoxu1YWdgtPTcJe9wcxiUT5erlEkvwnwnKQqsA4LEP_HUaJ-7bw/s960/Sinbad_Eye_Tiger_1.jpg.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="622" data-original-width="960" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivP45ON9eHPNZJ_ht5OWZOG_lZRJPiZEyRoWE-87k4GhseoCXHP0WqGm2LRzS6vtcGP0zQKWDhJ4XhIyK3LOckfLh3w27c8RHoZgpD-WM0Vkhsnw5Qh165VjKrkSB6J2Cip7rMXVCAmoxu1YWdgtPTcJe9wcxiUT5erlEkvwnwnKQqsA4LEP_HUaJ-7bw/w640-h414/Sinbad_Eye_Tiger_1.jpg.webp" width="640" /></a></div><p></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-61983666749968596682024-02-20T20:03:00.003+00:002024-02-20T20:07:22.445+00:00Poor Things<div class="separator" style="clear: both; text-align: center;"></div><span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmkVSHb28M4_dB4yad62aVYUgBPFDbKf6xMZlVMEGzsvHlqntyJfYxXKcCPrjOrt_fpFgBd7WW-z6K1EPSH0i5I6ut-6zB-vuTr5mZm7Du0U9TDZ4CPTYNp7eNtGAKUZxNr2bb5A4hGGVpQ7cj_tlbPdBlHgA9LbOyZOvYcQVsbfltTfK0PEfm8cPPQT4/s2000/poor%20things.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1350" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmkVSHb28M4_dB4yad62aVYUgBPFDbKf6xMZlVMEGzsvHlqntyJfYxXKcCPrjOrt_fpFgBd7WW-z6K1EPSH0i5I6ut-6zB-vuTr5mZm7Du0U9TDZ4CPTYNp7eNtGAKUZxNr2bb5A4hGGVpQ7cj_tlbPdBlHgA9LbOyZOvYcQVsbfltTfK0PEfm8cPPQT4/w432-h640/poor%20things.jpg" width="432" /></a></span></div></span><!--[if gte mso 9]><xml>
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<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><b style="font-family: georgia;"><i><u><span style="font-variant: small-caps; line-height: 107%;">Poor Things</span></u></i></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><i style="font-family: georgia;">Director
~ Yorgos Lanthimos</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><i style="font-family: georgia;">Writers
~ Tony McNamaram, Alasdair Gray</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><i style="font-family: georgia;">2023,
Ireland-UK-USA-Hungary</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><i style="font-family: georgia;">Stars
~ Emma Stone, Mark Ruffalo, Willem Dafoe</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: georgia;">Like ‘<i>Barbie</i>’ for Goths and Tim
Burton fans, ‘<i>Poor Things</i>’ is similarly a tale of gender existentialism,
of a woman finding her place in a patriarchal world. It also reminded me a
little of Ransom Riggs’ appropriating old photographs to generate a narrative
for ‘<i>Miss Peregrine’s Home for Peculiar Children’ </i>and the work of <a href="https://www.atlasobscura.com/articles/anthropomorphic-taxidermy-how-dead-rodents-became-the-darlings-of-the-victorian-elite" target="_blank">WalterPotter</a>. It has excellent Bafta award-
winning set design by Shona Heath, James Price and Zsuzsa Mihalek, a brilliantly
wonky score by Jerskin Fendric, and is afflicted with fish-eye lens. If at
first it seems dangerously close to a male fantasy of creating and maltreating
a child-woman, it soon becomes apparent that this is not a ‘<i>Weird Science</i>’
fantasy but more musing on nature and nurture.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: georgia;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRZ-N9EPqF7OQ1ODjz5PvAaZ4exMxQvIhY1xqgYwJe4yQiH_Hv7_Ap_aUDqP8PZLzMKHeoQV7AnrFOz5W4LN756G0ojNAEP2yFDQ3Tbf0nsft1fvlpt3pCaNHyfbza4s4YWf8MCYRiJBqKTndJx8oAZWBw7OaVO4DkIy7SnTX5cA390HiBd1_tonM2t08/s976/poorthings_132292520_poor.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="649" data-original-width="976" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRZ-N9EPqF7OQ1ODjz5PvAaZ4exMxQvIhY1xqgYwJe4yQiH_Hv7_Ap_aUDqP8PZLzMKHeoQV7AnrFOz5W4LN756G0ojNAEP2yFDQ3Tbf0nsft1fvlpt3pCaNHyfbza4s4YWf8MCYRiJBqKTndJx8oAZWBw7OaVO4DkIy7SnTX5cA390HiBd1_tonM2t08/w400-h266/poorthings_132292520_poor.jpg" width="400" /></a></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: georgia;">Dr Godwin Baxter (yeh yeh: God.)
makes Bella Baxter, Frankenstein style, utilising a suicide victim, but it is
evidently more interested in the creation of a daughter-figure rather than the
impulses of a dirty old man. In fact, the film walks this fine line deftly
until Bella’s curiosity is insatiable and she is able to assert herself. And
these are not men to hold her back. As an examination of Bella’s
self-discovery, it never allows her to be a victim even when she chooses
prostitution as an option to maintain freedom. Her tale is just blithely
stomping through patriarchy and class and blithely not acknowledging their
attacks on her curiosity, whether carnal or intellectual (although we get more
of the former demonstrated rather than the latter). Her tale is not one of
overcoming suffering and abuse; we have that in Godwin’s hints of his
childhood. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: georgia;">I am aware of critical heralding of
Emma Stone’s Bafta Award-winning performance and have heard anecdotally how it
annoyed others. She certainly gives it her all as she stomps and furious jumps
her way through experience and naïveté in a manner more defiant than innocent.
But it is Mark Ruffalo’s turn as a conceited lothario that surely steals the
show as he goes from cocksure seducer to broken man in Bella’s wake. Their
dance scene is a highlight.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: georgia;">There is of course a lot absent
from the novel – Scottish politics for one; faux-Victorian London in place of
Glasgow* – and the longer the film goes on it surely loses its argument for its
length. It feels an act too long and Bella’s conclusions get increasingly
muddled. The most glaring moral failing is that Bella discovered and melted
down over class guilt of recognising poverty and yet the film achieves her
happy ending by sidestepping any awareness she has developed and leaves her
lounging wealthily in an English garden, blissfully privileged and ignoring the
truths that made her so outraged. (This is not the same as the book.)</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAJWNYmlCaHJAPEfeyiIjwVbprSKSjuDjWy7LDRryGYglFdjVwbrV5bajU-4EDtiiq-Wh7-rgfgFwCAJI9XA8il7wlf6jtlSpF7HEQjSD0bcCzztLKo5qI59dYEqkblJxbJy2o_6dzpUCMxZn4KkHs1mI9uBv-ySkesuqVSM62phsD5iJk2gQC_xQB-JY/s1080/PoorThings.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="719" data-original-width="1080" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAJWNYmlCaHJAPEfeyiIjwVbprSKSjuDjWy7LDRryGYglFdjVwbrV5bajU-4EDtiiq-Wh7-rgfgFwCAJI9XA8il7wlf6jtlSpF7HEQjSD0bcCzztLKo5qI59dYEqkblJxbJy2o_6dzpUCMxZn4KkHs1mI9uBv-ySkesuqVSM62phsD5iJk2gQC_xQB-JY/w400-h266/PoorThings.webp" width="400" /></a></span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: georgia;">There is black humour, of course, but
the tone here is more in the amusing absurdity of Godwin burping gigantic
bubbles at dinner. It is not nearly as acerbic and finely tuned as <i>‘The
Favourite’ </i>~ another Tony McNamara script ~ but perhaps Lanthimos has never
worn comedy so clearly on his sleeve. Or rejected the dark comedic potential of
cruelty so readily, for that is not Bella’s way. <a href="https://www.ft.com/content/1071ae4e-75c9-44ce-9877-b00d53e9b750" target="_blank">Danny Leigh</a> writes, <i>“Like The
Favourite, his new film comes to feel like a costume drama for an age that
thinks itself above costume dramas.”</i> Yes, but this is a fantasia and
just falls short of steampunk; it is not so much a metafiction commenting upon
itself rather than a series of amusements full of fantastical and/or
incongruous detail. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: georgia;">It’s a heady confection whose
oddness is always engaging, and yet there is the sense that this is less than
the sum of its considerable parts. Or that its goofiness falls just short of
greatness. Perhaps the gleeful chaos of this picaresque bildungsroman achieves
more diversion than conclusion. Perhaps a near miss, then, but the aesthetic
and the picaresque chaos of Bella’s self-discovery offers many treats, not to
mention a widening of Lanthimos’ range. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgenQD5-VOtALN-LxYK80bBC-nhE82ZA_q3iXlMcz7igy2HJq2VbAtCoqn2BvMFicAzt1LmtQEFhQpeMUhS8a5C9Fo5Xu2VIXQVS0Zz10SYLn6SeXuztnTY1KGfhZEAz7aOMXmx1NZiPjodiYa5-iL-gsk5rl37nHYDbjGNpbxeUEjOy4E4z3QHkXT2brM/s1920/poor-things-willem-dafoe-and-emma-stone.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgenQD5-VOtALN-LxYK80bBC-nhE82ZA_q3iXlMcz7igy2HJq2VbAtCoqn2BvMFicAzt1LmtQEFhQpeMUhS8a5C9Fo5Xu2VIXQVS0Zz10SYLn6SeXuztnTY1KGfhZEAz7aOMXmx1NZiPjodiYa5-iL-gsk5rl37nHYDbjGNpbxeUEjOy4E4z3QHkXT2brM/w640-h426/poor-things-willem-dafoe-and-emma-stone.webp" width="640" /></a></span><span style="font-family: georgia;"> </span></p>
<p class="MsoListParagraph" style="margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18pt;"><span style="font-family: georgia;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;"> </span><span style="font-size: small;"><span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: medium;"><span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span>* In
his <i>‘Little White Lies’</i> interview (No. 101 Dec ‘23/Jan’24), Lanthimos
talks of how the Scottish element of the novel felt like another book, and so
they focused on Bella. This also led to the change of ending. Regarding the
change to London, Lanthimos says that, “Well, I think Alasdair probably
wouldn’t be very happy about that, because he was a very proud Scotsman.” </span></span></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-59324170838862252132024-02-18T19:44:00.000+00:002024-02-18T19:44:16.612+00:00The Mole People<p><br /></p><!--[if gte mso 9]><xml>
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<p></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHUQK1-5tQSpiA5IjSZAAXd_VIWKkJmHyjManHahZTl4cXVqUZasXEqscAgogtMjJs97hgbaFmOLzFYIriN_21yhY2LNEmg9LO5eWR66KHEmmKFLIQ1HV3WppgVwmD9AKXBJ4YtFvE2AZNwEHNgMmGevoi20TnEqK9QxV-C5E7JIWSS3tVxhlAKvu_TGI/s389/Mole_People.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="389" data-original-width="256" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHUQK1-5tQSpiA5IjSZAAXd_VIWKkJmHyjManHahZTl4cXVqUZasXEqscAgogtMjJs97hgbaFmOLzFYIriN_21yhY2LNEmg9LO5eWR66KHEmmKFLIQ1HV3WppgVwmD9AKXBJ4YtFvE2AZNwEHNgMmGevoi20TnEqK9QxV-C5E7JIWSS3tVxhlAKvu_TGI/w264-h400/Mole_People.jpg" width="264" /></a></span><span style="font-size: medium;"><b style="font-family: Domine;"><i><u><span style="font-variant: small-caps; line-height: 107%;"> </span></u></i></b></span></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><b style="font-family: Domine;"><i><u><span style="font-variant: small-caps; line-height: 107%;">The Mole Men</span></u></i></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><i style="font-family: Domine;">Director
~ Virgil W. Vogel</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><i style="font-family: Domine;">1956,
b/w, USA</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><i style="font-family: Domine;">Writer
~ László Görög</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><i style="font-family: Domine;">Stars
~ John Agar, Cynthia Patrick, Hugh Beaumont</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Domine;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Domine;">Starts
with about five minutes of screen time of filler, a Professor of English <a href="https://en.wikipedia.org/wiki/Frank_C._Baxter" target="_blank">Frank C. Baxter</a> <span> </span>(real)
running through the history of hollow Earth in mythology. So it starts as it
means to go on, and it is amazing how much feels else like padding. They spend
an awful long time climbing down a hole in pursuit someone who is obviously
already dead.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Domine;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Domine;">So, some
archaeologists (who make anthropological deductions too) go the top of a
mountain to investigate some ruins and then descend through the mountain to
discover an ancient Sumerian civilisation that worship Ishtar (which apparently
wasn’t a thing they did). (So if they go right at top and then go down, I’m not
sure they descended enough to be below the Earth’s crust… more “hollow
mountain” theory than “hollow Earth”?). The Sumerian are albino and vulnerable
to intense light – making the archaeologists’ torch a religious weapon – but
luckily for these stock American men, there is a Caucasian woman considered
lower caste for one to fall in love with. The archaeologists masquerade as
divine and use their torch as a threat to survive the Sumerians’ religious
murderous inclinations whilst sitting around being all masculine. It’s up to
Alan Napier as Elinu, the High priest, to add some life to proceedings with his
dissent and conniving, and merely by not phoning in his part.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Domine;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgKYh7x4RiNoEPli-P-gBxm0T9EdzSVw5-PW0_MZJbhItGzNE8DPWxQJ8BN-mxFFn0DkCMK36KjEakYsTwEoFRczKP9lhIaIUc-G-rYWumdQa2zyqawfoZxc7Nd5lVyzA0LVzImct0xz0cykS-6DNhCc8mfVgf_zGdgROCZDWdMt76JIM9DojDwVRpN6o/s1200/Mole%20People%20buU4bsenncCbSMkTfdk3Jg5pxTb-1200-1200-675-675-crop-000000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgKYh7x4RiNoEPli-P-gBxm0T9EdzSVw5-PW0_MZJbhItGzNE8DPWxQJ8BN-mxFFn0DkCMK36KjEakYsTwEoFRczKP9lhIaIUc-G-rYWumdQa2zyqawfoZxc7Nd5lVyzA0LVzImct0xz0cykS-6DNhCc8mfVgf_zGdgROCZDWdMt76JIM9DojDwVRpN6o/w400-h225/Mole%20People%20buU4bsenncCbSMkTfdk3Jg5pxTb-1200-1200-675-675-crop-000000.jpg" width="400" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Domine;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Domine;">The Mole People,
who we’ve come for, have the highlight of dragging people under into the dirt.
They have agreeable clunky men-in-suit designs with memorable enough masks, and
although they are apparently harvesting gigantic subterranean mushrooms (?) for
food, they seem to be mostly for milling around for regular whipping. But it’s
not a film to monopolise on the potential of that particular analogy. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Domine;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Domine;">Some
impressive avalanche stock footage, a little commentary about hierarchies,
slavery, racism and population control; but although this is loaded context and
colouring, it doesn’t ultimately feel like proving much. The appeal now is in
its datedness and silliness, its ambition far exceeding its budget. <span> </span></span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Domine;"><span> </span></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVlxpGL4qduqHj_28HPwGqQE14gvermv4O7gKco3kPDU6a0oPlJanlLmdxmAHT7mxDJ2MUwJGkW2a0SqVxjA5-CtQXBMM-ay5bDHDrBJW8zP3BKt061Fp7AgyRCxvbm2kVfgqc3LVKd-qICdUgp_khLNXlbohtMvK2Lzv2yIYv6jAgBGW_xNLkSBW2bt0/s737/Mole_People.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="737" data-original-width="564" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVlxpGL4qduqHj_28HPwGqQE14gvermv4O7gKco3kPDU6a0oPlJanlLmdxmAHT7mxDJ2MUwJGkW2a0SqVxjA5-CtQXBMM-ay5bDHDrBJW8zP3BKt061Fp7AgyRCxvbm2kVfgqc3LVKd-qICdUgp_khLNXlbohtMvK2Lzv2yIYv6jAgBGW_xNLkSBW2bt0/w306-h400/Mole_People.webp" width="306" /></a></span></div><span style="font-size: large;"><span style="font-family: Domine;"> </span></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Domine;">But there
are reports of <a href="https://deadline.com/2023/03/the-mole-people-universal-remake-chris-winterbauer-skybound-robert-kirkman-dave-alpert-producing-1235311775/" target="_blank">a possible remake </a>with Robert Kirkman involved, and I will
consider that promising as I am big devotee of <i>‘The Walking Dead’ </i>comics.</span></span></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-25678022888313863422024-02-11T11:43:00.001+00:002024-02-11T11:45:00.599+00:00Vinyl buying
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<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: large;"><b style="font-family: Lora;"><u><span style="font-variant: small-caps; line-height: 107%;">Some Vinyl</span></u></b></span></p>
<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB1M8VRjAkqBNrRFKl-Zp1IJavYiQ0uhK2KjDy82kwcaoXk2oWsKBJuWl_1FMzBGJ8xjLJITUkCUfVj0rQt3e-1XJKg1MMjc8DMtOkgruFlgye62awJgdkIQSOzYnI1gyBsTQ7vKJYgc56rDtOWCxuHuKqliydOW0vUhq7Lh0C2jE2Sf8EeLNdCQq_BiU/s640/IMG_0681.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB1M8VRjAkqBNrRFKl-Zp1IJavYiQ0uhK2KjDy82kwcaoXk2oWsKBJuWl_1FMzBGJ8xjLJITUkCUfVj0rQt3e-1XJKg1MMjc8DMtOkgruFlgye62awJgdkIQSOzYnI1gyBsTQ7vKJYgc56rDtOWCxuHuKqliydOW0vUhq7Lh0C2jE2Sf8EeLNdCQq_BiU/s320/IMG_0681.jpg" width="240" /></a></div>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Lora;">Bought
some vinyl at the London Film Fair. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Lora;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Lora;">I am a
sucker for those odd Japanese 7-inch releases of film tie-ins that quite often
don’t make sense. For example, in the James Bond section is the Nancy Sinatra
single of <i>‘You Only Live Twice’</i> – a favourite song – with Sean Connery
Bond emblazoned prominently on the cover. And the b-side is… <i>‘Jackson’</i>,
her duet with Lee Hazelwood? It's true that I am more an admirer of Bond Music than the films themselves (although 2006's <i>'Casino Royale'</i> is the pinnacle for me) and I am a fan of the Sinatra/Hazelwood output, so it's all good. <br /></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Lora;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKJh_Lo0pfLnxHY1cpUipWxfknMUbg0AMsPMFIhMDsxgxn7EH6XPyM64MIx7LAyGeymbH055qgpwHiktZvzE3TcuGB81Csoi06tXWByq4SY64XgkgpfuwSRJXNvhhnbxOcD4r_RbD-xbevBNdfPTLeBxIEmva95R_S3x5LsFhEV-UiByC5LjmhC2sKV4M/s640/IMG_0676.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKJh_Lo0pfLnxHY1cpUipWxfknMUbg0AMsPMFIhMDsxgxn7EH6XPyM64MIx7LAyGeymbH055qgpwHiktZvzE3TcuGB81Csoi06tXWByq4SY64XgkgpfuwSRJXNvhhnbxOcD4r_RbD-xbevBNdfPTLeBxIEmva95R_S3x5LsFhEV-UiByC5LjmhC2sKV4M/w300-h400/IMG_0676.jpg" width="300" /></a></span></div><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/hs8uYxTJ530?si=kb1O2xCtICu2nX3X" title="YouTube video player" width="560"></iframe><span><span style="font-family: Lora;"> </span></span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: Lora;"> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Lora;">And how
about singles of the themes to coming-of-age classics <i>‘A Swedish Love Story’</i>
of <i>‘Forbidden Games’</i>? The latter especially gives <i>'The Third Man</i>' competition in its jangliness.<br /></span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Lora;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW94f8_WJtTnrURPZNET0vVPulgdCgeDN4XP7OKCECCf4UHtbKF05JWuwu9PIaJ_GqNnU71kt54W8ZNtK1XjIliY_5ZjshXAjYf8F0e4dESMag-Dv21MfBgcv1ZPKL2-Iy7el-L0O83f372aIePvVoW5c-iBxjORU4F-g-mS0A4YH-Dmy0U26_Kxqv4XU/s640/IMG_0679.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW94f8_WJtTnrURPZNET0vVPulgdCgeDN4XP7OKCECCf4UHtbKF05JWuwu9PIaJ_GqNnU71kt54W8ZNtK1XjIliY_5ZjshXAjYf8F0e4dESMag-Dv21MfBgcv1ZPKL2-Iy7el-L0O83f372aIePvVoW5c-iBxjORU4F-g-mS0A4YH-Dmy0U26_Kxqv4XU/w300-h400/IMG_0679.jpg" width="300" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEICbCFDmCnqqlIaSKuBtaKbt6d86Ewok3KGvL7LkgVcr-ylaEGWTOPPrJesQq_o4AHj4UNNwkw8GJvDZJAMu4lBHoMIOFhSFqRjkbYlsWECiO3YrUyYMkbTNT6dOqxG9IU8EJIMZ5jVGqEZZFuRak96z5SLP4YnhmDOB34mxGUsKVpgwnBNh8OHLGutI/s640/IMG_0677.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEICbCFDmCnqqlIaSKuBtaKbt6d86Ewok3KGvL7LkgVcr-ylaEGWTOPPrJesQq_o4AHj4UNNwkw8GJvDZJAMu4lBHoMIOFhSFqRjkbYlsWECiO3YrUyYMkbTNT6dOqxG9IU8EJIMZ5jVGqEZZFuRak96z5SLP4YnhmDOB34mxGUsKVpgwnBNh8OHLGutI/w300-h400/IMG_0677.jpg" width="300" /></a></span></div>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/zHQU7UjSqro?si=va3c55H_mJAL88HW" title="YouTube video player" width="560"></iframe><span><span style="font-family: Lora;"> </span></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: large;"><a href="https://www.youtube.com/watch?v=zHQU7UjSqro" style="font-family: Lora;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/6_m00tBc1I4?si=DqXTh2rPihIuddLp" title="YouTube video player" width="560"></iframe> </a></span></p><span style="font-size: large;"><br /></span><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Lora;">And to <a href="http://bucktheorem.blogspot.com/2019/07/one-moment-in-melody-1971-sports-day.html" target="_blank">‘<i>Melody</i>’</a>,
which I have written about <a href="http://bucktheorem.blogspot.com/2019/07/one-moment-in-melody-1971-sports-day.html " target="_blank">here</a>. To repeat: I’m not a Bee Gees fan but can’t
deny this song gets to me, where the orchestration swells and threatens to
overwhelm with its longing; although it’s the Nina Simone live version that
devastates. Must be one of the greatest songs of unrequited love ever written
in an endless list. And it comes with a mini lyric sheet? When did we ever get
that with our 7-inches?</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Lora;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOnp9l-CWMXwhrsu_gtuGWK-4memAwlwrJGSdE83yMdw8irN43Rh43KHwxBCPMxJnd6iKQY5n5MV8tIMyvvJ3Ib_ITgqMFrUxJk2mpm5eGGiqKlL2vH4k-RsVPUfKi_IZXgecjG0KNx6xrt0VeAFLzkJDcIGwNvbtEsH0aynqx1gojZxI5bQhcsz58mjg/s640/IMG_0680.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOnp9l-CWMXwhrsu_gtuGWK-4memAwlwrJGSdE83yMdw8irN43Rh43KHwxBCPMxJnd6iKQY5n5MV8tIMyvvJ3Ib_ITgqMFrUxJk2mpm5eGGiqKlL2vH4k-RsVPUfKi_IZXgecjG0KNx6xrt0VeAFLzkJDcIGwNvbtEsH0aynqx1gojZxI5bQhcsz58mjg/s320/IMG_0680.jpg" width="240" /></a></span></div><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: Lora;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/LymNICNvaH8?si=LqnKMX9N_G3h0j7v" title="YouTube video player" width="560"></iframe> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: Lora;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ZobxvqwJT9Y?si=JkWZfT_1fPey1yBT" title="YouTube video player" width="560"></iframe> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Lora;">And also Fumio Hayasaka’s score for
<i>‘Seven Samurai’</i>. This is the sound directly transferred from the film
and put on vinyl (rather than taken from recordings), so plenty of dialogue
clips. Reminds of when I used to record scores from VHS onto tape. The music
ranges from percussive to choral to wind instruments. </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Lora;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: Lora;"></span></span></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgTzcwQPyPL51Z-U-lcX1HGAe1O81wHbCvRJBc9pAOreXNv0r5qP5ch5ZmOuLAoyRqbyeaGnjvZ4kRDOgdO3IeJTg5w_EaaLXU3Q_SZwITH2A6WcIQHfJxE8r4hVj9b0dCGw8q6a2YewaNeSfpgKnBWvldYyw3F5t6OMwJCNwY0vVPadokD-XGVzdGMF0/s640/IMG_0682.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgTzcwQPyPL51Z-U-lcX1HGAe1O81wHbCvRJBc9pAOreXNv0r5qP5ch5ZmOuLAoyRqbyeaGnjvZ4kRDOgdO3IeJTg5w_EaaLXU3Q_SZwITH2A6WcIQHfJxE8r4hVj9b0dCGw8q6a2YewaNeSfpgKnBWvldYyw3F5t6OMwJCNwY0vVPadokD-XGVzdGMF0/w640-h480/IMG_0682.jpg" width="640" /></a></span></div><p></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-72165662491755906592024-02-10T13:52:00.002+00:002024-02-10T13:53:30.111+00:00Gamera, the Giant Monster<!--[if gte mso 9]><xml>
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</xml><![endif]--><span style="font-size: medium;"><b style="font-family: Outfit;"><i><u><span style="font-variant: small-caps; line-height: 107%;"> <br /></span></u></i></b></span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b style="font-family: Outfit;"><i><u><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH_KicQbrJOAuRlQwUj5ul850v5YpVOj7pD6RsCpjT7eV-ptKTs7-8yUYLGpePCSA_ppeRydx0UxcVmbvlg4p3HecaLwhoHyaUlKrQXR-5RTXfUY7pnSRtT0uwdOn1FCVFifuhW_1CFdMP_uQMLMtKNmOjd-y0-zGzDdMr2isMuWz5eR2Q2EzOmAqpkgk/s2560/Gamera,%20the%20giant%20monster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2560" data-original-width="1920" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH_KicQbrJOAuRlQwUj5ul850v5YpVOj7pD6RsCpjT7eV-ptKTs7-8yUYLGpePCSA_ppeRydx0UxcVmbvlg4p3HecaLwhoHyaUlKrQXR-5RTXfUY7pnSRtT0uwdOn1FCVFifuhW_1CFdMP_uQMLMtKNmOjd-y0-zGzDdMr2isMuWz5eR2Q2EzOmAqpkgk/w300-h400/Gamera,%20the%20giant%20monster.jpg" width="300" /></a></u></i></b></span></div><span style="font-size: medium;"><b style="font-family: Outfit;"><i><u></u></i></b></span><p></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><b style="font-family: Outfit;"><i><u><span style="font-variant: small-caps; line-height: 107%;">Gamera, the giant monster</span></u></i></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Outfit;">Director
~ Noriaki Yuasa</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Outfit;">Writer
~ Niisan Takahashi</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Outfit;">1966,
Japan</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Outfit;">Stars
~ Eiji Funakoshi, Harumi Kiritachi, Junichiro Yamashita</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;">The ‘<i>Godzilla</i>’
template with a … giant turtle? Well okay. And this time with a sappy kid that
can stop a military nuclear strike just by whining, and whose turtle fixation
is near psychopathic. But anyway: Gamorah is fascinating and awkward as only a
man-in-a-kaiju-suit can be, plus he cashes in with the UFO craze – I mean who
anticipated a jet-propelled shell? (and how does that work??) – the
black-and-white photography is vivid, especially as this is mostly a dark film,
and the miniature work is often impressive as it is appealingly clunky. Despite
the kid element, ‘<i>Gamera</i>’ mostly follows in ‘<i>Godzilla</i>’s footsteps
as a wannabe serious evocation of post-nuclear bomb devastation, as an analogy
for Japanese fear of an unstoppable force. Yet it is as blasé as American
Atomic monsters as the initial nuclear explosion that wakes this kaiju doesn’t
have any effect on the locals, who surely aren’t nearly far enough to be safe.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;">But
consistency isn’t a thing to concern Daiei studio’s giant monster cash-in. A
turtle, with tusks, fire-breathing, with aspiration of being a UFO? Typically,
there was an American version with added scenes called ‘<i>Gamera the
Invincible’</i>, but I watched the original Japanese subtitled release. Most of
the dialogue is hilarious; at times, characters seem to be in different
conversations, or at least out-of-synch. For example, during the opening
sequence, people are talking about how nuclear testing could affect the Earth’s
axis, and/or cause typhoons, where just moments before the scientist told
everyone that “At this distance, we should be safe from the fallout.”</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi_gv7BSupzxWZoY4SIUlCLuCBxwzJH87BO1tpW_-7xkLmF0WmzguRnMCcew0X6EqWH-evKO2q5xVZcCf-ebdLRTgJHO2T-SueqbcxE8hdaWqKB8WRxdeAT8VjcZYiYD3VGShR2l6FCtE01fUNkpWD6cwwdYwfYjeb3fKp6X6a1Xbg_xC_5IMn3x7ByVw/s876/Gamera%20the%20giant%20monster.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="574" data-original-width="876" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi_gv7BSupzxWZoY4SIUlCLuCBxwzJH87BO1tpW_-7xkLmF0WmzguRnMCcew0X6EqWH-evKO2q5xVZcCf-ebdLRTgJHO2T-SueqbcxE8hdaWqKB8WRxdeAT8VjcZYiYD3VGShR2l6FCtE01fUNkpWD6cwwdYwfYjeb3fKp6X6a1Xbg_xC_5IMn3x7ByVw/w376-h247/Gamera%20the%20giant%20monster.png" width="376" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;">The film
tries to have it both ways with Gamera touted as good by little, annoying
Toshio (Yoshiro Uchida) even as the monster fries a club of ignorant teenagers
(which is all “Hey daddy-o! Don’t try stop our party with all your giant
monster destroying the cit– <i>arggghhh</i>!”). It makes no sense at all, etc. There
is a lot of unintentional humour here, perfunctory characterisation, tonally uncertain,
crisp black-and-white photography by Director of Photography Nobuo Munekawa which
gives it the air of seriousness, and at times almost nightmarish. Although he’s
indiscriminately destructive and murderous, no matter what Toshio protests, Gamera
isn’t really so frightening as curious. Yet for all this, its very goofiness
dressed up in serious aesthetic is entertaining. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;">But I
couldn’t stomach ‘<i>Gamera: Super Monster’</i> for more than ten minutes.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbZAo2TRs7i2LvpeC7FFCQQfdJmf0YpF_U0ifm4YSxLlocyi8xiW0I-v_ncU1QPLYB-fCuBk10cHxJSWKycA3K4xvNFGoT1N7ffRbywST2Y0U4eON6jGiiEgh_ULi5bXj6Y-FZkW6PisCqAgYvZX-roe78a6PyLG18MhHpYU1Dt6VkN0CLd3AdMnglbsQ/s340/gamera0d51259f2cca01942168d94634ce0368.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="288" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbZAo2TRs7i2LvpeC7FFCQQfdJmf0YpF_U0ifm4YSxLlocyi8xiW0I-v_ncU1QPLYB-fCuBk10cHxJSWKycA3K4xvNFGoT1N7ffRbywST2Y0U4eON6jGiiEgh_ULi5bXj6Y-FZkW6PisCqAgYvZX-roe78a6PyLG18MhHpYU1Dt6VkN0CLd3AdMnglbsQ/w339-h400/gamera0d51259f2cca01942168d94634ce0368.jpg" width="339" /></a></span></div><span style="font-size: medium;"></span><p></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-29808706834134362392024-01-26T23:27:00.001+00:002024-01-26T23:28:31.286+00:00Nova Seed<br /><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><b style="font-family: georgia;"><i><u><span style="font-variant: small-caps; line-height: 107%;"></span></u></i></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b style="font-family: georgia;"><i><u><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9qWm3ZND21WrgHNC7iX9BP-66sjep42uYLf2PReThvIpr5MQO3XcX0sElxNIeKaeHjEKi0TsbFoSsbYEmfIyuGDz3Jua4uUYidFTLD7_qf5oKbgWipRQsz4zyQhtUBAQ95I8He0Xj9vzSevdYBZk25h9iXmCUax3b9b7rg1i32uoD4QrZ8L6RnnwW-rA/s2200/Nova%20Seed.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2200" data-original-width="1519" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9qWm3ZND21WrgHNC7iX9BP-66sjep42uYLf2PReThvIpr5MQO3XcX0sElxNIeKaeHjEKi0TsbFoSsbYEmfIyuGDz3Jua4uUYidFTLD7_qf5oKbgWipRQsz4zyQhtUBAQ95I8He0Xj9vzSevdYBZk25h9iXmCUax3b9b7rg1i32uoD4QrZ8L6RnnwW-rA/w442-h640/Nova%20Seed.jpg" width="442" /></a></u></i></b></span></div><span style="font-size: medium;"><b style="font-family: georgia;"><i><u> </u></i></b></span><p></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><b style="font-family: georgia;"><i><u><span style="font-variant: small-caps; line-height: 107%;">Nova Seed</span></u></i></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: georgia;">Director
~ Nick DiLiberto</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: georgia;">2016,
Japan-Canada</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: georgia;">Writers
~ Joe DiLibertoNick DiLiberto</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: georgia;">Stars
~ Joe DiLiberto, Nick DiLiberto, Shawn Donovan</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">With a nonsensical, unrelated tagline, ‘<i>Nova
Seed</i>’s story is the kind of thing derived from sci-fi pulp of influences
like ‘<i><a href="https://www.google.com/search?q=heavy+metal+magazine&tbm=isch&ved=2ahUKEwiapuWZm_GDAxX4AfsDHUIqDqAQ2-cCegQIABAA&oq=heavy+metal+&gs_lcp=CgNpbWcQARgDMgoIABCABBCKBRBDMgoIABCABBCKBRBDMgoIABCABBCKBRBDMgoIABCABBCKBRBDMgoIABCABBCKBRBDMgoIABCABBCKBRBDMgoIABCABBCKBRBDMgUIABCABDIFCAAQgAQyBQgAEIAEOggIABCABBCxAzoNCAAQgAQQigUQQxCxA1DMPVioYGDdeWgAcAB4AIABuwGIAfYHkgEEMTEuMpgBAKABAaoBC2d3cy13aXotaW1nwAEB&sclient=img&ei=gHyuZZrmBPiD7M8PwtS4gAo&bih=919&biw=1920&client=firefox-b-d" target="_blank">Heavy Metal</a></i>’ or ‘<i><a href="https://www.google.com/search?client=firefox-b-d&sca_esv=600400644&q=Metal+Hurlant%E2%80%99&tbm=isch&source=lnms&s" target="_blank">Métal hurlant</a></i>’. That is, it has juvenile sensibility
in that you have a mute brute-saviour lion-man mutant, a power-source that’s a
naked woman without agency, a bum-chin gladiator, and a bad guy called
Mindskull (I mean…). But the narrative tears along, benefiting from the shorter
runtime, is mostly action set-pieces at a steady jog, stays terse and doesn’t
get bogged down in backstory. There’s no need to engage brain as the story
wholly honours tropes in a heady and joyous nostalgic recreation of its influences – the vibe
of 80s kids cartoons and Bakshi are evident. There is no anime-like insistence
on its own superficial emotional weight through melodrama.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">It is
reminiscent of doodles on a genre-crazy teen’s pad, where the world-building is
informed by tropes. And this doodle-like vibe is a chief pleasure. This is predominantly
the work of Nick DiLiberto, his brother Joe and some friends, and for that,
it’s impressive. The animation goes from the simplistic character design to dense
art design, shimmering a little like <i>‘<a href=" https://www.youtube.com/watch?v=9RSaqZR9Ajk" target="_blank">Roobard and Custard</a>’</i>; but there is
also excellent composition and fluid image movement, and similarly the
colour-scheme goes from felt-tip bright to more subtle (for example, torchlight
crossing scattered debris). Some 60,000 hand-drawn frames; 4 years in the
making. </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfPQmpjs0oy4IZWvUug0H9nOoXzuQOkMiH83_g-c9xmCSHkqAwC_9JjMrHC32eMXyV9KL7Nuu0ElErxPpklq3yBrUX68kZgD5U6MB_Kp2C25GReJLr62KdmVks865YHhqn07PPZ-qJZ3Mb_VSeHUTx-ZHEZOjcgmJQawZnGpgnKE0eR3f5YjNryeyhSAU/s1280/NovaSeed.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfPQmpjs0oy4IZWvUug0H9nOoXzuQOkMiH83_g-c9xmCSHkqAwC_9JjMrHC32eMXyV9KL7Nuu0ElErxPpklq3yBrUX68kZgD5U6MB_Kp2C25GReJLr62KdmVks865YHhqn07PPZ-qJZ3Mb_VSeHUTx-ZHEZOjcgmJQawZnGpgnKE0eR3f5YjNryeyhSAU/w400-h225/NovaSeed.jpg" width="400" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">Arena! A dogfight
in the sky! The bad guy’s lair! There’s always something to entertain and
there’s an obvious wealth of love gone into this; the details on the craft and
decor – cyberpunky and junky – are a highlight (the nose-boned native more
questionable). The most out-there and amateurish element is the sound design,
which sounds like it was improvised and recorded on an old tape recorder: even
electronics and crashes are vocalised (“beepbeepboop! BFFFFTtTt!!”). All this
could have obviously been recorder slicker – the pumping contemporary electronic music and some
sound effects are clear and dominant to demonstrate this – and yet even this uneven
quality adds to the kids-at-play D.I.Y. ambiance, however crude. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">And ultimately,
it’s this built-from-scratch aesthetic mashed-up with its obvious filmmaking
accomplishments, and the ambition of making it predominantly action-centred,
that make it so winning and entertaining, overcoming any deficiencies, intended
or otherwise. </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdQaWOum92e6s2FDzZGPiIfD9z-0BEqT4d8FoEuCzL5Xs3SDqWvUSkDLPVSMzvbqxsK2nOCOTr94trfi2LrZCHIVY-NAT2SsxwmZCjjUPvXyj9CnV2Wo4j1qV4GUFhwcJtNYsF00abd9ebQzcnmQdyd10zDHi3EhQ_UmOkvh6GYb-QYTbVN19ubbrMpjo/s720/Nova%20%20Seed.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="416" data-original-width="720" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdQaWOum92e6s2FDzZGPiIfD9z-0BEqT4d8FoEuCzL5Xs3SDqWvUSkDLPVSMzvbqxsK2nOCOTr94trfi2LrZCHIVY-NAT2SsxwmZCjjUPvXyj9CnV2Wo4j1qV4GUFhwcJtNYsF00abd9ebQzcnmQdyd10zDHi3EhQ_UmOkvh6GYb-QYTbVN19ubbrMpjo/w640-h370/Nova%20%20Seed.png" width="640" /> </a></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-3fl4_3kSXgy7mOa-Ls-xXB1zd9unK2sbLFe6M7BZDdGftWSG8bHI5Y6bcRml1_lNwmuL6Wd_p8cwUbv4vz3-Pxubycawx8PZWrEY9WkSiRmw3ErkeNtBw2ZFZQB2MlJIe0A0qJo13a5WWe1mtElT8OIbWQ7kFr5WAOsD6r_eRthNWl_zi_thmDgu7-c/s720/Nova_Seed.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="720" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-3fl4_3kSXgy7mOa-Ls-xXB1zd9unK2sbLFe6M7BZDdGftWSG8bHI5Y6bcRml1_lNwmuL6Wd_p8cwUbv4vz3-Pxubycawx8PZWrEY9WkSiRmw3ErkeNtBw2ZFZQB2MlJIe0A0qJo13a5WWe1mtElT8OIbWQ7kFr5WAOsD6r_eRthNWl_zi_thmDgu7-c/w640-h360/Nova_Seed.jpg" width="640" /></a></span></div><span style="font-size: medium;"> </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/NM4iUAZ4x30" width="320" youtube-src-id="NM4iUAZ4x30"></iframe></span></div><span style="font-size: medium;"><br /></span><p></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-48274271399278334862024-01-25T21:31:00.002+00:002024-01-25T21:32:14.978+00:00Mission: Impossible – Dead Reckoning part one<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
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<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><b style="font-family: Outfit;"><i><u><span style="font-variant: small-caps; line-height: 107%;"><br /></span></u></i></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b style="font-family: Outfit;"><i><u><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyn-t3a2cJJsgTV-8tYbdXqrPpX2xiWbHs_lwiF7azhh1WZSTynuthCNYyYH2k-xzPtqEVxMjBxkvpFqkwxyfJTcFquscH0lawfYXc-woOQoIME6aAoVkFcx6WyF5hEtRzh6bOd_U4WTmn6AzxS4nIMkNMwAk7HpfTyvLl76ALDrqJvyLhOy56yVAWlPk/s3840/Mission%20Impossible%207.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2160" data-original-width="3840" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyn-t3a2cJJsgTV-8tYbdXqrPpX2xiWbHs_lwiF7azhh1WZSTynuthCNYyYH2k-xzPtqEVxMjBxkvpFqkwxyfJTcFquscH0lawfYXc-woOQoIME6aAoVkFcx6WyF5hEtRzh6bOd_U4WTmn6AzxS4nIMkNMwAk7HpfTyvLl76ALDrqJvyLhOy56yVAWlPk/w640-h360/Mission%20Impossible%207.jpg" width="640" /></a></u></i></b></span></div><span style="font-size: medium;"><b style="font-family: Outfit;"><i><u> </u></i></b></span><p></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><b style="font-family: Outfit;"><i><u><span style="font-variant: small-caps; line-height: 107%;">Mission: Impossible – Dead Reckoning part one</span></u></i></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Outfit;">Director
~ Christopher McQuarrie</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Outfit;">Writers
~ Bruce Geller, Christopher McQuarrie, Erik Jendresen</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Outfit;">2023,
US</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: Outfit;">Stars
~ Tom Cruise, Hayley Atwell, Ving Rhames</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;">Definitely:
I Came For The Action – and to that end, the narrative technique serves well,
being some exposition for a moment and then extended action sequences. It’s a
long film but never quite outstays its welcome, zipping around from a desert to
tourist attraction to tourist attraction and stacking up action set pieces more
than backstory (yeh yes, bad guy; misguided good guy; femme fatale; dodgy guy;
Vienna! Rome! etc). Tom Cruise just wants to do stunts. Simon Pegg throws a
little light relief being the panicky one. Ving Rhames will bring the sat-behind-a-screen
gravitas and any deux ex machina necessary. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;">It’s a
world seemingly populated by photoshop characters – a bunch of
fashion shoots set against each other – although Rebecca Ferguson does have
that pinched expression that looks like she might cry at any minute, despite being
kickass. She’s making way for the repentant femme fatale pickpocket Hayley
Atwell for some battle-of-the-sexes one-upmanship flirtation interludes. Some
call-backs to previous franchise entries reaches for some over-arching import,
and implies a rounding-up, but I don’t think I have seen them all and, anyway,
it’s only the action I came for. And however tropey all else is, it delivers on
that. You know, desert storming, train-top fights, car chases on ancient stairs that don't look like they could take it...<br /></span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-Zq7hO8NkYntopMBXuEAwEdH3Iq0Z_aGiHjuITIm0sb6nqaiPDYqoimxB1vfMFtDveFG-AuK9_4DPAnfXcEzBxS-HTGj6Z_QStiCijsUMlUQL0sIJKNE2dJcyaSkyFc9jHTzfZX5WRFgNKDVhzPW6p4Zw8jjjSKApxkVLvlUWhcqU7D1zTUtQcSKPdrA/s980/MI7-02566R-0a8c57c.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="654" data-original-width="980" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-Zq7hO8NkYntopMBXuEAwEdH3Iq0Z_aGiHjuITIm0sb6nqaiPDYqoimxB1vfMFtDveFG-AuK9_4DPAnfXcEzBxS-HTGj6Z_QStiCijsUMlUQL0sIJKNE2dJcyaSkyFc9jHTzfZX5WRFgNKDVhzPW6p4Zw8jjjSKApxkVLvlUWhcqU7D1zTUtQcSKPdrA/w400-h268/MI7-02566R-0a8c57c.jpg" width="400" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;">The
opening gambit where the subtitles segue into accents struck me as a somewhat
neat trick to address an obvious pending criticism. That the enemy is AI is
like the franchise trying to go against its own ridiculousness, giving it magic
powers that only running humans around and analogue stunts can overcome. To
that end, the final train set piece is fully worth the price of admission, and
states that the franchise still places its chips on stunt work and action
tropes, however CGI augmented. </span></span></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-90892884835213676922024-01-07T19:39:00.003+00:002024-01-07T19:39:50.184+00:002023 in film: favourites<div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjncwbraY9ER1zbAWPZWQv0NAALS0F_iNhCR6pWjKiDzhfhSoqisEi3c4lgeIKy1wCac2RhZtRu-ZqY5wjesytoCuzzc-H5UJBcRP_CbqVNFa9aD3_nLYi7j1GmwFDUe9LOcq7zua0IcN3nDBEkN55z2qxWNZkSIdQ5QfutVSKN86LnE-azFTU4RJtrDyA/s3295/2024-01-07%20-%20Gary.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3295" data-original-width="2551" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjncwbraY9ER1zbAWPZWQv0NAALS0F_iNhCR6pWjKiDzhfhSoqisEi3c4lgeIKy1wCac2RhZtRu-ZqY5wjesytoCuzzc-H5UJBcRP_CbqVNFa9aD3_nLYi7j1GmwFDUe9LOcq7zua0IcN3nDBEkN55z2qxWNZkSIdQ5QfutVSKN86LnE-azFTU4RJtrDyA/w310-h400/2024-01-07%20-%20Gary.jpg" width="310" /></a></div><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: medium;"><b style="font-family: Outfit;"><u><span style="font-variant: small-caps; line-height: 107%;">2023 in film: favourites<br /></span></u></b></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;">In no particular order, these are
my favourites of this year. Of course, any list is going to tell you more about
my taste than anything, but these are the films that if you disagree, I’m going
to think you’re wrong. As opposed to something like, say, <i>‘Cocaine Bear’</i>,
which I went to out of curiosity and ended up enjoying but I really wouldn’t defend
much. On the other hand, I found <i>‘Barbie’</i>, to be far more middling
provocation than expected. Etc. And I didn't get to see heavy hitters<i> 'Oppenheimer'</i> and<i> 'Killers of the Flower Moon'</i> (yet).<br /></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;">Anyway, I have </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: medium;"><b style="font-family: Outfit;"><u>Seven favourites of 2023</u></b></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"> (in no particular order):<br /></span></span></p>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
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<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-left: 18.0pt; margin-right: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: large;"><b><span style="font-family: "Amasis MT Pro Black", serif; line-height: 107%;">Eo</span></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-left: 18.0pt; margin-right: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: large;"><b><span style="font-family: "Amasis MT Pro Black", serif; line-height: 107%;">Godland</span></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-left: 18.0pt; margin-right: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: large;"><b><span style="font-family: "Amasis MT Pro Black", serif; line-height: 107%;">Godzilla Minus One</span></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-left: 18.0pt; margin-right: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: large;"><b><span style="font-family: "Amasis MT Pro Black", serif; line-height: 107%;">Anatomy of a Fall</span></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-left: 18.0pt; margin-right: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: large;"><b><span style="font-family: "Amasis MT Pro Black", serif; line-height: 107%;">Spider-man: Across the Spider-verse</span></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-left: 18.0pt; margin-right: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: large;"><b><span style="font-family: "Amasis MT Pro Black", serif; line-height: 107%;">Past Lives</span></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-left: 18.0pt; margin-right: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: large;"><b><span style="font-family: "Amasis MT Pro Black", serif; line-height: 107%;">Close</span></b></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;">Honourable mentions: ‘<i>The Beasts</i>’
and ‘<i>Pamfir</i>’ and '<i>When Evil Lurks</i>'.<br /></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiojI_c_IQC-c-G5hNl3BzSRJIL9FtvhTTAn4R9hxOyDlgjI77VTNX0BINc11LK_03wvaYff9VVjgqCiRNcafvo7l5TncaQ8F5c3Okm0FL4El_KmtAfgDD7-SD1-2a5wKKCqEH9kaNDdhaPUJpJ-9EYtMupFZMh76wgk24fLOkXWMPncNTNPfJB1Hqs9AY/s1280/Love%20Life..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiojI_c_IQC-c-G5hNl3BzSRJIL9FtvhTTAn4R9hxOyDlgjI77VTNX0BINc11LK_03wvaYff9VVjgqCiRNcafvo7l5TncaQ8F5c3Okm0FL4El_KmtAfgDD7-SD1-2a5wKKCqEH9kaNDdhaPUJpJ-9EYtMupFZMh76wgk24fLOkXWMPncNTNPfJB1Hqs9AY/s320/Love%20Life..jpg" width="320" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: medium;"><b style="font-family: Outfit;"><u>Three films that knocked me for six:</u></b></span></p>
<br /></div><span style="font-size: medium;"><span style="font-family: Outfit;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><i>Close</i></span></span><br />
<span style="font-size: medium;"><span style="font-family: Outfit;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><i>Past
Lives</i></span></span><br />
<span style="font-size: medium;"><span style="font-family: Outfit;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><i>Love Life</i></span></span><br /><div>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;">Honourable mentions: <i>‘War Pony’</i>
and <i>‘The Damned Don’t Cry’.</i></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiruMYOTlczqnQz6vj44uXz8jDG3J2FGpzQirSE6mc98M67BY8SgJRSFIxRul9m0_DULfnq9onWQmgCG-tXY9e0gjtEILLl8f9grP06tTYn3sif9bGlYslXYIourj_83kPjCWTdZ7PJO9Vmh9MMcraodzj_XMZ3Q04sRo8frV2ZGtCTBYgFKXdHRI95DWo/s1400/WHEN_EVIL_LURKS___Still_6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="1400" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiruMYOTlczqnQz6vj44uXz8jDG3J2FGpzQirSE6mc98M67BY8SgJRSFIxRul9m0_DULfnq9onWQmgCG-tXY9e0gjtEILLl8f9grP06tTYn3sif9bGlYslXYIourj_83kPjCWTdZ7PJO9Vmh9MMcraodzj_XMZ3Q04sRo8frV2ZGtCTBYgFKXdHRI95DWo/s320/WHEN_EVIL_LURKS___Still_6.jpg" width="320" /></a></span></div><span style="font-size: medium;"><br /></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: medium;"><b style="font-family: Outfit;"><u>Individual scenes of the year: </u></b></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm;"><span style="font-size: medium;"><span style="font-family: Outfit;">These were moments where, suddenly,
my antenna went up and I thought “Now you have my attention” regardless of how I felt about the rest of the film:<br /></span></span></p><span style="font-size: medium;"><span style="font-family: Outfit;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><i>Godzilla
Minus One: </i>Godzilla
does ‘Jaws’</span></span><br />
<span style="font-size: medium;"><span style="font-family: Outfit;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><i>Cocaine
Bear:</i> bear vs.
ambulance</span></span><br />
<span style="font-size: medium;"><span style="font-family: Outfit;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><i>Love
Life:</i> nuns at
karaoke, and then.</span></span><br />
<span style="font-size: medium;"><span style="font-family: Outfit;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><i>Past
Lives:</i> discussing insecurities
and things in bed</span></span><br />
<span style="font-size: medium;"><span style="font-family: Outfit;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><i>Passages:</i> opening<i> </i>scene/Tomas
directing</span></span><br />
<span style="font-size: medium;"><span style="font-family: Outfit;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><i>John
Wick chapter 4:</i> God’s
eye view of a shootout through a building</span></span><br />
<span style="font-size: medium;"><span style="font-family: Outfit;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><span> </span><i>When Evil Lurks</i>: what do they say about
animals and children in film?</span></span><br />
<span style="font-size: medium;"><span style="font-family: Outfit;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><i>Godland:
</i>scenery</span></span><br />
<span style="font-size: medium;"><span style="font-family: Outfit;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><i>Guardians
of the Galaxy volume 3</i>:
space corridor fight</span></span><br />
<span style="font-size: medium;"><span style="font-family: Outfit;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><i>Return
to Seoul</i>: the early
café scene</span></span><br /><span style="font-size: medium;"><span style="font-family: Outfit;">& </span></span><span style="font-size: medium;"><span style="font-family: Outfit;"><i>‘Mission Impossible – Dead Reckoning part one’ </i>: the final train set piece.</span></span>
<span style="font-size: medium;"><span style="font-family: Outfit;"><br /></span></span></div><div>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm;"><span style="font-size: medium;"><span style="font-family: Outfit;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;">And I
think I should mention the <i>‘Saltburn’</i>, because throughout the bathwater
scene the man next to me was making amused sounds of disgust and mumbling “aw
no…” and “argghh” through his discomforted giggles.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Outfit;"><br /></span></span></p><div style="text-align: center;"><span style="font-size: x-large;"><span style="font-family: Outfit; line-height: 107%;"><b><a href="http://bucktheorem.blogspot.com/search/label/2023" target="_blank">And here is my full 2023
film summary:scroll & browse!</a></b></span></span><br /><span style="font-size: medium;"><span style="font-family: Outfit; line-height: 107%;"></span></span></div></div>Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-87323709149256314552024-01-04T23:12:00.003+00:002024-01-06T20:14:19.864+00:002023 Film Round-Up: Horror<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
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<![endif]--><span style="font-size: x-large;"><span style="font-family: times;"><span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;"></span></span></span></p><p></p><p style="text-align: center;"><span style="font-size: x-large;"><span style="font-family: times;"><i><b></b></i></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;"><span style="font-family: times;"><i><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimFZXffqSsKG8pySls1how_cOBItya8bthrJi2TELMtdAn6Gi_QGQYh6LoypDwU_iviy1-gkDb1QSMgeOQsKjA0De15dg9gItQqs-9yzi_eePbDZ4IkKQc7PeOqMe3NpspZ2WAVpI_KsFXWWaWYbno5qobmzbB2gU4BeRnl3zr_jHKOo_eSW9FPE7UeSQ/s3295/2024-01-04%20-%20Gary.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><span style="font-size: x-large;"><span style="font-family: times;"><i><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYv8ffavSCe8F9YUxYwrnH6vx487Bpqwk588f45oHbqdn4KSaSllsTJrSN5LiigSnH3VWXSEJ7EO1vF-u0uSMkA4wv8RDkeL98o8qoLkVy227UFHbXtckXVN0so6yELh-JOAFEupE82hDr4C9XZ-N-K92fLNQRCP2SDS3eLNnz2yi5hci4frwxymzXsLE/s3295/2024-01-04%20-%20Gary.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3295" data-original-width="2551" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYv8ffavSCe8F9YUxYwrnH6vx487Bpqwk588f45oHbqdn4KSaSllsTJrSN5LiigSnH3VWXSEJ7EO1vF-u0uSMkA4wv8RDkeL98o8qoLkVy227UFHbXtckXVN0so6yELh-JOAFEupE82hDr4C9XZ-N-K92fLNQRCP2SDS3eLNnz2yi5hci4frwxymzXsLE/w496-h640/2024-01-04%20-%20Gary.jpg" width="496" /></a></div> And
so to horror.</b></i></span></span></b></i></span></span></div><p></p><div>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: times;"><a href="http://bucktheorem.blogspot.com/2023/12/2023-film-roud-up-part-1-dramas-dramas.html" target="_blank">Part 1 had the dramas</a></span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: times;"><a href="http://bucktheorem.blogspot.com/2024/01/2023-film-round-up-part-2-action.html" target="_blank">Part 2 had the animation, franchises & action</a></span><span style="font-family: times;"><a href="http://bucktheorem.blogspot.com/2024/01/2023-film-round-up-part-2-action.html" target="_blank"><br /></a></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">There were some great
female-centred treats.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7whktpFXp3pw-_etvktNPBvgDxZ7Pekdk2XxWLNtxFoD2JDMufl9MpF1HcuDnZUkecp3Nk3v25JghyphenhyphenliXAlLSwuZ_-FKrBnbHkRCa4rKGkYJZSz2X_t25lRIw6UbIVYbAckiwH74R-6HRxOyf5qNIhAAohToczIhv2i0vDH2VTAxpwsefDo6G2I3ZKbY/s2048/Sissy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7whktpFXp3pw-_etvktNPBvgDxZ7Pekdk2XxWLNtxFoD2JDMufl9MpF1HcuDnZUkecp3Nk3v25JghyphenhyphenliXAlLSwuZ_-FKrBnbHkRCa4rKGkYJZSz2X_t25lRIw6UbIVYbAckiwH74R-6HRxOyf5qNIhAAohToczIhv2i0vDH2VTAxpwsefDo6G2I3ZKbY/s320/Sissy.jpg" width="240" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Kane Senes and Hannah Barlow’s <b><i>‘<u>Sissy</u>’</i></b>
is for the bullied girls with a secret psycho side, although the gag being that
the kills are more from her clutziness and cognitive dissonance. With an almost
sit-com brightness and lightness, <i>‘Sissy’</i> allows the runt a little
revenge fantasy. The twist is all her malevolence and psychopathy are hidden
behind the surface veneer smile and empowerment of the “influencer” trend. <i>‘Eighth
Grade’</i> goes slasher, sort of. It fails to address the race issue that is
visible (they’re white; Sissy is black) but its play with dark humour and
nastiness make this an enjoyable horror farce. It’s a dark humoured bubblegum
horror with a fine central performance for a character who found solace and
identity in being an online persona.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6nSb5pifrz8ASpc0I0mP_HnM7lugckpQ7KxOoChu3zNC4t-5fA3dI_GwAAsz2JZzLbFjaV2pPqGONXEmMOGced21xkL2Thxj3DKpUM3f-IpEDI-RDQQV7i_bbFwDLzqMx7UBaS7fXQ1W4a4WxchygQTaVW_0CHd2JHbVAGMhNAqswhiRjkVDTFSjIweM/s300/influencer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6nSb5pifrz8ASpc0I0mP_HnM7lugckpQ7KxOoChu3zNC4t-5fA3dI_GwAAsz2JZzLbFjaV2pPqGONXEmMOGced21xkL2Thxj3DKpUM3f-IpEDI-RDQQV7i_bbFwDLzqMx7UBaS7fXQ1W4a4WxchygQTaVW_0CHd2JHbVAGMhNAqswhiRjkVDTFSjIweM/s1600/influencer.jpg" width="300" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Social Media drama and horror has
shown a distinct interest in exploring female identity and individuality. <i>‘Eighth
Grade’</i> or even <i>‘We’re All Going to the World’s Fair’ </i>posit that the
kids are wise to the social media world. <a href=" http://bucktheorem.blogspot.com/2023/06/influencer.html" target="_blank"><b><i><u>‘Influencer’</u></i></b></a> plays
with how vulnerable it makes us when all our information is out there for any
scam artist to manipulate. It’s one woman visiting vengeance on all that is
fake and enviable on the flashes of someone’s else’s idealised life glimpsed
from social media. </span></span> </p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3BmJBcB4cZoXdTP2SKD9IzkkL29BVdmjqi9UWRqslpQfNTfuhqzhWW2PM8JrK5RIwkvAO1rRFHrCF7U0h6s5fsSvb-Vn57QDfKfri6MKh7dhXOyM21ZoxjivUALlTHpnYDJ4_EFHNvb9SbcnHlSJK0roZOeqHsSU1w4vWETlbOP9K5j8hEdYMVknihHw/s1499/Fresh.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1499" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3BmJBcB4cZoXdTP2SKD9IzkkL29BVdmjqi9UWRqslpQfNTfuhqzhWW2PM8JrK5RIwkvAO1rRFHrCF7U0h6s5fsSvb-Vn57QDfKfri6MKh7dhXOyM21ZoxjivUALlTHpnYDJ4_EFHNvb9SbcnHlSJK0roZOeqHsSU1w4vWETlbOP9K5j8hEdYMVknihHw/s320/Fresh.jpg" width="213" /></a><span style="font-family: times;">Mimi Cave’s <a href="http://bucktheorem.blogspot.com/2023/06/fresh.html" target="_blank"><i>‘<b><u>Fresh</u></b>’</i></a>
is probably what you thought <i>‘A Wounded Fawn’</i> was going to be, and it
even goes psychedelic for a moment with the (late) credits going all Joe Meek.
It ended up being more fun than odd by comparison, sported fine performances
and impressive set design. Ladies! Beware When Dating! is the
premise, but the modern move has been to give our protagonists credibility and
resilience and simply more shading to the Final Girls (for the most part) so
these tales are more convincing. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-A2YGVEK9BajmutA38WcLJ3STtR7Y6G6eNy1G6uBhCvciMQexOQwo21I843G4DPyxrwy3frF-CLpIwRwGZvKyMv2p1JUs7KPp6yYznIqIY3m-1Io5qp5Mm7bgKwnHx87e3dkUVf41DfulBsHxzwMfAh3KVCPR6DDQzZE99akamAbcIU87d4jAtp69Fo/s2560/NightOfTheHunted_PressArt_3840x2160-scaled.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="2560" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-A2YGVEK9BajmutA38WcLJ3STtR7Y6G6eNy1G6uBhCvciMQexOQwo21I843G4DPyxrwy3frF-CLpIwRwGZvKyMv2p1JUs7KPp6yYznIqIY3m-1Io5qp5Mm7bgKwnHx87e3dkUVf41DfulBsHxzwMfAh3KVCPR6DDQzZE99akamAbcIU87d4jAtp69Fo/s320/NightOfTheHunted_PressArt_3840x2160-scaled.jpg" width="320" /></a></span></div></div><span style="font-size: medium;"> </span><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">But Franck Khalfoun’s <i><a href="http://bucktheorem.blogspot.com/2024/01/night-of-hunted.html " target="_blank">‘<b><u>Night
of the Hunted</u></b>’</a> </i>proves problematic: as soon our adulteress
protagonist says that her only problem is men telling her what her problem is,
we know that she’s going to be all Final Girl. However, what the film then
proceeds to do is to pin her down under threat of death so that one guy can
mansplain endlessly over a walky-talky at her. There’s just the sense that the
film thinks that she is somehow, in some way, deserving. And that’s easily
dismissible. There’s just something not to trust.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhawSdl4gDorEQFk46NkqoOhwDcvbpRgyvWyvTbmk-FryAL4DSZGsRV-YFeVs072Xl_36pz-y_tLyV1k8GYZONo04kAKbqs-xCc-P2ag8-eHskV5oAcDr6-xAlUvBtsWXeBsQUb0ZDcpuecsqwoNUIua7D_dSh7gRDpfzTw6-DJTC1hXh_cus1mqkOGoHc/s4000/talk%20to%20me.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="2700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhawSdl4gDorEQFk46NkqoOhwDcvbpRgyvWyvTbmk-FryAL4DSZGsRV-YFeVs072Xl_36pz-y_tLyV1k8GYZONo04kAKbqs-xCc-P2ag8-eHskV5oAcDr6-xAlUvBtsWXeBsQUb0ZDcpuecsqwoNUIua7D_dSh7gRDpfzTw6-DJTC1hXh_cus1mqkOGoHc/s320/talk%20to%20me.jpg" width="216" /></a></span></div><span style="font-size: medium;"> </span><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">And I feel something a little
unpersuaded towards the otherwise fun and very popular <a href="http://bucktheorem.blogspot.com/2023/07/talk-to-me.html " target="_blank"><b><i>‘<u>Talk to Me</u>’</i></b>.</a>
Danny and Michael Philippou certainly hit on a franchise here, with a fairly
fresh premise – kids get together to party on being possessed instead of drink’n’drugs
– but a certain waving away of detail and plausible repercussion, and a lack of
self-awareness from the film itself about its protagonists self-awareless means
that, for this viewer, it was less convincing and more superficial than
expected. Instant
classic horror film but more superficial than it thinks, as it doesn’t really
engage with the repercussions of its premise (the grief involved; the
self-destructive nature of teenage nihilism).</span></span></p>
<p class="MsoListParagraph" style="margin-bottom: 0cm; text-align: center; text-indent: -18pt;"><span style="font-size: medium;"><span style="font-family: times;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;"> </span></span></span><span style="font-size: large;"><span style="font-family: times;"><span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><b><i><u>Back
to the ladies:</u></i></b></span></span><span style="font-size: medium;"><span style="font-family: times;"><br /></span></span></p><p class="MsoListParagraph" style="margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18pt;"><span style="font-size: medium;"><span style="font-family: times;"><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij19QWBWf5mjIiru9SRjIh32MKCB3-U1V_TIuTLiOEgM1W5eERVDNvGEGSt3Wm8n-slvKZDLoXm8J81JKuTNw_Yx5NcvTy9C5Jh5yagyCMwwUa1iC2AfJY2LUmNiFo2PljyAMwNMPnDYJfO0HPr7lw68pp2cIPT3We_ZhA5aGzsqWbSmJiMHNKMnNCZvg/s1000/No-One-Will-Save-You-horror.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="562" data-original-width="1000" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij19QWBWf5mjIiru9SRjIh32MKCB3-U1V_TIuTLiOEgM1W5eERVDNvGEGSt3Wm8n-slvKZDLoXm8J81JKuTNw_Yx5NcvTy9C5Jh5yagyCMwwUa1iC2AfJY2LUmNiFo2PljyAMwNMPnDYJfO0HPr7lw68pp2cIPT3We_ZhA5aGzsqWbSmJiMHNKMnNCZvg/s320/No-One-Will-Save-You-horror.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">As much as I enjoyed the alien
attack of Brian Duffield <b><i><u>‘No One Will Save You’</u></i></b>, I
remained similarly unpersuaded by the deliberately tricky-ambiguous ending (I
am sure I’ll write more on that), firmly putting this in the same box as Half
Satisfying Alien Abduction films. One woman’s persecution complex and trauma
through sci-fi allegory? But the wordlessness, the stylisation and the primal
fear of thingies out to get you were thoroughly enjoyable. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQMI2BKsjUcl1UFb2tSV6-wGR_uSsFsbRidMd1nFV61eeHIS4QxPM7DBe-ahaaUG7br7UNhdLLSl-mwhZgUxFojybVdVFCoZPcyYZAySCDNH4Ee4JOTHqCJl9fC2SRdxQ7D4SZQ3F2qXzXlLR9Y8_1iDxYRFRl2NbqboF8SqnqdbOJOU11PC5wwttokXE/s326/It_Lives_Inside_2023_poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="326" data-original-width="220" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQMI2BKsjUcl1UFb2tSV6-wGR_uSsFsbRidMd1nFV61eeHIS4QxPM7DBe-ahaaUG7br7UNhdLLSl-mwhZgUxFojybVdVFCoZPcyYZAySCDNH4Ee4JOTHqCJl9fC2SRdxQ7D4SZQ3F2qXzXlLR9Y8_1iDxYRFRl2NbqboF8SqnqdbOJOU11PC5wwttokXE/s320/It_Lives_Inside_2023_poster.jpg" width="216" /></a></span></div><span style="font-size: medium;"> </span><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">There is also an issue with the
otherwise fine<b><i><u> ‘It Lives Inside’</u> </i></b>by Bushal Dutta. Yes,
it’s tropey, but with a little Hindi twist and a decent lead character
conflicted between her heritage and forging her own identity, there’s enough to
keep this fresh. But mostly, an endearing practical monster makes up for a lot.
The issue: more alarming is the apparent conclusion that, although the
malevolence is imported from the old world, if you don’t absorb and follow it,
swallow it down and keep feeding it, it will destroy all your loved ones.</span></span></p> </div><div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkQ478rfmrdhtSQQJB90frr5qc63rqIyLtK_tq-V4kkfeKkXypGx8ruWPm6IPvd-wUujgSo1oCMwnT2GwUOhZRdP_mkl0ZRLRX4HV6pribCasWsg9Ny3tPWAZaBz20c9eu1Te6YF8Oh7dXUfcKg1P_g_PbqBbhjGhi2y6MHsQbwmvvIgCNSfe7ey9lV7k/s1280/orphan%20first%20kill.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkQ478rfmrdhtSQQJB90frr5qc63rqIyLtK_tq-V4kkfeKkXypGx8ruWPm6IPvd-wUujgSo1oCMwnT2GwUOhZRdP_mkl0ZRLRX4HV6pribCasWsg9Ny3tPWAZaBz20c9eu1Te6YF8Oh7dXUfcKg1P_g_PbqBbhjGhi2y6MHsQbwmvvIgCNSfe7ey9lV7k/s320/orphan%20first%20kill.jpg" width="320" /></a></div><br />
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Although quite popular, William
Brent Bell’s <b><i><u>‘Orphan: First Kill’</u></i></b> had an entertaining
opening but ended up quite average. Well, the accuracy of the title can be
debated, but here we are turning “Esther” into a horror celebrity. Isabelle
Fuhrman is good, but the cat is out of the bag – but another twist livens up an
otherwise average-if-slick expansion to the original film. Almost bonkers
enough; not quite nasty or manipulative enough.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0J082mLelj6jJ2dPJvJhGpg_IH26dht3K5XtAoqSbhIvByLCG2kr1_-DyfJyRevHaunZOD_D7UYHYjinuofZeuPuRGlL8crXPcygtk6M7QlMfvAk4-SSGr74zMv-amQ0gwFTu9r8xFY70dR9T6yWn2lzPa5VBBv5xvbpQhyphenhyphenXmaMaZy3GHkYIyrnqFsCA/s321/M3GAN_Poster.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="321" data-original-width="220" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0J082mLelj6jJ2dPJvJhGpg_IH26dht3K5XtAoqSbhIvByLCG2kr1_-DyfJyRevHaunZOD_D7UYHYjinuofZeuPuRGlL8crXPcygtk6M7QlMfvAk4-SSGr74zMv-amQ0gwFTu9r8xFY70dR9T6yWn2lzPa5VBBv5xvbpQhyphenhyphenXmaMaZy3GHkYIyrnqFsCA/s320/M3GAN_Poster.jpeg" width="219" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Similarly, Gerard Johnstone’s <b><i><u>‘M3GAN’</u>
</i></b>got good grades and shrugs by being not fully redundant. Fun enough
killer robot film that never exceeds its tropes except as a fairly solid satire
on our dependence on technology. Otherwise, it’s the usual American anxieties
over career-outdoing-parental-duties and learning-what’s-important. It’s the
kind of plot where huge working robot protypes are kept in the spare room.
M3GAN herself (Amie Donald) is pretty well-realised and fun, even breaking into
song for it’s primary user (surely companies would pay handsomely for a M3GAN
to promote a track) and, inexplicably, breaking into dance for its victims. And
apparently killbots like to do the herky-jerky spiderwalk thing when they gain
homicidal sentience. But overall its shallow if entertaining and flirts enough
with satire and camp to be forgiven for not being more. As momentarily
enjoyable as it is, there is the feeling of "This'll Do" and not
quite being as good as it could be.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"> </span><br /></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6zJ_pdEC1o1xyc6ktEjKoipHYqhu7VXoeqsFGcCcfotmIjhPTv5F-oHI5YZgnY5WCh8Jon2c8rPy0xdMP1fG3mn4M7R3xH4a9IONVsepZMee-mJakmm_MlK0WX9kl3E05fzZuLVyugmoet73DDNDuaso33Git1UXKsOJ9YVCI-4-hQHerpgI_e9Gpwos/s2880/Pearl.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2880" data-original-width="2160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6zJ_pdEC1o1xyc6ktEjKoipHYqhu7VXoeqsFGcCcfotmIjhPTv5F-oHI5YZgnY5WCh8Jon2c8rPy0xdMP1fG3mn4M7R3xH4a9IONVsepZMee-mJakmm_MlK0WX9kl3E05fzZuLVyugmoet73DDNDuaso33Git1UXKsOJ9YVCI-4-hQHerpgI_e9Gpwos/s320/Pearl.jpg" width="240" /></a></span></div><span style="font-size: medium;"><span style="font-family: times;"></span></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Ti West’s <b><i><u>‘Pearl’</u></i></b>,
on the other hand, only went to shine Technicolour brighter on its predecessor <a href=" http://bucktheorem.blogspot.com/2022/03/x.html" target="_blank">‘<i>X</i>’</a>. A Gothic fever dream of a psycho
Southern Belle only wanting to break out into song. This made Mia Goth a true
horror icon, especially after the double-whammy that went before. Richly
saturated in Sunshine Perversity, it reminded of films like Robert Mulligan’s <i>‘The
Other’</i> and <i>‘The Reflecting Skin’</i> where the purple prose of
sun-kissed visuals and melodrama barely hid the properly unhinged. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEp2bv-NtcILmS9ScwKBoydl8EBo-Cs9juw_Ig3iPdn2q-fSSmaqJyBSrMe4MPKFohXea5pK3A1RsAI_7Pf2Aek4AURRywkWiyPDC9KN5g4trk2ORxmYKRsHgZojENndn1gPXZFncAJJLJZ6kYh1E6zmdk9W7MWAVzetojRnrqKbxdbJ46ISXIOgFzUcE/s667/Infinity%20Pool.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="667" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEp2bv-NtcILmS9ScwKBoydl8EBo-Cs9juw_Ig3iPdn2q-fSSmaqJyBSrMe4MPKFohXea5pK3A1RsAI_7Pf2Aek4AURRywkWiyPDC9KN5g4trk2ORxmYKRsHgZojENndn1gPXZFncAJJLJZ6kYh1E6zmdk9W7MWAVzetojRnrqKbxdbJ46ISXIOgFzUcE/s320/Infinity%20Pool.jpg" width="320" /></a></div><span style="font-size: medium;"><span style="font-family: times;"> </span></span></div><div style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Goth only went on to prove her
credentials and have a great time with <a href="http://bucktheorem.blogspot.com/2023/05/infinity-pool.html " target="_blank">‘<b><i><u>Infinity Pool</u></i></b>’</a>, Brandon
Cronenberg’s follow-up to the mighty shocker <i>‘Possessor’</i>. Slick, full of
moral dilemmas and brimming with ideas, body-horror, class and colonial
commentary, and canny casting in Alexander Skarsgård. As earnest an outpouring
of writer’s block horror as <i>‘The Shining’</i>.</span></span></div><div><span style="font-size: medium;"><span style="font-family: times;"> <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: times;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFqUy_tFT8lhwdd0emO9mLS_ClsFtPP3Ph12fBhGoZLnmEANR5iQgD1RPNMhJ7v6sx9JLYBLPnp0ftc602sbuifyvtQ-IrGcuQkr9n39lKMAywo-TnEOkD0HwKIQHalos39px9oTVAQZf6CN1B70ONuPBPgzymTqmZMKLIBLWr1q3vQDN4Xw4JRxbITPg/s1143/holy%20spider.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1143" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFqUy_tFT8lhwdd0emO9mLS_ClsFtPP3Ph12fBhGoZLnmEANR5iQgD1RPNMhJ7v6sx9JLYBLPnp0ftc602sbuifyvtQ-IrGcuQkr9n39lKMAywo-TnEOkD0HwKIQHalos39px9oTVAQZf6CN1B70ONuPBPgzymTqmZMKLIBLWr1q3vQDN4Xw4JRxbITPg/s320/holy%20spider.jpg" width="224" /></a></div></span></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Ali Abassi’s <b><i><u><a href="http://bucktheorem.blogspot.com/2023/04/holy-spider.html" target="_blank">‘The Holy Spider</a>’</u></i></b> disturbed not only for it’s Based On A True inspiration,
but for the way it took that only as the starting point for how cultural
misogyny inspires fanatical murder and cultivates an approving society. There
may be rough edges, but Abbasi’s film was full of righteous rage and horror.
Certainly, that last scene disturbed me no end, in what it meant for that
character and said about society at large.<br /><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRjQVYU5jVqILfsRlYCvnsRj4_r5wLK5Jx_c8IfY9IkGih3aaylApuGCKXdx2R0HbTs6TEF8q0stBhWSPQ-qvXBEuNtW0Ik3OHlgDBsAiVIZGWpCCJcs81x4jjGQkDvYkXvfpyNwxvoTdeSOkNHL7vX62g-OZG5ozknxeT6M87XqxKCzQae47cGYSMPhg/s630/Hood%20Witch.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="467" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRjQVYU5jVqILfsRlYCvnsRj4_r5wLK5Jx_c8IfY9IkGih3aaylApuGCKXdx2R0HbTs6TEF8q0stBhWSPQ-qvXBEuNtW0Ik3OHlgDBsAiVIZGWpCCJcs81x4jjGQkDvYkXvfpyNwxvoTdeSOkNHL7vX62g-OZG5ozknxeT6M87XqxKCzQae47cGYSMPhg/s320/Hood%20Witch.png" width="237" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Saïd Belktibia’s <b><i><u>‘Hood
Witch’</u></i></b> also confronted outdated conceptions of women and how that
plays still in the modern era. From the crash-course in witch hunts and modern
belief in witchcraft that opens, it is obvious that this is a film that’s fully
awake and that there will be no slow burn here. Indeed, the whole opening with
our protagonist going through customs with her son is a gripper, showing that
we are in for serious business (although the issue of prison is sidestepped).
Indeed, Golshifteh Farahani is nothing less than compelling and fiery as a
woman exploiting people’s belief in witchcraft on her estate as she dips in an
out of her ongoing feud with her estranged husband. It soon becomes apparent
that her son is everything that’s at stake, physically, emotionally and
spiritually as the story launches into the witch hunting and becomes a chase
narrative. Running at a unshakable pace, there’s nothing supernatural here,
just a kitchen sink thriller with streaks of commentary about the role of
women, the consequences of charlatanism and the bloodthirstiness of faith,
whether a witch-hunt or a self-flagellation.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0h90B_DwBzZAneK6dBBSSnxB0wBSbrlyrZrEJWKkJMHoj6dDQQkcQYT64WlE1ZC5_67yiQd8rFQ6b_o-IJk-ob64naeoRV6XXA_yFhr3h4lzcXNo_SDw5TSo0__8eRoe2xbLqw8vJJJ21jChyphenhyphen1vYIEYyl4nAh7Rhun89JJUsdoge7sEGmQKa4Vl5UaXU/s270/New%20Life.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="270" data-original-width="186" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0h90B_DwBzZAneK6dBBSSnxB0wBSbrlyrZrEJWKkJMHoj6dDQQkcQYT64WlE1ZC5_67yiQd8rFQ6b_o-IJk-ob64naeoRV6XXA_yFhr3h4lzcXNo_SDw5TSo0__8eRoe2xbLqw8vJJJ21jChyphenhyphen1vYIEYyl4nAh7Rhun89JJUsdoge7sEGmQKa4Vl5UaXU/s1600/New%20Life.jpg" width="186" /></a></div><span style="font-size: medium;"><span style="font-family: times;"> </span></span><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">John Rosman’s<b><i><u> ‘New Life’ </u></i></b>was
not quite what you might think initially, this impressive debut has two
excellent lead performances that effortlessly guide through the myriad genres
to discuss the issue of failing bodies. Rarely do we see the subject touched
with such focus in this way in genre. There's character drama, chase thriller,
horror, sci-fi - a heady mix. It's the stuff that inspires body-horror (indeed,
the film says this very thing), but the empathy and humanity that guides this
right to the end is quite unique.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"> <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNan8vjpfsaYZ9x4WuaAkeifHW4G_AxLYe84xDoPaG4KeFCuValYmoE-iMd7-htpjIkeLXInnPvlg65itDPHQfTv7PQTXWfyGGI2zjtjUrAlqlQ2njDP7Oye9JEbukY20Q5GqA7QU7jvbKBUuac3WrlcSC8_ogmXe0EYz5h2Ff6kyiPU7-Q7jwl1J3r2E/s3000/monolith.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="2025" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNan8vjpfsaYZ9x4WuaAkeifHW4G_AxLYe84xDoPaG4KeFCuValYmoE-iMd7-htpjIkeLXInnPvlg65itDPHQfTv7PQTXWfyGGI2zjtjUrAlqlQ2njDP7Oye9JEbukY20Q5GqA7QU7jvbKBUuac3WrlcSC8_ogmXe0EYz5h2Ff6kyiPU7-Q7jwl1J3r2E/s320/monolith.jpg" width="216" /></a></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">All these had great female
performances, but Lily Sullivan more than held her own as the only face on
screen in Matt Vesely’s <b><i><u>‘Monolith’</u></i></b>. Although conveyed only
through telephone calls to a journalist seemingly willing to compromise herself
when desperate, the mystery is riveting. Her investigation of sinister “bricks”
is bizarre enough material to be gripping. Is she falling for a conspiracy or
mass-delusion? Like 'Void of Night' or 'Pontypool' for example, a film that
demonstrates that spoken-word genre storytelling can still work as a dominating
factor is cinema. Down-the-rabbit-hole horror with an excellent Lily Tyler
where all the clues do add up, there’s a little class commentary, lots of
creepiness and a conclusion that, even if it goes in the direction you
anticipated, still offers a few surprises to satisfy.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Mxt55k9rZYUzBkux1DdEmLXGP0XUwRovZ5LkGGIfaUxDDaryZ_3JYA2QztW_066CU_pSZcLREsjvC9Z3dXSXgWZguuycgzitugB5Fwd-5GWt3908r1iq7GbrAMlaSH4mrpq3HY2agdFj9l0uJoYffWFzoOA8OOZ0x_TTJeYjH8Gho23K69kBpwO81AI/s322/Cobweb_2023_poster.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="322" data-original-width="220" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Mxt55k9rZYUzBkux1DdEmLXGP0XUwRovZ5LkGGIfaUxDDaryZ_3JYA2QztW_066CU_pSZcLREsjvC9Z3dXSXgWZguuycgzitugB5Fwd-5GWt3908r1iq7GbrAMlaSH4mrpq3HY2agdFj9l0uJoYffWFzoOA8OOZ0x_TTJeYjH8Gho23K69kBpwO81AI/s320/Cobweb_2023_poster.png" width="219" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Samuel Bodin’s <b><i><u>‘Cobweb’</u></i></b>
was above average studio fare, containing enough feints and genre-play to make
horror fans laugh with recognition (oh, home invasion masks now?). The
FrightFest audience also chuckled away at the scenery-chewing of Caplin and
Starr as the parents who evidently neighbour <i>‘The People Under the Stairs’</i>.
Suburban Gothic, cartoonish crazy parents. something in the walls, threatened
kids, some flecks of nastiness. Thoroughly entertaining. Cannier than you might
expect with a genuine underlay of fairy-tale nastiness.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF2Pmij-ZiwIU2NRDPmSX24F1bwIFhSp7kFQ487emOfgQwOiqFZ4cPwYXQRN78UczudrgHKWdDrJKV8Q4BnOnq8xcDUQpFZW5K0ZUAnh7JeN1UM8E7yObHpZ2_eQIXwZT6XQUNM24SFQXLtyzgIAzsBjgEQjma33-lplwhklaqTOwMU4HRz9wiTiHBc64/s1482/seeding.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1482" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF2Pmij-ZiwIU2NRDPmSX24F1bwIFhSp7kFQ487emOfgQwOiqFZ4cPwYXQRN78UczudrgHKWdDrJKV8Q4BnOnq8xcDUQpFZW5K0ZUAnh7JeN1UM8E7yObHpZ2_eQIXwZT6XQUNM24SFQXLtyzgIAzsBjgEQjma33-lplwhklaqTOwMU4HRz9wiTiHBc64/s320/seeding.jpg" width="216" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Barnaby Clay’s <b><i><u>‘The
Seeding’</u></i></b> offered the Unrelenting Serious side of horror. A man
finds himself in a massive hole in the ground with a reticent woman and savage
boys above and no way out. Scott Haze, who essentially has to carry the film,
is excellent. It's a bad title that gains credence when you know what it refers
to. It's a Descent Into Hell narrative strung out on mystery and a few shocks
as Haze goes from hints of entitlement to scraps of what he used to be, never
quite knowing that he's fated as soon as he offered help to a child seemingly
lost in the wild. The slow burn keeps up the disquiet, but it's a film of a
stunning rock-face that never stops being awe-inspiring. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Although the film tries to hold its
cards close to its chest, if you do guess what's happening, the inevitability
is still unsettling. The boys are allowed to roam free and do and get away from
anything, to indulge in predatory and sadistic play, and any dissenters will
not be tolerated (they're a bit 'Mad Max' delinquents). Women are baby-machines
that are the ones that tragically uphold these traditions. Again, perversion of
gender roles and homemade family traditions/religions make families the most dangerous
places. The film offers no more than an extreme version of somewhat
conservative norms (women the homemakers while men go play). Accusations of
misogyny don't quite hold water because this is the very core of the film's
horror.<span> </span>Ignorance itself is the main
source of this horror.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK9vhM66a_jT6u7z1UGGYNe9wra8KhuKtqEtQNyInBOmWwrgGTs4Ug7xpSK1qAEl5QdKm17AX_5Epwuvitl61n8Gjra02ts-qs8_uAXrqR2AxrZCGe77IuFQk0v4CsIDJbltJrmM6xtkKO22CaSqgsOqvBEz53IKt58KzmEwVE7XAuBvS_SAFawUMwx2E/s2963/When%20Evil%20Lurks.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2963" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK9vhM66a_jT6u7z1UGGYNe9wra8KhuKtqEtQNyInBOmWwrgGTs4Ug7xpSK1qAEl5QdKm17AX_5Epwuvitl61n8Gjra02ts-qs8_uAXrqR2AxrZCGe77IuFQk0v4CsIDJbltJrmM6xtkKO22CaSqgsOqvBEz53IKt58KzmEwVE7XAuBvS_SAFawUMwx2E/s320/When%20Evil%20Lurks.jpg" width="216" /> </a></div><div class="separator" style="clear: both; text-align: center;"> </div><span style="font-size: medium;"><span style="font-family: times;">But Demián Rugna’s <b><i><u>‘When
Evil Lurks’</u></i></b> showed again – after his wonderful <i>‘Terrified’</i> –
that horror fun never seemed so shocking and serious. Excellent world-building –
apocalyptic possession-virus – and a willingness to <i>Go There</i> and a
number of excellent set pieces showed again that Rugna has a hold on horror
tropes that was raw, sure, sly and committed. …Kids and dogs, eh?</span></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"> </span></span></p>
<p class="MsoListParagraph" style="margin-bottom: 0cm; text-align: center; text-indent: -18pt;"><span style="font-size: large;"><span style="font-family: times;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><b><i><u>Some
low budget gems.</u></i></b></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"> <br /><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgapvcjwrrgJ3hyphenhyphen7oBHShD4vBhg4neBD-eVaKF-TS4MiZLMLAMysy0XUUSvD8gYEBCJ62xdSkjVxmepQ-up_Ulrjx6-MDyE4LbVX-HbxYKhPMzR0J7lN7wFYy3r1HMcFNNut4jMbygSOVHxzKy8marghGE6L4pQAq0kyuDktLIndResQ322mXzDwtjGaWg/s375/Glorious_(film).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="250" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgapvcjwrrgJ3hyphenhyphen7oBHShD4vBhg4neBD-eVaKF-TS4MiZLMLAMysy0XUUSvD8gYEBCJ62xdSkjVxmepQ-up_Ulrjx6-MDyE4LbVX-HbxYKhPMzR0J7lN7wFYy3r1HMcFNNut4jMbygSOVHxzKy8marghGE6L4pQAq0kyuDktLIndResQ322mXzDwtjGaWg/s320/Glorious_(film).jpg" width="213" /></a></span></div><span style="font-size: medium;"><br /></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Rebekeh McKendry’s <b><i><u>‘Glorious’</u></i></b>
is one of those low-budget horror films that goes where other genres don’t care
about. Set almost entirely in a bathroom, it’s one man against existential
horror for cosmic comeuppance. It’s the kind of grubby roadside bathroom that
you think you will pick up some tragic disease just by looking at it, but
Rebekah McKendry wisely leaves pink as the dominant impression to counter the
grime. Ryan Kwanten puts in solid work and it ends up as if Moorhead and Benson
went Henenlotter. It’s the film’s ambition that sticks in the memory.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7rFL2LPBiO2RzagYgWdbcrACStS95GqtkbwMk8mtrunHS5dXk4-ARPQJxP5hR8zbrUQ55zsl2fEsj_wJFzaSOkLiY2GMuGZqNENA6ZMEnqs-8rkJNSx-6IT7LwBASSIqLvpiFP92ujMUhmI7LzLhMviS3zlxOvBxw-9eTwvzfP03dvb-5wNmMKcH7zdU/s3019/where%20the%20devil%20roams.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3019" data-original-width="2044" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7rFL2LPBiO2RzagYgWdbcrACStS95GqtkbwMk8mtrunHS5dXk4-ARPQJxP5hR8zbrUQ55zsl2fEsj_wJFzaSOkLiY2GMuGZqNENA6ZMEnqs-8rkJNSx-6IT7LwBASSIqLvpiFP92ujMUhmI7LzLhMviS3zlxOvBxw-9eTwvzfP03dvb-5wNmMKcH7zdU/s320/where%20the%20devil%20roams.jpg" width="217" /></a></span></div><span style="font-size: medium;"> The newest by the Adams family was <b><i><u>‘Where
the Devil Roams’</u></i></b>. Indie-low/no-budget filmmaking at its best.
Sideshow sinister stuff and Depression era family murder road trip, with a big
topping of body-horror. Often resembling a story told through vintage
photographs, a film that looks the part while embracing its anachronisms
without forfeiting mood (the wonderful rock music!).<span> </span>Fascinating faces and black humoured
morbidity abound, but when asked in the Q&A what this film might says about
the Adams family, Toby Poser elucidated that she felt it was concerned with the
question of children facing their parents' mortality. Might be the Adams
family’s most ambitious and accomplished.</span><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4UZVmoiV6gYO1pfT8AvNMWR3CaLSyM-8m4N72LsAtO7dAxQ1xwifSr87BRMJdKpufRSBP-xiZRp849VUukZyDX2AYCX4SgusLzuqRWaBUEMeutHu8Hcvfq9v01uAkL1v7g1qMNXQ7a6WKalI9BQeAGkk7yKq1oF9vaEmBQo_MHzoXNpjfwyTpqYBfJOo/s1500/He%20Never%20Left.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4UZVmoiV6gYO1pfT8AvNMWR3CaLSyM-8m4N72LsAtO7dAxQ1xwifSr87BRMJdKpufRSBP-xiZRp849VUukZyDX2AYCX4SgusLzuqRWaBUEMeutHu8Hcvfq9v01uAkL1v7g1qMNXQ7a6WKalI9BQeAGkk7yKq1oF9vaEmBQo_MHzoXNpjfwyTpqYBfJOo/s320/He%20Never%20Left.jpg" width="213" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Also impressive in the low budget
end is James Morris’ <b><i><u>‘He Never Left’</u></i></b>. Starts with an
underwhelming first kill, but as soon as the car boot opens and Colin
Cunningham pops out, the film compels with his performance and a laying on of
other stories and angles running unseen but parallel. Cunningham excels as a
fugitive trying to control his temper one minute and losing it the next, in a
constant state of panic and guilt. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"> You might be forgiven for thinking that we're
not in the slasher flick the poster promises, but it's that too - even if it
does that diffusing technique of carrying the story right into the credits.
There's a lot to superficially enjoy, but its underlying theme of broken people
due to bad parenting and child abuse - and the fact that one of its endings has
the agents in pursuit of the fugitive lamenting the legacy of serial killers
but not quite catching on - has the film reaching for greater depth and leaving
more than the usual residue by respecting trauma. In this way, it’s also
interested a little in dissecting its own crime-meets-horror genre, having its
cake and eating it.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"> </span></span></p>
<p class="MsoListParagraph" style="margin-bottom: 0cm; text-align: center; text-indent: -18pt;"><span style="font-size: medium;"><span style="font-family: times;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;"> </span></span></span><span style="font-size: large;"><span style="font-family: times;"><span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><b><i><u>And…</u></i></b></span></span><span style="font-size: medium;"><span style="font-family: times;"><b><i><u>
</u></i></b></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Other films like Joe Lynch’s <b><i><u>‘Suitable
Flesh’</u></i></b>, the Bloomquist’s ‘<b><i><u>Founder’s Day</u></i></b>’, Rob
Savage’s <b><i><u>‘The Boogeyman’,</u></i></b> and Jenn Wexler’s <b><i><u>‘The
Sacrifice Game’</u></i></b> filled a Horror-sized hole in a kind of processed
snack way, and very much fleeting, although <i>‘Suitable Flesh’</i> certainly
was loud and <span> </span>happy with itself on social
media. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Films like Takeshi Kushida’s <b><i><u>‘My
Mother’s Eyes’</u></i></b> and Teresa Sutherland’s <b><i><u>‘Lovely, Dark and
Deep’</u></i></b> erred on the side of artiness, but they did have art – and in
the former, Grand Guignol; the latter unsatisfying conclusions. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimuW7uCDTD30u2CQh61wYffK_bwPgTg5d5kelG25j0vuslLE8ww17ZAqshiu-i3wk72wRIp_1hj4jZX5-glc3HbT74L9wajc60sJVFnDjWNu_VsehxE-WT3ZCalAJ-1-xlBXoIDlbhhPweiB9sPNtiyd4SxFSrGMLm0afsIwgh4bI2j4zKczczQymVQgQ/s1428/superposition.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1428" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimuW7uCDTD30u2CQh61wYffK_bwPgTg5d5kelG25j0vuslLE8ww17ZAqshiu-i3wk72wRIp_1hj4jZX5-glc3HbT74L9wajc60sJVFnDjWNu_VsehxE-WT3ZCalAJ-1-xlBXoIDlbhhPweiB9sPNtiyd4SxFSrGMLm0afsIwgh4bI2j4zKczczQymVQgQ/s320/superposition.jpg" width="224" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">More satisfying in the uncanny
horror was Karoline Lyngbye’s <b><i><u>‘Superposition’</u></i></b>. More
failing reality, one of my favourite horror fears. Like <i>‘Marriage Story’</i>
meets <i>‘Coherence’</i>, a couple decide to and leave society behind, taking
their young son with them, so they can repair the fractures in their marriage.
This is a couple fully self-aware of their narcissism and privilege in the
modern world, and there’s irony in that they will be blogging about their
off-the-grid experience. But alternative realities have other ideas, and they
are forced to face their marriage problems by negotiating with themselves. As
always with doppelganger scenarios where the definitions and characters get a
little blurred (sometimes deliberately; keep track), there may be a little
confusion here and there, but Lyngbye’s film never loses sight of that
aforementioned privilege and narcissism and what that might mean should a
person be faced with this during a mid-life crises. A true existential,
character study chiller, cooly played and sure-handed.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Modest but ambitious minor efforts
like Ted Geoghegan’s <b><i><u>‘Brooklyn ‘45’</u></i></b>, <i>‘The Last Video Store’</i>,
<i>‘Cold Meat’,</i> and Thomas Sieben’s <b><i><u>‘Home Sweet Home: Where Evil
Lives’</u></i></b> impressed more with their ambition and atmosphere with
limited resources. <i>‘Home Sweet Home’</i> was a One Take Wonder but had real
blocking instead of relying upon shaky-cam all the time to <span> </span>cover up what it may be deficient in, and even
strikingly featured a flashback.<br /><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg57ma7cLzrVj-KKqq9XefDLyVqfpjKmJy3ooSAZWsP-wfOZhq0oqcVDaOsO_Dh_AQODkNRB1VsaXIYohNX4xMoL8iIpBlTf255PJSR8UBKvUllMru7jT3VYW4neOAYb24m78nTS_CL7wfK4nAyuZWn_bG1_a1tSpt40LH-2VdL1jTtSZV4EQI-2m5d_lA/s261/Cold%20Meat.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="261" data-original-width="193" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg57ma7cLzrVj-KKqq9XefDLyVqfpjKmJy3ooSAZWsP-wfOZhq0oqcVDaOsO_Dh_AQODkNRB1VsaXIYohNX4xMoL8iIpBlTf255PJSR8UBKvUllMru7jT3VYW4neOAYb24m78nTS_CL7wfK4nAyuZWn_bG1_a1tSpt40LH-2VdL1jTtSZV4EQI-2m5d_lA/s1600/Cold%20Meat.jpg" width="193" /></a></span></div><span style="font-size: medium;"><br /></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">After an initial twist, Sébastien
Drouin’s <b><i><u>‘Cold Meat’</u></i></b><i> </i>emerged as a chamber piece of
killer and victim in a car, stranded in a blizzard, offers two great
performances with a decent script and a lot of enjoyable detail about their
predicament. If the supernatural element seems like a deux ex machina, even if
foreshadowed, with use of Native American mythology a little unsteady, but this
doesn't scupper the good work that has gone before. A relatively smart and
entertaining thriller.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhivOVAgSh1uuHLgxvIODlgIWiR1Wib-uyp8HQ0iwgi8QAb6yJpm32PiDiXRI-ReZXGURnUEBrpfG5SVgoTPP5ckgTuq-oGLqh8mkFDGVT2q50houZlxVrzPA_LYaVlLtS0M4TN4UedJsUrc58mJHnWVxLiv4rSMPIes9REKwpu5pFFFv49ExR8aLcJgmo/s600/GOOD_BOY_SML-1-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhivOVAgSh1uuHLgxvIODlgIWiR1Wib-uyp8HQ0iwgi8QAb6yJpm32PiDiXRI-ReZXGURnUEBrpfG5SVgoTPP5ckgTuq-oGLqh8mkFDGVT2q50houZlxVrzPA_LYaVlLtS0M4TN4UedJsUrc58mJHnWVxLiv4rSMPIes9REKwpu5pFFFv49ExR8aLcJgmo/s320/GOOD_BOY_SML-1-1.jpg" width="227" /></a></div><span style="font-size: medium;"><span style="font-family: times;"> </span></span><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Viljar Bøe’s <b><i><u>‘Good Boy’</u></i></b>
only had so many places to go with its premise – a millionaire lives with
Frank, a man dressed permanently as a dog, much to the millionaire’s date’s
surprise – but it kept it vibe of unsettling and uncomfortable throughout, had
fine performances and, even when you knew what it was, it kept itself brief and
ended on a logical, still disconcerting and satisfying punchline.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqiSNMQ3D1RjXpWPrrdfk0I58KN9QzXVhYFn_m3SKlcpcLz1jhSG8VXOtyJL-Cpd7mC7PTvUoCOV_klCtuswwtuKVSjTbJe2UVw0ZwigkZpUbY8HACy7LMNnvg_8LZXjiYSxO_vqPGQP3atOozK9ea5vqeoSyx5mP1lhGMzX9i3KKdyH2wi9crUtHkPYI/s281/last%20video%20store.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="281" data-original-width="190" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqiSNMQ3D1RjXpWPrrdfk0I58KN9QzXVhYFn_m3SKlcpcLz1jhSG8VXOtyJL-Cpd7mC7PTvUoCOV_klCtuswwtuKVSjTbJe2UVw0ZwigkZpUbY8HACy7LMNnvg_8LZXjiYSxO_vqPGQP3atOozK9ea5vqeoSyx5mP1lhGMzX9i3KKdyH2wi9crUtHkPYI/s1600/last%20video%20store.jpg" width="190" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Cody Kennedy and Tim Rutherford’s <b><i><u>‘The
Last Video Store’ </u></i></b>was plenty fun. I often come across comments
where people say horror and comedy rarely works, but I can only assume they
aren’t paying much attention. At FrightFest, the horror comedy is a staple and
‘The Last Video Store’ is another good example. Kevin Martin owns The Lobby DVD
Shop , a real VHS store still hanging on – here called Blaster Video – and
that’s the setting for this showdown with a demonic VHS tape. He plays the lead
too.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">A self-aware, self-deprecating
homage, joyful in its own way, armed with only a single beloved location, two
vivid leads and a number of good genre gags. It may not be anything
exceptional, but it is highly likeable, funny and infused with a melancholy that
makes sense of its purple-and-neon hued nostalgia and claustrophobia. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ7z4AE_utf5Y3sFFZiILszCrqTMh95J9c5KPqV1ZzM-yHj37Gf6HxYHYLkksAq1GyGNfOV8CHc-sl2kCK8ujabLT4AJqfvGCalsGHCPim4DjwRYUqkkKHS06u4K7u23udRi16_WfNLnAfksTT141nS10yU2CKxSywk7qKyMOouDdSWjo0fYAxFSkSlFE/s1920/totally%20killer.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ7z4AE_utf5Y3sFFZiILszCrqTMh95J9c5KPqV1ZzM-yHj37Gf6HxYHYLkksAq1GyGNfOV8CHc-sl2kCK8ujabLT4AJqfvGCalsGHCPim4DjwRYUqkkKHS06u4K7u23udRi16_WfNLnAfksTT141nS10yU2CKxSywk7qKyMOouDdSWjo0fYAxFSkSlFE/s320/totally%20killer.png" width="320" /></a></span></div><span style="font-size: medium;"> </span><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">It was certainly less needy than Nahnatchka
Khan’s <b><i><u>‘Totally Killer’</u></i></b>. Agreeable enough mash-up of
Time-Travel and Slasher scenarios - although stronger on the latter as it's
free-and-easy with the details of the former. Rather, Sally finds herself flung
back in time to stop the unsolved Sweet Sixteen murders that marred her Ideal
American Suburb.<span> </span>This allows for '80s
nostalgia and jokes about how much culture has changed, at least from what we
know from the slasher era. Yes, Sally is fairly obnoxious and entitled, but
it's easy enough to warm to her as she barnstorms her way through the past like
it's a console game where the environment doesn't question her presence too
much. The humour is that kind where she's constantly talking out of the side of
her mouth to the audience, but there are a few good "wasn't-the-past-different?
gags". It has enough nastiness and twistiness and silliness to<span> </span>entertain, but neither is it as satisfyingly
clever as Blumhouse's <i>'Happy Death Day'</i>.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"><a href="http://bucktheorem.blogspot.com/2023/02/cocaine-bear.html"></a></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6nQeaM8tBPZpy4spNC83plaoGU9aLmXB6EGo-G83RtM1ODVXS-GzQm-S-p-c9IoyWMru712nf1ZwhAWJMXO03V4vKHTy3Fcibk21wH2cZUyZtsKCB5HT_mS2ck8lELnn1ozivJFPwwbhPwnsb7ZooBgDIRbDlgFwZAX1K19hxmBLTj-Ig0wZISlUXyPg/s282/cocaine%20bear.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="282" data-original-width="179" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6nQeaM8tBPZpy4spNC83plaoGU9aLmXB6EGo-G83RtM1ODVXS-GzQm-S-p-c9IoyWMru712nf1ZwhAWJMXO03V4vKHTy3Fcibk21wH2cZUyZtsKCB5HT_mS2ck8lELnn1ozivJFPwwbhPwnsb7ZooBgDIRbDlgFwZAX1K19hxmBLTj-Ig0wZISlUXyPg/s1600/cocaine%20bear.jpg" width="179" /></a></span></div><span style="font-size: medium;">
But more successfully and unapologetically fun was Elizabeth Banks’ <a href="http://bucktheorem.blogspot.com/2023/02/cocaine-bear.html" target="_blank"><b><i><u>‘Cocaine
Bear’</u></i></b></a>. It was just what you expected/wanted from that title; yes,
stupid et cetera, but the surprise was that it wasn’t shit. But of course, your
mileage may vary.</span><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><b><i><span style="font-family: times;"> A downbeat end note</span><span style="font-family: times;"><br /></span></i></b></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">So maybe all this sounds very
positive, but why not? There was a lot of good watching, and anyway, like
anyone, I mostly watch avoid what I doubt will float my boat. So no <i>‘Thanksgiving’</i>
or <i>‘The Nun II’</i> or <i>‘The Exorcist: Believer’</i>; or <i>‘Equilizer 3’</i>
or <i>‘Fast X’</i>, or… And I’ll catch up with <i>‘Oppenheimer’</i>, <i>‘Flowers
of the Killer Moon’, ‘Monster’</i> (Koreeda), <i>‘How to Have Sex’</i>, and
plenty others later.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">But if you are after something more
negative – and I’ll swing big - Scott Beck and Bryan Woods <b><i><u>‘65’</u></i></b>
really missed an opportunity, and Payton Reed’s <b><i><u>‘Ant-Man and the Wasp:
Quantumania’ </u></i></b>was so thin that you could pop it with the sharp end
of your disinterest. Superficial stuff that squandered any good will going in.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">And so... got a lot of catching up to do. <br /></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif;"> </span></span></p>
</div>Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-68882834607200683872024-01-02T22:16:00.004+00:002024-01-06T20:14:03.926+00:002023 Film Round-Up part 2: action & animation & franchises<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPyg1GAY8mjbJ0t2ZHF81GuAPvsQ46ChtxVPP7NRBmmKOHkhGTVJv1Cc48PA0Ps_1DXQ7Fh7HNFv302hyj68g5k21EhBJP4Va7ppbnNSsh0Xuew6QGOgzS-kNYqScQt1KxZX9ilxUyHNc_gML8MvA94FCVKSuWMPlP7zNon4Yf4eqgoeizTli9nktPJl8/s3295/2024-01-02%20-%20Gary.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3295" data-original-width="2551" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPyg1GAY8mjbJ0t2ZHF81GuAPvsQ46ChtxVPP7NRBmmKOHkhGTVJv1Cc48PA0Ps_1DXQ7Fh7HNFv302hyj68g5k21EhBJP4Va7ppbnNSsh0Xuew6QGOgzS-kNYqScQt1KxZX9ilxUyHNc_gML8MvA94FCVKSuWMPlP7zNon4Yf4eqgoeizTli9nktPJl8/w310-h400/2024-01-02%20-%20Gary.jpg" width="310" /></a></div><ul style="text-align: left;"><li class="MsoListParagraph" style="margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18pt;"><span style="font-size: large;"><span style="font-family: georgia;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;">
</span><i>Oh,
so animations and franchises and action and such:</i></span></span></li></ul>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: georgia;"><a href="http://bucktheorem.blogspot.com/2023/12/2023-film-roud-up-part-1-dramas-dramas.html" target="_blank"> Part 1 has the dramas.</a></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT8xT7WfJz42r5DMzE16LasXfxGr6L7rWRyetv080RMCa9CWr8JEfgujlwYseNrk6RohdvIyZIZecdV92-X6i7f9QB9PFBc7HGoBOyPP5-UFyJVTJjhFJubZIaOqOVsITTZ_SbLXwt7UMhSlhgzhWurYiF1htbLEwpLXsag6YQ3teCGbLk1bA92eyphMU/s640/Godzila%20Minus%20One.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT8xT7WfJz42r5DMzE16LasXfxGr6L7rWRyetv080RMCa9CWr8JEfgujlwYseNrk6RohdvIyZIZecdV92-X6i7f9QB9PFBc7HGoBOyPP5-UFyJVTJjhFJubZIaOqOVsITTZ_SbLXwt7UMhSlhgzhWurYiF1htbLEwpLXsag6YQ3teCGbLk1bA92eyphMU/s320/Godzila%20Minus%20One.webp" width="320" /> </a></div><div class="separator" style="clear: both; text-align: center;"> </div><span style="font-size: medium;"><span style="font-family: georgia;">Takashi Yamazaki’s <a href="http://bucktheorem.blogspot.com/2023/12/godzilla-minus-one.html"><i>‘<b><u>Godzilla
Minus Zero’</u></b></i> </a>epitomised all the fun and seriousness of a kaiju
premise, mindful of the wartime origins and analogies whilst giving a worthy
human drama with weight instead of killing time. And when the monster action
starts, it’s so, so good. </span></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimKtLQQID6bEh9-78KultQ3LoG0r2HFf1kjgV_zveISuYPWnpYJqHz0zgZmVg4e_Zbnmd3GVtArKJ6ZK669msqEhgJWQJwq2au10i2G6XquBnDBo7-gutdJDeJSdQXdA4B9NImuDhqF59QM_xoWh4zQxUWS8Em9b1-QRffoVw6-z-R-v3dlYVFaV9zZRE/s1000/John%20Wick%204.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="708" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimKtLQQID6bEh9-78KultQ3LoG0r2HFf1kjgV_zveISuYPWnpYJqHz0zgZmVg4e_Zbnmd3GVtArKJ6ZK669msqEhgJWQJwq2au10i2G6XquBnDBo7-gutdJDeJSdQXdA4B9NImuDhqF59QM_xoWh4zQxUWS8Em9b1-QRffoVw6-z-R-v3dlYVFaV9zZRE/s320/John%20Wick%204.jpg" width="227" /></a></div><span style="font-size: medium;"><span style="font-family: georgia;"></span></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">The reality defying action in Chad
Stahelski <b><i><u>‘John Wick: Chapter 4’ </u></i></b>made my gripes about Jalmari
Helander’s <b><i><u>‘<a href="http://bucktheorem.blogspot.com/2023/06/sisu.html" target="_blank">Sisu</a>’</u></i></b> <br /><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG3XYzpShzTvzzjPUh2vWSMQhZTGl3RYA6_K21ub3a7HndRsiGXQijO5kFmZJBDwzvl4JOSCLm8szz-Fj_32yw0cHfaObcSLRbZym-Mvmt4k9vWvWqmTYwfiIJBQpFutVRUNa6Lc4sTX3ylElhmwRoQLziiJUu9VhXA6xoW4hUBzlYI2tOgQRScoTcVYY/s4096/sisu%20MV5BMWYwMzNkOWEtNjA3YS00YjE5LTlkMjYtMmRjMjExNjA1NDM0XkEyXkFqcGdeQXVyMjM4NTM5NDY@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4096" data-original-width="2764" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG3XYzpShzTvzzjPUh2vWSMQhZTGl3RYA6_K21ub3a7HndRsiGXQijO5kFmZJBDwzvl4JOSCLm8szz-Fj_32yw0cHfaObcSLRbZym-Mvmt4k9vWvWqmTYwfiIJBQpFutVRUNa6Lc4sTX3ylElhmwRoQLziiJUu9VhXA6xoW4hUBzlYI2tOgQRScoTcVYY/s320/sisu%20MV5BMWYwMzNkOWEtNjA3YS00YjE5LTlkMjYtMmRjMjExNjA1NDM0XkEyXkFqcGdeQXVyMjM4NTM5NDY@._V1_.jpg" width="216" /></a><br /></span></div><span style="font-size: medium;"><br /></span></div><div style="text-align: justify;"><span style="font-size: medium;">churlish and unreasonable, but
different expectations for different films. I anticipated more from <i>‘Sisu’</i>
and expected nothing less from <i>‘John Wick’</i>. (Then again, I recently
watched some King Hu films and unrealism has always be a part of action, I
guess.) <i>‘Chapter 4’</i> was ridiculously long, which was appropriate for its
silly self-aggrandisement, and I was just waiting for the undeniable thrill I
got from the first 40 minutes of <i>‘Chapter 3’</i>. Then I began to drift, and
John was across the table from another underworld adversary with just a bunch
of cards between them and a bunch of expendable henchman standing around the
sides of the ornate room… but I had to go for a bathroom break and I figured I
could miss the bad guy pontifications and hoped I would be back in time for the
action. Well, I went, and about five minutes later came back and the bad guy
was still speechifying. Then followed a full-on fight on a dancefloor across
several levels but no one noticed because, y’know, fighting is just like
dancing or something. Of course, none of this would work without Keanu, a man
of a certain age who continues to dazzle taking on these fight scenes – and
indeed, learning nunchuks (and yes, yes, Tom Cruise). But it was the overhead
view following a gunfight through many, many rooms that really got my thrill
levels up. The last movement (last hour?) entertained me mostly. Still that
first 40 minutes of <i>‘Chapter 3’</i> I will stand by.</span></div><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG4dUWoGWMV5DoLwD_oI_gC4KdIEz5AVZft_w61QcVgL73-yUZaVoTIwiiCZ4Faofd6ZbwDxwSY_zf6iW3bafajqySOExllBpqFyH49zoFqkgqjWhtNP1NXuyiAew8UogT1yPGDt_t37NaLqIU6QZhRr0F0f5ZmZl0uoaYzmsaUsCjscucvmAv-pZCFUw/s1600/Project%20Wolf%20Hunting.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG4dUWoGWMV5DoLwD_oI_gC4KdIEz5AVZft_w61QcVgL73-yUZaVoTIwiiCZ4Faofd6ZbwDxwSY_zf6iW3bafajqySOExllBpqFyH49zoFqkgqjWhtNP1NXuyiAew8UogT1yPGDt_t37NaLqIU6QZhRr0F0f5ZmZl0uoaYzmsaUsCjscucvmAv-pZCFUw/s320/Project%20Wolf%20Hunting.jpg" width="240" /></a></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">But if a bloodbath with the same negligible
relationship to reality, then Kim Hong Son’s <b><i><u>‘Project Wolf Hunting’</u></i></b>
will more than do the trick. A perpetual bloodbath of a film that just changes
genre or sends in helicopters with new bodies to massacre when it needs to. To
this, one of the film’s strengths is that no one seems to be safe. That guy who
you think to be the main villain? The one who you think might be the eventual
hero? Pffftt. Not that you’ll be invested, as this is pure 2D stuff, but… Then
the sci-fi-horror kicks in. For braindead gory fun, it’s entertaining,
undemanding, slick, goofy and unrelenting. Thin on substance, probably overlong,
frequently inventive, culminating in a growth of narrative at the very end that
probably hopes for a sequel.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqhawZ5rfX56THuzwOKDFlf1avg6KI69tbwmiJwubndQ1f67ZkkRKa6zIIMlfeMM0-f1RMzKzZuGsMiaDIVN2Cq-z90n_Qf6GpGrziZotC78CiOxdzbTTTkZXylMnIuj4q85_AoRa38gJM5SnlpxloVxuEUJ0ujjMvXjgjGBknoIjjv5WrkOcTFaTk1XY/s268/Killer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="188" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqhawZ5rfX56THuzwOKDFlf1avg6KI69tbwmiJwubndQ1f67ZkkRKa6zIIMlfeMM0-f1RMzKzZuGsMiaDIVN2Cq-z90n_Qf6GpGrziZotC78CiOxdzbTTTkZXylMnIuj4q85_AoRa38gJM5SnlpxloVxuEUJ0ujjMvXjgjGBknoIjjv5WrkOcTFaTk1XY/s1600/Killer.jpg" width="188" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">Choi Jae-hoon’s <b><i><u>‘The
Killer’</u> </i></b>had a similar John Wick Vibe with its tongue slightly in
its cheek. <span> </span>A rudimentary set-up is just
to prop up a number of action set pieces, the best of which is inevitably a
hallway fight. It’s bright and breezy – based on the web-comic! & adapted
from a popular novel “The Kid Deserves to Die” written by Bang Jin-ho – doesn’t
waste so much time on characterisation, although it avoids overt cartoonery,
even some gun-fu that isn’t just pow!pow!pow! - also peppered with some genuine
nastiness. We’re left in no doubt that Bang Ui Gang is a brutal piece of shit,
but Jang Hyuk can also turn on the charm and reassure us that this is all good
movie anti-hero-kicking-butt fun. There no insight or depth, although the plot
does weave a decent web, but it’s un-insulting in its shallowness and offers
some nice fight choreography (by Hyuk).</span></span><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6m2PFA_SliUxFQROMRG9JWdJe_Uj0iM94CdKy6EwSkcx81qMe_DynsxRWD1AXQFXccrbvS5RXzVmAX9ZvX6VjaMY2uYO4y2ti9YE2-tRC_gMPt-bDDfLiaCGLVDb0zN_sLGPL0ZYdnGnnxsFy4OlCKtfQ1jsKRP1nAuJOb98qS1VE5r5gf10gOEuhbLw/s500/FARANG-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="331" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6m2PFA_SliUxFQROMRG9JWdJe_Uj0iM94CdKy6EwSkcx81qMe_DynsxRWD1AXQFXccrbvS5RXzVmAX9ZvX6VjaMY2uYO4y2ti9YE2-tRC_gMPt-bDDfLiaCGLVDb0zN_sLGPL0ZYdnGnnxsFy4OlCKtfQ1jsKRP1nAuJOb98qS1VE5r5gf10gOEuhbLw/s320/FARANG-1.jpg" width="212" /></a></span></span></div><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-family: georgia; font-size: medium;"><span>Xavier Gens<b><i><u> 'Farang' </u></i></b>added to Impressive Fight genre. </span></span><span style="font-size: medium;"><span style="font-family: georgia;">Action movie cliches perfectly intact: when you go a new city (in this
case: Bangkok), find a high building, go to the rooftop and take in the
panorama. There’s not the social commentary you might have
expected/hoped for, and there’s probably too much ticking of tropes, but
when it finally gets to the hallway and elevator fights, that’s
everything. A film like Choi Jae-hoon's <i>'The Killer' </i>and even <i>'Extraction 2'</i> know to get on with the fights and play cursory attention to predictable, familar set-up, but <i>'Farang</i>' is happy to wallow in comfort-action. </span><span style="font-family: georgia;"> Nassim Lyles is magnetic enough presence and the fights look
visceral and painful. And then it’s just silly season. </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUuM6RN_cZ3Ivi_g3niXSyxG-rQS6-bSJfiIAPU3Uf7sIf8pDmZv-LTswRwEitzcKFVU1OG7zLHJ8kpvQsaa7u0vC5xnS5nZMZ1Jb99YGWcfCaOQcrpT00PXCVLOpouhQvj3hd8Jb-DS4SRe3iFZYqR05-rFbvvro5SdRw5mzTLcwuOz-LVJKZLjR3kJE/s384/Extraction_2_poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="384" data-original-width="259" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUuM6RN_cZ3Ivi_g3niXSyxG-rQS6-bSJfiIAPU3Uf7sIf8pDmZv-LTswRwEitzcKFVU1OG7zLHJ8kpvQsaa7u0vC5xnS5nZMZ1Jb99YGWcfCaOQcrpT00PXCVLOpouhQvj3hd8Jb-DS4SRe3iFZYqR05-rFbvvro5SdRw5mzTLcwuOz-LVJKZLjR3kJE/s320/Extraction_2_poster.jpg" width="216" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">Talking of action, Sam Hargrave’s <b><i><u>‘Extraction
2’</u></i></b> shirked much of its bond to narrative and instead offered
impressive one take action sequences which, in themselves, were impressive and
that’s what we came for, even if the film was average. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7A1DEVKk_n2aI_XvOHZ8VfILwisEq1tEZYYXXwwOU273TVDHrv01ciqJzNVPr4YnKq_MN4pyuJwNr0v8B1VALwmP9Qhb3NNC4adObS6b3U-9lSCkiJHD23LrP8lfkMKBn2ZyTRlAFMyKJepFEGvm-rLqpP1NR2phKOGF_HXaEPwvILU7ETxV8NYDy004/s2982/gangs%20of%20lagos.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2982" data-original-width="2007" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7A1DEVKk_n2aI_XvOHZ8VfILwisEq1tEZYYXXwwOU273TVDHrv01ciqJzNVPr4YnKq_MN4pyuJwNr0v8B1VALwmP9Qhb3NNC4adObS6b3U-9lSCkiJHD23LrP8lfkMKBn2ZyTRlAFMyKJepFEGvm-rLqpP1NR2phKOGF_HXaEPwvILU7ETxV8NYDy004/s320/gangs%20of%20lagos.jpg" width="215" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">But for something more serious, a
little more ‘<i>City of God</i>’, there was Jadesola Osiberu’s <b><i><u>‘Gangs
of Lagos’</u></i></b>. More
Traditional Gangland Tropes than the furious criticism like others such as
'City of God' and 'Gomorrah'. Oh, there's anger here - the exploitation of the
street-level gangsters by the crime lords living in opulence; political
corruption - but it errs on the side of formulaic. Tobi Bakre is a striking
presence that centres the whole thing, but there are lapses into cheaper
melodrama and a score that is applied to everything in a way that implies
amateurishness. The street slaughters pull their weight, though, where it's
obvious that budget restrictions aren't hindering the extras'/stuntmen's
enthusiasm, and there are a couple of splashes of gore. Most of the ingredients
are here, but it's mostly admirable rather than successful.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirR6_PQQKhy08Z0Ipb0ef-0NLN6DWYHb-l7LXKWhvUheWD-yZtI5MXik74vx96OfzKqJrJgQlciNcNMLF7-pMXR9etyVKVdgwoM_HE6s8UkuWPDk9pOhRVxDgJQCzKu9Qum08HoB3g8nB6t0GMARVH9KpS6jhapMFHy8zqlOEK1QnaOF0hbfrt0GxwdWA/s1000/Prey.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="790" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirR6_PQQKhy08Z0Ipb0ef-0NLN6DWYHb-l7LXKWhvUheWD-yZtI5MXik74vx96OfzKqJrJgQlciNcNMLF7-pMXR9etyVKVdgwoM_HE6s8UkuWPDk9pOhRVxDgJQCzKu9Qum08HoB3g8nB6t0GMARVH9KpS6jhapMFHy8zqlOEK1QnaOF0hbfrt0GxwdWA/s320/Prey.jpg" width="253" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">Dan Tratchenberg’s<i> <b><u>‘Prey’</u></b></i>
returned Predator to some kind of credibility, very enjoyable and infused with
a Girl Power streak. More successful was the hint that a franchise of Predator
films set at different periods, against various communities (vs. Centurions;
vs. World War I/II soldiers; etc.), was possible and offered a variety of possibilities.
But I doubt we’ll get that. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">Although erring on the side of
earnestness rather than fun – every five minutes we’re reminded that the
patriarchy isn’t respecting how kick-ass this girl is – this is probably the
least insulting Predator sequel. A little temporal relocation and forgoing the
Urban Jungle stuff, a little reboot of the predator’s look and some decent
action and we’re in solidly entertaining territory.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcHUKecLBd2qcYLEf8BW_zf-0Ym9wUAgmSOZeM2hpLNibo38OUqQO4_XxPHChftcRNVu7GnG-UnBoKpBvxgMfuqQOmv0GssNroq3f5b2raqtT6XBcnK3H3GDA9DbdnNG_hyphenhyphenwBbw7J8e-8IymJF0dLjcPK9omEh8c-dnh_YmEStJdgWbGouE-wiCHUnW2g/s2048/Evil%20Dead%20Rise.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1382" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcHUKecLBd2qcYLEf8BW_zf-0Ym9wUAgmSOZeM2hpLNibo38OUqQO4_XxPHChftcRNVu7GnG-UnBoKpBvxgMfuqQOmv0GssNroq3f5b2raqtT6XBcnK3H3GDA9DbdnNG_hyphenhyphenwBbw7J8e-8IymJF0dLjcPK9omEh8c-dnh_YmEStJdgWbGouE-wiCHUnW2g/s320/Evil%20Dead%20Rise.jpg" width="216" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">Similarly, <b><i><u>‘Evil Dead
Rise’</u></i></b> was better than expected. An awful trailer thoroughly put me
off, framing it like some <i>‘Insidious’</i>-inspired pantomime, but people
kept telling me It’s Actually Quite Good and then I saw it was directed by Lee
Cronin, and I liked <i>‘A Hole in the Ground’</i>. Some nice claustrophobia and
some genuine nastiness and conviction rather than silliness to the gurning possessed.
And although it didn’t excel in any way, it wasn’t lazy in intent and didn’t
devolve into zingers, despite a reductive promo campaign. It’s debatable whether
sticking the <i>‘Evil Dead’ </i>label to it helped or hindered.</span></span></p>
<ul style="text-align: left;"><li class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: georgia;"><b><u><i> Super-stuff</i></u></b></span><span style="font-family: georgia;"><b><u><br /></u></b></span></span></li></ul>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">Whereas animated features like <b><i>‘Legion
of Super-Heroes’</i></b> were too average and <b><i>‘Batman: The Doom that Came
to Gotham’</i></b> a mess, <i>‘Merry Litte Batman’</i> and <i>‘Teenage Mutant
Ninja Turtles: Mutant Mayhem’</i> proved delightful. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicknSWcwOgFHZB1xB9s7FxWKIHy4I8fBkFIaNjv4I0POv1N1qxdHnCRdD7-gnEtnjwErpMEJ35L35Zw4pqZ9jMoPX1ZgHvoSdo5WhKJuva10Jp3odjPMoZv_ngzOfUKtUnfFBFjeU5TvEDMYGcjU7tv2GfI9v0m7hMCnvuvNvGuiPBIIFxQ4QqTIitnAY/s268/Merry_Little_Batman_poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="220" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicknSWcwOgFHZB1xB9s7FxWKIHy4I8fBkFIaNjv4I0POv1N1qxdHnCRdD7-gnEtnjwErpMEJ35L35Zw4pqZ9jMoPX1ZgHvoSdo5WhKJuva10Jp3odjPMoZv_ngzOfUKtUnfFBFjeU5TvEDMYGcjU7tv2GfI9v0m7hMCnvuvNvGuiPBIIFxQ4QqTIitnAY/s1600/Merry_Little_Batman_poster.jpg" width="220" /></a></span></div><span style="font-size: medium;"><span style="font-family: georgia;"></span></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">Although aimed at a younger
demographic and possessed of character design that is often repugnant (even
Alfred), Mike Roth’s <b><i><u>‘Merry Little Batman’</u> </i></b>is consistently
amusing family fare without resorting to nudge-wink gags at the adults or
compromising the villains’ nastiness. Well, there are a couple of gags at the
expensed of Schumacher’s <i>‘Batman & Robin’</i>… but it doesn’t indulge. That
Batman is voiced by Luke Wilson should be a clue, as well as the pop-rock
Christmas tunes, to a more grungey-slacker absurdism. The humour comes from 8-year-old
Damien Wayne’s hyperactive desire to follow in dad’s footsteps. Damien
(sterling work from Yonas Kibreab: “No pictures! Only justice!”) bounces around
causing mayhem and stumbling into Joker’s plan to bring crime back to Gotham
City A film that happily embraces the absurdities of the Batman mythology
whilst relating to the younger audiences’ need to prove themselves. Bright,
breezy, funny and oddly ugly at times.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBD3O_TMmh4IdZSGejW7z8TSE6s2styd_fTaCrscpPGMtaLnD2MHBGC2uhlda9UFuIATxY0t3OkpW1xHpGFvmApF9nf6hVQQCnQXIMsjbVHuRrWeAoZiHr1vkcoSFFeNdr50SRVaxPZPm0T_QKjcIcu3YzpyWI0m2D1e6DnXDdLJh5UkdYG6R_Y6Y8Y5M/s686/TMNT%20-%20MM.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="686" data-original-width="480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBD3O_TMmh4IdZSGejW7z8TSE6s2styd_fTaCrscpPGMtaLnD2MHBGC2uhlda9UFuIATxY0t3OkpW1xHpGFvmApF9nf6hVQQCnQXIMsjbVHuRrWeAoZiHr1vkcoSFFeNdr50SRVaxPZPm0T_QKjcIcu3YzpyWI0m2D1e6DnXDdLJh5UkdYG6R_Y6Y8Y5M/s320/TMNT%20-%20MM.jpg" width="224" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">Taking the cue from the
possibilities opened up by the Spider-verse, Jeff Rowe’s <b><i>‘Teenage Mutant
Ninja Turtles: Mutant Mayhem’</i></b> happily freewheels through styles when
the desire takes. More successfully, it lets genuine teens voice the Turtles
and got the cast to do their voice-work in groups, generating a real energy of
adolescent banter. It’s this that is the real magic ingredient, as the issues
of difference, rejection, and acceptance all coast along merrily. It’s often
funny, as grubby as it is colourful, less headache-inducing (or stunning) than
the Spider-verse and, most of all: fun.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigUji2TIC9E_ub_wGhlMp68IQTXRwEdtqFXL3HHlrsyW8nX4Ec0_mcXP_KI0EULVFICdyBRsU_WmOkHSIsBpeNCbq02CvvqXYf-uU-9jQukFGhQNjgdqWfhQk7jNa2GR007s9cvVBCqkzCwRrZrmi7l_m700ic6fhG2DVI7JwHdi43MvbV4qwpc55Zij0/s800/GOTGv3.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="540" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigUji2TIC9E_ub_wGhlMp68IQTXRwEdtqFXL3HHlrsyW8nX4Ec0_mcXP_KI0EULVFICdyBRsU_WmOkHSIsBpeNCbq02CvvqXYf-uU-9jQukFGhQNjgdqWfhQk7jNa2GR007s9cvVBCqkzCwRrZrmi7l_m700ic6fhG2DVI7JwHdi43MvbV4qwpc55Zij0/s320/GOTGv3.jpeg" width="216" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> <a href="http://bucktheorem.blogspot.com/2023/05/guardians-of-galaxy-vol3.html" target="_blank"><b><i><u>‘Guardians of the Galaxy
vol. 3’</u></i></b>:</a> James Gunn rounded up <i>‘Guardians of the Galaxy’</i>
with more epicness, some fan service, some surprises and some fuck-you as he
added vivisection to the mix. There were still Daddy Issues, but the proof of
how unpredictable Gunn’s mixture of dark-and-schmaltz outlook on the genre can
be is that, at one or two points, you really do think he might kill off some
major character. He even throws on an <i>‘Old Boy’ </i>homage. Overstuffed,
yes, but fully entertainment. And me, I could have done with more Baby Groot.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVqrw2e7eWmtH8yk_4UzNgOHMQehjIFg0EYd7WAeATXwE34J5yEhBn3drSKylC5ifM_34BTjP0kBvSnYlCP_dzKACc7LMgouvUY6rkJjbG7I9GsRsxzWm3VuVggv-Me97DHTR4CYdr12KgzI2Zz35omcyIfFvpVb1ywU7mBkYPdzB6Gx_z8lJg-Xalffc/s1929/Spider-Man.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1929" data-original-width="1299" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVqrw2e7eWmtH8yk_4UzNgOHMQehjIFg0EYd7WAeATXwE34J5yEhBn3drSKylC5ifM_34BTjP0kBvSnYlCP_dzKACc7LMgouvUY6rkJjbG7I9GsRsxzWm3VuVggv-Me97DHTR4CYdr12KgzI2Zz35omcyIfFvpVb1ywU7mBkYPdzB6Gx_z8lJg-Xalffc/s320/Spider-Man.jpg" width="215" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> But of course, <a href="http://bucktheorem.blogspot.com/2023/06/spider-man-across-spider-verse.html" target="_blank"><b><i><u>‘Spider-man:
Across the Spider-verse’</u></i></b></a> was king of the genre. I had the same
reaction as I had to the prequel: immediately – Whooo, slow down! And then –
oh, wow! I didn’t know this was a “to be continued” ( I like to know as little
as possible) so the ending came as a pleasant surprise and I just chuckled with
satisfaction. Groundbreaking stuff. </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjitp1RVoXt5C4Ambdcio9GgJD1QK2AIhE819iiBbjHFxifnEvTZAyAgHT1z7cBgzp8N4-kSOu2f5_f7bfyGFhXiIqO5rsBd6-oVWplR4O7CINmxR0a-mnGLGfk2f2TilxRUpXP7qrfgnbgoli3kTsrmkfNsB8xKqMfGK9lw9n7aPAhprpBKkNPOAedQgE/s340/Smoking_Causes_Coughing_poster.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="250" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjitp1RVoXt5C4Ambdcio9GgJD1QK2AIhE819iiBbjHFxifnEvTZAyAgHT1z7cBgzp8N4-kSOu2f5_f7bfyGFhXiIqO5rsBd6-oVWplR4O7CINmxR0a-mnGLGfk2f2TilxRUpXP7qrfgnbgoli3kTsrmkfNsB8xKqMfGK9lw9n7aPAhprpBKkNPOAedQgE/s320/Smoking_Causes_Coughing_poster.png" width="235" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">One last note on the super-hero stuff:
Quentin Dupieux’s <b><i><u><a href="http://bucktheorem.blogspot.com/2023/07/smoking-causes-coughing.html" target="_blank">‘Smoking Causes Coughing</a>’</u></i></b> happily
started from the point of mocking the genre’s absurdism before turning into a
portmanteaux that widened its targets to embrace all kinds of silliness with
some horror garnish.</span></span></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-76488129328296516022024-01-01T19:36:00.000+00:002024-01-01T19:36:16.579+00:00Night of the Hunted<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
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<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><b><i><u style="text-underline: double;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt; font-variant: small-caps; line-height: 107%;"></span></u></i></b></p><div class="separator" style="clear: both; text-align: center;"><b><i><u style="text-underline: double;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUT6wwtlQXUgLy4TViVvlYu5l1iS3Nl_haTMb6lbxxbGvuWmvnJd5XcW4jM6gpCDJEoXL8KFeMRRYhWHS55iLOe4NzPt_imqStv5cm98Wd8u1mswh-0lgOtssy2Ife7MbIZwcSn2jiqbIdShrhWZb6Ry0gzoOMRCS1eqaSmSpTfEXCJG3rC_k3gwTCWRs/s2560/NightOfTheHunted_PressArt_3840x2160-scaled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="2560" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUT6wwtlQXUgLy4TViVvlYu5l1iS3Nl_haTMb6lbxxbGvuWmvnJd5XcW4jM6gpCDJEoXL8KFeMRRYhWHS55iLOe4NzPt_imqStv5cm98Wd8u1mswh-0lgOtssy2Ife7MbIZwcSn2jiqbIdShrhWZb6Ry0gzoOMRCS1eqaSmSpTfEXCJG3rC_k3gwTCWRs/w400-h225/NightOfTheHunted_PressArt_3840x2160-scaled.jpg" width="400" /></a></u></i></b></div><p></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><b><i><u style="text-underline: double;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt; font-variant: small-caps; line-height: 107%;">Night of the Hunted</span></u></i></b></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><i><span style="font-family: "Times New Roman",serif;">Director
~ Franck Khalfoun</span></i></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><i><span style="font-family: "Times New Roman",serif;">Writers
~ Rubén Ávila Calvo, Glen Freyer, Franck Khalfoun</span></i></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><i><span style="font-family: "Times New Roman",serif;">2023,
USA-France</span></i></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><i><span style="font-family: "Times New Roman",serif;">Stars
~ Camile Rowe, Jeremy Scippio</span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-family: "Times New Roman",serif;">But Franck Khalfoun’s ‘Night of the
Hunted’ proves problematic: as soon our adulteress protagonist says that her
only problem is men telling her what her problem is, we know that she’s going
to be all Final Girl. However, what the film then proceeds to do is to pin her
down under threat of death so that one guy can mansplain endlessly over a
walky-talky at her. </span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-family: "Times New Roman",serif;">She captured in a gas station at
night by a sniper that has deliberately left the walky-talky there so that he
can vomit all his grievances at his victim. That the film doesn’t easily let
Camille Rowe’s (she’s good) character give herself away is surely admirable –
even keeping the audience at arm’s length because, yeah, why should she be
answerable to anyone? – but then it sadistically makes her explain herself
under duress with Both Siderism. This serial killer wants her to “confess”
she’s just as bad as him because she works as in publicity for a pharmaceutical
company. Yes, it’s a conspiracy theorist’s rifle-aided rant-a-thon – he objects
to that term, but the conspiracy is surely that the whole world is against him.</span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-family: "Times New Roman",serif;">There’s a lot to enjoy in the
under-siege situation, and Khalfoun knows how to direct and keep all the balls
up in the air, and which just about keeps interest once you realise it’s giving
just as much time to a crazed mass murderer who thinks his Right Wing and
Misogynist agenda means some kind of justification (however articulate, it’s
there). There’s just the sense that the film thinks that she is somehow, in
some way, deserving. And that’s easily dismissible. There’s just something not
to trust.</span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-family: "Times New Roman",serif;"> </span></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com2tag:blogger.com,1999:blog-5739588130392043394.post-41793665583217225822023-12-31T20:48:00.006+00:002024-01-06T20:13:46.878+00:002023 film round-up part 1: dramas & dramas with a twist<p style="text-align: center;"><span style="font-size: large;"><b style="font-family: Domine;"><u> 2023 Film Summary</u></b></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzGcy3zswleYNhv1veAe7mEI5A7aSsLRaf0BRpo0grH2oZWPiM5qVQDsleMDVd4eZJAMKZgv0zqU1vZvjrFXQ6iPoSPOPxDlEGSip8D7W_6TQfVBVzHvcEsPDkYMaaG2GdPiLJMVaUTZderXa56h3jF5HFBXjoLIQGAzAvmBPdPOqULMv3V5PUolNq83Q/s1240/EO_image_002.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="698" data-original-width="1240" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzGcy3zswleYNhv1veAe7mEI5A7aSsLRaf0BRpo0grH2oZWPiM5qVQDsleMDVd4eZJAMKZgv0zqU1vZvjrFXQ6iPoSPOPxDlEGSip8D7W_6TQfVBVzHvcEsPDkYMaaG2GdPiLJMVaUTZderXa56h3jF5HFBXjoLIQGAzAvmBPdPOqULMv3V5PUolNq83Q/w400-h225/EO_image_002.jpg" width="400" /></a></div><ul style="text-align: left;"><li class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"> <b><i><u>Eat the Rich</u></i></b></span></span></li></ul><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Ce1WDBs-8eIxz-zbpaMzYXKeXOpQ6dJ-rVtYIuOe5k5cwAuZJy_LI2q_FCUPxVsdcTw_HaakS-oDiRomanwoBpy1UFgLV2wHqG-hpseKepnQnd4sIn695RSnHIVS2q43355HxOvnJnCMW862M-4Apm2oDgzjGQohDLYDuIqmzIRXhkShs3N3yaHs8GQ/s2953/babylon_montage_quad_l.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2215" data-original-width="2953" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Ce1WDBs-8eIxz-zbpaMzYXKeXOpQ6dJ-rVtYIuOe5k5cwAuZJy_LI2q_FCUPxVsdcTw_HaakS-oDiRomanwoBpy1UFgLV2wHqG-hpseKepnQnd4sIn695RSnHIVS2q43355HxOvnJnCMW862M-4Apm2oDgzjGQohDLYDuIqmzIRXhkShs3N3yaHs8GQ/s320/babylon_montage_quad_l.jpg" width="320" /></a></span></div><span style="font-size: medium;"><br />Perhaps we were meant to empathise
with those in Damien Chezelle’s <a href="http://bucktheorem.blogspot.com/2023/02/babylon.html " target="_blank"><b><i><u>‘Babylon’</u></i></b>,</a> but although it
was impressively mounted and performed – although Margot Robbie, who’s
brilliant, starts out as one of those aggravating Free Spirits and Brad Pitt starts
at his smarmiest – and is marked by a number of brilliant scenes, it wasn’t
quite as insightful as it thought, and not really more than a frequently
impressive confection.</span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUcX6_L-11Pct7xhOUbi2i39wDt9Kk9dpLR6wlKA2Nqsi4kJurJzj8eQ0jmZHd476Z-fS8AUX0Dndc0zEHBXopxCdCZ5QonO51u5NWzGSOvB6qV1QcIWb1Tgo-_R00eO8UU-JZxFwMsHMbzE-9850Ob4_UnjAYCnx4wvWWlFReaG9G5JASbuS462CHY4E/s752/Saltburn%20main-quad_500px.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="752" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUcX6_L-11Pct7xhOUbi2i39wDt9Kk9dpLR6wlKA2Nqsi4kJurJzj8eQ0jmZHd476Z-fS8AUX0Dndc0zEHBXopxCdCZ5QonO51u5NWzGSOvB6qV1QcIWb1Tgo-_R00eO8UU-JZxFwMsHMbzE-9850Ob4_UnjAYCnx4wvWWlFReaG9G5JASbuS462CHY4E/s320/Saltburn%20main-quad_500px.webp" width="320" /></a></span></div><p><span style="font-size: medium;"><br />Emerald Fennel’s <b><i><a href="http://bucktheorem.blogspot.com/2023/12/saltburn.html" target="_blank"><u>‘Saltburn’</u>
</a></i></b>was a confection quite pleased with itself too, but with a wicked
streak rather than film school pretension, and therefore just more fun. <br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIrUKlK3j6HgrpXM6YMX6F4sZ_L98J1Vz91qriIggefRYE_tGg24OghphalpoeNMDQoVUyyOS7vO7CHumJnBL9WLdODCyULtemkhH8xxL88IvAmHxbfEMrmjQAYErPezu_Fk_QevV9I3RzSagAXSncYPipIX3K54JhjyER8epDfG875iQHKArsHcco6qI/s901/raging-grace-still-601x901.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="901" data-original-width="601" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIrUKlK3j6HgrpXM6YMX6F4sZ_L98J1Vz91qriIggefRYE_tGg24OghphalpoeNMDQoVUyyOS7vO7CHumJnBL9WLdODCyULtemkhH8xxL88IvAmHxbfEMrmjQAYErPezu_Fk_QevV9I3RzSagAXSncYPipIX3K54JhjyER8epDfG875iQHKArsHcco6qI/s320/raging-grace-still-601x901.jpg" width="213" /></a></div><p></p>
<div class="body-text -prose collapsible-text" data-full-text-url="/s/full-text/viewing:436458790/" style="text-align: left;">
<p style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">A little jump ahead to more Horror themed films... Paris Zarcilla's<b><i><u> 'Raging Grace' </u></i></b>is a film where the Gothic House tradition is seen through the Filipino
staff, and in that way achieves both a lot of genre subversion and
social commentary. And seeing through this lens also makes sense of why
the English characters are verging on grotesques: if it's a little
broad, that arguably fits with the Gothic melodramatic custom (even look
to 'Cobweb' for comparison to horror parallels). The four leads are
exceptional: Jaeden Paige Boadilla is especially endearing and disarming
as Grace.</span></span></p><p style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Jon Clarke's score makes sure the Fillipino roots are
always foregrounded - and this is how you end a film on a dance number.
Paris Zarcilla (in the FrightFest Q&A) talks of the rage that fueled
the script, the anger he felt when during Covid, how Filipinos were
staffing the NHS and yet the British government committed more and more
to demonising immigrants. It was this anger echoed by the other
crewmembers and this aspect that evidently greatly moved much of the
audience. Indeed, the choir that we see at the end are all NHS workers
which only seemed to add to the poignancy. Again, adding increasingly
diverse viewpoints to familiar tropes only reveals how potent genre is
for expressing and exposing rage and social injustice. And yet, Zarcilla
talked of getting past this to get to the joys of life, and to that end
the film never feels despairing and this agenda is captured in the
final musical sequence. In this way, the film achieves its goal and ends
up unexpectedly moving and deeper than its surface pleasures.</span></span></p><p style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"> </span></span></p></div>
<ul style="text-align: left;"><li class="MsoListParagraph" style="margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18pt;"><span style="font-size: medium;"><span style="font-family: Domine;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;"> <u><i><b>
</b></i></u></span><u><i><b>To
the disenfranchised:</b></i></u></span></span></li></ul>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH_0aG1onjgrHhWDEOrCOh-Ka-mzcVtR1SL8llKYIGY1ushemDAwzOuzdwTyE6UWbVgO8nxkjTgaRCbECI284X1weP8nkFEBWj3MnGuXDXahqDq-bODqxjbyh8wF1-isUC_TU7blStlboTN2Pt4EfYmiCwn07b060d2YUiUHGEPZbRlYCsVWOynbsi92s/s1280/war%20pony.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH_0aG1onjgrHhWDEOrCOh-Ka-mzcVtR1SL8llKYIGY1ushemDAwzOuzdwTyE6UWbVgO8nxkjTgaRCbECI284X1weP8nkFEBWj3MnGuXDXahqDq-bODqxjbyh8wF1-isUC_TU7blStlboTN2Pt4EfYmiCwn07b060d2YUiUHGEPZbRlYCsVWOynbsi92s/s320/war%20pony.jpg" width="320" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Gina Gammell and Riley Keough’s <a href="http://bucktheorem.blogspot.com/2023/06/war-pony.html" target="_blank"><b><i><u>‘War
Pony’</u></i></b> </a>was the kind of coming-of-age tale that educated an audience to
a specific community, in this case the Pine Ridge Reservation. It wasn’t
interested in misery porn or even melodrama, but rather just to outline just
day-to-day living and struggle. And in that way, it was poignant and effecting. <br /></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Even a minor sci-fi horror like <b><i><u>‘Slash/Back’</u></i></b>,
being set in a small arctic hamlet and using non-professional teen actors had
authenticity and winning scruffiness that slicker productions can’t reach.
Sometimes, teen banter and energy is enough to carry a film and win you over.
Look even to <i>‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ </i>or Miles
Morales. Don’t look to <i>‘Kid vs. Aliens’</i>, though. The alien invasion of ‘<i>Slash/Back’</i>
was almost secondary to the tale of the kids combatting the boredom and the
limits of their hometown.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6LicfSIQDv1-I-2cRS-LMdgZOUskW5gCmxy2cYv1MtKS24rUSiR2kUomTHgdbVZ443ABZKs_Fvr3Ix4EYeUnpwO2SmOqkNEhtDxGkn2-kzQC4A9Ye1TggkMMBS-pTmA41qYJY7NgXJzsjhvye3EBtBU0RNIQ6AxDD74USXY56SQTlh1Raao5Ri14fiCk/s1504/The+Damned+Don't+Cry.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="846" data-original-width="1504" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6LicfSIQDv1-I-2cRS-LMdgZOUskW5gCmxy2cYv1MtKS24rUSiR2kUomTHgdbVZ443ABZKs_Fvr3Ix4EYeUnpwO2SmOqkNEhtDxGkn2-kzQC4A9Ye1TggkMMBS-pTmA41qYJY7NgXJzsjhvye3EBtBU0RNIQ6AxDD74USXY56SQTlh1Raao5Ri14fiCk/s320/The+Damned+Don't+Cry.jpeg" width="320" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Fyzal Boulifa’s <a href="http://bucktheorem.blogspot.com/2023/08/the-damned-dont-cry-les-damnes-ne.html" target="_blank">‘<b><i><u>The
Damned Don’t Cry’</u></i></b></a> had a similar non-judgmental, sympathetic view of
its protagonists as ‘<i>War Pony</i>’, portraying the disintegration of a
relationship between a drifting mother and son. Naturalistic and convincing, a
quietly bruising tale of not having the privilege to be yourself when you’re
just scraping by.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-aHyCf-TezjRs3w-z01HHBfhxjKJNhgS09-EjuHQV60nhP8fewh_xhvMJ_zfZVmEprYfDNw2djpY5g279SOwgt6qIVTNMRbox2VNyyJH0h1mSIodNqOzXHJ8430H9BnZsJtu34uuKyZXpdUAmadtNMSm_ZSkF7Srg5Zk6AZTuf_BZSg2rRd4BxR0pd4A/s1500/Broker.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1048" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-aHyCf-TezjRs3w-z01HHBfhxjKJNhgS09-EjuHQV60nhP8fewh_xhvMJ_zfZVmEprYfDNw2djpY5g279SOwgt6qIVTNMRbox2VNyyJH0h1mSIodNqOzXHJ8430H9BnZsJtu34uuKyZXpdUAmadtNMSm_ZSkF7Srg5Zk6AZTuf_BZSg2rRd4BxR0pd4A/s320/Broker.jpg" width="224" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Kore-eda Hirokazu gave another
sharp, affecting portrait of the disenfranchised, and the criminal. If ‘<b><i><u>Broker</u></i></b>’
was not quite as devastating as ‘<i>Shoplifters</i>’, it wasn’t for want of
trying or skill. Like Ozu, Kore-eda is a master of just dropping in a line of
dialogue or an action or two that shocks and puts a whole new perspective on
the deceptively easy and mild veneer that has gone before. But even if we
started out with a bunch of unsympathetic orphan dealers, Kore-eda still turns
the screws by the end. His tales of outsiders are always subtle, empathic and
masterful.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijQRJ6NGzhriwTr3BuzTzUs9bgoOg2NOSlfk8y_Wu6r_EIHrrgVt61A84LgfwZtfn8r3xgi5qE5DSUmsB5dFPPeCMD7iTAwW0TeCfeMzy7mTTVQorOTg1d3Lzmcu1VUZBb_v0t3QACENRJgIJ8Fp5RTecH1EIF7JdCM1XiqFPXivVEcvuHqwiVsLbWuDw/s1600/BlueJean_UK_Altitude_HR.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijQRJ6NGzhriwTr3BuzTzUs9bgoOg2NOSlfk8y_Wu6r_EIHrrgVt61A84LgfwZtfn8r3xgi5qE5DSUmsB5dFPPeCMD7iTAwW0TeCfeMzy7mTTVQorOTg1d3Lzmcu1VUZBb_v0t3QACENRJgIJ8Fp5RTecH1EIF7JdCM1XiqFPXivVEcvuHqwiVsLbWuDw/s320/BlueJean_UK_Altitude_HR.jpg" width="320" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">But Jean in Georgia Oakley’s <a href="http://bucktheorem.blogspot.com/2023/03/blue-jean.html" target="_blank"><b><i><u>‘Blue
Jean’</u></i></b> </a>was just trying to get through the day without the truth of
her sexuality being exposed during a time of when the British government was
passing laws prejudiced against gay and lesbian lifestyles. It was typical of
British drama of this type: scruffy, truthful, a little on-the-nose,
performances that were both obvious and nuanced, but most of all full of
sympathy and positivity from its angry core.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"> </span></span></p>
<ul style="text-align: left;"><li class="MsoListParagraph" style="margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18pt;"><span style="font-size: medium;"><span style="font-family: Domine;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;"> <u><i><b>
</b></i></u></span><u><i><b>And
there were plenty of narcissists:</b></i></u></span></span></li></ul><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxx9naYH3aLpvM-gf49OfKfD5tSNc0WOltfNknDUtf_vTq97OQnBjS_WiNvy6PXzRSLxxZcFZjP7qdeuK1LH-rj8Wd00oha9SHP7LIfL7SCKo3kaSjw2qAemayXp8GaFXVPRQV9XWALWWxJ_cFxijcPVut9gHIojeHNAim9SvpF8Z4vu7ZeM7SI7RSC7Q/s2048/Sick%20of%20Myself.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1434" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxx9naYH3aLpvM-gf49OfKfD5tSNc0WOltfNknDUtf_vTq97OQnBjS_WiNvy6PXzRSLxxZcFZjP7qdeuK1LH-rj8Wd00oha9SHP7LIfL7SCKo3kaSjw2qAemayXp8GaFXVPRQV9XWALWWxJ_cFxijcPVut9gHIojeHNAim9SvpF8Z4vu7ZeM7SI7RSC7Q/s320/Sick%20of%20Myself.jpg" width="224" /></a></div><p></p><div>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Kristoffer Borgli’s <b><i><u>‘Sick
of Myself’</u></i></b> was a fine satire on the <span style="font-variant: small-caps;">Look
At Me</span> social media generation. Almost Cronenbergian (ref. ‘<i>Crimes of
the Future’</i>, <i>‘Antivirus’</i>) with its vain protagonist using
self-induced medical issues to boost her profile and popularity. Social media
being just a medium, and the empowerment it provides here was totally in the
service of vanity rather than, say, positive empowerment of ‘<i>Eighth Grade</i>’.
Lots of Comedy of Discomfort and Embarrassment, and amusing enough as a parody
on privilege and self-centredness, headed by an ironic title that nevertheless
– if taken as more than just a familiar phrase to play with – might hint at an
even deeper self-hatred.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0l-YcFezg6lqeZKtw_CJg-t-J0ffs9h5-_fmXlNxn8RF5XLAJheoj1k946HLtnD0m58htAIS-Q-5I4F6bP-F0kP9wXuz5QT9W0-Dqwo7mXOfLBr4Vl6oYXl28Jft4HhtS_GAd1T8x64dx4EJgXMcWYxmazuS4q191-PM9RAInY5dGn9_5sEOa0pOPT1I/s720/passages.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="486" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0l-YcFezg6lqeZKtw_CJg-t-J0ffs9h5-_fmXlNxn8RF5XLAJheoj1k946HLtnD0m58htAIS-Q-5I4F6bP-F0kP9wXuz5QT9W0-Dqwo7mXOfLBr4Vl6oYXl28Jft4HhtS_GAd1T8x64dx4EJgXMcWYxmazuS4q191-PM9RAInY5dGn9_5sEOa0pOPT1I/s320/passages.jpg" width="216" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Ira Sachs’ ‘<b><i><u>Passages</u></i></b>’
also gave an accurate portrayal of an everyday narcissist but focusing upon the
manipulations and damage. Tomas Freiburg – an excellent Franz Rogowski – is a
director who wasn’t so much malicious as so focused on self-gratification that
he was unaware of the repercussions of his behaviour. Promiscuous,
manipulative, charming, wayward A guy who thinks nothing of wearing a crop-top
when meeting the parents of the woman he’s impregnated because he wants to try
a straight relationship at the expense of his gay lover. A solid work with an
outstanding opening scene of Freiburg at work followed by melodrama, messy
relations, sex, and streaks of humour where characters barely know where they
are heading. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXp4W8G5Ox8dJA0UTtEU2j6JyAMs8a_PKIQ8cNQgWqG9PprtjXSHaYu2USS8nLUSWHad9BAgVzE3EfIkh-_y6gC_B6qGdi5C4uuVI2EhDchRGsc6pxQjigXAQZNm7HiPAf_WVTkYwzSJRBhqoWyeT4U23gFu23wRbx9_ZqWQeHzKFXcNFlEX8M9elYofw/s299/Retour_%C3%A0_S%C3%A9oul.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="299" data-original-width="220" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXp4W8G5Ox8dJA0UTtEU2j6JyAMs8a_PKIQ8cNQgWqG9PprtjXSHaYu2USS8nLUSWHad9BAgVzE3EfIkh-_y6gC_B6qGdi5C4uuVI2EhDchRGsc6pxQjigXAQZNm7HiPAf_WVTkYwzSJRBhqoWyeT4U23gFu23wRbx9_ZqWQeHzKFXcNFlEX8M9elYofw/s1600/Retour_%C3%A0_S%C3%A9oul.jpg" width="220" /></a></div><span style="font-size: medium;"><span style="font-family: Domine;"> </span></span><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p><div class="separator" style="clear: both; text-align: center;"></div><div style="text-align: justify;"><span style="font-size: medium;">Davy Chou’s ‘<b><i><u>Return to
Seoul</u></i></b>’ also had a protagonist guided mostly with her own whim and
indulgence. From the opening where Frédérique Benoît (an excellent Park Ji-min)
~ who decides to return to Seoul from France to find her father ~ charms the
concierge at the hotel, and then turns a simple café visit into a kind of
party, her charm and confidence is obvious and freeing in a more reserved culture.
But there’s something self-centred in her that also makes her destructive and
heartless; that’s the flipside of “free spirits”. A little short-sightedly, the
film seems to lay the fault of her defects at the feet of her being adopted; or
at least that seems to be what Frédérique wants to blame. It’s picaresque, sly,
and deceptively charming and fluid as our main character learns both to connect
more earnestly with others whilst simultaneously monetising her failures of
empathy.</span></div><p></p>
<ul style="text-align: left;"><li class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -18pt;"><span style="font-size: medium;"><span style="font-family: Domine;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;"> <i><u><b>
</b></u></i></span><i><u><b>And
elsewhere…</b></u></i></span></span></li></ul>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBttc_HR4Lpd1kdtdCkryS8L9YdAqAhiZCXiwK9rPUHiWDgWMA4TwMaEKPrNfVeQCafNefAaEDIUCK8OYijP5p38fHG48yW95MckqFHaHF3wYbplpjiatAOO3ZlxBm8QYtZZRdBeWNIP7vkVpHhjWI44lQi4aSiBCZhcLweg6eHdoReuKYqU_2u-6jCxk/s1441/Godland.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1441" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBttc_HR4Lpd1kdtdCkryS8L9YdAqAhiZCXiwK9rPUHiWDgWMA4TwMaEKPrNfVeQCafNefAaEDIUCK8OYijP5p38fHG48yW95MckqFHaHF3wYbplpjiatAOO3ZlxBm8QYtZZRdBeWNIP7vkVpHhjWI44lQi4aSiBCZhcLweg6eHdoReuKYqU_2u-6jCxk/s320/Godland.jpg" width="222" /></a></span>Location work of a startling kind
came with Hlynur Pálmason’s <b><i><u>‘Godland’</u></i></b>: the stunning
scenery of remote Iceland with edges rounded off the frame as if looking
through a viewfinder. Slowly revealing itself as an acerbic condemnation of the
arrogance of colonialists as one man representing austere and humourless
religion attempts to bring austerity and humourlessness to a remote village
that is doing just fine, thank you. Unapologetically contemplative cinema that
becomes totally immersive and features the kind of film-making where you think <i>How
did they make the dog act so brilliantly? </i>And <i>How did they cue that fly
on his eyelid like that? (CGI?)</i></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKji4fy1NOXfB6QkyKeC0WxDTONCbKRe2WPqImPX-DlV8T0jPN8bkgLCNF6CtRXR4wbN_r3rWCG87Ihyicm-eT4vWFERsz61YaLmpUwkK0kvfl9Sx0JDbInE8lO2hyphenhyphenMERjIl0Fu3mklcPsNIKZlICf6zeQhWqZk4X5ePzQDeJUIDMABJ2ZuhiTRkJrewc/s1024/past%20lives.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1024" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKji4fy1NOXfB6QkyKeC0WxDTONCbKRe2WPqImPX-DlV8T0jPN8bkgLCNF6CtRXR4wbN_r3rWCG87Ihyicm-eT4vWFERsz61YaLmpUwkK0kvfl9Sx0JDbInE8lO2hyphenhyphenMERjIl0Fu3mklcPsNIKZlICf6zeQhWqZk4X5ePzQDeJUIDMABJ2ZuhiTRkJrewc/s320/past%20lives.jpg" width="320" /></a></span></div><span style="font-size: medium;"></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">But for a Finding Yourself And
Others story, Celine Song’s <a href="http://bucktheorem.blogspot.com/2023/10/past-lives.html" target="_blank">‘<b><i><u>Past Lives</u></i></b>’</a> took the prize
for being deceptively easy, never quite given to melodrama and always mature. Refreshing
in that it was dealing with mature characters who knew themselves enough to
negotiate what could be a tricky reunion into something fulfilling. It was
ultimately a subtle and positive film about the effect we have on one another
where even the things that didn’t happen are worth shedding a bittersweet tear
for.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWgLEZD0Xc5Eg5Qyy4c9mA4y6Ic3kCETyRj1xCv2Eyo_ROp_vDmpSRcurAJ1JD6zbWy1y90oRS9xcJ_UBloEVDS3i2r6W3gXabZM1v-qskyBpbdSKHSmPEzQKuUJwv5JryA8xCnOYUod8gQQePDapHKgErAbE5UrMfYo7v8T5omb3sm6lYYD96wn43ARQ/s1280/Love%20Life.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWgLEZD0Xc5Eg5Qyy4c9mA4y6Ic3kCETyRj1xCv2Eyo_ROp_vDmpSRcurAJ1JD6zbWy1y90oRS9xcJ_UBloEVDS3i2r6W3gXabZM1v-qskyBpbdSKHSmPEzQKuUJwv5JryA8xCnOYUod8gQQePDapHKgErAbE5UrMfYo7v8T5omb3sm6lYYD96wn43ARQ/s320/Love%20Life.jpg" width="320" /></a></span></div><span style="font-size: medium;">Kôji Fukada’s <b><i><u>‘Love Life’</u></i></b>
however, was almost totally full of dysfunctional people unable to truly come
together in a time of tragedy. It emerged as an indictment of Keeping Up
Appearances, showing the mess of grief and lack of true communication and
confusing behaviour between those society labels closest. Below its bright and
light surface, something screaming with confusion and yearning lurked. </span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">In one day, I had a triple-bill of
‘<i>Past Lives’, ‘Love Life’</i> and <i>‘Passages’</i>, which proved quite the
emotional workout. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"> <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi54dTswvKLBs888wEL2RJLA-xce0E6YWpeiGto6JzKLcHozyFQh0EzEcsAg-9wiKKyEo3OCeSIJv6UvwPVo3C_v_C19eaha7ZhlhQKpW5fT4-IpDUDP92jaDTi1vZZd_106g3MrnYm65ZK75KXc9sxq6pE9bbBHV3Dd4X95s7g2rSgQDO5N11GtGujfT4/s640/close-2022-movieklub.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi54dTswvKLBs888wEL2RJLA-xce0E6YWpeiGto6JzKLcHozyFQh0EzEcsAg-9wiKKyEo3OCeSIJv6UvwPVo3C_v_C19eaha7ZhlhQKpW5fT4-IpDUDP92jaDTi1vZZd_106g3MrnYm65ZK75KXc9sxq6pE9bbBHV3Dd4X95s7g2rSgQDO5N11GtGujfT4/s320/close-2022-movieklub.jpeg" width="320" /></a></span></div><span style="font-size: medium;"><br /></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">And if you were after an even more unashamed
heartbreaker, Lukas Doht’s <b><i><u>‘Close’</u></i></b> would do the job,
describing the disintegration of a childhood friendship and the aftermath. Led
by remarkable young performances – devastating too – it is a film that treats
adolescent feeling with full respect and space, almost a condemnation of cultural
stifling of male affection. It may utilise some manipulations of a weepy the
further it goes, but that’s no disparagement; it avoids all-out melodrama, is
gorgeously filmed, stunningly acted, and presents a world where kids and adults
alike are mature and affected. Anyone that remembers the pains of teenage relationship
turbulence will be affected. <span> </span><span> </span></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyQrwqz_Jtw7ThhKAbMnrpyPDYeNLOC9nuDZk9xhsCCh6QC00AR72IlOkSvyYMxHrPXvj4xb8HeUQ6izPVOtdelec-Zk-EsOgpe5b6VcWm46fyKG7eCp-phxXAFal4XWuos2NMmpV_lEWKRPWfRLxDx1BPrtvbO-TA28bb_LbMDJgbR-x0u8cgQlqFDpo/s1481/beasts.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1481" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyQrwqz_Jtw7ThhKAbMnrpyPDYeNLOC9nuDZk9xhsCCh6QC00AR72IlOkSvyYMxHrPXvj4xb8HeUQ6izPVOtdelec-Zk-EsOgpe5b6VcWm46fyKG7eCp-phxXAFal4XWuos2NMmpV_lEWKRPWfRLxDx1BPrtvbO-TA28bb_LbMDJgbR-x0u8cgQlqFDpo/s320/beasts.jpg" width="216" /></a></span></div><div style="text-align: justify;"><span style="font-size: medium;">Rodrigo Sorogoyen’s <b><i><u>‘<a href="http://bucktheorem.blogspot.com/2023/07/the-beasts-as-bestas.html " target="_blank">The Beasts’</a></u></i></b> was tense, relatable and
upsetting. Escalating problems with neighbours, thriller suspense, an
examination on injustice and grief with a nod to the primal and territorialism.
There’s considerable tonal control and breadth being covered, never forgetting
its complexities.</span></div><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRnHpsZIK8BARHTRJ3AD826HM3XgY8-JhySYJf21CxHnEG7UwSrQfMs484mMtjXMbydW95C_Pf4jsfgpupMVtoS4zoaAKw3ViNBlSwP8FKXSi-cryiBaoxZFaJbcNfUix4d1Dntz6JxbO-YHmpRjGrWQCSBBOomocnLVI1pW3JkakWjzFe4QuraBC4FiA/s2500/Pamfir.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1875" data-original-width="2500" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRnHpsZIK8BARHTRJ3AD826HM3XgY8-JhySYJf21CxHnEG7UwSrQfMs484mMtjXMbydW95C_Pf4jsfgpupMVtoS4zoaAKw3ViNBlSwP8FKXSi-cryiBaoxZFaJbcNfUix4d1Dntz6JxbO-YHmpRjGrWQCSBBOomocnLVI1pW3JkakWjzFe4QuraBC4FiA/s320/Pamfir.jpg" width="320" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Dmytro Sukholytkyy-Sobchuk’s <b><i><u>‘Pamfir’</u></i></b>
was impressively directed, running on a common Criminal Comes Home And Tries To
Sort His Life Out narrative. Possessed of several elegantly choreographed long
takes, Nikita Kuzmenko’s vivid photography, compelling performances, and a
concentration on character so that eventual bursts into violence don’t
undermine the deeper investment already earned. It’s good on the caring side of
a seemingly brutish man too, even when misfortune brings him on the losing side.
The limitation of village life the familiarity of the crime story coalesced
into a localised Ukranian condemnation of corruption killing people’s opportunities.<span> </span></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"> If <i>‘Beasts’</i> and <i>‘Pamfir’</i> were
very much concerned with the brute force of machismo, there were a couple of
courtroom dramas that interrogated the elusiveness of female identity. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP9niWijtk-ig7O4Dfe_naT6UbnjSGlVSnvR8Q8qW_DCN931iIiwOH8xyu4aw6bj4ObpGLdkSETaWHWTuqVBOInflCd3ppjeIte2qblh_mY1L5zjnzt0dD9mxsfIYAlfFVa07Rtbpk6R4OhygO1SRv6u6TWUDeSkIGTsy-sPQVUaqI7WQUAeUMo8JQhMY/s740/SaintOmer.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="493" data-original-width="740" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP9niWijtk-ig7O4Dfe_naT6UbnjSGlVSnvR8Q8qW_DCN931iIiwOH8xyu4aw6bj4ObpGLdkSETaWHWTuqVBOInflCd3ppjeIte2qblh_mY1L5zjnzt0dD9mxsfIYAlfFVa07Rtbpk6R4OhygO1SRv6u6TWUDeSkIGTsy-sPQVUaqI7WQUAeUMo8JQhMY/s320/SaintOmer.webp" width="320" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Alice Diop’s <b><i><u>‘Saint Omer’</u></i></b>
was a fascinating, chilling and slightly frustrating, telling the tale of the
trial of a woman guilty of leaving her baby to die on a beach. <span> </span>Kayije Kagame is the writer wwho thinks to
find a topic in the case, but instead finds an example for her anxieties about
pending motherhood. The quasi-documentary approach allowed the
unreliable/conflicting testimonies to weave their own impenetrable mysteries
without speechifying and expositioning. However, it takes recourse to long,
fraught, frigid, and thick glares; in fact, it is the glare of Guslagie Malanda
that is likely to be the major take-away memory. A troubling examination of the
unknowability of motivation, then, but also of the disturbing realisation that
we may see a reflection of ourselves in such cases. And yet the film never
quite finds the coda that brings it all together.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGjE3BOxcm4im6V7ctwzPjh3xHwQQ8lMaiAFFfo21C8n-wj1FPWv1YsP5DUSCRgh3g_HE9zKV6Wm1xxBpd-CjLxBuN6VPm0cy40g7Jv2ArnsL71ugySCzufzE6kCqWujWdVCRMz1xUfhnfBDFtX-ASHQg_z016615t5-_W-iY33ZMN5YQPuqwawcowJSg/s1467/Anantomy%20of%20a%20Fall.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1467" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGjE3BOxcm4im6V7ctwzPjh3xHwQQ8lMaiAFFfo21C8n-wj1FPWv1YsP5DUSCRgh3g_HE9zKV6Wm1xxBpd-CjLxBuN6VPm0cy40g7Jv2ArnsL71ugySCzufzE6kCqWujWdVCRMz1xUfhnfBDFtX-ASHQg_z016615t5-_W-iY33ZMN5YQPuqwawcowJSg/s320/Anantomy%20of%20a%20Fall.jpg" width="218" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Justine Triet’s <b><i><u>‘Anatomy
of a Fall'</u></i></b> needed its full running time to fully move into and
flesh out its true agenda: the unknowability not of motivation, or even truth,
but of relationships. When her husband falls to his death, an author is
suspected of murder, but only her blind son seems capable of influencing the
outcome of the trial. Mostly, it’s the stunning performance of Sandra Hüller
that grips as an intelligent, articulate, slippery commentator on what is
happening to her. And accompanying her is Milo Machado Graner’s turn as her
precocious son, both vulnerable and resilient. Not that anyone else is lacking,
but these two demonstrations of the art of acting consistently stun as the narrative
goes beyond ambiguity to the grey areas of lived experience, faulty
perspectives and choice of truth.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZTk0buHiqv-MP2m10AiLEg_CItCqxZJvFp6IE7fA76D1IotCIaCbaN1s3Cu1gxfedgC_50_FrnMOTw3CiobWAgK6vsqU1h7BwhsrwIJY_O1yK3tyLTGuYC2HqyUg0KXTHbMmucrEntsBG3XOo_3nYGv3klDxD3KrEz7KWrZjWlIlko2ZHq5qa2VUVuws/s273/Medusa%20Deluxe.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="273" data-original-width="184" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZTk0buHiqv-MP2m10AiLEg_CItCqxZJvFp6IE7fA76D1IotCIaCbaN1s3Cu1gxfedgC_50_FrnMOTw3CiobWAgK6vsqU1h7BwhsrwIJY_O1yK3tyLTGuYC2HqyUg0KXTHbMmucrEntsBG3XOo_3nYGv3klDxD3KrEz7KWrZjWlIlko2ZHq5qa2VUVuws/s1600/Medusa%20Deluxe.jpg" width="184" /></a></span></div><span style="font-size: medium;">Despite a lot of<span> </span>male characters, Thomas Hardiman’s <b><i><u>‘Medusa
Deluxe’</u> </i></b>had a strong female vibe because a dresser and model woman
had such a fierce presence. It was another One Take Wonder and, although that
didn’t necessarily add to the theme (for example, Philip Barantini’s <i>‘Boiling
Point’</i> used a single take to chronical work life in real time and in Beth
de Araújo’s <i>‘Soft & Quiet’ </i>it was to show how quickly things can
escalate), that’s a gimmick that ordinarily impresses with choreographed
camerawork and the actors maintaining the momentum and developing a performance
before our eyes (like theatre), and it certainly did that here. Full of British
brashness, plenty of colour and verve, ostensibly hung on a murder-mystery set during
a hair dressing contest, there was a lot here to impress.</span><p></p>
<ul style="text-align: left;"><li class="MsoListParagraph" style="margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18pt;"><span style="font-size: medium;"><span style="font-family: Domine;"><span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;"><u><i><b>
</b></i></u></span><u><i><b>And
a little magic realism and/or the uncanny and/or artifice:</b></i></u></span></span></li><li class="MsoListParagraph" style="margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18pt;"><span style="font-size: medium;"><span style="font-family: Domine;"><u><i><b> </b></i></u></span></span><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8IsfISSQIjTeVaPQe1w0HSVs-D3MwIpYJU_t2jknYRLQ58pl55sZEUhqPnBEi0maVHIKztAf5DDTtRIGXJ3DxckknyFnCZDN7lUUmVkkUfpXhLgB6B9cx5zeJTTfLwizYqjRYaBgKIEedpIPgDtX5ci1FF62gY00kIxFZnnw-kENp9eUN7iB7-64lJc8/s1481/asteroid%20city.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1481" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8IsfISSQIjTeVaPQe1w0HSVs-D3MwIpYJU_t2jknYRLQ58pl55sZEUhqPnBEi0maVHIKztAf5DDTtRIGXJ3DxckknyFnCZDN7lUUmVkkUfpXhLgB6B9cx5zeJTTfLwizYqjRYaBgKIEedpIPgDtX5ci1FF62gY00kIxFZnnw-kENp9eUN7iB7-64lJc8/s320/asteroid%20city.jpg" width="216" /></a></div></li></ul>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">And if we’re talking confections of reality, Wes Anderson’s <a href="http://bucktheorem.blogspot.com/2023/07/asteroid-city.html" target="_blank"><b><i><u>‘Asteroid
City’</u></i></b> </a>was a diorama smorgasbord of Rocket Age Sci-Fi tinged Deadpan
Comedy Drama, with a dose of black-and-white cinema thrown in. And a fair bit
of Artist Angst too. Designed within an inch of its life and then some more, it
was designed to inspire haters who despise hipsters, but Anderson has always
been hit-or-miss, and the melancholy and milieu hit many of my buttons.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ft8IvoEfMwIqtJypjiUSgXtUWeWw-5xl8qmXzhtoicJf5EXAbZztsNtC_evdYm96QH0zsPJPaBaEsICBkAXh9F4qhHg3WInSVs_ziidR1vtjp_QHLldbbx3jeTj4SrWahBkJfIAZ3QYTXf8y8CwzJxuer8AQZ3DDPFs8ZDqIE29qOzMssKpGyoOBRDI/s1280/enys%20men.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ft8IvoEfMwIqtJypjiUSgXtUWeWw-5xl8qmXzhtoicJf5EXAbZztsNtC_evdYm96QH0zsPJPaBaEsICBkAXh9F4qhHg3WInSVs_ziidR1vtjp_QHLldbbx3jeTj4SrWahBkJfIAZ3QYTXf8y8CwzJxuer8AQZ3DDPFs8ZDqIE29qOzMssKpGyoOBRDI/s320/enys%20men.jpg" width="320" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Mark Jenkins’<a href="http://bucktheorem.blogspot.com/2023/02/enys-men.html" target="_blank"> ‘<b><i><u>Enys Men</u></i></b>’</a>
was also an excellent mood piece with and faultless recreation of ‘70s
TV/cinematic spookiness and scruffiness. That its mysteries remain untangled
left it perhaps a frustrating curiosity, with its insistence upon repetition
and mostly wordlessness; but with flare-ups of folk horror to mitigate its
insistence upon keeping its abstractness intact, its bright creepiness exuded a
lingering and compelling aftertaste. As a tale of a woman seemingly trapped in
the temporal loops amongst the ghosts of an island, trapped in a nightmare
filmed with Jenkins’ trusty Bolex camera, it’s grit and grain and audacity
proved compelling.<br /><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfF5lKT1eEko0uKRrZhHsNHoW1egjkT9xyQy3_YbrSHBhnHhmvdm5GJw0Zv7USWCngvjpWtnlFL6l1IdzIiAwPKgpEjcXHpLh6VmKv6qurbwsJrL1mbMuasVlpKDAMmLR4IE_46rPic12fCGvcY6dkkh4hBMmUlNCfH-EixUPuh_StwWE5D4LJoBkdUXY/s3508/inland.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3508" data-original-width="2375" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfF5lKT1eEko0uKRrZhHsNHoW1egjkT9xyQy3_YbrSHBhnHhmvdm5GJw0Zv7USWCngvjpWtnlFL6l1IdzIiAwPKgpEjcXHpLh6VmKv6qurbwsJrL1mbMuasVlpKDAMmLR4IE_46rPic12fCGvcY6dkkh4hBMmUlNCfH-EixUPuh_StwWE5D4LJoBkdUXY/s320/inland.jpg" width="217" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Less successful at abstract uncanny
was Fridtjof Ryder’s ‘<b><i><u>Inland</u></i></b>’. Nicely shot and trying
hard, and sporting the ever impressive Mark Rylance, it ultimately proved less
than its genre mash-up intentions.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuYtSgKY4K73joMSi5rBb2Pgm3osqk5_zrpLpZbVjtGVVrfSXPVsltLYbS9K3F-CqV0I4qQE58lsgxGDTMlOhyphenhyphenba5wFpQuk9C-UGYcdQzOcMzonvOKm9rAD7twgpSEVLdQUOyh222MdR74UHZb1Mqh1WFD8-hzyJg9D0KmCaYkGzx7KPGXls2Rv0XFOgs/s300/fivedevils.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuYtSgKY4K73joMSi5rBb2Pgm3osqk5_zrpLpZbVjtGVVrfSXPVsltLYbS9K3F-CqV0I4qQE58lsgxGDTMlOhyphenhyphenba5wFpQuk9C-UGYcdQzOcMzonvOKm9rAD7twgpSEVLdQUOyh222MdR74UHZb1Mqh1WFD8-hzyJg9D0KmCaYkGzx7KPGXls2Rv0XFOgs/s1600/fivedevils.jpg" width="300" /></a></div><span style="font-size: medium;"><span style="font-family: Domine;"> </span></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">The magic-realism of Léa Mysius’s ‘<b><i><u>The
Five Devils</u></i></b>’ was always alluring and achieved some poignancy, even
after abandoning the potential of its initial pull of
time-travel-through-scent. Rather than explore the possibilities and pitfalls
of this conceit, the temporal displacement was used to explore regret and
existential existence. But though a near-miss, it still had emotional kick.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguJenEP9zRPjXt5XSHkd54gbuJIPvqVhvTcaRMaUVw-oux9xt9mDcwdAsTKk5bNCFqm8q6M62PBym5mILJaF8CZiMmZ_Xl6J5VnkWWJQS3hlJVl8JEB00rUcLbHhd6E5geEYKv7xs4Q4LoaQ_RE1xc-nJFgQmHBNFwBGebbqa0UtQyJ8sAdi5mQtSolD4/s1200/beau-is-afraid-2023-aster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="444" data-original-width="1200" height="118" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguJenEP9zRPjXt5XSHkd54gbuJIPvqVhvTcaRMaUVw-oux9xt9mDcwdAsTKk5bNCFqm8q6M62PBym5mILJaF8CZiMmZ_Xl6J5VnkWWJQS3hlJVl8JEB00rUcLbHhd6E5geEYKv7xs4Q4LoaQ_RE1xc-nJFgQmHBNFwBGebbqa0UtQyJ8sAdi5mQtSolD4/s320/beau-is-afraid-2023-aster.jpg" width="320" /></a></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">I liked Ari Aster’s <a href="http://bucktheorem.blogspot.com/2023/06/beau-is-afraid.html" target="_blank">‘<b><i><u>Beau
is Afraid’</u></i></b> </a>for its gung-ho provocation. Like Robert Eggers <i>‘The
Northman’</i>, it felt like the director just going for broke before he fell
out of favour, and he would no longer get the budget or chance. It was full of
striking set-pieces and performances, overlong, indulgent, but also funny. When
the symbolic point has been made early, you just see what else will be heaped
on, and in this case the digressions and weirdness fulfil a complete portrait
of life as a perpetual anxiety attack.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhganM6qAZa4AUG6jl5B9cjhM50caJ7_AZAIm8UTrTgMo8CafQ92TCSGvUzaCdoUyw7VSPdExWDS1adreiNc-k5JcG2KtqG2-Fob_2JJckasIzxR4_tXp9KSAxk8ddY60jqxPKKXGv0yT_MtzwTyyfOexgSWMA0F8mfek0Hpy78aXNc_mUOaCnSgSzyxhA/s2814/Barbie.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2814" data-original-width="1900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhganM6qAZa4AUG6jl5B9cjhM50caJ7_AZAIm8UTrTgMo8CafQ92TCSGvUzaCdoUyw7VSPdExWDS1adreiNc-k5JcG2KtqG2-Fob_2JJckasIzxR4_tXp9KSAxk8ddY60jqxPKKXGv0yT_MtzwTyyfOexgSWMA0F8mfek0Hpy78aXNc_mUOaCnSgSzyxhA/s320/Barbie.jpg" width="216" /></a></span></div><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Great
Gerwig’s <b><i><u><a href="http://bucktheorem.blogspot.com/2023/12/barbie.html" target="_blank">‘Barbie’</a> </u></i></b>definitely had its Battenberg cake and
gorged on it too: surprised everyone by being entertain ing and good and provocative - but it was only to the mainstream.<br /></span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"><a href="http://bucktheorem.blogspot.com/2023/02/eo.html"></a></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW4BT8PSUtHO7SpD4MydzGgBtKeFLLILnUrUc_sogu8GubpqKS8ZDVsE4Rwclw2hLCknKp36JC2n5yitwFf8tU2ZkgsWjE6NgwqR7wAblOsFXAXeYnSxrN0eiJTsEFizT2aCLdlLCUbdeGLNzo4SWn-M9neo114lyCE-IxSrPQD9Cr6grhU2evE_3rAjI/s2220/eo.%20..jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="2220" height="101" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW4BT8PSUtHO7SpD4MydzGgBtKeFLLILnUrUc_sogu8GubpqKS8ZDVsE4Rwclw2hLCknKp36JC2n5yitwFf8tU2ZkgsWjE6NgwqR7wAblOsFXAXeYnSxrN0eiJTsEFizT2aCLdlLCUbdeGLNzo4SWn-M9neo114lyCE-IxSrPQD9Cr6grhU2evE_3rAjI/s320/eo.%20..jpg" width="320" /></a></span></div><span style="font-size: medium;">And whatever you thought Jerzy Skolimowski’s <a href="http://bucktheorem.blogspot.com/2023/02/eo.html" target="_blank"><b><i><u>‘Eo’</u></i></b> </a>was
going to be, it was likely to confound you very early on. If you are an empathic
audience, watching the most vulnerable of protagonists – a donkey! – being put
the whim of dramatic dice-rolling was quite nerve wracking. Fascinating and
restless, a film that succeeds in making the audience contemplate the plight
and status of the animals we both adore and maltreat. Unusual and mesmerising.</span><span style="font-family: "Times New Roman",serif;"><span style="font-family: Domine;"><br clear="all" style="break-before: page; mso-special-character: line-break; page-break-before: always;" /></span>
</span><p></p>
</div>Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-25832920569973693562023-12-31T20:41:00.000+00:002023-12-31T20:41:02.182+00:00Barbie<p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"><span style="font-family: Jost;"></span></span>
</p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: Jost;"><i></i></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivOSMDsSrLe3W8hzfYGjwZ-D_DHQ0evXckTey4T8EIxU5kbfWfHjd3ddvGkk9__4cJW0l55sGm3bejty-Z91bzgz0a6-bPUIJShLpA2nsFBbuXLxNCdeRDjVvrbUR-GdoxnMiFMrsysL7uW39TiY8FffLrG_a84S_T7YL-563NNtnw387qyGd5FBa9DvI/s2814/Barbie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2814" data-original-width="1900" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivOSMDsSrLe3W8hzfYGjwZ-D_DHQ0evXckTey4T8EIxU5kbfWfHjd3ddvGkk9__4cJW0l55sGm3bejty-Z91bzgz0a6-bPUIJShLpA2nsFBbuXLxNCdeRDjVvrbUR-GdoxnMiFMrsysL7uW39TiY8FffLrG_a84S_T7YL-563NNtnw387qyGd5FBa9DvI/w270-h400/Barbie.jpg" width="270" /></a></i></span></div><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: Jost;"><i><b><u>Barbie</u></b></i></span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: Jost;"><i> </i></span></span><span style="font-size: medium;"><span style="font-family: Jost;"><i>Director - Gr</i></span></span><span style="font-size: medium;"><span style="font-family: Jost;"><i>eta Gerwig<br />Writers - Greta Gerwig,Noah Baumbach<br />2023 - USA<br />Stars - Margot Robbie, Ryan Gosling, Issa Rae</i></span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: Jost;">Great
Gerwig’s <b><i><u>‘Barbie’ </u></i></b>definitely had its Battenberg cake and
gorged on it too: fulfilling its feminist credentials whilst not straying
beyond gender binaries; having lots of fun at the expense of the toy’s history
whilst simultaneously rebranding with Girl Power for modern consumers; both sly
and popularist. Pairing it as an antidote to <i>‘Oppenheimer’</i> – and indeed,
<i>‘Oppenheimer’</i> as the antidote to <i>‘Barbie’</i> – made Barbenheimer a
cinematic phenomenon that surely no one could have predicted. </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKV3v7d0LEkB9vp73A3ZPsLtLVmUHwWDIPsUPCT8jYCwUKFc4_btL-wEuitKEErG4gRdy-lNnnG1B42_RED4fcWY-jxO68rOuSh-IEVNKceaMdgREFNa-LnticaS5eKkV6GI1EAt0fb3t3xWI2xL4SuaabWic4GkkOXB2gP1T0CRekoWE0N5wVMaMrFO8/s1800/Barbie..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1798" data-original-width="1800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKV3v7d0LEkB9vp73A3ZPsLtLVmUHwWDIPsUPCT8jYCwUKFc4_btL-wEuitKEErG4gRdy-lNnnG1B42_RED4fcWY-jxO68rOuSh-IEVNKceaMdgREFNa-LnticaS5eKkV6GI1EAt0fb3t3xWI2xL4SuaabWic4GkkOXB2gP1T0CRekoWE0N5wVMaMrFO8/s320/Barbie..jpg" width="320" /></a></span></div><p></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: Jost;">It
was bright, brash, funny, aided no end with two knowing Barbie and Ken
performances from Margot Robbie and Ryan Gosling who managed to inscribe the
two inhuman archetypes with genuine existential angst… But the Boys Will Be
Boys And Girls Will Be Girls tropes and gags were pretty much from the playbook
for American Gender War Comedies any sharp satire and complexity came to Hey!
Everyone needs a Gendered Night and never the twain shall meet. For the gender
war tropes, it wasn’t so far from the 1952 Feldstein/Orlando EC comic strip ‘A
Man’s Job’: just reverse the disparities. <i>‘Barbie’ </i>devolved into the
kind of final act of gagless platitudes, speechifying, sentiment and
Underlining The Point typical of American mainstream comedies, which was just
about redeemed with that final line. </span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: Jost;">It
scared the horses of some and won over the dubious – no one expected it to be
this good and was an aesthetic, visual delight – but was a little less
remarkable than the hype.</span></span></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-3178371987769906412023-12-23T22:56:00.001+00:002023-12-23T22:56:44.306+00:00Godzilla Minus One<div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR7cIZJaZum3AGlpsM9LkQK7k7uqVLeb-puev3NO_N9titkEUrAWp8rArJsxq8GgZ331kWH9rki84Ll0QDkRjnAbDST8M_Vrd-M1feT0X5dWHeqhpswfT1GFUp1fkMosgVJydraeQmZQw63-j7PLaY2G7BItUxEn1s-0i8zQTzwN1gntlhzV-9c7mW8IM/s1174/Godzilla_Minus_One-527349454-large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1174" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR7cIZJaZum3AGlpsM9LkQK7k7uqVLeb-puev3NO_N9titkEUrAWp8rArJsxq8GgZ331kWH9rki84Ll0QDkRjnAbDST8M_Vrd-M1feT0X5dWHeqhpswfT1GFUp1fkMosgVJydraeQmZQw63-j7PLaY2G7BItUxEn1s-0i8zQTzwN1gntlhzV-9c7mW8IM/w436-h640/Godzilla_Minus_One-527349454-large.jpg" width="436" /></a></div></div><span style="font-size: medium;"><span style="font-family: Domine;"></span></span><!--[if gte mso 9]><xml>
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<p></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-family: Domine; font-size: medium;"><b><i><u><span style="font-variant: small-caps; line-height: 107%;">Godzilla Minus One</span></u></i></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-family: Domine; font-size: medium;"><b><i><u><span style="font-variant: small-caps; line-height: 107%;">Gojira -1.0 ~ </span></u></i></b><b><i><u><span lang="EN-US" style="font-variant: small-caps; line-height: 107%;">ゴジラ</span></u></i></b><b><i><u><span style="font-variant: small-caps; line-height: 107%;">-1.0</span></u></i></b><b><i><u><span style="font-variant: small-caps; line-height: 107%;"></span></u></i></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-family: Domine; font-size: medium;"><i>Writer
& Director ~ Takashi Yamazaki</i><b><i><u><span style="font-variant: small-caps; line-height: 107%;"></span></u></i></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-family: Domine; font-size: medium;"><i>2023,
Japan</i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-family: Domine; font-size: medium;"><i>Stars
~ Minami Hamabe, Ryunosuke Kamiki, Sakura Ando</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: justify;"><span style="font-family: Domine; font-size: medium;"> </span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-family: Domine; font-size: medium;">As I was sitting watching ads and
trailers, families with kids came in and I did wonder if they knew it was going
to be subtitled. The trailer for <i>‘Godzilla x Kong: The New Empire’</i> came
on – this time with baby Kong making cutesy noises! – which only reminded me
that I may have let myself in for a chore.</span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine; margin-left: 1em; margin-right: 1em;">But I needn’t have worried.
Godzilla’s first appearance and assault is just the giant monster action I came
for. CGI it may be, but this Godzilla had a weight, mass and nuance to movement
that was leagues ahead of the American version of the franchise. Or rather, it
just felt like it had more meaning, more convincing, simply because the story
felt more so from the start. This is the Toho Studios original strand and
returned Godzilla to a terrifying force of War Time obliteration. While he is
off elsewhere tag-teaming with Kong, here he represents a man’s PTSD and is
awesome (not in the frivolous sense) and frightening. And every Godzilla
appearance is impressive and gripping.</span></span></p><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine; margin-left: 1em; margin-right: 1em;"></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Domine; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5mL3Ptt5vBBomMyb0gik9SrgFU3qv_gH87_ysd2nT4nVN9Q8Ez0JeKcGc6cLYiBzXuj2nds3TFQWG9pF_qxPguhR_fd_TxenXjoaFinxAaiUEHt0cTeiljFmH0XYNbVuubxFOqAEL-OS0sKdp4iUpjXXVWxtSdREldxOtUMh1JlqzAt_kvq7FTwsFZgc/s1200/Godzilla%20Minus%20One_dc_Ryunosuke_Kamiki.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="802" data-original-width="1200" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5mL3Ptt5vBBomMyb0gik9SrgFU3qv_gH87_ysd2nT4nVN9Q8Ez0JeKcGc6cLYiBzXuj2nds3TFQWG9pF_qxPguhR_fd_TxenXjoaFinxAaiUEHt0cTeiljFmH0XYNbVuubxFOqAEL-OS0sKdp4iUpjXXVWxtSdREldxOtUMh1JlqzAt_kvq7FTwsFZgc/w400-h268/Godzilla%20Minus%20One_dc_Ryunosuke_Kamiki.jpg" width="400" /></a></span></div>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-family: Domine; font-size: medium;">The human interest between monster
appearances has often been disappointing, often padding, and even the admirable
<i>‘Shin Godzilla’</i> felt a little bogged down in politics despite how goofy
and impressive it often was. This human filler typical of the giant monster
genre is often patience-testing whenever a kaiju is not stomping across the
screen, but the drama here is admirably acted and thematically strong. And
although there is no way to truly make lines of dialogue such as “The Monster
has reached the coast” in a military context truly convincing, <i>‘Godzilla
Minus One’</i> has serious intent. PTSD, survivor’s guilt, cowardice and duty,
family units, self-respect, and sacrifice; and a little rebelliousness and
political criticism in that the post-war civilians get together to defeat the
threat after ditching belief in the authorities. All this, but mostly the
monster action is focused, substantial and often dazzling. And if you were
worried it was all going to be in darkness, or you wouldn’t get enough monster:
don’t worry. There’s so much to enjoy: Godzilla attacking an undeserving group
of mechanics on an island; Godzilla chasing a comparatively tiny wooden
mine-sweeper boat; the heat ray – oh, the heat ray. <br /></span></p>
<div class="separator" style="clear: both; text-align: center;"><span style="font-family: Domine; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9jA0NgHWCJmjqGdII_zkG25KkJR4184RE8Ufr8N9LLIXRrIT-1p7q-xCtvbB-e91PSRyTReGqBKciBzZIM4vvdM9Jrmib2-AOoGYsQ-PTdCWD5EzHuT3HBp0-CZYsXLWWDTQWiOzwg5oWQN15o7D20uORNyIsX2t08lYYd5jU3Tu5jusAeGR9JubWHDQ/s625/GodzillaMinusOne.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="352" data-original-width="625" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9jA0NgHWCJmjqGdII_zkG25KkJR4184RE8Ufr8N9LLIXRrIT-1p7q-xCtvbB-e91PSRyTReGqBKciBzZIM4vvdM9Jrmib2-AOoGYsQ-PTdCWD5EzHuT3HBp0-CZYsXLWWDTQWiOzwg5oWQN15o7D20uORNyIsX2t08lYYd5jU3Tu5jusAeGR9JubWHDQ/w400-h225/GodzillaMinusOne.png" width="400" /> </a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Domine; font-size: medium;"> </span></div><div style="text-align: justify;"><span style="font-family: Domine; font-size: medium;">But most of all, it’s fun. Look!
There’s a destroyer being tossed into the city like a chocolate bar. See!
Godzilla chomp on a train! Therein is the audience moral dilemma because half
the joy is the destruction, and the other half is seeing them beat the monster.
And especially when the film is so properly engaged with the themes of its
people facing war. But this time, you won’t be rooting for the kaiju. The film’s
belief is in the people, and its fidelity to the sincerity of the original
means this shows up the stateside franchise as derived from the wrestling match
silliness the franchise originally fell into. </span></div>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-family: Domine; font-size: medium;">A kaiju film that met my
expectations and more and not just silly fun. Usually, every time I go in, there’s
disappointment in the mix. Not this time. </span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-family: Domine; font-size: medium;">A triumphant balance of war film with
giant monster action and effects</span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Domine; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMmLmSd4H6glDd3A2i2-w4sM-1yYQcUZKI8b9ZGCDWbmPaF283UYc-cfJBkGZPoMmSnUyU-tAb3uSNuKT1RhPhwwxGIHxcHqPzNBxy4F-Uic9HIlJh9r2jq15gekR1TV-HUR20-C3w5NEqtqWU4gMBdTcHSxUJ1bZClu-wywDJ069IR2VTg6d4-V339Sg/w640-h360/godzilla-minus-one-1-1702083890281.jpg" width="640" /></span></div><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"></span></span></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-28807920399777138312023-12-19T21:33:00.001+00:002023-12-19T21:33:25.645+00:00Saltburn<p><!--[if gte mso 9]><xml>
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</p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><b><i><u><span style="font-family: "Times New Roman", serif; font-variant: small-caps; line-height: 107%;"></span></u></i></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b><i><u><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOjBkuR880LPWRV9M1UkTHGwMyqolrc5nwlbB3mR4LN4pw3XvJU4-HkAD3gkuI5I0s-CwzqKNZr9XIE4LJLLE8GHQCiLkMPekYV2QOqonMyLv20gDF6moNz79tb-yXnAS1Jz95ZPEHYg1gXlNbqLhufdddbrWHW7CJXQdb-dShWNNlyP3GY32orc94Jmw/s752/Saltburn%20main-quad_500px.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="752" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOjBkuR880LPWRV9M1UkTHGwMyqolrc5nwlbB3mR4LN4pw3XvJU4-HkAD3gkuI5I0s-CwzqKNZr9XIE4LJLLE8GHQCiLkMPekYV2QOqonMyLv20gDF6moNz79tb-yXnAS1Jz95ZPEHYg1gXlNbqLhufdddbrWHW7CJXQdb-dShWNNlyP3GY32orc94Jmw/w640-h426/Saltburn%20main-quad_500px.webp" width="640" /></a></u></i></b></span></div><p></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><b><i><u><span style="font-family: "Times New Roman", serif; font-variant: small-caps; line-height: 107%;">Saltburn</span></u></i></b></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i><span style="font-family: "Times New Roman",serif;">Writer
& Director ~ Emerald Fennell</span></i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i><span style="font-family: "Times New Roman",serif;">Writer
~ Emerald Fennell</span></i></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-bottom: 0cm; margin-top: 0cm; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; text-align: center;"><span style="font-size: medium;"><i><span style="font-family: "Times New Roman",serif;">2023,
US-UK</span></i></span></p>
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~ Barry Keoghan, Jacob Elordi, Archie Madekwe, Rosamind Pike, Richard E. Grant</span></i></span></p>
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<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;">You know, really, by now, Barry
Keoghan should come with a "Do Not Feed the Animal" warning around
his neck.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;">Expectations heightened by Emerald
Ferrell’s previous <i>‘Promising Young Woman’</i>, this is not as sharp or as
troubling, but it’s slicker and it is fun. The debut pop vibrancy is replaced
by a sophomoric confidence and certainty. It helps that you have Barry Keogh,
Jacob Elordi, Richard E. Grant and Rosamind Pike to bring out the best of it. <br /></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;">Keogh is a slippery performer and
practically unreadable and always compelling. As I went in blind, I spent a lot
of time initially wondering if he was an innocent out of his depth or whether
he would turn at any moment. <span style="line-height: 107%;">He’s thoroughly engrossing as he goes from nerd to seducer. </span> Of course, part of this elusiveness is deliberate
as the film holds back some of its cards. Pike and Grant are excellent at
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a broad if not caricatured playi</span><span style="font-family: Lora;">ng. Elordi exudes a warmth beneath his
privilege, and his growing shock at realising his summer friend (I won’t say
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<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6eWxntqB-pB_669LMWLpvzm1ltmS-WwQ5jjH4IHF0LsNq7CeOg3OgDTlaL71Cp5QUJ-UT2XiCQ7D4cKpivHwDLavDhKWkVvihl1sarYqjLvsnTkYB8nlcwyg0If4QqmofDJoYSAiveqWGHkFASTTnACdoozR6J5B1FFhP_9vnQPkzOZ0oe5uyExm5IFw/s2048/saltburn1-cvmf-superJumbo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1538" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6eWxntqB-pB_669LMWLpvzm1ltmS-WwQ5jjH4IHF0LsNq7CeOg3OgDTlaL71Cp5QUJ-UT2XiCQ7D4cKpivHwDLavDhKWkVvihl1sarYqjLvsnTkYB8nlcwyg0If4QqmofDJoYSAiveqWGHkFASTTnACdoozR6J5B1FFhP_9vnQPkzOZ0oe5uyExm5IFw/w400-h300/saltburn1-cvmf-superJumbo.jpg" width="400" /></a></span></div></div><span style="font-size: medium;">Saltburn itself is impressive as
stately homes are prone to be, but if the film’s targets are obvious there’s
plenty of flair. Fennel knows how to keep the interest. The film takes it time
setting up, and then features a number of scenes that are gleefully shocking
(the audience I was with were noisily taken aback at times (the bath and the
grave especially) with strangers acknowledging their shock to each other afterwards
as a kind of post-film therapy). Fennel provides a definite female gaze to the
camera, with Keogh positively game. </span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;">It's all very arch, pretty and
playful, maybe a touch shallow, but with a decent sprinkling of shocks,
debauchery and show-stoppers when the cards are on the table and predictability
sets in.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Lora;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6xfORchM3zCGiwejuU2G0rNgk5OgBSKzoon1W_wOx_HAfjkpH7RJVmmhitv4TTie_DR12BhgL2KdEMJgX40pimtAY50SsC730MZPajpLDlOODqc3OFoX-OURpBv3Yjyp-jVlW9X82miRF2peCIvTay4gijEZXkXrse5PZ23KYAsuoLxrQJhrLAUGwEik/s1200/Saltburn%20..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1200" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6xfORchM3zCGiwejuU2G0rNgk5OgBSKzoon1W_wOx_HAfjkpH7RJVmmhitv4TTie_DR12BhgL2KdEMJgX40pimtAY50SsC730MZPajpLDlOODqc3OFoX-OURpBv3Yjyp-jVlW9X82miRF2peCIvTay4gijEZXkXrse5PZ23KYAsuoLxrQJhrLAUGwEik/w400-h166/Saltburn%20..jpg" width="400" /> </a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzuoGOLsEJ8bsRBjRK0btkKB8tELc818a7bvXRfsFfziqzgl2FLRrx_qDxcSvK9X4KMPoqbhyjUTG8l5c21_U4Q0A8XTPFv1fEIlm9tZYB6u_Wwr_RTvETu4lkkn6DWvbWo4DhRfL5LYvfMSCZroUT5Qu4-MpUiBaYhM4dSae68xylCfqhSF8pKlkjVlg/s2560/Saltburn..webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1920" data-original-width="2560" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzuoGOLsEJ8bsRBjRK0btkKB8tELc818a7bvXRfsFfziqzgl2FLRrx_qDxcSvK9X4KMPoqbhyjUTG8l5c21_U4Q0A8XTPFv1fEIlm9tZYB6u_Wwr_RTvETu4lkkn6DWvbWo4DhRfL5LYvfMSCZroUT5Qu4-MpUiBaYhM4dSae68xylCfqhSF8pKlkjVlg/w400-h300/Saltburn..webp" width="400" /></a></span></div><p></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-65163168617842748602023-12-18T20:17:00.001+00:002023-12-18T20:26:04.315+00:00House of Horrors<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><i><span style="font-size: medium;"><b style="font-family: Domine;"><u><span style="font-variant: small-caps; line-height: 107%;"></span></u></b></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="font-size: medium;"><b style="font-family: Domine;"><u><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhi6xlXYFs2tsmCzEKTvB6syWQTPKCceIRv-2U9tI1miiwFyqvRCFk_avKnPvcboyEf8GSmYph1wBLEqeiIhbzN2DoQT3epI_8_JI1IFmi_Vlu0n9o-HqDRSZbY_MH6V_JlFpp8vGoDvMeFdKrqMrc_LoZAlRwLpyuFk356aiBHoSkVySIdcSjKk0Mrxo/s3000/House%20of%20Horrors.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="1996" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhi6xlXYFs2tsmCzEKTvB6syWQTPKCceIRv-2U9tI1miiwFyqvRCFk_avKnPvcboyEf8GSmYph1wBLEqeiIhbzN2DoQT3epI_8_JI1IFmi_Vlu0n9o-HqDRSZbY_MH6V_JlFpp8vGoDvMeFdKrqMrc_LoZAlRwLpyuFk356aiBHoSkVySIdcSjKk0Mrxo/w266-h400/House%20of%20Horrors.jpg" width="266" /></a></u></b></span></i></div><p></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><i><span style="font-size: medium;"><b style="font-family: Domine;"><u><span style="font-variant: small-caps; line-height: 107%;">House of Horrors</span></u></b></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><i><span style="font-size: medium;"><span style="font-family: Domine;">Director
~ Jean Yarbrough</span></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><i><span style="font-size: medium;"><span style="font-family: Domine;">Writers ~
George Bricker, Dwight V. Babcock <br /></span></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><i><span style="font-size: medium;"><span style="font-family: Domine;">Stars ~ Robert
Lowery, Virginia Grey, Bill Goodwin, Martin Kosleck, Rondo Hatton </span></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Wait, is the title a critical
opinion of out belittled artist's sculptures?</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Cracking under the disillusionment
brought on by bad reviews, misunderstood artist Marcel De Lange (Martin
Kosleck) finds himself in possession of a serial killer The Creeper. As a kind
of repayment for the kindness De Lange has shown him by taking him in when
finding him washed up half dead, The Creeper happily goes out and murders those
critical of De Lange’s work. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">So it's a little self-referential as the screenwriters revenge on the critical backlash against the genre at the time. Setting a trend in aggrieved and
desperate artist-murderers to follow in the likes of <i>‘Bucket of Blood’,
‘Driller Killer’, ‘Theatre of Blood’</i> or even <i>‘Blood Feast’</i>, De Lange
is quite a sad sack and sympathetic initially, unable to take the seemingly
perpetual unappreciation (the scene-stealing cat helps). But he brandishes a
knife even before he meets The Creeper, so it’s all set up that when he meets
the Creeper and appropriates his striking visage for his “greatest work”, they
are of the same stock. Kosleck plays De Lange with an elegance and articulacy that
outdoes everyone else who are mostly stock types, even Virginia Grey. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">However feisty and
independent-seeming Grey is as go-get-‘em art critic Joan Medford, bringing
fizz to proceedings, Medford still humours her boyfriend’s possessiveness and
finally forfeits her autonomy for marriage.<span>
</span>The men are fairly interchangeable (but get top billing), although the
investigating Police Lieutenant (Bill Goodwin) is a bully, happily abusing his
privilege and passing sexist comments as he goes along. But then we are in the
world where the law will accept the offer of liquor before quite resolving a
sting operation.</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: Domine;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUO4co-HN9OzmKT9ZA4svfn8MGq5gCxs9mexbIAKOTDF-fChrxEK9ysI2Kft5uS4Fus7qoBF97ghvMbqCPcOspIusb5lkG9kevQzMM-Hyx3ulbHSU25uGyEIhyphenhyphenj3Ims3Y44ZFkKs1pocu94tA4le2cbiUvnMuhjDafr4knoj3bWLZ44OhKN0CxIGRpq1c/s2048/HouseOfHorrors..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUO4co-HN9OzmKT9ZA4svfn8MGq5gCxs9mexbIAKOTDF-fChrxEK9ysI2Kft5uS4Fus7qoBF97ghvMbqCPcOspIusb5lkG9kevQzMM-Hyx3ulbHSU25uGyEIhyphenhyphenj3Ims3Y44ZFkKs1pocu94tA4le2cbiUvnMuhjDafr4knoj3bWLZ44OhKN0CxIGRpq1c/w400-h300/HouseOfHorrors..jpg" width="400" /></a></span></span></div><p></p><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">Spine-snapping and strangling The
Creeper is played by Rondo Hatton, a journalist whose features pronounced by acromegaly
meant he went on to a brief career in screen villainy. The insensitive casting
of his distinctive looks as synonymous with ugliness and villainy, as well as
some objectification of women, casts an exploitation light, although the film
doesn’t play that way. Nevertheless, he is unforgettable and it’s a shame that
he died before the film was released and that he never got the chance to
develop. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: Domine;">So there’s Kosleck and Hatton for
eloquence and menace and Grey for loveliness and liveliness, and some sparky
dialogue and distinctive sets, but there is a workmanlike feel to proceedings. Universal
was going through the motions and winding down with its genre output and
despite some nice shadow-work and the promise of its title, this is tame stuff.
There’s none of the pre-code nastiness and troubling edges of, say, <i>‘Murders
in the Zoo’. </i>But it’s entertaining in an old-school horror manner and its
short running time means it never outstays its welcome. </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: Domine;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirssNqMv-g_KlNT5RRMSMvheaDPXC7d7LlaI_7Th-F5vEmsJCqHLO_3-x6tRzpX59Hg2eyNgKhpM5udLFtdi11q9bKbKXLWYKaqDaxSctjL0AMVBnTKa1qox-YQcZK4UZ99TC1z6qwjJPmhz0_K1-0A_w3GlkeE5pLP3HecPHviY2cqnTY7dv2l2I8uM0/s400/HoHs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="323" data-original-width="400" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirssNqMv-g_KlNT5RRMSMvheaDPXC7d7LlaI_7Th-F5vEmsJCqHLO_3-x6tRzpX59Hg2eyNgKhpM5udLFtdi11q9bKbKXLWYKaqDaxSctjL0AMVBnTKa1qox-YQcZK4UZ99TC1z6qwjJPmhz0_K1-0A_w3GlkeE5pLP3HecPHviY2cqnTY7dv2l2I8uM0/w640-h516/HoHs.jpg" width="640" /></a></span></span></div><p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXm3fWETpO1KyX_9Hx6XZx11borfKf81nA0wPblYHR70pgZzDeonWUohvoI1iMdOAXPtzmm42CUr2MrzjHDGCU9MxtXKXK716-2euvxUVLbnR3mGQILaZBjo90xWZsVSm4fn7kB5t-bvPnWGNZB150KzqU85DK3fITQee6h8pVBUtS8kB3PM4ZqpLufOk/s3000/house_of_horrors_poster_05.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2352" data-original-width="3000" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXm3fWETpO1KyX_9Hx6XZx11borfKf81nA0wPblYHR70pgZzDeonWUohvoI1iMdOAXPtzmm42CUr2MrzjHDGCU9MxtXKXK716-2euvxUVLbnR3mGQILaZBjo90xWZsVSm4fn7kB5t-bvPnWGNZB150KzqU85DK3fITQee6h8pVBUtS8kB3PM4ZqpLufOk/w640-h502/house_of_horrors_poster_05.jpg" width="640" /></a></span></div><p></p>
<p> </p>Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-10517145981105403362023-12-13T17:12:00.003+00:002023-12-13T17:12:46.840+00:00Murders in the Zoo<!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: georgia;"><b><u><span style="font-variant: small-caps; line-height: 107%;"> </span></u></b></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><i style="font-family: georgia;"><b><u><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAJVUaAqZCeD7egJEixxO07-OJ3vHXHINvJ2Rhl_oUXjdrnxIq_XL6XFaA7P0VPry89oBGS7AnOKOJkDzbfm_ECMAxHkEx2v-niqf6WDGdOttmLB6Oi83hlUnBQFYH2fS1xHDohE3cMrqaF6rcZOuvGKRdgoKtzt3lejlqLefZTdOGL4Pq3geqErWtTOI/s1200/MurdersInTheZoo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="556" data-original-width="1200" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAJVUaAqZCeD7egJEixxO07-OJ3vHXHINvJ2Rhl_oUXjdrnxIq_XL6XFaA7P0VPry89oBGS7AnOKOJkDzbfm_ECMAxHkEx2v-niqf6WDGdOttmLB6Oi83hlUnBQFYH2fS1xHDohE3cMrqaF6rcZOuvGKRdgoKtzt3lejlqLefZTdOGL4Pq3geqErWtTOI/w640-h296/MurdersInTheZoo.png" width="640" /></a></u></b></i></span></div><span style="font-size: medium;"><i style="font-family: georgia;"><b><u><br /></u></b></i></span><p></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: georgia;"><b><u><span style="font-variant: small-caps; line-height: 107%;">Murders in the Zoo</span></u></b></i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: georgia;">Director
~<span> </span>A. Edward Sutherland</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: georgia;">Writers ~
Philip Wylie, Seton I. Miller, Milton Herbert Gropper</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: georgia;">1933, US</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><span style="font-size: medium;"><i style="font-family: georgia;">Stars ~ Charles
Ruggles, Lionel Atwill, Gail Patrick</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">A murder melodrama with serious </span><span style="font-family: georgia;"><span><span data-dobid="hdw">outré</span></span></span><span style="font-family: georgia;"> inclinations with our bad guy Charles Atwell stopping just short of the
ham that Tod Slaughter would have thrown in. He’s a sadist bumping off anyone
he suspects of having designs on his wife, Evelyn; but also, masochistic where
he seems to get off on her hatred for him. His toxic patriarchal masculinity is
synonymous with the primal nature of the animals – his collection, his trophies
– that he only sees these “beasts” in terms of in terms of “they love, they hate,
they kill”; he sees no nuance in them for he is a psychopath. There’s genuine
pre-code sadism and nastiness – that opening is startling, certainly setting
out the agenda for the continued streak of the macabre throughout.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">There’s plenty of period charm and
fascination, but you might find yourself wondering about the on-set studio
safety of the era. Certainly, there is obvious ambivalence to the handling of
animals, if not downright maltreatment. And although Gorman’s homicidal
virility is associated with the wildlife (Evelyn calls him out for
rape-within-marriage during their confrontation), the animals aren’t given true
agency, aren’t even presented as hunters, just “let loose” and/or blamed. There’s
something messy at loose and Gorman assumes a combination of connivance and
privilege will let him get away with it. The animals represent what the elite’s
codify and imprison and have luxury meals amongst in a time of Depression, what
is repressed, sexually and socially.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ1XAwOCy9E727haug0hc3dfkeG9rx_w0kLBmj8EShET2bejll6ttQiVP6rZzNA57B_YSkfSG93UldldoC0s_a_2_DVVqF7W0LP3OUlWQ3dYZ07n9kR_avLq3GkJ0pDatns00uLqI7LqZTQjh_TjmZfdy36eYHhs15nGQ1oEqwNl1t7aXR2Ui74GR7gTg/s720/Murders%20in%20the%20Zoo..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ1XAwOCy9E727haug0hc3dfkeG9rx_w0kLBmj8EShET2bejll6ttQiVP6rZzNA57B_YSkfSG93UldldoC0s_a_2_DVVqF7W0LP3OUlWQ3dYZ07n9kR_avLq3GkJ0pDatns00uLqI7LqZTQjh_TjmZfdy36eYHhs15nGQ1oEqwNl1t7aXR2Ui74GR7gTg/s320/Murders%20in%20the%20Zoo..jpg" width="320" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">For comparison, note how the comedy
relief Charles Ruggles is scared of the animals: impotent in all ways. He is
such a broad comedy relief that’s it’s a wonder that when he is finally charged
to do something of import, namely to call the police, the fact that he manages
it without a pratfall is quite out of character. In fact, although Ruggles is
toplined, his character contributes nothing except irritation. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">Tonally insecure maybe, but there
are enough pre-code shocks and themes (infidelity!) to make this a worthy
curio.<span> </span></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9sfYAMxpPUFlGMGRHo_khfr_nqmhKjvmkY2aLgJ2aN_EOr5pMCZe1o9bbOFwwoDPx-zu2xt7MfsAksSINVktRbIZPoCJFMICaBRZbS_s84Yy8C8_Of5oFQHVDqdU_7jbMzhRZVzIWBw4FkcDx-Dyny0rzoLmMD_MjYpE4CglyOLhR-nT85V7oKFlFDQU/s1600/Murders-in-the-Zoo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9sfYAMxpPUFlGMGRHo_khfr_nqmhKjvmkY2aLgJ2aN_EOr5pMCZe1o9bbOFwwoDPx-zu2xt7MfsAksSINVktRbIZPoCJFMICaBRZbS_s84Yy8C8_Of5oFQHVDqdU_7jbMzhRZVzIWBw4FkcDx-Dyny0rzoLmMD_MjYpE4CglyOLhR-nT85V7oKFlFDQU/s320/Murders-in-the-Zoo.jpg" width="320" /></a></div><p></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-85124521250050862042023-12-05T16:23:00.001+00:002023-12-05T17:59:37.269+00:00Door<p><br /></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Heebo; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_tDkbArgFuiDC-sxe4b-HdIbYRnj2zn5bzjfYuuoWxf43dIqIV70BgszNyzYub0Q9b4_z0SmtTT7wwVlI19oUZatm2zePw34JiWgo_F9_UKh-NbBvWMHsaOwr4uYOkpPz8eaRWsXgOFk6GoObewCkNVTX2npfZRiHOdYx8p_uykOgaTVt9aTQg-a6jZA/s1600/Door.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1198" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_tDkbArgFuiDC-sxe4b-HdIbYRnj2zn5bzjfYuuoWxf43dIqIV70BgszNyzYub0Q9b4_z0SmtTT7wwVlI19oUZatm2zePw34JiWgo_F9_UKh-NbBvWMHsaOwr4uYOkpPz8eaRWsXgOFk6GoObewCkNVTX2npfZRiHOdYx8p_uykOgaTVt9aTQg-a6jZA/w300-h400/Door.jpg" width="300" /></a></span></div><!--[if gte mso 9]><xml>
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<p></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><i><span style="font-family: Heebo; font-size: medium;"><b><u><span style="font-variant: small-caps; line-height: 107%;">Door</span></u></b></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><i><span style="font-family: Heebo; font-size: medium;">Director ~ Banmei Takahashi</span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><i><span style="font-family: Heebo; font-size: medium;">Writers ~ Ataru Oikawa, Banmei
Takahashi</span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><i><span style="font-family: Heebo; font-size: medium;">1988, Japan</span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><i><span style="font-family: Heebo; font-size: medium;">Stars ~ Keiko Takahashi, Daijirô
Tsutsumi, Shirô Shimomoto</span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-family: Heebo; font-size: medium;">Taking a long time to kick in, <i>‘Door’</i>
is a film that often feels like padding rather than slowburn, despite planting promises as it goes along (oh, a mini chainsaw…). Yasuko (Keiko Takahashi) is a housewife mostly
looking after her small son with the absence of her husband seemingly filled by
pushy salesmen on the phone and at the door. It’s this that causes problems
when she closes the door on one salesman’s fingers, instigating a campaign of revenge-terror.
</span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-family: Heebo; font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Heebo; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTaw_HKOMJHj6JOXu4d8e5wHDPBpqY_-2AMkp8e-E5c-b0PhbzZ9pCNL3ODjKFt1nVUmVZFM8g6mbqHFr88n_YgX7gnCDC-PyWKPdnyy8lKNkRrSdtiKE_OyISOJDpIuRQLYUXog7DbjutOArIJEfmx1wlyXYaPtSCj3cplgrqedyySjm5wdim4pqAU4M/s1920/Screenshot%20(4999).png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTaw_HKOMJHj6JOXu4d8e5wHDPBpqY_-2AMkp8e-E5c-b0PhbzZ9pCNL3ODjKFt1nVUmVZFM8g6mbqHFr88n_YgX7gnCDC-PyWKPdnyy8lKNkRrSdtiKE_OyISOJDpIuRQLYUXog7DbjutOArIJEfmx1wlyXYaPtSCj3cplgrqedyySjm5wdim4pqAU4M/s320/Screenshot%20(4999).png" width="320" /></a></span></div><span style="font-family: Heebo; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicv5vRN0ODjGWjiayZwAzu89dNUxMzjO8K5Cfbk2jxFZo3A5VcWBWdsGlONuLDmseVqKtnBQemrKJLN9u5Sbj9fgT04pFTI1Mu2JLSrZs4OaTFTX16LJfJ1-vxIru7ReBn4DRgkHc9Jr2KMeIEV1PVZ56hXY5aLmkR3uUG1PSmK91dgGRE0vuDHIc4DYI/s1920/Screenshot%20(4992).png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicv5vRN0ODjGWjiayZwAzu89dNUxMzjO8K5Cfbk2jxFZo3A5VcWBWdsGlONuLDmseVqKtnBQemrKJLN9u5Sbj9fgT04pFTI1Mu2JLSrZs4OaTFTX16LJfJ1-vxIru7ReBn4DRgkHc9Jr2KMeIEV1PVZ56hXY5aLmkR3uUG1PSmK91dgGRE0vuDHIc4DYI/s320/Screenshot%20(4992).png" width="320" /></a></div></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"></div><p style="text-align: justify;"><span style="font-family: Heebo; font-size: medium;"> Daijirô Tsutsumi as the salesman
often glares and is framed as if he has wondered in from a noir (in a phone
booth, simmering, even with a neon green headset), elsewhere the film shifts into the feel of giallo (blades!).
Predominantly, it feels like kitchen sink with the score seemingly on random
play and starting without much blending (very giallo). Yet elsewhere the sound
design overlaps and the foley work toils overtime in isolating the footfalls
and the metallic clang of the door – hardly a secure sound – creating an almost
otherworldly aesthetic.</span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Heebo; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCFsyfswNHZI9MAAeAMY-tmK9TxXjALl3FcDorCWrT-oVpxZm2XPklfUXn8dJ0doH4qIhZ5PmWwjq0hEgmaRvdcx5rqzTvp22EsBbbkajjrM4WcdNrC6U4q9tTr-YVSS8Ei_cxjSeXdx5a-c1klRr2GcTgqt-VwiaEWawIx3ItqPYCdyQD0AwKJ2VRrio/s1920/Screenshot%20(5000).png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCFsyfswNHZI9MAAeAMY-tmK9TxXjALl3FcDorCWrT-oVpxZm2XPklfUXn8dJ0doH4qIhZ5PmWwjq0hEgmaRvdcx5rqzTvp22EsBbbkajjrM4WcdNrC6U4q9tTr-YVSS8Ei_cxjSeXdx5a-c1klRr2GcTgqt-VwiaEWawIx3ItqPYCdyQD0AwKJ2VRrio/s320/Screenshot%20(5000).png" width="320" /></a></span></div><p></p><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-family: Heebo; font-size: medium;">Yasuko’s vulnerability and anxiety
are played at believable rather than hysterical levels, and with all the male
pushiness trying to sell her something, the intimation that the apartment is
just as much a prison as a safe space increases. But there’s no avoiding the
sense of the film time-killing and there’s a drag until the</span><span style="white-space: pre-wrap;"> </span><span style="font-family: Heebo; font-size: medium;"> the pyrotechnics of the showdown: points
about everyday life, the gender disparities, the unhelpful society, passive-aggressive capitalism, the stalker
creepiness, are all made early. When the home-invasion takes over, there’s a lot
to credit in the authenticity of the clumsy tangling and fighting between
housewife and assailant, that she doesn’t quite become some kind of righteous kick-ass
female heroine. There’s surely unintentional humour but something absurdly realistic
when they are trying to battle a mini-chainsaw through the door with a fork and
rollerskates: it’s like kids trying to recreate <i>‘The Shining’</i> with dad’s
tools. </span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-family: Heebo; font-size: medium;">But the peak of it is an overhead
tracking shot of a chase through the apartment, a stunning sequence that is worth
the wait. </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Heebo; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6_XzVjMyJxB0rhKLFxz0BuyDu1u8xyBLk12DZO0hyphenhyphenBuZI2EBNIv_xBN-1wxIRIVfarj9uB3Jgpjggur0yDIfZth6yBvFKMNuOW9HnsSUH2EB8fuc7pDOUXpkEZQKRWrgln1VdHA5lP7naDqOAgFG5Ty907Z2zhyphenhyphenz-9_nyFRDGTTz2EFQkv917IUb2S7U/s1920/Screenshot%20(5005).png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6_XzVjMyJxB0rhKLFxz0BuyDu1u8xyBLk12DZO0hyphenhyphenBuZI2EBNIv_xBN-1wxIRIVfarj9uB3Jgpjggur0yDIfZth6yBvFKMNuOW9HnsSUH2EB8fuc7pDOUXpkEZQKRWrgln1VdHA5lP7naDqOAgFG5Ty907Z2zhyphenhyphenz-9_nyFRDGTTz2EFQkv917IUb2S7U/w640-h360/Screenshot%20(5005).png" width="640" /></a></span></div><p></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-45350351834562907512023-11-20T21:39:00.000+00:002023-11-20T21:39:05.054+00:00Dreamscape<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><i><span style="font-size: medium;"><b style="font-family: georgia;"><u></u></b></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="font-size: medium;"><b style="font-family: georgia;"><u><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcs3qq97-AZ3OF3PQXv5_DKPpcEis5bulE84igQGAN-QP6C5cDoHuUx_ASLC5BlitGgqzBvOemSpWjNxIvkMte_NCvbsDAKoFd3NFKrMPt1vYPabMYVcaQw28va0aCotZkfTz1V7haNy4Wy8CP27KnkDsHjzdIHPT-2b6FtrI_1eazwzi7wkpH5-oL65A/s2265/Dreamscape.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2265" data-original-width="1496" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcs3qq97-AZ3OF3PQXv5_DKPpcEis5bulE84igQGAN-QP6C5cDoHuUx_ASLC5BlitGgqzBvOemSpWjNxIvkMte_NCvbsDAKoFd3NFKrMPt1vYPabMYVcaQw28va0aCotZkfTz1V7haNy4Wy8CP27KnkDsHjzdIHPT-2b6FtrI_1eazwzi7wkpH5-oL65A/w422-h640/Dreamscape.jpg" width="422" /></a></u></b></span></i></div><i><span style="font-size: medium;"><b style="font-family: georgia;"><u><span style="font-variant: small-caps; line-height: 107%;"></span></u></b></span></i><p></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><i><span style="font-size: medium;"><b style="font-family: georgia;"><u><span style="font-variant: small-caps; line-height: 107%;">Dreamscape</span></u></b></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><i><span style="font-size: medium;"><span style="font-family: georgia;">Director ~ Joseph Ruben</span></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><i><span style="font-size: medium;"><span style="font-family: georgia;">Writers ~ David LougheryChuck
RussellJoseph Ruben</span></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><i><span style="font-size: medium;"><span style="font-family: georgia;">1984, USA</span></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><i><span style="font-size: medium;"><span style="font-family: georgia;">Stars ~ Dennis Quaid, Max von Sydow,
Christopher Plummer</span></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">If you’re looking for an 80s sci-fi
thriller, there are probably none more 80s than <i>‘Dreamscape’</i>, much of
the blame of which can be put on Maurice Jarre’s synth-score, which is sometimes/often
unintentionally amusing. But when Dennis Quaid outwits some small-time crooks on
a racecourse and goes home to fawning answerphone messages from women, then
picks up a saxophone to chill with to establish his cool, there can surely be
no doubt of the era. Also, the smirky Quaid poster than implies this is some
kind of Indiana Jones romp wannabe is criminally misleading when it is more
derived more from the psychic thrillers of the 70s and the post-<i>‘Nightmare
on Elm Street’ </i>dream-horrors of the era. <span> </span>But maybe the awkward poster-image is
indicative of the marketing confusion of how to sell a nightmarish-lite
thriller-horror that is a little tonally muddled. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN9f91n6jouK-3_IMlpZtcEqSt1n_PRKKh6Y5SFjscI3dq61wt3ircI3JLX7AkztrXT0BPrstC6oKMgniFyUHvobPRgKTlIBj_UZwxLf9_7ije4LnOd9K2vNHhK6g_0M5AsDPZVVu-UtndUJ1syG6IWGlkdRuoTaYRzwgk2f_Tvbx3dcxsDcBFXlh_S44/s900/dreamscape-david-patrick-kelly-900x506.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="506" data-original-width="900" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN9f91n6jouK-3_IMlpZtcEqSt1n_PRKKh6Y5SFjscI3dq61wt3ircI3JLX7AkztrXT0BPrstC6oKMgniFyUHvobPRgKTlIBj_UZwxLf9_7ije4LnOd9K2vNHhK6g_0M5AsDPZVVu-UtndUJ1syG6IWGlkdRuoTaYRzwgk2f_Tvbx3dcxsDcBFXlh_S44/s320/dreamscape-david-patrick-kelly-900x506.jpg" width="320" /></a></span></div><span style="font-size: medium;">There’s some love interest in a lab
coat, but this is a boys’ tale. When you have Christopher Plummer and David
Patrick Kelly in the cast, you know who the bad guys are (and Kelly will never
be cool enough to play sax), and there you have Max Von Sydow making the
cheesiest of dialogue and exposition sound credible (“Project!”). It’s also
defiantly rooted in its era for its Cold War Nuclear fears: the President is
having dreams of Nuclear Holocaust that are making him lean towards a
disarmament deal which doesn’t sit well with the political Hawks around him. The
political paranoia and conspiracies are familiar from Seventies psychic
horrors like <i>‘Scanners’</i> and <i>‘Fury’</i>, although the dream angle comes
as a new spin, although it’s only the wonky dreamscape staircase that truly
tests the surrealist realism of dreams. The nadir is the gong for a punchline for its
one Asian character, but the glaring flaw is its central Snakeman terror that,
with all the best will in the world, with its inconsistent design that veers
between rubberiness and Harryhausen charm, doesn’t inspire anything terrible. </span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">But it is a film that is
entertaining because of and for all its flaws, for the nostalgia. Shallow, but
it ultimately does achieve some campy romp.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjse0l3jJIMBqEj9vy1Okb7oEGswRVgXWg7nIqxj2BixeK-9Yc5K2UWGaJVDeCfb8fdWiJNKuD9ed7pXf9lckWzlo5DN08824rUdPJJmXYACEHdsN45ci_Mwi09j3IiUxsbsitOS5pnPBFXW_bxmRXGFxJbLLp-YN6kg1SqfPHcknYgv7WcmFQqG29t9UM/s624/dreamscape7.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="349" data-original-width="624" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjse0l3jJIMBqEj9vy1Okb7oEGswRVgXWg7nIqxj2BixeK-9Yc5K2UWGaJVDeCfb8fdWiJNKuD9ed7pXf9lckWzlo5DN08824rUdPJJmXYACEHdsN45ci_Mwi09j3IiUxsbsitOS5pnPBFXW_bxmRXGFxJbLLp-YN6kg1SqfPHcknYgv7WcmFQqG29t9UM/w640-h358/dreamscape7.png" width="640" /></a></span></div><span style="font-size: medium;"><br /></span><p></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-56061408209496466082023-11-20T18:52:00.006+00:002023-11-20T18:52:53.750+00:00"Broken Where it Counts" - by Buck Theorem<p><span style="font-family: Jost; font-size: large;"> A new single to pass the time... </span></p><p><span style="font-family: Jost; font-size: large;"> "Broken Where it Counts": </span><span style="font-size: large;"><span style="font-family: Jost;">Failed father-figures, foolish longing on a summer afternoon street, parental responsibility, big furry luxurious beasties.</span></span></p>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3420479958/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 588px; width: 350px;"><a href="https://bucktheorem.bandcamp.com/album/broken-where-it-counts">Broken Where it Counts by Buck Theorem</a></iframe></div>Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-191380711467342652023-11-19T21:03:00.006+00:002023-11-19T21:04:46.443+00:00Murder Me, Monster<div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b style="font-family: georgia;"><u><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh1xK2-wB6oeaH48IkQ4_mzQbW4uzCjNThF0Wp8qWn2ivcA9n_ky3IYaDR-zz-fFzxRyuyyJe2aBk4tgakziMMXE4YAni_uLDNwbueRb6Nr8kidDv_hqgb7g4aAeew179PFMM175IHVjSv-xznW85s5E-QQcQGy0qJpAOSK-jLT6Q-GXBQX_eUpM0at2k/s1440/Murder%20Me,%20Monster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh1xK2-wB6oeaH48IkQ4_mzQbW4uzCjNThF0Wp8qWn2ivcA9n_ky3IYaDR-zz-fFzxRyuyyJe2aBk4tgakziMMXE4YAni_uLDNwbueRb6Nr8kidDv_hqgb7g4aAeew179PFMM175IHVjSv-xznW85s5E-QQcQGy0qJpAOSK-jLT6Q-GXBQX_eUpM0at2k/w640-h480/Murder%20Me,%20Monster.jpg" width="640" /></a></u></b></span></div></div><p></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><i><span style="font-size: medium;"><b style="font-family: georgia;"><u><span style="font-variant: small-caps; line-height: 107%;"> </span></u></b></span></i></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><i><span style="font-size: medium;"><b style="font-family: georgia;"><u><span style="font-variant: small-caps; line-height: 107%;">Murder Me, Monster</span></u></b></span></i></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-top: 0cm; text-align: center;"><i lang="es"><b>Muere, monstruo, muere</b></i><i><span style="font-size: medium;"><b style="font-family: georgia;"><u><span style="font-variant: small-caps; line-height: 107%;"> <br /></span></u></b></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><i><span style="font-size: medium;"><span style="font-family: georgia;">Writer & Director ~ Alejandro
Fadel</span></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><i><span style="font-size: medium;"><span style="font-family: georgia;">2018, Argentina-France-Chile</span></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><i><span style="font-size: medium;"><span style="font-family: georgia;">Stars ~ Víctor LópezEsteban
BigliardiTania Casciani</span></span></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">A glorious oddity that is more
aligned with (so-called) slow arthouse cinema than the exploitation or the fun
monster movies promised by its title. It veers between awe-inspiring bright
vistas of the Andes Mountains* but becomes increasingly nocturnal – those
flares-in-the-night scenes are gorgeous. My initial impression was that this
was like the <i>‘Once Upon a Time in </i>Antonia’ of monster films. It is
gruesome and ikky, but Fadel’s interest is in the machismo of such an isolated
location rather than monster shocks. The true assets are Víctor López’s craggy face
and quasi-elegant dancing, not to mention his troubling subservience to his
melancholy but surely unstable <i>Capitán </i>(Jorge Pado). </span></span><span style="font-size: medium;"><span style="font-family: georgia;">The feel is dirty and sad, of people going through
the motions, a forgotten community. </span></span><span style="font-size: medium;"><span style="font-family: georgia;">The sudden spate of
headless corpses that appears in this remote town seems only to generate more
melancholy, self-doubt and existential male confusion.The only considered suspect insists that a legendary monster is responsible.<br /></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"> </span></span><span style="font-size: medium;"><span style="font-family: georgia;">The English title is one that
will automatically hook me, taken from the mantra in the narrative (is
telepathy involved?). The original Spanish is '<i lang="es">Muere, monstruo, muere' </i><span lang="es">meaning "Die, Monster, Die".</span><i lang="es"><br /></i></span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">(</span></span><span style="font-size: medium;"><span style="font-family: georgia;">And if you are intrigued, read no further for best to be on tenterhooks about if the monster will appear or not. And don 't google.)</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilEfMJaAASUfviLd5iFd7ilZ3zx0o90JqvSsmCkZTij03MnYLVAVRf3l_KB53upIAYcEkQmvQpgaulxZx5hxjOa_Nu28h3jRNcMLTDeJUb4V6COaAJs-5vajME35y2vzBOt4_VU8rFwd1N0WrHAkuLbfsEqS8hwLsMvenG9CH5caJqypkzc094cLdphwo/s1200/Murder-Me-Monster-lgub_515cffaa34c7b727c9423a5db08aae1f.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilEfMJaAASUfviLd5iFd7ilZ3zx0o90JqvSsmCkZTij03MnYLVAVRf3l_KB53upIAYcEkQmvQpgaulxZx5hxjOa_Nu28h3jRNcMLTDeJUb4V6COaAJs-5vajME35y2vzBOt4_VU8rFwd1N0WrHAkuLbfsEqS8hwLsMvenG9CH5caJqypkzc094cLdphwo/w400-h225/Murder-Me-Monster-lgub_515cffaa34c7b727c9423a5db08aae1f.jpg" width="400" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;">If the insistence on obliqueness
may prove unsatisfying for some, for the mysteries will remain intact, the
reveal of the outré, absurd and outrageous monster will be worth the patience for
others. When it appears, all the moodiness and sexual disquiet and repression
that has preceded is suddenly resolved with a WTF? This is revealed without
breaking a sweat, with all the casualness and downbeat energy that has defined the
film. Certainly, all its symbolism – and it’s a more overtly genital-based monster
than Giger’s Alien but matches that of <i>‘The Strangeness’</i> – implies that
some meaning has been achieved, but the monster’s mythological status and roots
in the geometry of the landscape means its meaning is left vague. The film
isn’t afraid to show this goofy-hideous monster in close-up, and it’s left as
an Id of masculine depravity wandering the beautiful landscape unchallenged. </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3vt0G5PW9H5AcQTO5e4cZlpDZqs_OjhIC2eevNfgibiNhuyglMP3gaUuJN9Rjw_uVK_MYAvX0S39evpysbNKoX7pFPkpSMd9NWWhfET-9PZaK1Vs6mMSrKn1lZL6SPs8X0HwaC6EzLYbLi6LYDaWvlkLslsNFsYu-hhe13Ta40oYC8rXwh-hRq0KtDJU/s930/murder-me-monster.webp" style="margin-left: 1em; margin-right: 1em;"></a><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB-j7cKaznFEfc7zNIN1EMtSDD0yoMKyzOEu9L7fUs4tenEvKrv9UFiDm4Jfzfj9hbkZ_AspMi5I60kSn6DswXzueLxC7oQGP2IPnY4IW1B5f_xqzQZRpuvcK5zkD0Zd3doSLDPf-FBNs6ieSyeYelq2rZ9RdBHSwbeqOcoXPia8Ju1YePgZQeiRuiJrk/s930/murder-me-monster.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="930" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB-j7cKaznFEfc7zNIN1EMtSDD0yoMKyzOEu9L7fUs4tenEvKrv9UFiDm4Jfzfj9hbkZ_AspMi5I60kSn6DswXzueLxC7oQGP2IPnY4IW1B5f_xqzQZRpuvcK5zkD0Zd3doSLDPf-FBNs6ieSyeYelq2rZ9RdBHSwbeqOcoXPia8Ju1YePgZQeiRuiJrk/w400-h194/murder-me-monster.webp" width="400" /></a></span></div></div><p></p><p class="MsoListParagraph" style="margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18pt;"><span style="font-size: small;"><span style="font-family: georgia;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; font-weight: normal; line-height: normal;"> *
</span>And
if you want more of this, the accompanying short film (on Blu-ray) that exists within this
world offers three helmeted figures arguing about “Freedom” amidst
drone-electro and jaw-dropping landscapes. </span></span></p>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0tag:blogger.com,1999:blog-5739588130392043394.post-19406130273383229892023-11-19T19:41:00.006+00:002023-12-06T21:57:01.798+00:00Amusements<p><span style="font-size: large;"> Portrait: The Pisa </span><span style="font-size: large;">Tower pose.</span></p><p><span style="font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkXNM0N5p5V4mvCKDYYBRxIfrVOaYWrbWLCLm4S4M7bZqICs9PhyU2mKlnVZTytwBYHArfqifUmJkyJIpgIuDgvTbzsI6pCpdRnT6ZlPhTokJCoaQNKSCTHoOJl0mHExTz75u4yDybIgBMomtFxSSG7ZQkjBRy0NGMaVoQ8LY2rabJmxr7Ow2SgWVDmMk/s719/Eiffel%20Tower%20pose.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="719" data-original-width="719" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkXNM0N5p5V4mvCKDYYBRxIfrVOaYWrbWLCLm4S4M7bZqICs9PhyU2mKlnVZTytwBYHArfqifUmJkyJIpgIuDgvTbzsI6pCpdRnT6ZlPhTokJCoaQNKSCTHoOJl0mHExTz75u4yDybIgBMomtFxSSG7ZQkjBRy0NGMaVoQ8LY2rabJmxr7Ow2SgWVDmMk/w640-h640/Eiffel%20Tower%20pose.png" width="640" /></a></span></div><p><span style="font-size: large;"></span></p><p style="text-align: justify;"><span style="font-size: large;">The Pop Group: I was at this gig and I can tell you that this video doesn't do justice to just how visceral and good it felt. After about three songs, some random guy turned to me and said, "Is this the best gig you've ever seen?" And at that moment I wouldn't have argued, and I still consider it one of the best. </span><br /></p><p style="text-align: center;"></p>
<div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Dp4PzbQBr-8?si=s0vOU-wt-nof3a9D" title="YouTube video player" width="560"></iframe><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/mY8eKQFyRJk?si=ZzByh8RILjxIkQP0" title="YouTube video player" width="560"></iframe><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/zhqmHSdWyrs?si=3PKc7Ce3AC4cFD5m" title="YouTube video player" width="560"></iframe><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/InbaT4XqxP0?si=GhWvWszPRIeH_ey-" title="YouTube video player" width="560"></iframe><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/JoJY91YYpzc?si=c-7ze2H5Ez91Tql7" title="YouTube video player" width="560"></iframe></div>
Buck Theoremhttp://www.blogger.com/profile/15229297104282779341noreply@blogger.com0