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Scott's Film Reviews
2019 Movie reviews, Foreign Language Films, Foreign Thriller Films, Thriller Films
Parasite-2019
November 28, 2019 scottmet99	Leave a comment
Director-Joon-ho Bong
Starring-Song Kang-ho, Jang Hye-jin
Scott's Review #963
Reviewed November 28, 2019
Parasite (2019) is a South Korean language film that has it all. The writing is powerful and thought-provoking, the direction is unique and intriguing, the acting stellar, and the story perfectly paced with dizzying twists and turns. The film is uncomfortable and unsettling (in a good way), catapulting from dark humor to horror by the time the shocking finale plays. An experience to be dazzled by and ravaged at the emotions it will instill in the viewer.
The story centers on two families. The affluent Park's live in the lap of luxury, enjoying the finer things in life like a lavish residence, a personal driver, and a live-in housekeeper. Park Dong-ik is the CEO of an IT company, his beautiful wife, Park Yeong-gyo, stays at home with their two children, Park Da-hye and Park Da-Song. They are rich and, on the surface, rather spoiled and superficial.
The struggling Kim's reside in a semi-basement that constantly floods, accept menial jobs to pay the bills, and are grifters. Patriarch Kim Ki-taek and wife Kim Chung-sook have two teenage children, Kim Ki-woo and Kim Ki-jeong. They are cagey and resourceful and think up schemes to garner money. Each is good-looking but struggles to find much success in life.
Kim Ki-woo's friend tutors for the Park daughter and will soon travel abroad for studies. He convinces Kim Ki-woo to interview for the position, who easily gets the job by charming the gullible Park Yeong-gyo. He and the rest of the Kim's create an elaborate ruse to insinuate themselves into the Park family by tricking Mr. and Mrs. Park into dismissing their driver and housekeeper. The Park's are unaware that their new staff are related!
The underlying theme of Parasite is one of class distinction and social inequality. The tension builds more and more with each scene and the monetary differences between the haves and have nots is always on the surface. Once the Kim's get a taste of the good life they have no intention of being satisfied merely as hired help- they want it all for themselves.
The fact that the Kim's are clever, and manipulative is no accident on the part of director, Joon-ho Bong. Conversely, the Park's are gullible and easily outsmarted by the Kim's. Why are they rich and the Kim's poor, the audience wonder? Are we to root for the Kim's to overtake the Park's? The Kim's are no saints as they resort to the firings of other people to get what they want. Allegiances to characters will shift along the way.
As the Kim's get comfy one night in the Park house when the family goes on a weekend camping trip, the film really takes off. Drunk and sparring with each other, the doorbell rings and the haggard former housekeeper begs to be let in. When she claims to have left something behind in the basement, this leads to a shocking secret and dramatic turn of events. I did not see the revelation coming and events only catapult the film into something else. The pacing and tension during this scene are outstanding.
Tough to rival this scene, the film does just that with the gruesome and bloody birthday party scene. The proverbial "sh## hits the fan" as the tensions among the characters come to life. The scene results in several deaths and the rage of a prominent character reaches a crescendo. The scene is set on a gorgeous sunny day, perfect for birthday cake, balloons, and shiny wrapped presents. After a lovely start the party becomes laden with blood, screams and intensity.
Bong writes the Kim patriarch as the most sympathetic character, and a montage at the end of the film makes this clear. The other characters are less benevolent and more complicated. When Mrs. Kim shoves the family dog she is unlikable, but then she is kind to the former housekeeper. Mrs. Park appears innocent at first but then is a shrew when she plans her son's birthday party, expecting all to cater to her every whim. Finally, Mr. and Mrs. Park mock Mr. Kim behind his back and insinuate that poor people "smell funny". Do the Park's deserve their fates?
Parasite (2019) is a dark film filled with clever writing, good character development, that takes audiences on a roller coaster ride. The sub-titles do little to detract from the fantastic experience this film offers as Bong spins a spider-web of deceit, desperation, and tragedy. Viewers will certainly be thinking and talking about this one for days.
2019 Movie reviewsForeign Language filmsForeign Thriller filmsThriller films
2018 Movie reviews, Drama Films, Foreign Drama Films, Foreign Language Films
Shoplifters-2018
Director-Hirokazu Kore-eda
Starring-Lily Franky, Sakura Ando
Shoplifters (2018) is a fabulous Japanese offering, directed, written and edited by Hirokazu Kore-eda. The film is awfully slow-moving and understated, but provides a moving and poignant message about family, by blood or not, and the powerful ties that bind individuals in a compassionate and emotional way. The film is character driven and humanistic, offering sentiment and emotion without ever feeling overwrought or manipulative. It is not to be missed.
A dysfunctional group of outsiders reside together in a dingy basement establishment in Tokyo, Japan, escaping their poverty by shoplifting and embarking on mild adventures to pass the time. They share a deep bond and look out for each other. The audience assumes they are family, which they are, but not in the biological sense. The family rescues an abused young girl and takes her into their home, showering her with love and affection. Eventually, trouble comes when one of them is caught shoplifting, which leads to a domino effect of terrible events.
The group consists of Osamu (Lily Franky), a day laborer forced to leave his job after twisting his ankle; his "wife" Nobuyo (Sakura Ando), who works for an industrial laundry service; Aki (Mayu Matsuoka), who works at a hostess club; Shota (Kairi Jo), a young boy; and Hatsue (Kirin Kiki), an elderly woman who owns the home and supports the group with her deceased husband's pension.
The film showcases most of the characters equally as they work, drink and hang out together. The abused girl, named Yuri, is given a haircut and renamed Lin, and is central to the plot. Nobuyo and Shota take a shine to her, she teaches Lin that parents who love their children hug them and do not hit them, while Shota teaches her the ins and outs of stealing groceries.
Though the watch is a slow one the audience inevitably falls in love with the characters and the connection becomes powerful before the viewer knows it. We know Osamu and Nobuyo should leave Yuri where she is when they see her unattended and shivering on a cold balcony, but they cannot help themselves. Their actions lead the audience to immediately realize that they are good, kind people, who have been handed bad life circumstances to deal with.
The film is a tough watch and is not one ever to be defined as edge-of-your seat. Many scenes involve characters walking around the streets, almost aimlessly, commenting that the weather is cold or other trivial conversational bits. The scenes could be defined as boring or bleak, but eventually something magical happens and the characters become favorites, the viewer immersed in their world unflinchingly.
The character of Yuri is a tough one to observe. With bruises on her arms and a burn from a hot iron, tearful is the imagining of the terror the little girl has already been through at the hands of blood relatives, especially since her parents assume she has run off and are thrilled she is out of their lives. The conclusion of the film is cold and harsh, hitting home that the justice system is flawed and cruel, as Yuri ultimately is returned to her parents, certain to face more abuse and eventual death. Doesn't child abuse usually turn out like this?
Director, Kore-eda, could have spun a feel-good story with the family parading onto the beach in sunshine, but he chooses not to. We wonder how Yuri's life might have turned out under better circumstances and if the courts had not gotten involved. Kore-eda instead paints of stark picture of reality and not the fictional happily-ever-after that films too often rush to craft.
Shoplifters (2018) offers a look at humanity at its best and its worst with a story about joy and pain. The film is quiet and careful and ultimately keeps one in its grips. It sticks with the viewer and makes one question what a family really is and what it is defined as in the court of law. Who is to decide who is family and who is not family? The film will make one ponder many things which a treasured quality of good cinema is.
2018 Movie reviewsDrama filmsForeign Drama filmsForeign Language films
1960 Movie reviews, Western Films
The Magnificent Seven-1960
Director-John Sturges
Starring-Yul Brynner, Steve McQueen
The Magnificent Seven (1960) is a western in the classic sense that will satisfy fans of the genre. It features Hollywood stars of the day in heroic roles that give an aura of nationalism and conservative Americana. Other than a wonderful musical score, a pleasant romance, and some male bonding, the film feels quite dated with racial overtones that probably were not as irksome in the 1960's as they are now. The film is a remake of the 1954 Japanese film Seven Samurai.
The bullied residents of a small Mexican village decide to hire seven American gunslingers to defeat a gang of bandits led by Calvera (Eli Wallach), who terrorize the villager on a regular basis. The gunslingers are led by Chris Adams (Yul Brynner) and feature Vin (Steve McQueen), Bernardo (Charles Bronson), Lee (Robert Vaughn), Harry (Brad Dexter), Britt (James Coburn), and Chico (Horst Buchholz). Each is distinctive in some way- Lee is a veteran while Vin is a drifter, and so on.
The musical score is to be praised for its high energy and adventurous timing especially during key scenes. The introduction of the seven gunslingers is fun and popular for the western genre, especially in television series of the time. Considering most of the cast were handsome leading men this is a treat for audiences. The music also infuses the film with some pizzazz and is perfect for the genre that it is.
A romance between the hot-blooded Chico and gorgeous Mexican girl, Petra also works. An unlikely pairing, the couple has resounding chemistry and a West Side Story style connection. Not supposed to be attracted to one another, or hardly soul mates, the two blessedly share a happily-ever-after roll-up as the entire film does. Westerns in the 1960's were meant to be crowd pleasing and not especially daring. Chico and Petra are a nice addition and provide a bit of diversity.
The swagger of Brynner and McQueen is filled with machismo that in a different film might be annoying, but in The Magnificent Seven, works. They both look great, are clearly in their prime, and are well suited for a feature meant to satisfy the tastes of men and make the women swoon. They prance around on their horses looking serious, cool and confident. But the film's target demographic is clearly men and not teenage girls.
The over-arching story is irritating. The viewer is supposed to believe that the Mexican men are so incompetent that they do not even know how to shoot a gun or how to defend themselves. This seems to be a gimmick and a pro-American stance more than a reality. The gunslingers swoop in and take complete control showing the Mexicans how real men fight. It's silly and trite and an obvious plot device. Contrived and offensive but common for the genre.
During the middle of the film the story meanders and the thirst for the inevitable, climactic finale makes the viewer a bit restless. Finally, we are treated to the battle between good and bad where much blood is spilled and even a few of the gunslingers are slain. Laughable, is how the characters die on cue but still look great while dying. The finale is marginally satisfying but predictable in its outcome.
Made during a time when the western was a popular genre and a box office success, decades later the film feels dated and rather unnecessary. Featuring big stars of the day this is not surprising and better genre films with more grit were soon to be on the way, think The Wild Bunch (1967), and are superior to The Magnificent Seven (1960).
1960 Movie reviewsWestern films
2019 Movie reviews, Crime Drama Films, Drama Films, Epic Films
The Irishman-2019
Director- Martin Scorsese
Starring-Robert De Niro, Al Pacino, Joe Pesci
Any film created by legendary director, Martin Scorsese is sure to impress legions of adoring followers and most critics. Every project he touches results in something fantastic, and easy to revel in good analysis and discussion about the movie moments after the closing credits have rolled. The Irishman (2019) is a film that requires repeated viewings and thought to obtain the full flavor and relish in the savory and vast cast of characters.
The picture may not be on the same level as Goodfellas (1990) or The Godfather (1972), which it seems patterned after, but the work is highly impressive and should stand the test of time resulting in a fine wine analogy. The years will likely be kind to the film and enrich the experience- it's that kind of film. With stars like Robert De Niro, Al Pacino, Joe Pesci, and Harvey Keitel on board, the viewer expects a plethora of riches and that is exactly what is delivered.
The film spans the period of the 1950's through the 1970's and follows the life of Frank Sheeran (De Niro), a truck driver who becomes a hit man and gets involved with mobster Russell Bufalino (Pesci) and his crime family, including his time working for the powerful Teamster Jimmy Hoffa (Pacino). Sheeran is dubbed "the Irishman". He narrates much of the story, now quite elderly and residing in a nursing home, of his time in the mafia and the mystery surrounding the death of Hoffa.
The only negatives to the film are the suspension of disbelief that De Niro is Irish- was there ever a more Italian New Yorker? But, alas, this film is Scorsese directed and De Niro produced, so they could tell me the sky is green and I would readily nod in agreement. At three hours and twenty-nine minutes, the film is a long haul and towards the middle the film meanders a bit. Perhaps twenty or thirty minutes could have been sliced to the cutting room floor.
The rest of the experience The Irishman serves up is brilliance, with rich characters and wonderful atmosphere. Have I mentioned that Scorsese directed this film? The cast of characters is endless and drizzles with zest speaking volumes for what The Godfather did with casting. Many recognizable actors appear in small roles like Ray Romano as attorney Bill Bufalino, Bobby Cannavale as "Skinny Razor", and Anna Paquin as Frank's estranged daughter, Peggy. An endless supply of character actors fleshes out the remaining cast.
Wonderful are the plethora of food references that would impress notable food director, Alfred Hitchcock, known for incorporating meals into many of his scenes. The delectable early scenes when Frank delivers meat to grocers and gets in with a gangster over a discussion about a good steak will leave viewers mouth-watering for a tender sirloin.
The conversations between characters are interesting, slowly building and adding robust grit to a packed film. They have good, careful dialogue exchanges and talk matter-of-fact about life and experiences. Characters are given a chance to develop and grow and even small characters like a nurse or a wife add a good, comforting aura. It is evident what treasured films look like when a director can simply create and develop without outside interference.
The standouts in the acting department are Pacino and De Niro, the former crossing my fingers will receive an Oscar nomination. The pairing is flawless and eagle-eyed fans will recall that both actors appeared together in The Godfather Part II (1974) yet never shared a scene. In The Irishman they appear together in pivotal scenes. Pacino infuses Hoffa with humor and poise as only Pacino can do with a character. He is my favorite character and is tough to look away from.
Both actors, along with Pesci, are treated to a recent marvel in cinema- that of the de-aging process. Each actor, well into his seventy's, is transformed to mid-forties in many scenes and then aged to appear elderly later in life. While each has a strange unnatural look to him as a younger man, the process is impressive and an innovative technique that assuredly will become more common in film, and subsequently offer limitless possibilities.
The Irishman (2019) is a cinematic gem by a storied director advancing in years, but still offering grandiose films. With stalwarts like De Niro, Pesci, and Pacino, the players are well cast, and nuanced touches add dimensions to the finished product. Offering a gangster film with grace and style, the story is poignant and crisp and a thoughtful approach to one of the legendary mysteries- what really happened to Jimmy Hoffa?
2019 Movie reviewsCrime Drama filmsDrama filmsEpic films
2019 Movie reviews, Drama Films
Marriage Story-2019
Director-Noah Baumbach
Starring-Adam Driver, Scarlett Johansson
Marriage Story (2019) is a film that could have been generic, melodramatic, or contrived. Before it was released it was described as a "really good" version of Kramer vs. Kramer (1979) or Terms of Endearment (1983). Those are excellent films but marginally sappy and overwrought. Marriage Story excels at being a smart, powerful, and realistic portrayal of a marriage disintegrating, painting a picture of how good people can turn ugly under certain circumstances. Believe the hype of how good this film is.
Taking place in both New York City and Los Angeles, we meet Charlie and Nicole Barber (Adam Driver and Scarlett Johansson), a theater director and his wife, an actress who stars in his plays. They fill notebook paper of what they love most about each other, and the list is lengthy. Appearing to be madly in love, the audience soon realizes that the couple is amid an amicable separation, the writings a result of an assignment by a "separations counselor", hired to make things easier.
Charlie and Nicole share an eight-year-old son named Henry. Nicole returns to Los Angeles to resume her acting career and spend time with her mother (Julie Hagerty) and sister (Merritt Wever). Adam, successful in New York City, plans to stay and reside with his son. Nicole hires a tough lawyer, Nora (Laura Dern), while Charlie begrudgingly hires semi-retired attorney Bert Spitz (Alan Alda), and later Jay (Ray Liotta). Nicole and Charlie are sensible, planning to work things out by themselves, only needing representation for formalities, or so they think.
The situation escalates, spinning out of control as their divorce becomes increasingly hostile as custody of their young son ups the ante. Qualities they once loved about each other become hate filled arguments as the couple fights and feuds as their attorney's scramble for a leg up. Can the couple save themselves as secrets bubble to the surface and situations are used against each other?
The film is a lengthy two-hours and sixteen minutes, so the plot takes time to capture its viewer. When it eventually takes grip it never let's go, forcefully enrapturing the watcher. We care for both Charlie and Nicole and while sympathizing with each at different times, both characters are written as benevolent. There is no villain except the divorce itself.
The key to the success is in the writing. Director, Noah Baumbach, known for The Squid and the Whale (2005), and Frances Ha (2012) knows how to craft witty and clever dialogue, weaving comedy and drama intricately together. He can make the viewer laugh and cry within the same scene. The screenplay is the best part of the film because it is laden with crackling words and interesting situations.
Marriage Story reminds me of a Woody Allen film. Feeling improvised, unknown if any of the dialogue is, the characters speak long soliloquies and endless chatter between each other or themselves. This results in a powerful medium of self-expression and a "talkie" movie. The banter between characters is not drivel nor gibberish, but contains important, emotionally rich meaning and flavor.
The film belongs to Driver and Johansson, each delivering a home run. Driver is the stronger of the two but not by much and this is only because his emotional scenes feel rawer than hers do. When the actors have a knock-down drag-out fight the scene is long and exceptionally acted, each taking turns verbally attacking the other. Vicious rage and emotional fury come to the forefront. This is the best scene in the film.
Dern, Alda, and Liotta are wonderful, bringing respect to the film. Each has been on the Hollywood scene for forever and each plays an attorney. While Dern's and Liotta's characters are sharks, Alda's is a reasonable and realistic older man who has seen it all. Burt lays down the facts for Charlie and makes his realize how much is at stake. Dern shines as the sexy blonde attorney who wears revealing clothes and legs for miles. Grizzled Liotta plans to win at all costs. What a delight to see these veterans bring electricity to each scene.
Lastly, I adore the bi-coastal locales of New York City and Los Angeles. The big cities burst with meaning and are as different as day and night as the film explains. Charlie is a New Yorker and Nicole a California girl at heart. is L.A. The plentiful scenes of both cities on location gives the film richness and texture.
With Marriage Story (2019), Baumbach creates his best and most personal film. Rumored to be partly autobiographical he takes a subject matter most assume has already been exhausted and spins the story in a different direction that makes it feel fresh. The aspects all come together in an experience that is emotional, powerful, and intelligent. The film is a treasure and an example to young film makers that good writing always wins the day.
2019 Movie reviewsDrama films
1962 Movie reviews, Comedy Films, Dark Comedy Films, Satirical Films
Dr. Strangelove-1964
Director-Stanley Kubrick
Starring-Peter Sellers, George C. Scott
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, more commonly known simply as Dr. Strangelove, is a 1964 political satire black comedy film that satirizes the Cold War and fears of a nuclear conflict between the Soviet Union and the United States. The film, timely in the 1960's, is as relevant decades later amid the chaos that ensued during the 2016 United States Presidential election, and the tumultuous years to follow. The film is powerful, brave, and important.
The story centers around an unhinged United States Air Force general (Sterling Hayden) who orders a first strike nuclear attack on the Soviet Union. The plot then follows the President of the United States, (Peter Sellers), the Joint Chiefs of Staff, and a Royal Air Force (RAF) officer as they try to recall the bombers to prevent a nuclear apocalypse. The film also follows the crew of one B-52 bomber as they try to deliver their payload.
The Cuban Missile Crisis was fresh in viewers minds when this film was released, and President John F. Kennedy was recently assassinated. The United States and the Soviet Union were hardly best buddies. The film was a robust offering not just for the timing but also because political satire in film was fresh. Unintentionally clever is the ironic controversy that exists between the two leaders of the nation's nearly sixty years after the film was released.
The acting is great. Peter Sellers plays three prominent roles, and each is quite different from the others. Group Captain Lionel Mandrake, a British RAF exchange officer, President Merkin Muffley (what a name!) , the President of the United States, and Dr. Strangelove, the wheelchair-using nuclear war expert and former Nazi. Each glistens with goodness as the actor chomps at the bit, making them precise and unique, careful never to stray too far overboard into ridiculousness.
Director Stanley Kubrick wisely chooses black and white cinematography with stellar results and prominent film making techniques. The film, creative and progressive as many 1960's films started to become as the decade blossomed, feels like it could have been made in the 1940's. Kubrick, well known for masterpieces such as The Shining (1980) and 2001: A Space Odyssey (1968) delivers perhaps his oddest film in his catalog with Dr. Strangelove.
The story does not feel dated and the dialogue remains crisp and razor-sharp in its delivery and meaning. With fast dialogue delivery and a monotone vocal style, the film is entertaining and humorous, not taking itself too seriously, yet offering a poignant and important idea come to life. The film keeps gnawing at the viewers that as far-fetched as events seem, the possibility they could become real is more than a bit scary.
Who can possibly forget the final sequence of the looming nightmare of the mushroom clouds, set to Vera Lynn's hopeful We'll Meet Again? Since the film has hints of 1940's cinema style, the rude awakening that the 1960's produced in terms of nuclear weapons and insecurity, hits home in this sequence.
Dr. Strangelove (1964) is pure satire but frightening in its realism and the uncertainty that one crazy leader could lead an entire nation to detrimental results. The film highly influenced later satires and unique styles in film making- Wes Anderson creations immediately spring to mind. One can ruminate in the differing possibilities the film offers- in a way the absurdity of the situation, and the unthinkable way the situation could easily become reality.
1962 Movie reviewsComedy filmsDark Comedy filmsSatirical films
2019 Movie reviews, Horror Films, Independent Films, Independent Horror Films
Midsommar-2019
Director-Ari Aster
Starring-Florence Pugh, Jack Reynor
Director Ari Aster made a splash with his feature length directorial debut, the horror-drama film, Hereditary in 2018. The film received enormous accolades, even considered for an Oscar nomination, and was quite bizarre and horrific. Aster follows up with Midsommar (2019), a film arguably even more freaky and ambitious. The film is very slow-moving and foreboding, but finally reaches a macabre and perplexing climax. My initial reaction is the film is a fine wine with additional richness upon subsequent viewings.
The film quickly gets off to a creepy start in the United States as college student Dani Ardor (Florence Pugh) receives a cryptic email from her troubled sister. Her sister soon kills herself and her parents by filling the house with carbon monoxide fumes. Dani is devastated and needs support from her distant boyfriend, Christian (Jack Reynor), an anthropology student. The couple continue to feel disconnected from each other as months go by.
Dani and Christian decide to join some friends at a midsummer festival in a remote Swedish village. One friend has relatives in the village and another decides to work on his thesis. What begins as a carefree holiday takes a devious turn when the villagers invite the group to partake in festivities that grow increasingly unnerving and viscerally disturbing. Strange events begin to occur as the subsequent series of celebrations gets underway.
Any horror film that mixes pagan cults, folklore and religion easily provides the creeps and Midsommar successfully hybrids American culture with Swedish culture in frightening form. Much of the film takes place in a remote area, with sprawling sunny lands, and a deathly silent atmosphere. The cheery locale has a peculiar California vibe and the Charles Manson era hairstyles are adorn by the Swedish women. Uncertain is whether this was Aster's intent or not.
I love how the students are intelligent and worldly, using their time in the village to learn and study. The traditional horror stereotype involving high school or college students is their desire to guzzle beer, party, have sex, and do little else. Aster wisely makes his group intellectual and more studious than the norm. The students do partake in drugs, but this has more to do with the villagers having healing remedies and other sorts of herbal delicacies.
Midsommar contains many lengthy nude scenes, both male and female, the actors readily baring both their fronts and their rears. This is almost unheard of in American film, but Midsommar is a co-production between the United States and Sweden, providing more leeway in the nudity department. When Christian is given a strong psychedelic and beds a virginal villager eager to mate, the poor chap winds up chased around the village in the buff. This occurs after he inseminates the girl as they are surrounded by nude female villagers cheering them on.
Confusing and left unclear is the motivations of the villagers. The point is made that nine human sacrifices must be made to rid the village of evil, but why is the evil there to begin with? During a ritual it is revealed, in gruesome form, that elderly folks commit suicide at age seventy-two and their names given to newborns. The handsome Christian is a prime candidate to provide life, but why are the others killed? Were they lured intentionally and does their being American have anything to do with it? Was the intent all along to crown Dani May Queen or did she win the dancing competition?
The climax of the film ties back to the beginning portion only in terms of Dani's and Christian's relationship and her family's deaths seem to have little to do with anything. Does Dani intend revenge on Christian or is she so drugged she knows not what she is doing? Will she remain in the village?
A film heavily influenced by The Wicker Man (1973), Midsommar (2019) has divided audiences based on common reviews. Some despise the film, calling it one of the worst ever seen. Others herald it as a work of art, an unsettling offering that provokes thought and provides a sinister feel. I found an enormous amount of questions left unanswered and this may be a good thing. It only makes me want to see the film again or peel back the onion post-film to dissect the many layers Aster creates.
2019 Movie reviewsHorror filmsIndependent filmsIndependent Horror films
2004 Movie reviews, Horror Films
Dawn of the Dead-2004
November 8, 2019 scottmet99	Leave a comment
Director-Zack Snyder
Starring-Sarah Polley, Ving Rhames
Reviewed November 8, 2019
Dawn of the Dead (2004) is a remake of the original horror-comedy-satire film by legendary George Romero. What the original provided in intrigue and concept is lacking in the much bloodier remake- the freshness is not there. The film was made pre-television phenomenon The Walking Dead but watching it now with the zombie obsession at a steady decline, the film, while entertaining, feels tired and dated. The film feels patterned after the successful and fresh 28 Days Later (2002).
Now set in Wisconsin (the original was in Pittsburgh, Pennsylvania), Ana (Sarah Polley), returns from a shift at the local hospital, where she works as a nurse. She soon learns that massive bulletins alert sudden zombie plague, where former human beings have turned into cannibalistic corpses. Her husband a victim, Ana joins a small group of survivors at the local shopping mall and attempts to stay alive while being encircled by the creatures, and other not so nice people.
The main group includes a grizzled police sergeant, Kenneth (Ving Rhames), electronics salesman Michael, petty criminal Andre and his pregnant wife, Luda, and three guards, C.J., Bart, and Terry. They are later joined by others who arrive via delivery truck. The large group befriends another survivor, Andy, who is stranded in his gun store across the zombie-infested parking lot. The rest of the film offs the characters one by one in traditional horror style, while the remaining few try to figure out an escape route.
The main problem with Dawn of the Dead is that the characters are not written well, making them either one note or not particularly interesting, and quite stereotypical. Examples of this are the angry and defiant guards, who make trouble for the rest of the group for no other reason than as a weak plot device to create drama other than from the zombies. Kenneth is an angry cop, a lone wolf type of character, who frequently postures and preaches. Again, there is no interesting reason behind his personality. Finally, Steve is an oversexed playboy who keeps recordings of his sexual shenanigans for repeated viewings.
The character meant to root for is Ana. We sympathize with her for her husband's gruesome death and her struggle to stay alive, so she is the films hero. Her character is likable and Polley is a worthy actress, but I wonder if a name star would have been better in this circumstance. Polley did not last very long in the Hollywood world and this only makes the film feel more dated than it already does. Many viewers will not know who the actress is.
Another irritant is the decision to make the zombies move faster. Part of the beauty of the zombies is that they are slow and brooding, unable to think, just existing in a mummy-like haze. Suddenly, they are fast, making them tougher to flee from. This attempt at a modern approach by changing things up too much does not work at all.
Dawn of the Dead is not all dour. Props must be given to the mall setting, updated for 2004 shopping inclusiveness. Trendy and timely stores are added, and it feels like a mall of its time. This is one aspect of the film that works and feels interesting. Eagle-eyed viewers may spot some of their favorite stores from this decade.
The strongest part of an otherwise mediocre film is the brilliant incorporation of the heavy-metal band Disturbed's aggressive song "Down with the Sickness" from 1999. The song is incorporated over the stylistic end credits and a summary of what happens to the survivors is provided over the lyrically brutal song. Unfortunately, it is the very ending of the film where it finally hits a home run.
Since this is a remake it is impossible not to compare it to the 1978 version in many ways. The characters in the original had more salt and a romance added a bit of complexity. The original also felt fun whereas the 2004 version seems hardened and angry. The originality that made the original fresh is lacking in this retread, which limits the unique social context and thought provocation that the original contained.
With little reason to watch Dawn of the Dead (2004) unless it was still 2004, the original 1978 Romero version is far superior. A fun tip might be to watch them in sequence (I did!) to notice differences in style and pacing and for general comparison sake. The final musical score is a win, but much of the rest is dull and dated.
2004 Movie reviewsHorror films
Jojo Rabbit-2019
Director-Taika Waititi
Starring-Roman Griffin Davis, Scarlett Johansson
Jojo Rabbit (2019) is quite simply put, a satire. This type of film, and this style of film making, is not intended for all pallets. The subject of Nazis and Adolf Hitler will hit too close to home for some viewers, especially considering this film is being classified as a comedy, albeit a dark one. With this risk in mind, the film has a fabulous message, is quirky, well-acted, and a marvelous piece of work. But it is a gradual, acquired taste, and not everyone will leave theaters feeling satisfied. I sure did.
Director, Taika Waititi, a Jewish man, is careful to toe the line with his story, teetering close to the edge, but never going too far overboard. He is careful not to offend those who may have close ties to World War II, the horrific events that took place, or disrespect the scars that remain. Rather, he teaches a lesson of acceptance, humanity, and pathos. A laugh one moment leads to tragedy and tears the next, making Jojo Rabbit quite the robust emotional experience.
The time is the 1940's, the setting Germany, as Roman Griffin Davis portrays the title character, a Hitler Youth who finds out his mother (Scarlett Johansson) is hiding a Jewish girl, Elsa, (Thomasin McKenzie) in their attic. Energetic and excitable, he joins a training camp where he is unable to kill a defenseless rabbit, hence given his new nickname. Jojo slowly comes to question his beliefs, while dealing with the intervention of his imaginary friend, an idiotic version of Adolf Hitler (Waititi). He eventually forges a close bond with Elsa.
As the film kicks off it immediately reminds me of a Wes Anderson style of storytelling. Think The Royal Tenenbaums (2001) or Moonrise Kingdom (2012). With quick editing and fast monotone dialogue the characters initially appear silly and trite, with witty responses to weird situations. As the relationships deepen the audience comes to fall in love with them. Davis is a wonderful child actor and the heart of the film.
Johansson's Rosie, the mother, is secretly anti-Nazi. She's got flair, pizzazz, and a good pair of shoes. She states that to dance is to be alive, words of wisdom she provides to Jojo. They come upon a few dangling bodies perched in the center of town for all to see. They have been caught aiding Jewish people and are a deathly symbol to present. Rosie tells Jojo not to look away for these people did what little they could do. This scene is a poignant one.
Captain Klenzendorf (Sam Rockwell), a Nazi captain who runs the youth camp, initially seems to be a buffoon, and a one-note character. He deepens as not just his patriotism, but his sexuality is called into question. The LGBTQ angle is implied, but only skirted over so that the point is vague and mysterious. The Captain stands very close by his second-in-command, Finkel, and a scene at the pool will make many wonder the true relationship between the men.
Finally, Yorki, Jojo's best friend, is just adorable, providing a sweetness and genuine quality that is undeniably benevolent. McKenzie, as the frightened yet strong Elsa, is courageous to a fault. Stubborn and tough, she softens to Jojo as they get to know each other. Her mysterious boyfriend, Nathan, never seen on-screen, plays a prominent role and is a key to the relationship between she and Jojo. The characters are an integral part of the film.
Made in 2019, a volatile time on planet earth, and especially in the United States, the film breathes fresh air into the world of inclusion and acceptance. Much of this is slowly revealed as events transpire to a crescendo. As the war ends, several lives are forever changed, some good, others tragic, but each connected to the others, enriching their respective lives. Waititi celebrates the gift, joys and heartbreaks of life.
Jojo Rabbit (2019) is a film that makes the viewer think and challenges him or her to soak in innocence and evil. Despite the subject matter, the film is not cold or harsh, nor does it disrespect history. Incorporated are death and tragedy mixed with learning and strong relationships. The film is a great experience and an important find among many routine and mainstream projects. Jojo Rabbit perks up cinema, and hopefully the viewer, with a beautiful message.
1973 Movie reviews, Campy Films, Horror Films, Horror-Camp Films, Independent Films, Independent Horror Films
Don't Look in the Basement-1973
Director-S.F. Brownrigg
Starring-Anne MacAdams, Rosie Holotik
A film that is so low-budget that it strongly resembles the quality of independent master John Waters films, Don't Look in the Basement (1973) has very low production values. In fact, it half makes Waters films look like grandiose budget-fests. It contains a campy and cheap quality that adds to the fun of watching. With a video-taped look and marginal acting, the film is perfect for a late-night indulgence, but little more.
Director S.F. Brownrigg, with screenwriter, Tim Pope, brought this project to life. Also named The Forgotten and Death Ward #13, Don't Look in the Basement is the title that works best and conjures up the most intrigue. The story revolves around a collection of odd hospital inmates running the asylum while a series of mishaps occur.
Stephens Sanitarium is a secluded mental health facility in a remote area run by the quirky Dr. Stephens. The good doctor believes that the secret to curing his crazy group of loons is to allow them to express themselves, acting out their own realities in hopes of solving their problems. Stephens and an elderly nurse are both killed separately, he accidentally hacked to bits by an ax, and she having her head crushed by a female patient who thinks her baby (a doll) is being taken from her.
Dr. Geraldine Masters (Anne MacAdams) is left to run the facility and greets a new nurse, the sexy Charlotte (Rosie Holotik) when she arrives from out of town expecting a job. Charlotte encounters all the inmates before strange events begin to occur like an older patient having her tongue cut out, and a visiting telephone repairman being murdered.
One could speculate that Don't Look in the Basement influenced independent treats such as Supervixens (1975), High Anxiety (1977) or the plethora of slasher films soon to be on the horizon, but this may be wishful thinking. A few choice scenes seem like quick blueprints for these films to follow, but in an amateurish way.
Despite the film being of the horror genre category, several scenes, mostly of Charlotte and Geraldine talking in an office, seem carved from a daytime soap-opera, which were popular in those days. The long dialogue, almost throwaway scenes, do not further the plot much, and it's really the occasional macabre death scene that achieves the most reaction.
Don't Look in the Basement adds a big twist that is really not difficult to figure out once all the pieces are presented to the viewer. The foreboding title ultimately underwhelms as this anticipated big secret barely comes to fruition. As the players are offed one by one the implausible conclusion reaches a climax and the viewer will ruminate that the early stages of the film are superior to the ending. The poor pacing and meandering story made me tune out from time to time.
Still, the film is fun and a good, old-fashioned camp-goofy good time. The characters are completely over-the-top in the best possible way. A female nymphomaniac who, it is relayed, has been left by any man she has ever met and craves love and affection, is convinced that the repairman will marry her (they have only just met!) and has sex with his corpse. A lobotomized black man only eats purple lollipops and has a heart of gold, while the ugly old woman, sans tongue, attempts to convey a secret message.
Don't Look in the Basement (1973) is a marginal success because it does not take itself too seriously. This is both good and bad because the project takes on a juvenile quality that sometimes seems to be going for laughs more than for frights. The acting is below par, but somehow the characters retain enough interest to warrant a recommendation, but only for those with interest in the genre.
1973 Movie reviewsCampy filmsHorror filmsHorror-Camp filmsIndependent filmsIndependent Horror films
2019 Movie reviews, Thriller Films
Joker-2019
Director-Todd Phillips
Starring-Joaquin Phoenix
Joker (2019) is a film that has divided audiences. Some love it, others loathe it. The experience is not your standard fun super-hero fare with a hero's rescue and the good triumphing over the evil. Despite the parlay into Batman territory the film smacks the viewer across the face with its brutality, violence, and social and psychological injustices. Joaquin Phoenix pummels the audience with an angry and bitter portrayal of the title character, easily one of the best performances of the year.
In one of the first scenes, before we even know the character, we experience a long close-up of Phoenix laughing hysterically. We wonder what is so funny, before the revelation that he, Arthur Fleck, suffers from a nervous condition that causes inappropriate outbursts. The time is 1981 and the fictional Gotham city, clearly a mirror image of New York City, is the setting. Times are tough, and crime is rampant. Arthur lives in a dumpy apartment with his sickly mother Penny (Frances Conroy) and visits a social worker regularly to receive his prescription medicine.
Arthur finds meager work as a party clown and aspires to be a stand-up comedian. After a gang attacks him in an alley, Arthur's co-worker, Randall, encourages him to take a gun. Arthur invites his neighbor, single mother Sophie, to his stand-up comedy show, and they happily begin dating. Finally, another person understands him. Segments of the population are disenfranchised and impoverished as Thomas Wayne, a billionaire philanthropist, runs for mayor of Gotham. A strange connection develops between Arthur, Penny and Thomas becoming central to the plot.
Can we discuss the bravura performance by Phoenix for a moment? If anyone thinks that Heath Ledger was phenomenal when he portrayed the same character in 2008's The Dark Knight will be elated by Phoenix who takes the character to a completely different level. What Phoenix adds is a strong sympathy for Arthur/the joker, and a caring for the character. We feel sorry for him but should we? He is a villain after all. One could easily debate whether his character can be considered the bad guy, or could he be deemed the hero? Regardless of the assessment the performance is an unforgettable one.
A turn off to some, which I found tremendously powerful, is the role-reversal in the portrayal of the Wayne family/Bruce/Batman characters. Always deemed the "good guys", in Joker, Thomas Wayne is self-centered, pompous, and embodies a sense of entitlement and snobbery. Bruce is a young boy, but the implication is that the family is unkind and what might the child grow up to believe? Why is Batman/Bruce Wayne heralded as good and the joker evil? It turns the tradition upside down into a twisted mind warp and this is wonderfully creative and thought-provoking.
The best scene in the film, which triggers much of the subsequent violence and chaos, occurs when Arthur is invited to appear on a late- night talk show hosted by Murray Franklin (Robert De Niro). A week earlier Franklin had played a humiliating clip of Arthur poorly performing stand-up. Arthur decides to appear in full "joker" attire, and the eventual discussion and words lead to tragic events. The scene is tense, intelligently written, and combative as the men spar over politics and class distinction.
Lastly, the musical score is dark, haunting, and mesmerizing without overtaking the film. Many key scenes of Arthur dancing and posturing are masterful with the inclusion of the bombastic music. He is a celebratory character, in his own mind at least, and the music fuses into the scene with gusto and power. The combination of clowns and an incredible score add an immense amount to the production.
Joker (2019) showcases a marvelous acting performance on the part of Phoenix which combines a haunting musical score in its depth. Providing a social commentary for the poor and disenfranchised, this film will divide viewers, probably based on preconceived expectations of a traditional Marvel type super-hero event. The film offers much more than safer films like Wonder Woman (2017) or Black Panther (2018) ever could- a dark and violent character study.
2019 Movie reviewsThriller films
1930 Movie reviews
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Best Animated Feature Oscar Winners
Best Documentary Feature Oscar Winners
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Welcome to my blog! My name is Scott Segrell. I reside in Stamford, CT. This is a diverse site featuring hundreds of film reviews I have created ranging in genre from horror to documentaries to Oscar winners to weird movies to mainstream fare and everything in between. Please take a look at my Top 100 Films section! This list is updated annually- during the month of September. Simply scroll down to the Top 100 Films category on the left or right hand side of the page. Enjoy and keep the comments coming!
The Lion King-2019 January 17, 2020
Sex Tape-2014 January 15, 2020
1917-2019 January 14, 2020
The Reptile-1966 January 10, 2020
300-2007 January 7, 2020
Beyond the Valley of the Dolls-1970 January 2, 2020
Cabaret-1972 December 31, 2019
Silent Night, Deadly Night-1984 December 30, 2019
8 1/2-1963 December 27, 2019
Bombshell-2019 December 26, 2019
A Passage to India-1984 December 24, 2019
A League of Their Own-1992 December 18, 2019
Knives Out-2019 December 17, 2019
A Christmas Story-1983 December 16, 2019
127 Hours-2010 December 13, 2019
Toy Story 4-2019 December 10, 2019
Mary Poppins-1964 December 9, 2019
A Beautiful Day in the Neighborhood-2019 December 6, 2019
Parasite-2019 November 28, 2019
Shoplifters-2018 November 26, 2019
The Magnificent Seven-1960 November 22, 2019
The Irishman-2019 November 20, 2019
Marriage Story-2019 November 14, 2019
Dr. Strangelove-1964 November 13, 2019
Midsommar-2019 November 11, 2019
Archives Select Month January 2020 (6) December 2019 (12) November 2019 (11) October 2019 (12) September 2019 (3) August 2019 (12) July 2019 (12) June 2019 (9) May 2019 (13) April 2019 (10) March 2019 (10) February 2019 (10) January 2019 (12) December 2018 (14) November 2018 (10) October 2018 (11) September 2018 (7) August 2018 (10) July 2018 (17) June 2018 (15) May 2018 (15) April 2018 (15) March 2018 (5) February 2018 (8) January 2018 (13) December 2017 (8) November 2017 (7) October 2017 (9) September 2017 (9) August 2017 (9) July 2017 (12) June 2017 (8) May 2017 (7) April 2017 (11) March 2017 (10) February 2017 (6) January 2017 (38) December 2016 (45) November 2016 (25) October 2016 (18) September 2016 (15) August 2016 (14) July 2016 (23) June 2016 (29) May 2016 (6) April 2016 (11) March 2016 (8) February 2016 (8) January 2016 (59) December 2015 (24) November 2015 (6) October 2015 (6) September 2015 (7) August 2015 (12) July 2015 (7) June 2015 (7) May 2015 (7) April 2015 (6) March 2015 (8) February 2015 (5) January 2015 (10) December 2014 (12) November 2014 (10) October 2014 (9) September 2014 (16) August 2014 (17) July 2014 (64) June 2014 (81)


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redpajama_set_name: RedPajamaGithub


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Child Fatalities / Near Fatalities Information Releases
State law mandates the Arizona Department of Child Safety to release preliminary information and, upon request, additional records in cases where children have died or nearly died as a result of abuse, abandonment or neglect by a parent, guardian or caregiver.
If DCS receives a report that a child has died or nearly died as a result of abuse, abandonment or neglect, the preliminary information will be posted on this page.
While DCS strives to provide timely information regarding child deaths and near deaths, state law prohibits the department from releasing information until it is determined that a child died, or nearly died, because of abuse, abandonment or neglect by a parent, guardian or caregiver.
DCS may only post on a death or near death if it has been determined that it was caused by abuse, abandonment or neglect if: 1) the perpetrator is arrested related to the incident; 2) a superior court finds a child dependent based on the allegations of abuse or neglect leading to the death or near death; or 3) DCS, through its own internal review and administrative appeal process, substantiates findings linking the allegations of abuse or neglect to the death or near death. Further, if the posting is on a near death, a medical professional must determine that the child was in serious or critical condition.
If a posting is warranted, state law requires the following preliminary information be included:
The name, age and city, town or general location of residence of the child who has suffered a death or near death;
The fact that a child suffered a near death or death as the result of abuse, abandonment or neglect;
The name, age and city, town or general location of residence of the alleged perpetrator, if available;
Whether there have been reports, or any current or past cases, of abuse, abandonment or neglect involving the child and the current alleged abusive or neglectful parent, guardian or custodian; and,
Actions taken by DCS in response to the death or near death of the child.
For more information on how to request DCS records, click here.
For more information on the process for DCS to release information, click here.
-Year20132014201520162017201820192020
Preliminary Report Post Date
Summary Report Post Date
01/09/2020 01/09/2020 Lyam and Brayden McDonald Report, Report Report, Report
01/09/2020 01/09/2020 Eli Steele Report Report
01/08/2020 01/08/2020 Near Fatality Report Report
12/11/2019 12/11/2019 Near Fatality Report Report Statement
11/27/2019 11/27/2019 Indigo Baez Report Report Statement
11/27/2019 11/27/2019 Lariyah Davison Report Report Statement
11/25/2019 11/25/2019 Aniya Carroll-Flores Report Report
Information Requests Regarding Death/Near Death Cases
How does the Department know that a child has died or nearly died as a result of abuse or neglect (i.e. maltreatment)?
All allegations received by DCS, including allegations that a child has died or nearly died as a result of abuse or neglect, are called into the statewide DCS Hotline.*
State law allows DCS to release case records, but that part of the law is limited to cases of abuse, abandonment or neglect resulting in a fatality or a near fatality. Therefore, there must be medical proof or other evidence that the fatality or near fatality was caused by abuse or neglect.
Among the information DCS considers when determining that a child's death was the result of abuse or neglect are:
A statement from a physician or an autopsy finding that the child's death was the result of abuse or neglect;
A statement from a parent, guardian or caregiver that they caused the child's death or near death;
The arrest or criminal indictment of a parent, guardian or caregiver in connection with the child's death; or,
A DCS investigation has resulted in a substantiated finding that abuse or neglect by a parent, guardian or caregiver caused the child's death or near death.
Additionally, in the case of a near fatality, a physician must certify that the child was in serious or critical condition due to the abuse or neglect.
* Not all maltreatment fatalities or near fatalities are reported to the statewide DCS Hotline. For example, law enforcement may not report a child death from maltreatment to DCS if there are no children in the home for whom there are safety concerns or risks. In addition, incidents that occur outside of DCS' jurisdiction – for example, on tribal reservations or military installations – may not be reported to DCS.
What preliminary information will the Department release about all cases where a child has died or nearly died as a result of abuse or neglect?
State law (see § A.R.S. 8-807.01 A(1) a-g) requires that the following preliminary information be released about a case of abuse or neglect that results in a child fatality or near fatality:
In the case of a fatality, the name of the child who has died.
The age, gender, county and general location of the residence of the child who has suffered a fatality or a near fatality.
The fact that a child suffered a fatality or near fatality as the result of abuse, abandonment or neglect.
The name, age and city, town or general location of the residence of the alleged perpetrator, if available, unless the disclosure would violate the privacy of victims of crime pursuant to article II, section 2.1, Constitution of Arizona.
Whether there have been reports, or any current or past cases, of abuse, abandonment or neglect involving the child or the alleged perpetrator.
Actions taken by the department in response to the fatality or near fatality of the child.
A detailed synopsis of prior reports or cases of abuse, abandonment or neglect involving the child or the alleged perpetrator and of the actions taken or determinations made by the department in response to these reports or cases.
The preliminary information will be posted on this website.
When will the preliminary information be released and how will the public know the preliminary information has been released?
The preliminary information will be released within 5 days of confirmation (Chapter 7 - Section 2) of DCS learning that a child's death or near death is a result of maltreatment. The information will be posted to this website.
What happens in cases where a child dies or nearly dies, but there is no medical proof or other evidence that the incident was a result of abuse or neglect (i.e., maltreatment)?
The law allows DCS to release records only in cases of abuse, abandonment or neglect resulting in a fatality or a near fatality. There must be medical proof or other evidence that the fatality or near fatality was caused by abuse or neglect.
the arrest or criminal indictment of a parent, guardian or caregiver in connection to the child's death; or,
A DCS investigation has resulted in a substantiated finding that abuse or neglect by a parent, guardian or caregiver caused the child's death or near-death.
In addition, in the case of a near fatality, a physician must certify that the child was in serious or critical condition due to the abuse or neglect.
If there is insufficient information available to believe that the fatality or near fatality was caused by maltreatment, the Department, by federal and state law, cannot release records in the case.
How does someone request DCS records on a case where a child has died or nearly died as a result of abuse or neglect– beyond the preliminary information that is released?
Any individual may request DCS records on a case where a child has died or nearly died as a result of abuse or neglect (maltreatment) by contacting the Records Coordinator. Requests may be emailed, faxed or mailed as indicated on the contact us page.
The more information you provide with your request, the faster the Department will be able to respond to your request. Please provide as much information as possible, including full names and dates of birth for the child, the parents and the alleged perpetrator (if a caregiver other than a parent).
The Records Coordinator will notify you when the request has been received, will provide you with periodic updates on the status of your request, and will provide the records to you once they are available.
How soon will the DCS records be released?
The Department is committed to providing the records as quickly as possible. Individual cases will vary, depending on the case circumstances. State law requires that the Department coordinate with the appropriate prosecuting agency before records on specific cases can be released. It also requires that the Department take appropriate steps to protect the privacy of crime victims, sources of DCS reports, and innocent parties in a case (such as siblings, grandparents, etc.) before the DCS records can be released.
The Records Coordinator will provide periodic updates to requestors letting them know the status of their request.
Why do the records get reviewed by the prosecuting agency before they can be released to the public?
Law enforcement agencies statewide are critical partners in protecting children; they ensure that perpetrators of child abuse or neglect are held accountable for the harm they cause to children.
State law requires that the prosecuting agency be given the opportunity to review DCS records that may be released in order to determine whether the release of the records would cause "specific, material harm" to the criminal investigation.
What if someone disagrees with a prosecuting agency that says the release of DCS records would cause specific material harm to their investigation/criminal prosecution?
If any person believes that a prosecuting agency has failed to demonstrate that the release of DCS records would cause a specific material harm to the criminal investigation, that person may file an action in Superior Court and ask the court to review the DCS records and tell the Department which records can be released.
What information is included in the DCS records the Department may release?
The DCS case file typically includes: DCS investigation case notes, including safety and risk assessments regarding the child and correspondence with the family; court documents filed regarding the child, including the family's case plan and progress reports filed with the court by DCS; and, reports about the child received by treatment and service providers working with the family.
Is there any information that cannot be released?
Information protected by state or federal law cannot be released. This may include: information regarding the source of a DCS report, information related to the privacy and dignity of crime victims (Arizona Constitution), criminal history information obtained from the Department of Public Safety, medical records protected under the federal Health Insurance Portability and Accountability Act, and educational records protected under the federal Family Educational Rights and Privacy Act.
Is there a cost for obtaining the DCS records on a case?
Yes. Contact us for details.
What happens if someone wants additional records about a case/family where a child has died or nearly died as a result of abuse or neglect beyond what the Department can provide?
State law (see A.R.S. 8-807 K ) allows an individual to petition the Superior Court to request that the Court review the records and tell the Department which records can be released.
Requests may be emailed, faxed or mailed as indicated on the contact us page.
The Records Coordinator will notify you when the request has been received, will provide you with periodic updates on the status of the request, and will provide the records to you once they are available.

redpajama_set_name: RedPajamaCommonCrawl


To view a copy of Eastern Suburbs AFC's current constitution, CLICK HERE.
In order to meet the above vision and mission, two key areas have been identified.
The Club Executives have reviewed Eastern Suburb's present performance and prepared a business plan to make progress on all primary objectives. For further information, contact our Chairman.
Please get in touch if you are interested in being involved, we are always seeking help on the various volunteer committees.


As part of our community topic some children in the EYFS went to Mc Auley Mount Residential Care Home to visit some of the residents there. The children took their favourite toys and books to share with the ladies and gentlemen who met us in the communal conservatory. The children enjoyed the biscuits and juice that was on offer. Before we left we also sang 'Twinkle, Twinkle Little Star' for them all!


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HomeA Reason to be Hopeful: Lessons from Suzan Harjo
A Reason to be Hopeful: Lessons from Suzan Harjo
November 16, 2016 healingmn News, This Day in HistoryH. Ross Perot, National Museum of the American Indian, Native American Graves Protection and Repatriation Act, Suzan Harjo
Suzan Harjo
Leading Native American rights activist Suzan Harjo was at Mitchell Hamline Law School earlier this week to talk about the future of Indian Law under a Trump administration.
She spent most of her time talking about the Reagan and Bush years.Her message was, even thought those were difficult times, too, advocates were still able to get major legislative wins.
The Reagan years were particularly bad for Indian people, with Reagan trying to cut the federal Indian budget by a third, and privatize the Indian Trust money, she said. Regardless, advocates were able to get passage of the National Museum for the Native American Act (1989) and the Native American Graves Protection and Repatriation Act (1990) (both signed by President Bush.)
Connecting the dots to today's situation and worries about the Trump administration, she offered the following advice: "In addition to a combative strategy, have some positive goals," she said. "You never know how powerful you are until you exercise your power."
Harjo was not being naive about the challenges ahead, and said "we will see the the depths of racism and sexism in America." But she offered some history– both humerus and tragic — on how they got legislative wins in difficult times.
She recalled one strategy to try to get momentum for the National Museum of the American Indian. The idea wasn't getting much traction. Then they got the idea to start a bidding war between New York and the Smithsonian in Washington D.C. to be the host city.
New York already had the Museum of the American Indian. Someone knew H. Ross Perot and knew that he wanted a world class museum in Dallas, Harjo said. The thought was if Perot would make a bid on the collection of the New York colection, he would get everyone's attention.
Sure enough, Perot agreed to do it, even though he knew he would not get the collection. He offered $75 million. The New York Times was all over the story, Within a day, New York Mayor Ed Koch was on television saying: "This collection is a New York treasure. We can't let it go to Dallas," Harjo recalled.
"We had a bidding war," she said. The museum eventually ended up in Washington D.C. as part of the Smithsonian.
Coincidentally, it was on this day in history, Nov. 16, 1990, that the Native American Graves Protection and Repatriation Act went into effect. According to the Wikipedia summary:
The Act requires federal agencies and institutions that receive federal funding to return Native American "cultural items" to lineal descendants and culturally affiliated Indian tribes and Native Hawaiian organizations. Cultural items include human remains, funerary objects, sacred objects, and objects of cultural patrimony. …
This was an incredibly huge win. As Wikipedia continues:
Since the legislation passed, the human remains of approximately 32,000 individuals have been returned to their respective tribes. Nearly 670,000 funerary objects, 120,000 unassociated funerary objects, and 3,500 sacred objects have been returned.
Harjo had worked on repatriation when she worked in the Carter administration. They worked hard to push for the repatriation law after Carter lost, and eventually got a deal by threatening a lawsuit. The fact was that the Smithsonian had received Indian human remains through barbarous acts by soldiers.
This Sept. 13, 1989 New York Times article headlined: Smithsonian to Give Up Indian Remains quotes Harjo saying that 4,500 of the Smithsonians remains were from Indian people "whose heads were taken at the turn of the century for what they called the Indian Crania Study."
Ms. Harjo said she had learned just this summer that the bones of some of her ancestors were in the Smithsonian. They were Cheyennes whom, Ms. Harjo said, American soldiers massacred in November 1864 at Sand Creek, Colorado. "They lopped off some of their heads," Ms. Harjo said, adding that the heads became part of the Smithsonian collection.
Looking forward, Harjo said there are "mighty things that we have not tried." She suggested that tribes do a better job of meeting with judges on a regular basis and educating them about the importance of the Indian Child Welfare Act (ICWA) to keep the law from getting "blown up". (ICWA came in response to the large number of Native children who were being adopted out of Native families and into white families and losing their culture and connection to community. ICWA puts a priority on keeping American Indian children with American Indian families.)
Harjo took questions after her talk. One audience member asked what advice she would give to her younger self, if she could. Harjo said she would have spent more time visiting with the people she was working with, and with mentors. "It takes more than a thank you note," she said. "I regret not spending more time with [Sen.] Barry Goldwater, [Sen.] Daniel Inouye, and [Rep.] Mo Udall, people who dedicated their lives to our causes."
She also would tell her younger self to spend more time educating "our side of the table." When the repatriation law past, there weren't one in 20 Native American who knew what it meant," she said. At that point, they weren't even calling it repatriation, instead, they were simply calling it: "Put it back." "We hadn't developed our lexicon," she said.
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Innate retained Meanings Matter. Time with the Elders makes Meaning.


text:
Justia Regulation Tracker Agencies And Commissions International Trade Commission In the Matter of: Certain Low Antimony Phosphoric Acid; Notice of Investigation, 71698-71699 [E7-24482]
In the Matter of: Certain Low Antimony Phosphoric Acid; Notice of Investigation, 71698-71699 [E7-24482]
Download as PDF yshivers on PROD1PC62 with NOTICES 71698 Federal Register / Vol. 72, No. 242 / Tuesday, December 18, 2007 / Notices source to demonstrate to those outside the industry how well the industry and individual companies are doing. No questions of a ''sensitive'' nature are asked, and the collection of information involves no proprietary information. We intend to release data collected on Form MMS–131 only in a summary format that is not companyspecific. We will protect the information according to the Freedom of Information Act (5 U.S.C. 552) and its implementing regulations (43 CFR 2). Frequency: The frequency is annual, with responses due during the 1st quarter of the calendar year. Estimated Number and Description of Respondents: Approximately 130 Federal OCS oil and gas or sulphur lessees and we expect a 27 percent response rate. Estimated Annual Reporting and Recordkeeping ''Hour'' Burden: We estimate the public reporting burden averages 8 hours per response. This includes the time for reviewing instructions, gathering and maintaining data, and completing and reviewing the information. The total annual hour burden is estimated to be 280 hours. Estimated Annual Reporting and Recordkeeping ''Non-Hour Cost'' Burden: We have identified no ''nonhour cost'' burden associated with Form MMS–131. Public Disclosure Statement: The PRA (44 U.S.C. 3501, et seq.) provides that an agency may not conduct or sponsor a collection of information unless it displays a currently valid OMB control number. Until OMB approves a collection of information, you are not obligated to respond. Comments: Section 3506(c)(2)(A) of the PRA (44 U.S.C. 3501, et seq.) requires each agency ''* * * to provide notice * * * and otherwise consult with members of the public and affected agencies concerning each proposed collection of information * * *'' Agencies must specifically solicit comments to: (a) Evaluate whether the proposed collection of information is necessary for the agency to perform its duties, including whether the information is useful; (b) evaluate the accuracy of the agency's estimate of the burden of the proposed collection of information; (c) enhance the quality, usefulness, and clarity of the information to be collected; and (d) minimize the burden on the respondents, including the use of automated collection techniques or other forms of information technology. To comply with the public consultation process, on June 1, 2007, we published a Federal Register notice (72 FR 30624) announcing that we VerDate Aug<31>2005 15:19 Dec 17, 2007 Jkt 214001 would submit this ICR to OMB for approval. The notice provided the required 60-day comment period. In addition, § 250.199 provides the OMB control numbers for the information collection requirements imposed by the 30 CFR Part 250 regulations and forms; specifies that the public may comment at any time on these collections of information; and provides the address to which they should send comments. This information is also contained in the PRA statement on Form MMS–131. We have received no comments in response to these efforts. If you wish to comment in response to this notice, send your comments directly to the offices listed under the ADDRESSES section of this notice. The OMB has up to 60 days to approve or disapprove the information collection but may respond after 30 days. Therefore, to ensure maximum consideration, OMB should receive public comments by January 17, 2008. Public Comment Policy: Before including your address, phone number, email address, or other personal identifying information in your comment, you should be aware that your entire comment—including your personal identifying information—may be made publicly available at any time. While you can ask us in your comment to withhold your personal identifying information from public review, we cannot guarantee that we will be able to do so. MMS Information Collection Clearance Officer: Arlene Bajusz (202) 208–7744. Dated: October 10, 2007. E.P. Danenberger, Chief, Office of Offshore Regulatory Programs. [FR Doc. E7–24493 Filed 12–17–07; 8:45 am] to the unusually high number of bids received in this lease sale. DATES: The post-sale evaluation period ends on January 1, 2008. FOR FURTHER INFORMATION CONTACT: David Marin, Regional Supervisor, Resource Evaluation, Gulf of Mexico Region, telephone 504–736–2710. SUPPLEMENTARY INFORMATION: In the Central Gulf of Mexico Sale 205, held October 3, 2007, we received 1428 bids on 723 tracts, 616 tracts of which passed to a second phase requiring additional detailed evaluations. The aggressive bidding activity is due, in part, to the high number of quality prospects on recently expired unexplored tracts in newly established deepwater hydrocarbon plays and to the cost saving technological advances related to hydrocarbon exploration and development in the Gulf of Mexico's deepwater environment. The unusually high number of bids received on a large number of tracts, and the high volume of exclusively reprocessed data identified on Sale 205, significantly increases the workload for reviewing the adequacy of bids. Consequently, MMS is unable to conduct and complete the bid review process within the 90 days, i.e., by January 1, 2008. Under the provisions of § 256.47 (e) (2), MMS is extending the bid evaluation period until February 15, 2008. Dated: November 26, 2007. Lars Herbst, Regional Director, Gulf of Mexico OCS Region. [FR Doc. E7–24501 Filed 12–17–07; 8:45 am] BILLING CODE 4310–MR–P INTERNATIONAL TRADE COMMISSION BILLING CODE 4310–MR–P [Inv. No. 337–TA–620] DEPARTMENT OF THE INTERIOR In the Matter of: Certain Low Antimony Phosphoric Acid; Notice of Investigation Minerals Management Service Extension of Post-Sale Evaluation Period for Central Gulf of Mexico Lease Sale 205 Minerals Management Service (MMS), Interior. ACTION: Notice to Extend Post-Sale Evaluation Period for Central Gulf of Mexico Lease Sale 205. AGENCY: SUMMARY: This notice extends by 45 days, the post-sale evaluation period for Central Gulf of Mexico Lease Sale 205. The Minerals Management Service (MMS) will complete evaluating all the bids received in this sale by February 15, 2008. This action is necessary due PO 00000 Frm 00084 Fmt 4703 Sfmt 4703 U.S. International Trade Commission. ACTION: Institution of investigation pursuant to 19 U.S.C. 1337. AGENCY: SUMMARY: Notice is hereby given that a complaint and motion for temporary relief were filed with the U.S. International Trade Commission on November 8, 2007, under section 337 of the Tariff Act of 1930, as amended, 19 U.S.C. 1337, on behalf of ICL Performance Products, LP of St. Louis, Missouri. The complaint alleges violations of section 337 in the importation into the United States, the sale for importation, and the sale within E:\FR\FM\18DEN1.SGM 18DEN1 Federal Register / Vol. 72, No. 242 / Tuesday, December 18, 2007 / Notices the United States after importation of certain low antimony phosphoric acid by reason of infringement of certain claims of U.S. Patent No. 5,989,509. The complaint further alleges that an industry in the United States exists as required by subsection (a)(2) of section 337. The complainant requests that the Commission institute an investigation and, after the investigation, issue an exclusion order and cease and desist orders. The motion for temporary relief requests that the Commission issue a temporary exclusion order and temporary cease and desist orders prohibiting the importation into and sale within the United States after importation of certain low antimony phosphoric acid that infringes claims 1– 3 or 20 of U.S. Patent No. 5,989,509 during the course of the Commission's investigation. ADDRESSES: The complaint and motion for temporary relief, except for any confidential information contained therein, is available for inspection during official business hours (8:45 a.m. to 5:15 p.m.) in the Office of the Secretary, U.S. International Trade Commission, 500 E Street, SW., Room 112, Washington, DC 20436, telephone 202–205–2000. Hearing impaired individuals are advised that information on this matter can be obtained by contacting the Commission's TDD terminal on 202–205–1810. Persons with mobility impairments who will need special assistance in gaining access to the Commission should contact the Office of the Secretary at 202–205–2000. General information concerning the Commission may also be obtained by accessing its internet server at http:// www.usitc.gov. The public record for this investigation may be viewed on the Commission's electronic docket (EDIS) at http://edis.usitc.gov. FOR FURTHER INFORMATION CONTACT: Rett Snotherly, Esq., Office of Unfair Import Investigations, U.S. International Trade Commission, telephone (202) 205–2599. yshivers on PROD1PC62 with NOTICES Authority: The authority for institution of this investigation is contained in section 337 of the Tariff Act of 1930, as amended, and in section 210.10 of the Commission's Rules of Practice and Procedure, 19 CFR 210.10 (2007). The authority for provisional acceptance of the motion for temporary relief is contained in section 210.58 of the Commission's Rules of Practice and Procedure, 19 CFR 210.58 (2007). Scope of Investigation: Having considered the complaint, the U.S. International Trade Commission, on December 11, 2007, ordered that— (1) Pursuant to subsection (b) of section 337 of the Tariff Act of 1930, as VerDate Aug<31>2005 15:19 Dec 17, 2007 Jkt 214001 amended, an investigation be instituted to determine whether there is a violation of subsection (a)(1)(B) of section 337 in the importation into the United States, the sale for importation, or the sale within the United States after importation of certain low antimony phosphoric acid by reason of infringement of one or more of claims 1–3 and 20 of U.S. Patent No. 5,989,509, and whether an industry in the United States exists as required by subsection (a)(2) of section 337; (2) Pursuant to section 210.58 of the Commission's Rules of Practice and Procedure, 19 CFR 210.58, the motion for temporary relief under subsection (e) of section 337 of the Tariff Act of 1930, which was filed with the complaint, is provisionally accepted and referred to the presiding administrative law judge for investigation; (3) For the purpose of the investigation so instituted, the following are hereby named as parties upon which this notice of investigation shall be served: (a) The complainant is—ICL Performance Products, LP, 622 Emerson Road, Suite 500, St. Louis, Missouri 63141. (b) The respondents are the following entities alleged to be in violation of section 337, and are the parties upon which the complaint and motion for temporary relief are to be served: Maruzen Chemicals Co., Ltd., Maruzen Doshomachi Building, 1–4–7, Doshomachi, Chuo-Ku, Osaka 541– 0045 Japan. Rasa Industries, Ltd., Yaesu Dai Building, 1–1–1, Kyobashi, Chuo-Ku, Tokyo 104–0031 Japan. (c) The Commission investigative attorney, party to this investigation, is Rett Snotherly, Esq., Office of Unfair Import Investigations, U.S. International Trade Commission, 500 E Street, SW., Suite 401, Washington, DC 20436; and (3) For the investigation so instituted, the Honorable Carl C. Charneski is designated as the presiding administrative law judge. Responses to the complaint, the motion for temporary relief, and the notice of investigation must be submitted by the named respondent in accordance with sections 210.13 and 210.59 of the Commission's Rules of Practice and Procedure, 19 CFR 210.13 and 210.59. Pursuant to 19 CFR 201.16(d), 210.13(a), and 210.59, such responses will be considered by the Commission if received not later than 10 days after the date of service by the Commission of the complaint, the motion for temporary relief, and the notice of investigation. Extensions of PO 00000 Frm 00085 Fmt 4703 Sfmt 4703 71699 time for submitting responses to the complaint, motion for temporary relief and the notice of investigation will not be granted unless good cause therefor is shown. Failure of a respondent to file a timely response to each allegation in the complaint, in the motion for temporary relief, and in this notice may be deemed to constitute a waiver of the right to appear and contest the allegations of the complaint and this notice, and to authorize the administrative law judge and the Commission, without further notice to the respondent, to find the facts to be as alleged in the complaint and this notice and to enter an initial determination and a final determination containing such findings, and may result in the issuance of an exclusion order or cease and desist order or both directed against the respondent. By order of the Commission. Issued: December 12, 2007. Marilyn R. Abbott, Secretary to the Commission. [FR Doc. E7–24482 Filed 12–17–07; 8:45 am] BILLING CODE 7020–02–P DEPARTMENT OF LABOR Employment Standards Administration Proposed Extension of the Approval of Information Collection Requirements ACTION: Notice. SUMMARY: The Department of Labor, as part of its continuing effort to reduce paperwork and respondent burden, conducts a preclearance consultation program to provide the general public and Federal agencies with an opportunity to comment on proposed and/or continuing collections of information in accordance with the Paperwork Reduction Act of 1995 (PRA95) [44 U.S.C. 3506(c)(2)(A)]. This program helps to ensure that requested data can be provided in the desired format, reporting burden (time and financial resources) is minimized, collection instruments are clearly understood, and the impact of collection requirements on respondents can be properly assessed. Currently, the Employment Standards Administration is soliciting comments concerning its proposal to extend OMB approval of the information collection: Notice of Recurrences (CA–2a). A copy of the proposed information collection request can be obtained by contacting the office listed below in the addresses section of this Notice. E:\FR\FM\18DEN1.SGM 18DEN1
[Federal Register Volume 72, Number 242 (Tuesday, December 18, 2007)]
[Inv. No. 337-TA-620]
In the Matter of: Certain Low Antimony Phosphoric Acid; Notice of
AGENCY: U.S. International Trade Commission.
ACTION: Institution of investigation pursuant to 19 U.S.C. 1337.
SUMMARY: Notice is hereby given that a complaint and motion for
temporary relief were filed with the U.S. International Trade
Commission on November 8, 2007, under section 337 of the Tariff Act of
1930, as amended, 19 U.S.C. 1337, on behalf of ICL Performance
Products, LP of St. Louis, Missouri. The complaint alleges violations
of section 337 in the importation into the United States, the sale for
importation, and the sale within
the United States after importation of certain low antimony phosphoric
acid by reason of infringement of certain claims of U.S. Patent No.
5,989,509. The complaint further alleges that an industry in the United
States exists as required by subsection (a)(2) of section 337.
The complainant requests that the Commission institute an
investigation and, after the investigation, issue an exclusion order
and cease and desist orders.
The motion for temporary relief requests that the Commission issue
a temporary exclusion order and temporary cease and desist orders
prohibiting the importation into and sale within the United States
after importation of certain low antimony phosphoric acid that
infringes claims 1-3 or 20 of U.S. Patent No. 5,989,509 during the
course of the Commission's investigation.
ADDRESSES: The complaint and motion for temporary relief, except for
any confidential information contained therein, is available for
inspection during official business hours (8:45 a.m. to 5:15 p.m.) in
the Office of the Secretary, U.S. International Trade Commission, 500 E
Street, SW., Room 112, Washington, DC 20436, telephone 202-205-2000.
Hearing impaired individuals are advised that information on this
matter can be obtained by contacting the Commission's TDD terminal on
202-205-1810. Persons with mobility impairments who will need special
assistance in gaining access to the Commission should contact the
Office of the Secretary at 202-205-2000. General information concerning
the Commission may also be obtained by accessing its internet server at
http://www.usitc.gov. The public record for this investigation may be
viewed on the Commission's electronic docket (EDIS) at http://
edis.usitc.gov.
FOR FURTHER INFORMATION CONTACT: Rett Snotherly, Esq., Office of Unfair
Import Investigations, U.S. International Trade Commission, telephone
Authority: The authority for institution of this investigation
is contained in section 337 of the Tariff Act of 1930, as amended,
and in section 210.10 of the Commission's Rules of Practice and
Procedure, 19 CFR 210.10 (2007). The authority for provisional
acceptance of the motion for temporary relief is contained in
section 210.58 of the Commission's Rules of Practice and Procedure,
19 CFR 210.58 (2007).
Scope of Investigation: Having considered the complaint, the U.S.
International Trade Commission, on December 11, 2007, ordered that--
(1) Pursuant to subsection (b) of section 337 of the Tariff Act of
1930, as amended, an investigation be instituted to determine whether
there is a violation of subsection (a)(1)(B) of section 337 in the
importation into the United States, the sale for importation, or the
sale within the United States after importation of certain low antimony
phosphoric acid by reason of infringement of one or more of claims 1-3
and 20 of U.S. Patent No. 5,989,509, and whether an industry in the
United States exists as required by subsection (a)(2) of section 337;
(2) Pursuant to section 210.58 of the Commission's Rules of
Practice and Procedure, 19 CFR 210.58, the motion for temporary relief
under subsection (e) of section 337 of the Tariff Act of 1930, which
was filed with the complaint, is provisionally accepted and referred to
the presiding administrative law judge for investigation;
(3) For the purpose of the investigation so instituted, the
following are hereby named as parties upon which this notice of
investigation shall be served:
(a) The complainant is--ICL Performance Products, LP, 622 Emerson
Road, Suite 500, St. Louis, Missouri 63141.
(b) The respondents are the following entities alleged to be in
violation of section 337, and are the parties upon which the complaint
and motion for temporary relief are to be served:
Maruzen Chemicals Co., Ltd., Maruzen Doshomachi Building, 1-4-7,
Doshomachi, Chuo-Ku, Osaka 541-0045 Japan.
Rasa Industries, Ltd., Yaesu Dai Building, 1-1-1, Kyobashi, Chuo-Ku,
Tokyo 104-0031 Japan.
(c) The Commission investigative attorney, party to this
investigation, is Rett Snotherly, Esq., Office of Unfair Import
Investigations, U.S. International Trade Commission, 500 E Street, SW.,
Suite 401, Washington, DC 20436; and
(3) For the investigation so instituted, the Honorable Carl C.
Charneski is designated as the presiding administrative law judge.
Responses to the complaint, the motion for temporary relief, and
the notice of investigation must be submitted by the named respondent
in accordance with sections 210.13 and 210.59 of the Commission's Rules
of Practice and Procedure, 19 CFR 210.13 and 210.59. Pursuant to 19 CFR
201.16(d), 210.13(a), and 210.59, such responses will be considered by
the Commission if received not later than 10 days after the date of
service by the Commission of the complaint, the motion for temporary
relief, and the notice of investigation. Extensions of time for
submitting responses to the complaint, motion for temporary relief and
the notice of investigation will not be granted unless good cause
therefor is shown.
Failure of a respondent to file a timely response to each
allegation in the complaint, in the motion for temporary relief, and in
this notice may be deemed to constitute a waiver of the right to appear
and contest the allegations of the complaint and this notice, and to
authorize the administrative law judge and the Commission, without
further notice to the respondent, to find the facts to be as alleged in
the complaint and this notice and to enter an initial determination and
a final determination containing such findings, and may result in the
issuance of an exclusion order or cease and desist order or both
directed against the respondent.
By order of the Commission.
Issued: December 12, 2007.
Marilyn R. Abbott,
Secretary to the Commission.


SNIC General Assambly consists of represenatives from every member of the SNIC consortium.
SNIC is organisationally a part of Uppsala University. The General Assambly propose members for the SNIC Board which is then formally appointed by the Uppsala University's vice-chancellor.
The SNIC Board of Directors is the managing body of SNIC and is responsible for overall strategic issues.
The SNIC-office is an executive body that enters into agreements with the partners regarding the delivery of resources and services, projects and activities and the overall SNIC collaboration.
The office acts as project owner and contributes to defining and steering the projects and activities in SNIC, while the day-to-day coordination of projects is normally done by staff from the SNIC centres.
The SNIC-office is hosted by Uppsala University and is located at campus Polacksbacken.