Search
Search results
Darren (1599 KP) rated All Good Things (2010) in Movies
Jan 21, 2020
Verdict: Lacks Focus
Story: All Good Things starts as we see David Marks (Gosling) the son of a property tycoon Sanford (Langella) who meets Katie (Dunst) who eventually becomes his wife, only for the perfect marriage to take a turn when Katie learns David doesn’t want to have kids.
The marriage continues to spiral out of control after Katie gets pregnant, with her disappearance being the reason why David sees his own life come under the spotlight, with people believing her murdered her and he doesn’t help his case.
Thoughts on All Good Things
Characters – David Marks comes from a property tycoon family who could have walked into any job for his father, he decides to go away from this lifestyle, dating a woman before marrying her, which shows a darker side to his nature, or is he just cold, he are never let into see if he is a calculated person or just somebody dealing with the issues bought on from his mother’s suicide. Katie is the woman David marries, she does give up her career and after learning of his own life decision, spirals out of control with drinks and drugs, before disappearing without a trace. Sanford is the father of David who wants him to remain in the wealthy lifestyle following in his footsteps over anything else. We do see many other people who are involved in the lives who have been involved in the lives even if the names have been changed.
Performances – We have a brilliant cast on paper here with Ryan Gosling in the leading role, where he really doesn’t show his skills, Kirsten Dunst does the most with her character, only it seems we don’t get the right outlet for the character, where we also seem to waste Frank Langella too.
Story – The story follows a heir to a successful business that marries a women his family don’t approve of, only for her to go missing, with him being the prime suspect in the disappearance. The problems mount up quickly in this story because we do spend way too much time focusing on the early relationship and not enough time on the investigation to what might have happened, this is clearly the more interesting side of the story that we need to get watching before needing to care that much about their relationship as a hole.
Crime/Mystery/Romance – The crime is more about if, buts or maybes, with no concrete evidence to what might have happened, which shows in the mystery not being solved in the film, while the romance starts strong before showing why it might not have worked out.
Settings – The film uses a couple of settings which shows us the luxury lakeside house the couple have, while showing how they interact with people on a social occasion in the big parties.
Scene of the Movie – Strange new friendship.
That Moment That Annoyed Me – Not enough focus on the disappearance investigation.
Final Thoughts -This does feel like a film that gets caught up following the wrong part too easily, we don’t seem to get any clues to what did actually happen, just following the man’s life for large parts both before and after the disappearance.
Overall: Disappointing mystery.
Story: All Good Things starts as we see David Marks (Gosling) the son of a property tycoon Sanford (Langella) who meets Katie (Dunst) who eventually becomes his wife, only for the perfect marriage to take a turn when Katie learns David doesn’t want to have kids.
The marriage continues to spiral out of control after Katie gets pregnant, with her disappearance being the reason why David sees his own life come under the spotlight, with people believing her murdered her and he doesn’t help his case.
Thoughts on All Good Things
Characters – David Marks comes from a property tycoon family who could have walked into any job for his father, he decides to go away from this lifestyle, dating a woman before marrying her, which shows a darker side to his nature, or is he just cold, he are never let into see if he is a calculated person or just somebody dealing with the issues bought on from his mother’s suicide. Katie is the woman David marries, she does give up her career and after learning of his own life decision, spirals out of control with drinks and drugs, before disappearing without a trace. Sanford is the father of David who wants him to remain in the wealthy lifestyle following in his footsteps over anything else. We do see many other people who are involved in the lives who have been involved in the lives even if the names have been changed.
Performances – We have a brilliant cast on paper here with Ryan Gosling in the leading role, where he really doesn’t show his skills, Kirsten Dunst does the most with her character, only it seems we don’t get the right outlet for the character, where we also seem to waste Frank Langella too.
Story – The story follows a heir to a successful business that marries a women his family don’t approve of, only for her to go missing, with him being the prime suspect in the disappearance. The problems mount up quickly in this story because we do spend way too much time focusing on the early relationship and not enough time on the investigation to what might have happened, this is clearly the more interesting side of the story that we need to get watching before needing to care that much about their relationship as a hole.
Crime/Mystery/Romance – The crime is more about if, buts or maybes, with no concrete evidence to what might have happened, which shows in the mystery not being solved in the film, while the romance starts strong before showing why it might not have worked out.
Settings – The film uses a couple of settings which shows us the luxury lakeside house the couple have, while showing how they interact with people on a social occasion in the big parties.
Scene of the Movie – Strange new friendship.
That Moment That Annoyed Me – Not enough focus on the disappearance investigation.
Final Thoughts -This does feel like a film that gets caught up following the wrong part too easily, we don’t seem to get any clues to what did actually happen, just following the man’s life for large parts both before and after the disappearance.
Overall: Disappointing mystery.
Sarah (7800 KP) rated Spree (2020) in Movies
Jan 24, 2021
Different
In a world filled with YouTubers and social media influencers, it was inevitable that eventually we’d get a film shot in the style of a social media stream. We’ve seen similar with films like Unfriended and Searching, taking on the likes of social media whilst shot entirely from a webcam. However Spree is the first that I’ve seen that takes on social media almost entirely from live streaming or go pro recordings, and overall it’s a pretty decent attempt.
Spree is a 2020 comedy horror film starring Joe Keery as Kurt Kunkle, a failing social media influencer who works as a driver for a rideshare app called Spree. Fed up of his lack of viewers, Kurt decides to fit out his car with cameras and livestream “The Lesson”, where he instructs viewers on how to become famous on social media while picking up passengers and murdering them. One of the passengers he lets go is comedian Jessie Adams (Sasheer Zamata), a star and social media success who Kurt becomes obsessed with over the course of his murderous evening.
Spree is definitely a fun film. The comedic horror style works very well, especially in the first half although later on it does make way for a more serious side. There’s a decent amount of blood and gore too and it has a wonderfully cheesy B-movie vibe about it. What makes Spree so fun though is Joe Keery. His performance as an influencer is entirely believable and it’s his charisma and baby-faced innocence that makes this film watchable. He spends the entirety of the film like he’s high and hyped up on energy drinks and while this does make his performance a little over the top, this is exactly what Spree needs. David Arquette as Kurt’s dad also brings a lot of fun although his screen time is sadly lacking.
Despite Spree’s dark comedic feel, there’s a more serious story and commentary underlying this film. It might look as though it’s making light of social media influencers, but actually it’s making a rather serious point of the pressures and negatives of the constant need influencers have to be liked and obtain more followers. Kurt’s story is rather sad, and even the other characters like Jessie are shown to have their own stories but still stuck in the same social media behaviour. The live streams used to shoot most of this film, with the likes and comments from viewers, emphasise the pitfalls and real life issues with social media.
Admittedly this live stream method does get a little thin by the end of the 90 minute run time, and after the initial few murders, it’s only Keery’s performance that holds the film up to the end. It isn’t helped that aside from Kurt, none of his victims are particularly likeable and it makes them very difficult to relate to or care about. And this also goes for Jessie who despite her heroine status, becomes unlikeable due to how she too bows to the pressure of social media.
I’m not a fan of the YouTube and influencer revolution, so for me Spree was an interesting take on this and social media in general. It has a good point to make and a serious message, although this may be overshadowed by the dark comedy and horror. With a great turn from Joe Keery, it’s a fun film but not entirely memorable.
Spree is a 2020 comedy horror film starring Joe Keery as Kurt Kunkle, a failing social media influencer who works as a driver for a rideshare app called Spree. Fed up of his lack of viewers, Kurt decides to fit out his car with cameras and livestream “The Lesson”, where he instructs viewers on how to become famous on social media while picking up passengers and murdering them. One of the passengers he lets go is comedian Jessie Adams (Sasheer Zamata), a star and social media success who Kurt becomes obsessed with over the course of his murderous evening.
Spree is definitely a fun film. The comedic horror style works very well, especially in the first half although later on it does make way for a more serious side. There’s a decent amount of blood and gore too and it has a wonderfully cheesy B-movie vibe about it. What makes Spree so fun though is Joe Keery. His performance as an influencer is entirely believable and it’s his charisma and baby-faced innocence that makes this film watchable. He spends the entirety of the film like he’s high and hyped up on energy drinks and while this does make his performance a little over the top, this is exactly what Spree needs. David Arquette as Kurt’s dad also brings a lot of fun although his screen time is sadly lacking.
Despite Spree’s dark comedic feel, there’s a more serious story and commentary underlying this film. It might look as though it’s making light of social media influencers, but actually it’s making a rather serious point of the pressures and negatives of the constant need influencers have to be liked and obtain more followers. Kurt’s story is rather sad, and even the other characters like Jessie are shown to have their own stories but still stuck in the same social media behaviour. The live streams used to shoot most of this film, with the likes and comments from viewers, emphasise the pitfalls and real life issues with social media.
Admittedly this live stream method does get a little thin by the end of the 90 minute run time, and after the initial few murders, it’s only Keery’s performance that holds the film up to the end. It isn’t helped that aside from Kurt, none of his victims are particularly likeable and it makes them very difficult to relate to or care about. And this also goes for Jessie who despite her heroine status, becomes unlikeable due to how she too bows to the pressure of social media.
I’m not a fan of the YouTube and influencer revolution, so for me Spree was an interesting take on this and social media in general. It has a good point to make and a serious message, although this may be overshadowed by the dark comedy and horror. With a great turn from Joe Keery, it’s a fun film but not entirely memorable.
Account Tracker
Finance and Business
App
Apple "New apps and games we love" (on the Mac), March 2017 Apple "Staff Favourite" in the UK (on...
Decked Builder
Games and Entertainment
App
Decked Builder is the premium deck building app for Magic the Gathering -- providing a sleek user...
BankofMarquis (1832 KP) rated Black Panther: Wakanda Forever (2022) in Movies
Nov 18, 2022
Should have been called WAKANDA MOURNS
The passing of Chadwick Boseman from cancer is a unfortunate and sad thing. The makers of the Black Panther series of films for the MCU had a difficult task to accomplish. How do they pay tribute to their lost lead while also leading the series in a new direction? In the end, they ultimately decided to lean INTO (and not away from) his passing - and your emotional involvement in this film will be predicated on how you react to this, for basing an entire SuperHero Movie on grief and longing for a return to the past is not going to make the “feel good movie of the year”.
Directed and Written (with Joe Robert Cole) by Ryan Coogler (he of the first BLACK PANTHER film), BLACK PANTHER:WAKANDA FOREVER starts on a somber note with the off-screen passing of King T’Chala and the grief and celebration of life for him by his Sister Suri (Letitia Wright) and Mother Queen Ramonda (Angela Basset), both of whom are reprising their roles from previous MCU outings. This is all well and good and Basset, especially, shines in these early parts of the film for she is one of the best actresses working today and she rises above the material (and, if I’m honest, the other actors on the screen) to show actual grief and sorrow on the screen. Some are calling for her to be nominated for an Oscar for this role and she would be a deserved recipient of this.
With that out of the way, it’s time for this film to move on to it’s current adventure and the emergence of a new Black Panther. But, Coogler doesn’t do that, he hangs onto the grief, anger and sorrow that is being felt and this mood permeates the entire film - to, ultimately, it’s detriment.
Newcomer (at least to the MCU) Tenoch Huerta (THE FOREVER PURGE) shows up as Namor, the Sub-Mariner, the villain of the piece and he is formidable enough but with the lack of a Black Panther to battle him, it doesn’t seem like a fair fight. Suri, Okoye (Danai Gurira), M’Baku (Winston Duke) and the Dora Milaje (with Florence Kasumba and Michaela Coel being at the forefront - and they are terrific) all are game at the battles and trying to make it to the forefront. But this Wakandan group needed something.
They needed Chadwick Boseman.
While Angela Bassett was the star power the film needed in the first half of the film, Lupita Nyong’o filled that bill in the 2nd half and it was comforting to see her - and her character, Nakia - back in the MCU.
Unfortunately, the character that didn’t really gel was the catalyst to the conflict, Riri Williams (and her MCU SuperHero alter-ego Ironheart) played by Dominique Thorne. This character felt tacked onto this story and her Superhero origins were not really explained, so one will just need to “go with me here” on this one.
Because their is no real emotional center to the battles, they felt like CGI forces fighting CGI forces and the underwater scenery was “fine” but nothing special.
As stated earlier, this film has a dour, mourning mood to it throughout, making it feel more like a morose DC film than a life-affirming, fun MCU film. So just be prepared for that.
BLACK PANTHER: WAKANDA FOREVER should have been titled BLACK PANTHER: WAKANDA MOURNS and it would have been a more accurate title.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Directed and Written (with Joe Robert Cole) by Ryan Coogler (he of the first BLACK PANTHER film), BLACK PANTHER:WAKANDA FOREVER starts on a somber note with the off-screen passing of King T’Chala and the grief and celebration of life for him by his Sister Suri (Letitia Wright) and Mother Queen Ramonda (Angela Basset), both of whom are reprising their roles from previous MCU outings. This is all well and good and Basset, especially, shines in these early parts of the film for she is one of the best actresses working today and she rises above the material (and, if I’m honest, the other actors on the screen) to show actual grief and sorrow on the screen. Some are calling for her to be nominated for an Oscar for this role and she would be a deserved recipient of this.
With that out of the way, it’s time for this film to move on to it’s current adventure and the emergence of a new Black Panther. But, Coogler doesn’t do that, he hangs onto the grief, anger and sorrow that is being felt and this mood permeates the entire film - to, ultimately, it’s detriment.
Newcomer (at least to the MCU) Tenoch Huerta (THE FOREVER PURGE) shows up as Namor, the Sub-Mariner, the villain of the piece and he is formidable enough but with the lack of a Black Panther to battle him, it doesn’t seem like a fair fight. Suri, Okoye (Danai Gurira), M’Baku (Winston Duke) and the Dora Milaje (with Florence Kasumba and Michaela Coel being at the forefront - and they are terrific) all are game at the battles and trying to make it to the forefront. But this Wakandan group needed something.
They needed Chadwick Boseman.
While Angela Bassett was the star power the film needed in the first half of the film, Lupita Nyong’o filled that bill in the 2nd half and it was comforting to see her - and her character, Nakia - back in the MCU.
Unfortunately, the character that didn’t really gel was the catalyst to the conflict, Riri Williams (and her MCU SuperHero alter-ego Ironheart) played by Dominique Thorne. This character felt tacked onto this story and her Superhero origins were not really explained, so one will just need to “go with me here” on this one.
Because their is no real emotional center to the battles, they felt like CGI forces fighting CGI forces and the underwater scenery was “fine” but nothing special.
As stated earlier, this film has a dour, mourning mood to it throughout, making it feel more like a morose DC film than a life-affirming, fun MCU film. So just be prepared for that.
BLACK PANTHER: WAKANDA FOREVER should have been titled BLACK PANTHER: WAKANDA MOURNS and it would have been a more accurate title.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated The Greatest Showman (2017) in Movies
Sep 29, 2021
This IS the Greatest Show!
I sometimes wonder how “proper” UK film critics view films early for review. Is there a ‘special screening’ which all the film critics attend in London? The point I’m getting at is whether the collective critical opinion of a movie can be swayed by a critic leaping to their feet and wildly applauding a film like “Star Wars: The Last Jedi” or, alternatively, snorting in derision at a film like “The Greatest Showman”. For sometimes the critics seem to get it massively wrong across the board, panning a film that the general public will adore. Unfortunately, this has the effect of putting the general public off seeing it, especially in the lethargic post-Christmas period. I think here is a case in point. It’s not the best little film in the world, but as a musical crowd-pleaser it delivers in spades.
Will you like “The Greatest Showman”? This will be dictated almost entirely by whether you are a “musicals” person or not! For “The Greatest Showman” is a frothy, very loud, cheesy and high-energy musical, much more aligned, in fact, to the mainstream genre from the 40’s and 50’s than “La La Land” was.
Roll up, roll up. The circus cast entertain.
In a VERY loose interpretation of the early life of Phineas Taylor Barnum, the American huckster and impressario, we start the story with a pre-pubescent Barnum (Ellis Rubin, sung by Ziv Zaifman) as a young tailor’s assistant punching above his weight with young socialite Charity (Skylar Dunn), firmly against the wishes of her father. Spin forward (via song) and the hitched Barnum’s – now Hugh Jackman (“Logan“) and Michelle Williams (“Manchester By The Sea“) – are barely scraping a living. But Barnum has “A Million Dreams” and hits on the novel idea of opening an entertainment (coined “a circus” by journalist James Gordon Bennett (Paul Sparks)) where he offers both respect and a family to those of the city who are deformed, rejected and socially shunned. Barnum’s show is shockingly entertaining – as in both filling seats and shocking the morally-self-righteous upper classes. But never one to rest on his laurels, Barnum’s endless ambition drives him to break his social ceiling by importing the “Swedish songbird”, opera singer Jenny Lind (Rebecca Ferguson, “Mission Impossible: Rogue Nation“, “The Snowman“) ), for an ambitious and extravegant tour of the States. All does not exactly go to plan.
Washing day tunes. Hugh Jackman and Michelle Williams take to the rooftops.
As I’ve said, most critics have been making sniffy noises about this film. But I am not one of them…. I LOVED IT, have already bought the glorious soundtrack album and will be looking forwards to the DVD release. For this is joy in a box. Sure, the story is a bit weak, the characterisations of everyone (other than Barnum) pretty lightweight, but it’s a musical extravaganza! Live with it!
Hugh Jackman, who of course started his career in stage musicals, is marvellously charismatic as Barnum although his singing does tend to the “shouty” end of the scale in many of the numbers. He’s joined here by fellow musicals star Zac Efron (let’s forget “Dirty Grandpa“) as the fictitious Phillip Carlyle: a socialite playwright and partner.
But the acting and singing revelation for me was Zendaya (“Spider-Man: Homecoming“) as Efron’s (scandalous) inter-racial love interest, who has a fantastically athletic body, sings and dances wonderfully and has a magnetic stare. A marvellous trapeze routine between Efron and Zendaya (“Rewrite The Stars”) is one of the high-spots of the film for me.
An energetic dance. Zendaya and Efron take to the skies.
Elsewhere Williams proves she has a singing voice as well as being a top flight actress and the bearded lady (Broadway star Keala Settle) belts out one of the show-stopping numbers “This is Me” (although she is a little ‘shrill’ for my musical tastes).
It would be nice to extend that compliment to the wonderful Rebecca Ferguson as the “greatest singer in the world” – but she is (wisely I think) dubbed here by Loren Allred (a finalist on the US version of “The Voice”). It is a bit of a shock when “the great opera singer” opens her mouth and a modern love song comes out, but once you get over that then the combination of Ferguson’s acting and Allred’s singing makes “Never Enough” one of the standout songs in the movie. (It’s been described as “a bit Eurovision” by Kevin Maher, “The Times” critic, which I can see but I don’t care! I find it marvellously moving).
A dangerous songbird’s nest for the married Barnum. Rebecca Ferguson and Hugh Jackman.
If you haven’t guessed it, there are some fantastic songs in this movie, written by “La La Land” song composers Benj Pasek and Justin Paul and at least one of these surely must be Oscar nominated (I’m not sure what the cut-off would be for the 2018 Oscars?).
There’s also a lot of talent in the backroom with production design and memorable costumes. Where I’d single out particular praise though is in the choreography and the editing on show.
Firstly, the choreography of “beats” in the song to the action on screen is brilliantly done, done, probably at its most impressive in a shot-glass bar-room scene between Jackman and Efron. And never (hats off to the special effects guys and cinematographer Seamus McGarvey) have you seen washing on a washing line so cleverly in time with the music.
Secondly in terms of the film editing, I am a sucker for clever “transition” shots, and there are some in this movie that just took my breath away: a transition to a pregnant Charity; a transition from ballet practice to ballet performance; there are numerous others!
Inverted magnetism. Zendaya as the trapeze artist Anne Wheeler.
I have decided to park some of my minor criticisms within the greater joy of the whole: some of the dialogue (by Jenny Bicks and Bill Condon) is as cheesy as hell, but probably no more so than in some of the Judy Garland/Mickey Rooney musicals. Where I had my biggest problem is in some of the lip synching to the songs. This is an age where the live recording of songs in films like “Les Miserables” and “La La Land” has set the bar high, and returning to the norm (I had the same problem with “Beauty and the Beast“) becomes noticeable and irritating to me. (Perhaps this is just me!).
It’s certainly not a perfect film, but its energy and drive carry it through as a memorable movie musical that may well take on a life of its own as word-of-mouth gets it more widely viewed (outside of the rather difficult Christmas holiday season). It would also be a good film for youngsters, with a bit of judicious editing (there is one moment of violence in the first 10 minutes that I would choose to edit out). From my perspective it is certainly a truly impressive debut for advert director Michael Gracey. Recommended for musical fans.
Will you like “The Greatest Showman”? This will be dictated almost entirely by whether you are a “musicals” person or not! For “The Greatest Showman” is a frothy, very loud, cheesy and high-energy musical, much more aligned, in fact, to the mainstream genre from the 40’s and 50’s than “La La Land” was.
Roll up, roll up. The circus cast entertain.
In a VERY loose interpretation of the early life of Phineas Taylor Barnum, the American huckster and impressario, we start the story with a pre-pubescent Barnum (Ellis Rubin, sung by Ziv Zaifman) as a young tailor’s assistant punching above his weight with young socialite Charity (Skylar Dunn), firmly against the wishes of her father. Spin forward (via song) and the hitched Barnum’s – now Hugh Jackman (“Logan“) and Michelle Williams (“Manchester By The Sea“) – are barely scraping a living. But Barnum has “A Million Dreams” and hits on the novel idea of opening an entertainment (coined “a circus” by journalist James Gordon Bennett (Paul Sparks)) where he offers both respect and a family to those of the city who are deformed, rejected and socially shunned. Barnum’s show is shockingly entertaining – as in both filling seats and shocking the morally-self-righteous upper classes. But never one to rest on his laurels, Barnum’s endless ambition drives him to break his social ceiling by importing the “Swedish songbird”, opera singer Jenny Lind (Rebecca Ferguson, “Mission Impossible: Rogue Nation“, “The Snowman“) ), for an ambitious and extravegant tour of the States. All does not exactly go to plan.
Washing day tunes. Hugh Jackman and Michelle Williams take to the rooftops.
As I’ve said, most critics have been making sniffy noises about this film. But I am not one of them…. I LOVED IT, have already bought the glorious soundtrack album and will be looking forwards to the DVD release. For this is joy in a box. Sure, the story is a bit weak, the characterisations of everyone (other than Barnum) pretty lightweight, but it’s a musical extravaganza! Live with it!
Hugh Jackman, who of course started his career in stage musicals, is marvellously charismatic as Barnum although his singing does tend to the “shouty” end of the scale in many of the numbers. He’s joined here by fellow musicals star Zac Efron (let’s forget “Dirty Grandpa“) as the fictitious Phillip Carlyle: a socialite playwright and partner.
But the acting and singing revelation for me was Zendaya (“Spider-Man: Homecoming“) as Efron’s (scandalous) inter-racial love interest, who has a fantastically athletic body, sings and dances wonderfully and has a magnetic stare. A marvellous trapeze routine between Efron and Zendaya (“Rewrite The Stars”) is one of the high-spots of the film for me.
An energetic dance. Zendaya and Efron take to the skies.
Elsewhere Williams proves she has a singing voice as well as being a top flight actress and the bearded lady (Broadway star Keala Settle) belts out one of the show-stopping numbers “This is Me” (although she is a little ‘shrill’ for my musical tastes).
It would be nice to extend that compliment to the wonderful Rebecca Ferguson as the “greatest singer in the world” – but she is (wisely I think) dubbed here by Loren Allred (a finalist on the US version of “The Voice”). It is a bit of a shock when “the great opera singer” opens her mouth and a modern love song comes out, but once you get over that then the combination of Ferguson’s acting and Allred’s singing makes “Never Enough” one of the standout songs in the movie. (It’s been described as “a bit Eurovision” by Kevin Maher, “The Times” critic, which I can see but I don’t care! I find it marvellously moving).
A dangerous songbird’s nest for the married Barnum. Rebecca Ferguson and Hugh Jackman.
If you haven’t guessed it, there are some fantastic songs in this movie, written by “La La Land” song composers Benj Pasek and Justin Paul and at least one of these surely must be Oscar nominated (I’m not sure what the cut-off would be for the 2018 Oscars?).
There’s also a lot of talent in the backroom with production design and memorable costumes. Where I’d single out particular praise though is in the choreography and the editing on show.
Firstly, the choreography of “beats” in the song to the action on screen is brilliantly done, done, probably at its most impressive in a shot-glass bar-room scene between Jackman and Efron. And never (hats off to the special effects guys and cinematographer Seamus McGarvey) have you seen washing on a washing line so cleverly in time with the music.
Secondly in terms of the film editing, I am a sucker for clever “transition” shots, and there are some in this movie that just took my breath away: a transition to a pregnant Charity; a transition from ballet practice to ballet performance; there are numerous others!
Inverted magnetism. Zendaya as the trapeze artist Anne Wheeler.
I have decided to park some of my minor criticisms within the greater joy of the whole: some of the dialogue (by Jenny Bicks and Bill Condon) is as cheesy as hell, but probably no more so than in some of the Judy Garland/Mickey Rooney musicals. Where I had my biggest problem is in some of the lip synching to the songs. This is an age where the live recording of songs in films like “Les Miserables” and “La La Land” has set the bar high, and returning to the norm (I had the same problem with “Beauty and the Beast“) becomes noticeable and irritating to me. (Perhaps this is just me!).
It’s certainly not a perfect film, but its energy and drive carry it through as a memorable movie musical that may well take on a life of its own as word-of-mouth gets it more widely viewed (outside of the rather difficult Christmas holiday season). It would also be a good film for youngsters, with a bit of judicious editing (there is one moment of violence in the first 10 minutes that I would choose to edit out). From my perspective it is certainly a truly impressive debut for advert director Michael Gracey. Recommended for musical fans.
Purple Phoenix Games (2266 KP) rated Tiny Epic Galaxies: BLAST OFF! in Tabletop Games
Mar 30, 2021
Yes, we have reviewed Tiny Epic Galaxies in the past. We loved it. It’s close to being a Golden Feather Award recipient. It has earned a spot on my Top 10 Games of All Time list. I cannot say enough great things about the game. But wait, a newer updated version has recently hit the scene. Is it just new art on the same game? Nope. Read on.
I will not be explaining the entire game in this review as indeed it is mostly the same game as before. However, I will be visiting some differences between this version and the original.
Firstly, the art is most certainly different. The card layouts are all different. The components are completely different. It is markedly improved for me, but I will save my gushings until the end.
Mechanics-wise, the differences are slight, but perfectly altered. For starters, many of the benefits of using planet powers have been streamlined, simplified, and make a lot of sense. Much of this has to do with iconography on the cards, but also the powers are mostly brand new. Additionally, this version rids players of the Secret Mission cards from the original. Now, I enjoyed that aspect of OG TEG, but I did not find myself pining for it whilst playing BLAST OFF! Also removed from this version is the seventh action die; BLAST OFF! comes complete with six dice total. Again, it reduces the number of actions that can be completed on a turn, but I haven’t missed that extra die. One of the greatest changes in this version is the Converter tweak. In the original game a player would need to sacrifice two inactive dice to convert a third die to whichever face was needed. In the new version, only one die is needed for sacrifice along with either one Energy or one Culture value. The Converter was always neglected in the older version, and now it’s a real option during play.
I do wish certain aspects of the older version were included, however. What has been eliminated in the streamlining process is the Solo mode and the fifth player. BLAST OFF! can accommodate two to four players now instead of one to five players, with the black components being axed from this version. I will miss the Solo mode mostly because I used to love breaking out the game later at night once the kids were asleep to try to conquer the Red rival (I almost never play Red). I do understand that a Solo mode may still be created in the future by Gamelyn directly or by another gamer.
All of these changes are minor, but equate to a much better gameplay overall. I do want to speak more on components, so let’s away with them.
Components. Okay, BLAST OFF! boasts improvements on the original game on every facet of components. Yes, the materials are similar quality, so it’s a wash there, but everything else is so much better. The dice are bigger, and ORANGE (great choice btw)! The iconography is much easier to understand and decipher throughout the game. The planets now have two new alignments: Life (plant icon) and Tech (gear icon). I feel the iconography and terminology in the first version could be confusing to new players, but plants vs gears is easy to distinguish. The ships are more stylized now, and the inclusion of this new Galaxy Slider to move up the Galaxy Track on the mats is most excellent. All of these improvements definitely cater to new Tiny Epic Galaxies players, and are most welcome as I try to convince my brother that this is one of the best games out there.
Obviously I am keeping this version and am seriously considering weeding out my original version of TEG with all expansions in favor for this. I just feel better playing it. It is more streamlined, easier to play and teach, and I love the way it looks on the table much more. One minor wish I have for the game is different player colors. This game could have been a triumph with just four different player colors from the original. Now, there’s nothing wrong with tried and true blue, yellow, green, and red, but I’m much more interested in playing a game with fuscia, purple, volt (like our green color we use throughout our branding), and aqua. Maybe it has to do with colorblindness, I don’t know, but take on the colors like are found in Seasons or something, and this game would blast off higher on my Top 10 Games of All Time list for sure.
That said, Purple Phoenix Games still gives this one a rocket of a GOLDEN FEATHER AWARD! If you are a fan of the original but wish new players to the game would enjoy it more, check out BLAST OFF! Nearly everything that has been changed caters to newer players and giving all players a more aesthetically-pleasing experience over the original. I will definitely be playing my copy a TON. Maybe if I ask nicely Gamelyn Games will make me some different player colors. Maybe.
I will not be explaining the entire game in this review as indeed it is mostly the same game as before. However, I will be visiting some differences between this version and the original.
Firstly, the art is most certainly different. The card layouts are all different. The components are completely different. It is markedly improved for me, but I will save my gushings until the end.
Mechanics-wise, the differences are slight, but perfectly altered. For starters, many of the benefits of using planet powers have been streamlined, simplified, and make a lot of sense. Much of this has to do with iconography on the cards, but also the powers are mostly brand new. Additionally, this version rids players of the Secret Mission cards from the original. Now, I enjoyed that aspect of OG TEG, but I did not find myself pining for it whilst playing BLAST OFF! Also removed from this version is the seventh action die; BLAST OFF! comes complete with six dice total. Again, it reduces the number of actions that can be completed on a turn, but I haven’t missed that extra die. One of the greatest changes in this version is the Converter tweak. In the original game a player would need to sacrifice two inactive dice to convert a third die to whichever face was needed. In the new version, only one die is needed for sacrifice along with either one Energy or one Culture value. The Converter was always neglected in the older version, and now it’s a real option during play.
I do wish certain aspects of the older version were included, however. What has been eliminated in the streamlining process is the Solo mode and the fifth player. BLAST OFF! can accommodate two to four players now instead of one to five players, with the black components being axed from this version. I will miss the Solo mode mostly because I used to love breaking out the game later at night once the kids were asleep to try to conquer the Red rival (I almost never play Red). I do understand that a Solo mode may still be created in the future by Gamelyn directly or by another gamer.
All of these changes are minor, but equate to a much better gameplay overall. I do want to speak more on components, so let’s away with them.
Components. Okay, BLAST OFF! boasts improvements on the original game on every facet of components. Yes, the materials are similar quality, so it’s a wash there, but everything else is so much better. The dice are bigger, and ORANGE (great choice btw)! The iconography is much easier to understand and decipher throughout the game. The planets now have two new alignments: Life (plant icon) and Tech (gear icon). I feel the iconography and terminology in the first version could be confusing to new players, but plants vs gears is easy to distinguish. The ships are more stylized now, and the inclusion of this new Galaxy Slider to move up the Galaxy Track on the mats is most excellent. All of these improvements definitely cater to new Tiny Epic Galaxies players, and are most welcome as I try to convince my brother that this is one of the best games out there.
Obviously I am keeping this version and am seriously considering weeding out my original version of TEG with all expansions in favor for this. I just feel better playing it. It is more streamlined, easier to play and teach, and I love the way it looks on the table much more. One minor wish I have for the game is different player colors. This game could have been a triumph with just four different player colors from the original. Now, there’s nothing wrong with tried and true blue, yellow, green, and red, but I’m much more interested in playing a game with fuscia, purple, volt (like our green color we use throughout our branding), and aqua. Maybe it has to do with colorblindness, I don’t know, but take on the colors like are found in Seasons or something, and this game would blast off higher on my Top 10 Games of All Time list for sure.
That said, Purple Phoenix Games still gives this one a rocket of a GOLDEN FEATHER AWARD! If you are a fan of the original but wish new players to the game would enjoy it more, check out BLAST OFF! Nearly everything that has been changed caters to newer players and giving all players a more aesthetically-pleasing experience over the original. I will definitely be playing my copy a TON. Maybe if I ask nicely Gamelyn Games will make me some different player colors. Maybe.
Kristy H (1252 KP) rated Now Is Everything in Books
Dec 24, 2017
breathtaking (3 more)
powerful
suspenseful
heartbreaking
Hadley's life looks perfect from the outside. Her family is wealthy, and she's a successful athlete and student. What you don't see is that Hadley's father works at breaking her down, day after day, forcing her into playing lacrosse and taking flying lessons (his two passions), monitoring her whereabouts and food intake, berating and belittling her constantly, and much worse. Hadley endures it all though, if it keeps the spotlight off her beloved spitfire of a little sister, Lila. Hadley would do anything to keep her father's focus off of Lila. Lila's only ten--the age her father targeted his laser beam on her. Hadley's life improves, however, when she secretly starts dating Charlie Simmons. On the surface, Charlie's life isn't anything like hers--he's the son of a poor single mom, but the two quickly find they have more in common than they realize. Even better, Charlie gives Hadley something she hasn't had in a long time: hope. Then, Hadley is in a plane crash, which tragically leaves her family is dead. Only Hadley can tell everyone what happened, but she isn't divulging the details. What happened that day in the plane? And why would it cause Hadley--the only survivor--to want to take her own life?
This book. Oh this book. Wow. I completely overlooked this one on my ARC shelf, and for that, I deeply apologize. But, I'm so, so, so glad I did pick it up! This is an amazing, powerful, and heartbreaking book and easily one of my favorite books I've read this year.
Part of the power comes via its format, which seems simple on the surface. The novel and its details are all a slow build via a "then" and "now" format plus transcripts and bits of evidence from the crash investigator. All of our "then" and "now" portions come from Hadley's point of view and leave us constantly wondering. Why is her dad all over her? What makes him so evil? You are also left in utter confusion and suspense over exactly what happened during the crash (and why it happened). I read the second half in one sitting, staying up late to finish it. I simply had to know what happened to Hadley.
I credit this to Giles' writing, which is superb. You will get sucked in by Hadley extremely early. She's a well-written, compelling character, and it's nearly impossible not to become part of her life. In fact, rarely have I felt so strongly for characters in a novel in a long time. If I could have, I would have gone and rescued those children myself! I simply loved Hadley and her wonderful, feisty sister, Lila. The hate I felt for their horrible, abusive father--and, sometimes, their apathetic, passive mother, was insane. They felt like real people. I was completely involved.
In fact, those poor kids. The book actually made me feel tense just reading about their lives. It was so well-done that I read portions of it with a knot in my stomach. (As a note, there's definitely a trigger for abuse.) Watching Hadley try to protect her sister and live up to adult expectations far beyond her teen years--seriously, guys, it was heartbreaking and yet amazing to read. You will find yourself rooting for Hadley and Lila in an inexplicable way.
The ending on this one is interesting. I'm still pondering it. The fascinating thing about this book is that you know *something* has to have happened up in that plane, but you don't know exactly what, or how it all goes down. The ending made me go "wow." I'm not exactly sure it's what I would have chosen, but it still felt right somehow. Although I was so attached to Hadley, that I wish there was a sequel of sorts, because I still feel bonded to the girl. That's how well-done this novel was!
Overall, this is just a lovely book. Very, very rarely does a book make me cry. This one did. This is not a light read, no, but there are still funny moments, beautiful moments, and heartwarming moments among all the dark ones. You will not regret reading this book. Huge kudos to Amy Giles for writing such a powerful and wonderful novel that so deftly deals with abuse and aspects of mental illness. I feel like Hadley and Lila will stay with me for a long time. 4.5 stars.
This book. Oh this book. Wow. I completely overlooked this one on my ARC shelf, and for that, I deeply apologize. But, I'm so, so, so glad I did pick it up! This is an amazing, powerful, and heartbreaking book and easily one of my favorite books I've read this year.
Part of the power comes via its format, which seems simple on the surface. The novel and its details are all a slow build via a "then" and "now" format plus transcripts and bits of evidence from the crash investigator. All of our "then" and "now" portions come from Hadley's point of view and leave us constantly wondering. Why is her dad all over her? What makes him so evil? You are also left in utter confusion and suspense over exactly what happened during the crash (and why it happened). I read the second half in one sitting, staying up late to finish it. I simply had to know what happened to Hadley.
I credit this to Giles' writing, which is superb. You will get sucked in by Hadley extremely early. She's a well-written, compelling character, and it's nearly impossible not to become part of her life. In fact, rarely have I felt so strongly for characters in a novel in a long time. If I could have, I would have gone and rescued those children myself! I simply loved Hadley and her wonderful, feisty sister, Lila. The hate I felt for their horrible, abusive father--and, sometimes, their apathetic, passive mother, was insane. They felt like real people. I was completely involved.
In fact, those poor kids. The book actually made me feel tense just reading about their lives. It was so well-done that I read portions of it with a knot in my stomach. (As a note, there's definitely a trigger for abuse.) Watching Hadley try to protect her sister and live up to adult expectations far beyond her teen years--seriously, guys, it was heartbreaking and yet amazing to read. You will find yourself rooting for Hadley and Lila in an inexplicable way.
The ending on this one is interesting. I'm still pondering it. The fascinating thing about this book is that you know *something* has to have happened up in that plane, but you don't know exactly what, or how it all goes down. The ending made me go "wow." I'm not exactly sure it's what I would have chosen, but it still felt right somehow. Although I was so attached to Hadley, that I wish there was a sequel of sorts, because I still feel bonded to the girl. That's how well-done this novel was!
Overall, this is just a lovely book. Very, very rarely does a book make me cry. This one did. This is not a light read, no, but there are still funny moments, beautiful moments, and heartwarming moments among all the dark ones. You will not regret reading this book. Huge kudos to Amy Giles for writing such a powerful and wonderful novel that so deftly deals with abuse and aspects of mental illness. I feel like Hadley and Lila will stay with me for a long time. 4.5 stars.
Goddess in the Stacks (553 KP) rated Little Bee in Books
Jun 20, 2018
Today, June 20, is World Refugee Day. First observed in 2001, it is dedicated to raising awareness of the plight of refugees all across the world. African Refugee Day had been observed in some countries prior to the UN declaring it World Refugee Day, but the Organization of African Unity agreed to have the two days coincide.
To honor World Refugee Day, today I'm going to talk about Little Bee. Little Bee is a Nigerian refugee in the United Kingdom. She and her sister witnessed the destruction of their village by an oil company's thugs, and were hunted down to eliminate the witnesses. In a chance encounter on a Nigerian beach, she met Sarah and Andrew, a couple from London trying to save their marriage by going on an exotic holiday. The encounter changes the lives of all three of them, and when Little Bee makes it to the United Kingdom, they are the only people she knows. She arrives at their home on the day of Andrew's funeral, and Sarah takes her in.
The book switches between the viewpoints of Sarah and Little Bee, and it does suffer from that, a bit. I couldn't wait for Sarah's chapters to be done so I could get back to Little Bee. Her viewpoint - her voice - was enthralling. Some first-person views are just the person thinking to themselves, while some first-person views are the person talking to the reader. Sarah was the first type, and Little Bee the second. Reading her explanations of the differences between her old life and her new life, and how the girls from her village wouldn't understand things, was amazing. I was hooked within the first ten pages of the book, specifically her note about scars:
"I ask you right here please to agree with me that a scar is never ugly. That is what the scar makers want us to think. But you and I, we must make an agreement to defy them. We must see all scars as beauty. Okay? This will be our secret. Because take it from me, a scar does not form on the dying. A scar means, I survived."
The events Little Bee talks about having witnessed are horrifying. And she recognizes that. She could be bitter, she could be depressed, she could be insane, but she is not. She manages to have hope, and even joy. She sees other refugees around her commit suicide, and in fact always has a plan for how to kill herself "if the men come." Because the stories of refugees always begin with "the men came and they..." and she'd rather kill herself than let herself be taken. Despite this, she has hope for a future. Or perhaps she simply takes joy in the present.
The book is not a happy one. Like Sing, Unburied, Sing, it's an important book but not exactly an enjoyable one. There are enjoyable parts. But there are very hard parts, too. (I should note, here, a TRIGGER WARNING for a graphic description of rape, when Little Bee tells Sarah what happened to Little Bee's older sister.) It did not end the way I wanted it to, though it ended in an unexpected way. I suppose it was too much to hope for a Happy Ever After when the vast majority of refugees don't get one.
For all that there were very tough scenes to get through in this book, I'm still putting it on my Best of 2018 list. Little Bee's voice and viewpoint is amazing, the story is well researched, and the plot absorbing. This is a book I'd like to have on my shelf.
You can find all my reviews at http://goddessinthestacks.wordpress.com
To honor World Refugee Day, today I'm going to talk about Little Bee. Little Bee is a Nigerian refugee in the United Kingdom. She and her sister witnessed the destruction of their village by an oil company's thugs, and were hunted down to eliminate the witnesses. In a chance encounter on a Nigerian beach, she met Sarah and Andrew, a couple from London trying to save their marriage by going on an exotic holiday. The encounter changes the lives of all three of them, and when Little Bee makes it to the United Kingdom, they are the only people she knows. She arrives at their home on the day of Andrew's funeral, and Sarah takes her in.
The book switches between the viewpoints of Sarah and Little Bee, and it does suffer from that, a bit. I couldn't wait for Sarah's chapters to be done so I could get back to Little Bee. Her viewpoint - her voice - was enthralling. Some first-person views are just the person thinking to themselves, while some first-person views are the person talking to the reader. Sarah was the first type, and Little Bee the second. Reading her explanations of the differences between her old life and her new life, and how the girls from her village wouldn't understand things, was amazing. I was hooked within the first ten pages of the book, specifically her note about scars:
"I ask you right here please to agree with me that a scar is never ugly. That is what the scar makers want us to think. But you and I, we must make an agreement to defy them. We must see all scars as beauty. Okay? This will be our secret. Because take it from me, a scar does not form on the dying. A scar means, I survived."
The events Little Bee talks about having witnessed are horrifying. And she recognizes that. She could be bitter, she could be depressed, she could be insane, but she is not. She manages to have hope, and even joy. She sees other refugees around her commit suicide, and in fact always has a plan for how to kill herself "if the men come." Because the stories of refugees always begin with "the men came and they..." and she'd rather kill herself than let herself be taken. Despite this, she has hope for a future. Or perhaps she simply takes joy in the present.
The book is not a happy one. Like Sing, Unburied, Sing, it's an important book but not exactly an enjoyable one. There are enjoyable parts. But there are very hard parts, too. (I should note, here, a TRIGGER WARNING for a graphic description of rape, when Little Bee tells Sarah what happened to Little Bee's older sister.) It did not end the way I wanted it to, though it ended in an unexpected way. I suppose it was too much to hope for a Happy Ever After when the vast majority of refugees don't get one.
For all that there were very tough scenes to get through in this book, I'm still putting it on my Best of 2018 list. Little Bee's voice and viewpoint is amazing, the story is well researched, and the plot absorbing. This is a book I'd like to have on my shelf.
You can find all my reviews at http://goddessinthestacks.wordpress.com
BankofMarquis (1832 KP) rated First Man (2018) in Movies
Oct 13, 2018
GREAT, Visceral Space Scenes - Boring, Soap-Opera-ish Earth Scenes
Get to the largest screen you can find with the best sound system and check out FIRST MAN. The visceral spectacle of space travel is expertly captured and needs to be seen on the BIG screen while your chair vibrates from the sound. You, the audience, fwill eel like you are in the spaceship with Neil Armstrong on his way to the moon.
Too bad the Earth-bound moments of this film don't go to the same heights.
Directed by Damien Chazelle in his follow-up to his Oscar winning Directorial stint with LA LA LAND, FIRST MAN tells the story of Neil Armstrong in the 1960s, going from test pilot to the First Man who stepped foot on the moon.
As I stated earlier, the times that we are in the space capsule, or flight plane or test simulator with Armstrong are a visceral experience not to be missed. Chazelle puts his camera close in, often times seeing what Armstrong is seeing - most of that time with loud, shimming and shaking noises and shimming and shaking cameras that left me wonder how these Pioneers of Space Flight ever made it to the Moon and back safely. These scenes - and especially the last 1/2 hour of the film when Armstrong & Co. go to the moon - are worth the price of admission alone. Add on top of that a driving, visceral (there's that word again) score by Chazelle's musical collaborator Justin Hurwitz (Oscar winner for the music for LA LA LAND) and your heart will be thumping loudly in your chest during these exhilarating scenes.
And that is good, for Chazelle and screenwriter Josh Singer (SPOTLIGHT) try to squeeze in a Soap-Opera-esque plot and motivation for Armstrong throughout this film that just didn't work for me. They tried too hard to give Armstrong some "personal" motivations for being stoic, pragmatic and driven to his vision.
As for the acting, Ryan Gosling is...well...stoic, pragmatic and driven to his vision as Armstrong. Do you see that look on Gosling/Armstrong's face in the picture that is accompanying this review? You get that 90% of the time with him. Most of the other actors - Jason Clarke, Kyle Chandler, Pablo Schreiber, Ethan Embry, Lukas Haas - all give the same stoic, pragmatic performance, so there is no real personality here. Even the great Ciaran Hinds - who normally can chew scenery with the best of them - was toned way down to stoic, pragmatic proportions.
This made the performance of Corey Stoll as Buzz Aldrin all the more jarring for he bursts into this film at about the halfway point, cracking jokes and having a personality. Unfortunately, this was annoying at this point, rather than refreshing and I ended up thinking what a jerk Aldrin is.
Add to that Claire Foy (THE CROWN) as Armstrong's wife who has a constant pained expression on her face. She will get an Oscar nomination, for she had the big "Oscars" speech as the worried wife and mother - a speech where Gosling/Armstrong looked at her pragmatically and with solid stoicism.
Fortunately, what saves this movie is that these Earth-bound scenes of fairly boring people in cliched situations are quickly wiped away with awe-inspiring action pieces - they really are worth the price of admission - even the higher price you will need to pay to see it in IMAX with a kick-butt sound system.
Letter Grade: B+
7 1/2 (out of 10) stars - have I mentioned how great the space scenes in this film are?
And you can take that to the Bank(ofMarquis)
Too bad the Earth-bound moments of this film don't go to the same heights.
Directed by Damien Chazelle in his follow-up to his Oscar winning Directorial stint with LA LA LAND, FIRST MAN tells the story of Neil Armstrong in the 1960s, going from test pilot to the First Man who stepped foot on the moon.
As I stated earlier, the times that we are in the space capsule, or flight plane or test simulator with Armstrong are a visceral experience not to be missed. Chazelle puts his camera close in, often times seeing what Armstrong is seeing - most of that time with loud, shimming and shaking noises and shimming and shaking cameras that left me wonder how these Pioneers of Space Flight ever made it to the Moon and back safely. These scenes - and especially the last 1/2 hour of the film when Armstrong & Co. go to the moon - are worth the price of admission alone. Add on top of that a driving, visceral (there's that word again) score by Chazelle's musical collaborator Justin Hurwitz (Oscar winner for the music for LA LA LAND) and your heart will be thumping loudly in your chest during these exhilarating scenes.
And that is good, for Chazelle and screenwriter Josh Singer (SPOTLIGHT) try to squeeze in a Soap-Opera-esque plot and motivation for Armstrong throughout this film that just didn't work for me. They tried too hard to give Armstrong some "personal" motivations for being stoic, pragmatic and driven to his vision.
As for the acting, Ryan Gosling is...well...stoic, pragmatic and driven to his vision as Armstrong. Do you see that look on Gosling/Armstrong's face in the picture that is accompanying this review? You get that 90% of the time with him. Most of the other actors - Jason Clarke, Kyle Chandler, Pablo Schreiber, Ethan Embry, Lukas Haas - all give the same stoic, pragmatic performance, so there is no real personality here. Even the great Ciaran Hinds - who normally can chew scenery with the best of them - was toned way down to stoic, pragmatic proportions.
This made the performance of Corey Stoll as Buzz Aldrin all the more jarring for he bursts into this film at about the halfway point, cracking jokes and having a personality. Unfortunately, this was annoying at this point, rather than refreshing and I ended up thinking what a jerk Aldrin is.
Add to that Claire Foy (THE CROWN) as Armstrong's wife who has a constant pained expression on her face. She will get an Oscar nomination, for she had the big "Oscars" speech as the worried wife and mother - a speech where Gosling/Armstrong looked at her pragmatically and with solid stoicism.
Fortunately, what saves this movie is that these Earth-bound scenes of fairly boring people in cliched situations are quickly wiped away with awe-inspiring action pieces - they really are worth the price of admission - even the higher price you will need to pay to see it in IMAX with a kick-butt sound system.
Letter Grade: B+
7 1/2 (out of 10) stars - have I mentioned how great the space scenes in this film are?
And you can take that to the Bank(ofMarquis)