When you are unable to finance your business needs with an SBA loan, there are other options you can consider. You will want to explore each of them before making your final decision. The one that offers the lowest loan rate may not necessarily be the best option if you are not comfortable using the source for your funding.
Peer-to-peer lending is also known as person-to-person lending. There is no financial institution involved, since you are borrowing the money from one or more individuals.
A peer-to-peer lending service may be structured to let individuals bid to fund your loan. The bidders offer a certain interest rate, and the low bidder secures the rights to your funding.
Many peer-to-peer lending services are available online. One of the things they do is investigate your credit, so the individuals who want to finance your loan can see your credit history. They will then use this information to set the rate for your loan. The loan can usually be arranged so you have up to five years to pay it in full.
While using a friend or family member for a business loan may not be your first choice, the terms you can get are often advantageous enough to make a loan worthwhile for all parties concerned. While you do not want to abuse your relationship, if you carefully negotiate the loan terms, your funding will usually work out in your favor.
To give a friend or family member an incentive to help you, offer him or her part-ownership in your business until you have paid off the loan. You can also involve the party in how you run your business, so he or she can see how the investment is performing.
If using seller financing, you may have to put down enough money on your loan to make the seller comfortable with the risk. Some sellers may require additional collateral if your down payment amount is insufficient.
If you decide to use seller financing, see if the seller will structure the loan so that the payments do not put a strain on the cash flow of your business. One way to accomplish this is by having a balloon payment at the end of your loan.
Borrowing from your retirement account should be one of your last choices, due to the tax implications that can occur. You should meet with your accountant to have him or her analyze the cost of borrowing from your retirement funds compared to using any other funding sources you have available. Keep in mind that retirement loans are available only from certain accounts and that borrowing from an IRA is not permitted.
The biggest drawback to using your retirement funds for a loan is that, if you are unable to repay the loan amount, the unpaid balance is then considered a distribution subject to income tax. In addition, if you are under 59 ½ years of age, you will have a 10 percent early distribution penalty to pay as well.


Child psychiatrist seldom visits intensive care units. So when you see one in the ICU, most likely they are visiting friends and family. I was in this situation recently. My good friend, head of a school, was admitted in intensive care unit with very high blood pressure, poor sleep and very severe restlessness. Within the first two minutes of the conversation, I realised that she was stressed out and what I was seeing was a person so troubled that her doctors needed to give heavy sedation just to let her rest.
As a good educationist, she made some changes in the timetable and curriculum and was under intense fire from parents for that. Each parent wrote out a long winding e-mail and suggested a change in her plan. It was impossible to accommodate all suggestions and parents started writing more emails, made more phone calls and even tried to meet her in school and outside to communicate their thoughts. This all was too much for a sensitive, well-trained and child focused person to bear.
This is not uncommon at all. I meet many teachers who quit their job or show signs of burnout due to intense bullying by parents. A lot of parents believe that they understand what is best for their child's education and demand changes and special treatment for their child especially in areas of homework, schoolwork, play activities and discipline. Some parents armed with Google knowledge try to dictate teaching methods too! A small number of aggressive parents make life difficult for teachers.
All teachers are trained to teach. They even have degrees in this matter. They train every year on the subject matter and teaching methods. Almost all of them are in the job because they like teaching and they like children. When misguided, parents behave like consumers in a supermarket and insult, shout, bully, threaten, emotionally abuse teachers. It is a sad situation indeed. Good schools protect teachers by limiting contact with parents; then principals get in the line of fire like my friend did. I wonder why parents believe that they are the authority on the education and school management.
Unless parents and teachers get on the same side, children have no hope to thrive. I know many teachers who get harassed by anxious parents but never pass on the pressure to kids. I believe our education system stands on shoulders of such noble professionals.


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PARSING WORLD WAR ONE PLAYS
The first several posts discussing specific World War One plays relate to two plays written after the war and one penned prior to it. After reading numerous World War One plays from a number of different countries, I began to realize that the plays fell into three distinct segments—Pre War, During the War and Post War. This is particularly true for plays written in Europe and Great Britain; however, there were also voices in North American that followed this pattern.
PRE WAR PLAYS (1910-1914)
This group of plays anticipated a war and discuss specific attitudes about how to be patriotic and/or heroic. Others scripts make a case for not engaging in a war. There are also plays that examined possible social and political changes that a war might introduce into the social and cultural environments. Edward Knoblauch is one example of a playwright trying to use his art to provide insight into the growing possibility of a war. Knoblauch, who changed the spelling of his name in 1916 to Knoblock when he became a British citizen, was born in the United States. He moved to Europe and then to London in order to establish his credentials as a playwright. He achieved his goal in 1911-12 with his box office success Kismet that successfully played in England, United States and France. Knoblauch wrote two plays that fit the pre-war plays category. Marie-Odile written in 1913 had its world premiere on Broadway in 1914. The declaration of war by England delayed its originally scheduled opening in London. The story is set during the Franco-Prussian war of 1870 and relates to the impact of war on innocent citizens. The other 1913 play Knoblauch wrote is My Lady's Dress, which also appeared on stage in London and New York in 1914. Its premise is that all countries share the responsibility of maintaining the achieved level of civilization, since many basic commodities for daily life were based on international manufacturing cooperative practices. His example is a lady's gown. The silk was spun in Italy, it was woven into fabric in France, lace was made in Holland, sable trim came from Siberia and the garment was assembled in London. It was sold at a Bond Street establishment.
DURING THE WAR (1914-1918)
There are several different types of plays that fit into this timeframe.
Perhaps the most popular commercial plays written in English were the spy plays. These plays were thrillers and often they included the element of romance. They were very popular at the box office in many countries. In Great Britain these dramas played to the public's fears of embedded German spies, who had immigrated to England years earlier. Many of these plays also represented the British phobia of a surprise invasion by sea.
Patriotic plays helped to encourage behavior relating to supporting the war effort as well as building hope and developing courage. Sarah Bernhardt commissioned a play by Eugene Morand shortly after the war commenced in France. The play titled Les Cathedrals raised the hopes of the French citizenry and the soldiers at the front by providing national pride in victories of the past. Another type of patriotic play may also be dubbed recruitment plays. These dramas urged the population to contribute actively to the war effort. A patriotic identity also applied to women who were urged to join the war efforts in such areas as nursing or working in armament factories.
Social change plays were written during the war as well as after its conclusion. There were plays concerned with the possible rise of Communism in their country following the war. Many British and European plays in this category related to the erosion of the class system. J. E. Harold Terry's 1917 comedy titled General Post was a huge success throughout Great Britain for over a decade. It is an entertaining play that was also well received on Broadway.
There were numerous antiwar plays written in many countries. While some countries banned antiwar plays from their stages during the war years, these plays were read by individuals. One stunning example is the play Ein Geschlecht, It was written by Fritz von Unruh, an officer in the German army, who was from an aristocratic Prussian military family. He wrote this play in 1916, as he fought his way to Verdun. It is reported that young German soldiers in the trenches read hand written copies of this play. This drama was an international success throughout Europe after the war ended.
Propaganda plays were assumed necessary to insure continuing support from the home front. These plays generally display negative sentiments about the enemy and his actions toward innocent victims caught in the jaws of war. Outrageous acts of violence committed by the named enemy were thought to fuel the audiences' hatred and add another layer of fear if the war was lost to this vicious foe.
My listing of categories only focus on the plays presented on professional stages. However, many theatre professionals presented productions written for charity events during the war years. These plays were usually shorter in length and were often labelled skits or sketches. There were various topics for these special events plays and many of the leading playwrights contributed to this type of endeavor. Some of the plays became popular and had a life beyond one event.
The third period for World War One plays will be discussed in the forthcoming post.
Labels: Edward Knoblauch, Edward Knoblock, Ein Geschlecht, Eugene Morand, Fritz von Unruh, General Post, J. E. Harold Terry, Les Cathedrals, Marie-Odile, My Lady's Dress, Sarah Bernhardt

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As you most of you probably know Dave Chappelle is a Muslim, alhamdulillah. I really loved his show, but he stopped making shows and in the following article he says he's glad of it. This is dawah right here.
What a quote for such a famous comedian and actor. May Allah bless Dawud Chappelle and continue to guide him to Islam. InshaAllah he'll make some halal Muslim comedy. Hahaha.
Dave Chappelle doesn't regret his decision to walk away from a $50 million deal to continue his hit Comedy Central television show. However, he might miss the money.
Halting his "Chappelle's Show" two years ago was "one of the best decisions I've ever made in my life," the comedian said Tuesday while addressing the opening convocation at Central State University.
"Now, economically it makes no sense at all," he added.
Chappelle, who lives near the southwest Ohio village of Yellow Springs, encouraged students not to compromise their values.
I dont really know what to believe though.
He's always kept his faith on the down-low because he admits he doesn't represent Islam well.


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The Guest List: The Cinematic Frontier
Okay all, this week I am very privileged to have Louis from The Cinematic Frontier contributing his top 10 to The Guest List! If you haven't already followed/subscribed to his website, do so now! Just click the link on the site name to be redirected.
If you're interested in submitting your very own top 10 to The Guest List, here's how! C'mon help me out, I'd love to have every single one of you contribute!
All you need to do is shoot me an e mail (thecinemamonster@gmail.com) with your name, website info (if you have one), and the topic you have chosen for your top 10. If I like what I see, I'll give you the all clear and you can begin composing your entry. Make sure to include a descriptive, yet brief introduction and a picture or clip for every entry in your top 10. Use my own top 10s and other Guest List entries as references. Then, send it back to me and we will discuss a date of publish.
I'm going to turn things over to Louis now, enjoy!
Top 10 Bruce Campbell Movie Roles: by Louis
A special thanks to Joseph for allowing me to contribute my top ten list. I present my top ten Bruce Campbell movie roles for movies that actually played in movie theaters (TV movies and direct-to-video films don't count here; sorry Sam Axe and Alien Apocalypse fans). Go ahead and take a look at this list that celebrates the king of B-movie actors, the immortal Bruce Campbell:
10: Final Shemp: Darkman
Campbell was actually director Sam Raimi's original choice to play the title character, but Universal vetoed this choice. Raimi was still able to get Campbell in the film with this memorable cameo.
9: Winkie Gatekeeper: Oz: The Great and Powerful
A pivotal cameo in Raimi's Oz film, Campbell gets to shine briefly and get tortured by possibly Raimi himself off-camera.
8: Charles Travis: Congo
Campbell originally auditioned for the role of Dr. Peter Elliott, but was given this smaller role instead. Nevertheless, he shines in this extended cameo that is central to the plot of the film.
7: Ring Announcer: Spider Man
The first of three important and hilarious Spider-Man cameos. In this one, he's the guy who actually gives Spider-Man his name.
6: Snooty Usher: Spider Man 2
In this Spider-Man film, Campbell is the guy who doesn't let Peter Parker into the theater to see Mary Jane's play. Campbell rules this scene with his subtle humor.
5: Maitre d': Spider Man 3
In this Spider-Man film, Campbell is the guy who tries to help Peter Parker set up his proposal to Mary Jane at a French restaurant. The situation becomes hilariously disastrous.
4: Mayor Shelbourne: Cloudy with a Chance of Meatballs
Campbell brings a villainous streak to this small mayor who becomes a gluttonous control freak.
3: Smitty: The Hudsucker Proxy
The biggest role he's had in a Coen brothers movie features Campbell as a 1950s reporter for the Manhattan Argus newspaper.
2: Elvis Presley: Bubba Ho-Tep
Bruce Campbell as Elvis Presley? Fighting an Egyptian mummy as well? And assisted by a black JFK? Count me in.
1: Ash: Evil Dead, Evil Dead 2, Army of Darkness
His most famous role, a selfish everyman who's also a competent Deadite-killing machine with killer one-liners and an eventual chainsaw for a hand. Hail to the king!
Alright, that'll do it for this week's edition of The Guest List. I want to send a big thank you to Louis and The Cinematic Frontier for contributing. Hope you enjoyed it as much as I did. Have a great weekend!
Posted in The Guest List
Tags: Campbell, Coen Brothers, Raimi, The Guest List
TIFF 2013: The Green Inferno (2013)
This review is intended for audiences 18 and over. Reader discretion is advised.
Listen, at one time or another, we've all thought about what we, humans, taste like. No, I'm not talking about licking skin, touching lips, or other…mouth-oriented things that provide a bitter, salty surface flavour. I mean really tearing into another's flesh, you know, slowly cooking and devouring the blood-soaked innards. Now, the first thing that just popped into your head was "like a Zombie." One who does partake in the consumption and digestion of the human body, but not really by choice. What I'm referring to is willful cannibalism, more specifically, the cold-hearted, Hannibal Lecter-esque cannibal. The one who does it for the pleasure, mere desire, you know, the mentally unstable notion that it's a healthier, more fulfilling alternative. Of course we'd never actually dive into a severed limb with a knife and fork, but the idea is intriguing to say the least.
Now you're all thinking, what's the point of this disturbing introduction? Well, it's simply meant as a transitional tool, I'd even go as far as to call it a comforting agent. As we all are terrified by this disgusting thought no doubt, it does exist, and it does come to mind every now and then. I'm here to tell you that, you are not alone. Everyone ponders this repulsive act, especially those with a twisted, demented mind like Eli Roth. Who, with his latest outing "The Green Inferno," takes our darkest ideal and conjures it up into a entertaining manifestation. While the film won't satisfy our salivating need to swish around a mouth-full of the reddest, metal-tasting bubbly. It will temporarily quench our relentless curiosity or at the very least tide us over until its appropriate to initiate such repugnant behaviour, say…the apocalypse? Now, What do you say we move on past our deepest, abhorrent desire and onto the actual film?
A group of student activists from New York City travel to the Amazon rainforest in order to protest a tribe from being killed by deforestation. On the return journey, their plane crashes into the forest near the tribe's grounds. Upon searching out the people and seeking help, the group is soon captured and subjected to malicious torture.
As previously mentioned, "The Green Inferno," which had its world premiere at TIFF this year as part of the Midnight Madness program, is directed and written by horror veteran Eli Roth, who with the film made his long-awaited return to the directors chair. It's been 6 long years since Roth officially helmed a full-length feature and I think it's safe to say that his presence in the genre was sorely missed. That being said, by no means does his absence suggest that I am going to give him a pass to make a sub-par film. If anything, this stretch has made me appreciate his skill-set and craft even more, allowing me to become even more critical and expecting of his flicks. I've evolved as a critic since Roth's last film and I expected nothing less than his usual, gory, fun-filled fright-fests. And for the most part, his lasting outing lives up to his reputation. Whether that's a good or bad thing, is your opinion.
"The Green Inferno" is a hearty homage to cannibal films of the 1980s such as "Cannibal Holocaust" and "Cannibal Ferox." Roth even went as far as to include a lengthy list of the films that inspired his tribute in the closing credits, just in case you didn't get your fill of stomach-bursting cannibalism. The film itself takes a little while getting into the gritty, cringe-worthy violence and bone chewing, due in large part to Roth's growth as a filmmaker. He claimed during the Q and A that working with high-profile directors such as Quentin Tarantino helped him learn to expand and add depth to his characters, allowing for a more meaningful connection with the audience. The first half-hour is a respectable attempt at humanizing his characters, but it can become quite frustrating when you're waiting for the chaos and carnage to begin.
Although Roth has matured as a filmmaker, he certainly hasn't lost his touch. As soon as we cross into the Amazon from the streets of New York, we're treated to an unbearably tense situation involving chains, guns, and construction equipment…in my opinion one of the best sequences in the film. Not long after that, Roth unleashes his full arsenal: violence, gore, and pitch-black comedy. Granted, the story's structure isn't anything overly original and to be honest, it's rather predictable. But in all honesty, you don't watch this type of film for its intelligence or inventiveness. With "The Green Inferno" you're simply along for the journey, nothing more. It's not an Oscar contender or a film worth constantly revisiting, and it's not something you watch as a film buff or cinephile…you just enjoy it. It's the perfect film for Halloween or when you're lounging around, drunk, in the middle of the night.
The cast of "The Green Inferno," compiled of Eli Roth's co-stars in the mildly entertaining natural disaster flick "Aftershock," are quite effective. It really is a group effort and the ensemble really do feed off one another, literally and figuratively. The supporting cast, although not memorable, do a reasonable job in the back ground. However, Lorenza Izzo and Ariel Levy are undoubtedly the film's two leads. They do their best to pull off a serious tone, but it's relatively transparent. Izzo is terrific however as a new-age scream queen. She's got the looks and the pipes to consistently and effectively appear in numerous horror flicks to come. Levy, although not very strong dramatically, is down-right hilarious. It's impossible to dismiss his charm, and there is one scene specifically that'll leave you gasping for air…because it's too funny.
It might not be as perverse or deplorable as I had hoped, especially when compared to the films that inspired it. Yet, "The Green Inferno" is a funny, disgusting, violent thrill-ride that'll leave horror enthusiasts fully satisfied.
The Green Inferno: 7 out of 10.
Posted in Horror
Tags: Horror, Izzo, Levy, Roth
TIFF 2013: August: Osage County (2013)
If one is to appreciate anything about this adaptation of Tracey Letts Pulitzer Prize winning play, the immensely staggering performances carried out by the entire ensemble would be a great place to start. Thankfully however, this gloomy comedic-drama directed by John Wells has decidedly more to offer than the undeniable talents of its star-studded cast. Much like its source material, this take of "August: Osage County" is teeming with family turmoil, sly humour, and plenty of heart. That being said, this cinematic adaption isn't without its own, personal charms. Besides, there's something you get with film that just blows live theatre out of the water. Say, for example, the stunning, not to mention real, panoramic scenery displayed, or the intended demeanour of a well-thought-out, perfectly captured shot…but that's just my opinion. Nonetheless, Wells' "August: Osage County" pays great reverence to its source while effectively differentiating itself from it.
In Oklahoma, in August, Beverly (Shepard), a poet with a drinking problem, lives with his wife Violet (Streep), who suffers from oral cancer and is addicted to prescription drugs. They have three daughters, Barbara (Roberts), Karen (Juliette), and Ivy (Nicholson). Soon after hiring help to assist with the care of Violet, Beverly disappears. This brings the entire family, their significant others, and close relatives to the house. What ensues when this group is brought together is a chaotic melee, and none are exempt.
Wells faithful adaptation of "August: Osage County" officially launched its Oscar campaign this year at TIFF. And for the most part it was received with praise from its audiences. Granted, the tale's natural combination of halfhearted self-loathing and perplexing family drama will come off as attention clamouring, even pathetic to some. Especially when the reward isn't as grand or alluring. Ultimately, those not familiar with the play or those not affected by such issues will feel alienated. Therefore, the film won't earn many new followers, but that was to be expected. What the film lacks in luring capability via story, reaction, and structure, it more than makes up for with a high-profile cast. And if the cast and their performances don't drag you in, the tranquil, wondrous landscape alongside a hauntingly atmospheric score is sure to do the trick. However, all of "August: Osage County's" endearing, upsetting, enthralling attributes aren't enough to trump the immaculacy of the ensembles performances.
In a sense, "August: Osage County" is exactly what I'd expected and nothing more: darkly hilarious, melancholic, and impeccably performed. However in the same breath, sadly and ironically, my realized expectations still provided a bit of a letdown. Considering that when you're collaborating a collection of illustrious, Oscar caliber actors, a director who certainly is no stranger to creating and capturing obscure family drama (Wells is the writer and director of possibly my favourite television program "Shameless"), and a story that's highly relatable and has been proven to be a winner time and time again. The end result should be nothing short of scintillating. And although it surely shines blindingly on occasion, "August: Osage County" is more of a pulsating brightness. But do keep in mind that my preconceived notions about this film were still pretty steep. So even though it doesn't knock you of your feet, it'll definitely leave you teetering and stumbling around.
As eye-catching and captivating as "August: Osage County" is to all the cinematic senses. The cast and their performances is the film's only true, unarguable strongpoint. Starring Meryl Streep, Julia Roberts, Ewan McGregor, Chris Cooper, Benedict Cumberbatch, Sam Shepard, Dermot Mulroney, Juliette Lewis, Abigail Breslin, and Julianne Nicholson. Wells' A-list crowd definitely has the chops to tackle this emotional vast and mentally straining adventure. Ewan McGregor perfectly encapsulates the subtle strength of his character and intentionally falls to the backdrop. Dermot Mulroney does much of the same, except his portrayal deals a lot with frustrating and seducing the audience. Still, he can't help but disappear alongside these acting heavyweights. Breslin is her usual quiet self. I don't think I've seen a performance of her's in which she utters more than 50 words. That being said, she does a great job absorbing the inward-dwelling habits of her character.
Without question, Julia Roberts and Meryl Streep steal the show. Although I have to admit that I'm not the biggest fan of Meryl Streep's track record, for the majority at least. I don't deny her talent and I feel she deserves the recognition she's garnered thus far in her career, for the most part. In all honesty however, her performance in "August Osage County" is only the second time I've been blown away by one of her portrayals, the first being her performance in "Adaptation". Somehow, Streep completely dissolves into her character, both mentally and physically. She pulls off the accent, appearance, cold-blooded personality, and inevitable vulnerability incredibly. As for Roberts, she valiantly struts alongside Streep's masterful performance with confidence and control. She might not disappear into the role as physically well as Streep does, but she does offer up more of a visceral performance. She portrays a stoic, ticking time-bomb astoundingly. I have high expectations that both will earn an Oscar nomination come award season.
The very moment "August: Osage County" begins, you're hit with the raspy, calming voice of Sam Shepard. Being the fictional husband to Streep's character is no easy task, but Shepard does a phenomenal job exuding the patience, understanding, and heart. Benedict Cumberbatch, despite being sparsely used, amazingly bursts with such love, earnestness, and truth. The scene in which Cumberbatch's character plays an original composition on a small, run-down keyboard to Julianne Nicholson's character is heart-achingly effective and undeniably enchanting. Speaking of Nicholson, she does a fantastic job with Juliette Lewis and the aforementioned Julia Roberts completing this trio of sisters who have to deal with their mean-spirited, yet oddly nurturing mother. Chris Cooper continues to astound me with his kind, compassionate performance here. I found myself wishing he was my biological Father again and again.
Disheartening, elemental, and decidedly truthful. "August: Osage County" is directed with a firm, honest hand and performed with the utmost talent and accuracy. If anything, the cast alone is worth the price of admission.
August: Osage County: 8.5 out of 10.
Tags: Breslin, Chris Cooper, Comedy, Cumberbatch, Drama, Lewis, McGregor, Mulroney, Nicholson, Roberts, Shepard, Streep, Wells
TIFF 2013: The Sacrament (2013)
For the most part, Ti West's latest outing "The Sacrament" avoids falling back on the tired, stereotypical ploys that have given the genre a bad reputation as of late. It's an attempt at something different, an experiment that at the very least is respectable for simply daring to try something new. It's a breath of fresh air for those of us who've been drowning amidst the congested, diluted, uninspired, synthetic blood-filled cesspool that modern horror has become. That being said, I expected nothing less from West who has slowly worked his way to becoming one of the brightest, most inventive, well-versed saviours of the genre. Granted, "The Sacrament" may fit better under the "thriller" label, even if it is only to satisfy the occasional horror die-hard. Nonetheless, this slow-burning walk through hell provides the tension, turbulence, and terror you'd expect from the creator of "The Innkeepers" and "The House of the Devil."
Jake (Swanberg), Sam (Bowen), and Patrick (Audley) are correspondents for a news affiliate known as Vice. One day, when Patrick receives a strange letter from his sister Caroline (Seimetz), who lives in a sober community as part of her rehab. The three decide to investigate the story surrounding the settlement from which the letter originated. Upon arriving, the group is stunned to see the beauty, serenity, and wholesomeness radiating from the community. However, upon realizing that the settlement has an intelligent, persuasive, charismatic leader whom the people call "Father." The investigators soon come to understand that everything is not as it appears and that their lives might be in terrible danger.
Today, where a majority of the genre falters, Ti West and his films, such as "The Sacrament," impress. It seems nowadays that horror flicks and their creators try their best to separate themselves from any connection to past or present filmmakers and films. They conjure up their own unique premise or murder weapon and simply try to one-up their peers. What this leads to is an intriguing, entertaining first-half to a film that will eventually wind up resorting to cliches and a hackneyed finale. Yet, so far in his career, West seemingly has no problem with being the one to tidy up the genre. His flicks evoke a wonderful sense of nostalgia and lovingly embrace the homage label bestowed upon them. He willingly trades in the buckets of gore, which are currently a standard-issue to all horror filmmakers, for genuine fright, tense situations, and eerie sounds or objects. This is precisely the type of old-school terror you can expect with West's latest outing. Except, much like his other full-length features, it brandishes a satisfying twist.
Now, there might not be anything overly original about the style and story West has chosen to utilize in "The Sacrament." For example. It's premise orbits around a few journalists who travel a long way to investigate a secluded, cult-like community… essentially nothing we haven't heard or seen before. Even the found-footage format used to unveil the film's events is something that's been eccentrically used and dulled over time. However, while the techniques and tactics employed by West aren't unheard of or by any means revolutionary. The way in which West manages and manipulates them is anything but conventional. Through the hand-held camera, West better encapsulates the spontaneity, authenticity, and disheartening horror of this faux-documentary. And the moments when you feel as if the scenarios are unfolding right in front of you just further attest to West's ingenuity and prowess when it comes to handling these common facets.
The film itself bares a striking resemblance to the 1978 massacre at the settlement of Jonestown, in which 918 people died of cyanide poisoning. The events that took place are widely recognized, however, whether or not the massacre was a mass murder or mass suicide is still very much up for debate. While "The Sacrament" does share similarities with this terribly unfortunate tragedy, West seems to have merely used it as a motivational tool, inspiration if you will. Although some of you may consider this information to be somewhat of a spoiler, I beg to differ. Where the film and its apparent counterpart line up is nothing compared to where the two differentiate. I am simply stating the commonalities between fact and fiction. If you happened to read up on the film at all, the shared traits are fairly obvious…but I digress. If this topic has peeked your interest, I suggest reading into the Jonestown Massacre in preparation for the film.
Guiding the viewer through this self-proclaimed utopia are some familiar faces. The cast of "The Sacrament" features Joe Swanberg, Amy Seimetz, AJ Bowen, and Gene Jones. And everyone, with the exception of Gene Jones has worked with Ti West on another film in some way. So the chemistry between the cast and director is plentiful and undeniable. Bowen and Swanberg lead the way and maintain the viewers gazes like a magnet, as if they are holding our hand, waking us through and protecting us from harm. The duo is remarkably fascinating to watch as they stroll warily amongst the calm uneasiness, radiating this feeling of impending chaos. Gene Jones, without any doubt gives the best performance. His portrayal of the mentally unstable, abusive, persuasive community leader is hypnotic. You'll slowly begin to feel yourself gravitate towards his inviting, albeit insane notions, it's supremely effective. Seimetz is equally as seductive. Her demeanour and beliefs are contagious. Overall, the ensemble really sells the premise and fully deliver unnerving obliviousness.
Despite trailing off into a few familiar, bloody tendencies towards the end. Ti West's "The Sacrament" is chilling, horrifying, and down-right entertaining.
The Sacrament: 8 out of 10.
Tags: Bowen, Drama, Gene Jones, Horror, Seimetz, Swanberg, Thriller, West
The Guest List: Mr. Rumsey's Film Related Musings
Well, it might be only the third edition of The Guest List, but I think it's already a huge success. It's accomplished exactly what I had hope, introduced fellow film lovers to one another, spurred on some debate, and definitely stirred the pot. And I can already tell that this week's edition featuring James from Mr. Rumsey's Film Related Musings is only going to improve upon the segment. If you don't know who James is or haven't already followed/subscribed to his website, I highly recommend you do so right now. You'll find some solid reviews, terrific articles, and a lovely segment entitled "Who's That?" when you head on over. I promise, you won't be disappointed!
Now, I have to get some administrative stuff out of the way. For those of you who have signed up for The Guest List segment, could you please post a comment below on when I can be expecting your article. I am very organized about my posting and would love to get a schedule going with this segment.
If you'd like to submit your very own top 10 to The Guest List, here's how to do it! First, shoot me an e mail (thecinemamonster@gmail.com) with your name, website info (if you have one), and the topic you have chosen for your top 10. If I like what I see, I'll give you the all clear and you can begin composing your entry. Make sure to include a descriptive, yet brief introduction and a picture or clip for every entry in your top 10. Use my own top 10s as references. Then, send it back to me and we will discuss a date of publish.
Also guys, please if you haven't already, check out my TIFF 2013 reviews. I wouldn't usually beg like this, but I worked extremely hard on them. It is totally worth your while, there are a bunch of films reviewed that haven't even be released yet with plenty more write-ups to come. So head on over to a review or two by clicking on the picture under the sidebar entitled TIFF 2013.
Okay, now that the boring stuff is all taken care of, I am going to turn things over to James, enjoy!
Top 10 Films of the 2000s: by James
Thanks Joseph for allowing me to spread my opinions out across your blog here! This is my pick of the top ten films of the last decade. There are endless films which could have made it into here but didn't, such as Oldboy, so feel free to criticise, praise, rant or rave at me and my choices in the comment section below! For now though, take a look at what I did pick out:
10: Spirited Away
This charming tale of a young girl who ends up in a mysterious place inhabited by gods and monsters is the only animated film to make it onto this list, and it truly deserves its place here. It's some of the finest animated storytelling of all time, and a personal favourite to re-watch.
9: Battle Royale
Shockingly different to the previous entry; Battle Royale has kids killing each other off in all sorts of ways after being forced into a nightmarish situation. For its satirical commentary and also sheer entertaining spectacle Battle Royale makes it onto this list.
8: Volver
One of the first films that introduced me to Almodóvar, Volver quickly became one of my favourite films for it's well handled and performed story of loss and redemption. If I said any more I would spoil it, but please do seek it out if you haven't already seen it.
7: Kill Bill: Volume 1
I often describe the final third of this film as being perfect cinema; and anyone who listens long enough will hear me rant and rave about the use of colour and music, the well-handled action, and the enormous sense of fun that Tarantino seems to be having which then crosses on over to the audience. The rest of the film isn't too far off this level of entertainment either, making Kill Bill an obvious entrant into my list here.
6: The Pianist
Adrien Brody is incredible here as he takes us through the destruction of the Warsaw ghetto. This isn't an easy or an uplifting watch, but it's certainly one that lingers in your mind for a long time after the credits roll.
5: Hero
This is one stunning film. The focus on the splendour of the visuals may not be for everyone, but Hero really deserves more praise than it often gets. It is not a fast paced action film; rather it's an exploration of movement.
4: City of God
Now this is where the list becomes really tricky, I can play around with the ordering of these last four movies endlessly and quite happily put any four of them in first place. City of God is a tale of violence set in Rio de Janeiro and is essential viewing if you haven't already seen it. The directing style and rawness to the film makes it a pretty special watch.
3: No Country for Old Men
Javier Bardem is an unforgettable presence in what is arguably the Cohen brothers' best film, and yet its success is not all down to those three. Josh Brolin, Tommy Lee Jones and Kelly Macdonald all contribute fantastic work and collectively make this one of the best and most important films of the decade.
2: Lost in Translation
My personal favourite out of all the films on this list, or in this decade, Lost in Translation is the deceptively simple story of two people who meet in Tokyo and form a relationship that's more meaningful than they could have previously imagined. It features excellent performances by both Bill Murray and Scarlett Johansson, who have brought characters to life here that I have grown far too attached to and fond of. This is easily one of my absolute favourite films.
1: Adaptation
I know of no other film which so confidently, nor so successfully breaks itself apart and exposes itself. This is unquestionably a fantastically handled film that is about film; it's about itself, the creation of itself and then the evolution of itself. Not only is it incredibly clever though, it doesn't come across as pretentious but is instead warm hearted, funny and occasionally touching with great performances given by Nicholas Cage, Meryl Streep and Chris Cooper. I cannot recommend Adaptation enough.
What an outstanding list. A BIG thank you to James for contributing his list this week. Remember, check out the criteria for submitting your own list above. Have a great weekend!
Tags: Bardem, Brody, Brolin, Cage, Coen, Cooper, Johansson, Jones, MacDonald, Murray, Streep, Tarantino, The Guest List
TIFF 2013: 12 Years a Slave (2013)
Illuminated by the dazzling and substantially detailed imagery typically associated with up-and-coming director Steve McQueen, in addition to a slew of electrifying, immensely powerful performances. "12 Years a Slave" is ironically every bit as watchable as it is difficult to witness. Anchored by a true story so harrowing and unbelievable that it's hard to acknowledge the source material as fact. It is a tale surrounding abduction, inhumanity, and slavery, and is without question not for the squeamish or faint-hearted. That being said, its content, although delicate, is extremely important and should be absorbed and remembered by all those with a shred of compassion. Very rarely does a film triumph not only as a motion picture, but as a piece of history come alive. "12 Years a Slave" is a prime example of this achievement.
Of course, we'd all like to forget what is easily one of our species shadiest, most ignorant times. Which can be grounds for the reason why there are so little films of any real substance regarding this subject. It's a shame considering how vital the mistakes we make are to our insight and progression. Thankfully, the director of "12 Years a Slave" Steve McQueen has provided a veritable, unflinching look at what is perhaps humankind's greatest error. It may not be easy to watch or sit well with those of us who don't like to be reminded of our weaknesses. To see what we are all capable of when we lose our humanity isn't pretty after all. However, it is impossible for light to exist without darkness and vice versa. McQueen comprehends this truth fully and displays both valiantly. These opposites might not be balanced throughout, but when faced with the choice, we will always search out the bright spots, no matter how arduous the journey. Positive will always trump negative, no matter how heavily outmatched or discouraged.
Solomon Northup (Ejiofor) is a free black man living with his family in upstate New York. A skilled carpenter and excellent fiddler, Solomon is approached by two men hoping to lure him into accepting a job offer in Washington DC. Upon agreeing and travelling to Washington with the two men. Northup performs as instructed and is paid for his work. One night while out celebrating with his newly found friends, Northup is drugged. Waking up the following day, he slowly comes to the realization that he has been kidnapped and sold into slavery. Transported on a ship to New Orleans, Solomon has no idea how long he will remain captive, or when or if he will ever see his family again.
For a majority of the cinema going public, director Steve McQueen has seemingly rose to these dizzying heights out of no where. But for those of us who have been with the immensely talented director since his inception in 2008 with "Hunger," his skyrocket to stardom is no surprise. McQueen looks poised to finally garner an Oscar nomination with "12 Years a Slave," although his previous outings such as the aforementioned "Hunger" and more recently "Shame" are equally as impressive.
One thing McQueen has consistently made apparent throughout his first two full-length features is that his ability to handle uncomfortable material knows no bounds. And with "12 Years a Slave," McQueen not only maintains his stance, but asserts it with an exclamation point. There was no shortage of questionable, unsettling, hazardous, or even controversial topics for McQueen to tackle while adapting Solomon Northup's memoir, whether it be violence, racism, slavery, sexual abuse, and so on. With this dramatized biopic, McQueen certainly didn't cut corners or leave any distressing issues out. He's managed to put together a disturbing, upsetting, cringe-worthy, endearing epic without compromising the integrity or authenticity of its source material. Although I have to admit, the uplifting moments are undeniably bittersweet.
As impressive and truthful as the adaptation is, thematically and structurally. The film's technological facets and cinematic aspects are equally astounding. In my opinion, McQueen's work behind the camera has never been this seamless. The division and pacing of "12 Years a Slave" is remarkably complex and he works it flawlessly. There's one scene where essentially what McQueen is filming is utter stillness, say for a few minor movements and the vividness he evokes is breathtaking. The colour scheme, panoramic shots, and detailed violence is so faithful and captivating, it practically leaps forth from the screen. I also want to mention the incredible score composed by the masterful Hans Zimmer who continues to churn out masterpieces. If there's anything in the film that takes the harsh edge off, it's Zimmer's atmospheric, enthralling soundtrack.
Now, aside from the lead role of Solomon Northup, portrayed by Chiwetel Ejiofor, "12 Years a Slave" is very much the beneficiary of a superlative group effort. The film oozes with outstanding performances from its entire ensemble. Which, in addition to Ejiofor features Benedict Cumberbatch, Michael Fassbender, Sarah Paulson, Paul Giamatti, Scoot McNairy, Taram Killam, Brad Pitt, Paul Dano, and Lupita Nyong'o. And luckily for those who can't stomach the violence, inhumanity, or the film's content as a whole. The performances throughout "12 Years a Slave" are alone worth the price of admission.
Without any doubt, Chiwetel Ejiofor shines brightest. He completely astounds with an enthralling, mesmerizing, heartbreaking performance full of emotion and a thirst for life. I would be completely flabbergasted if Ejiofor does not at least earn an Oscar Nomination for best actor with his performance here. That being said, he certainly isn't the only actor in "12 Years a Slave" who appears to have punched their ticket to the Academy Awards. I feel that Michael Fassbender and Lupita Nyong'o are sure-shots to be nominated in the supporting actor categories. Both are just amazing, pure scene-stealers. Benedict Cumeberbatch, although remarkable when on screen, is a long-shot to earn a nomination for "12 Years a Slave," especially considering all the other incredible performances his given so far this year. Finally, the other members of this immaculate supporting cast, Pitt, Paulson, McNairy. Killam, Dano, and Giamatti deserve a great amount of recognition.
When a film has Oscar written all over it, much like Steve McQueen's "12 Years a Slave" does, it's usually for good reason. Trust me, this is one of the best of the year and is a must see, cinephile or not.
12 Years a Slave: 9.5 out of 10.
Tags: Cumberbatch, Dano, Drama, Ejiofor, Fassbender, Giamatti, Killam, McNairy, McQueen, Nyong'o, Paulson, Pitt
TIFF 2013: Gravity (2013)
Visually striking, unfathomably straining, and performed to near perfection. In space, no one may be able to hear you scream, but the Oscar buzz surrounding Alfonso Cuaron's "Gravity" travels infinitely and is completely deafening. It's consistently destructive, awe-inspiring, and unbearably tense. The flick's climactic nature makes for a non-stop thrill-ride that will leave you craving the solidarity and silence of the void, when or if you are able to survive. Undoubtedly, this will be the most physically and mentally draining 90 minutes you'll ever spend in a cinema. If you've never felt the insignificance of your own life, you'll surely feel microscopic against the staggering backdrop that is our universe. Cuaron's visual effects and relentless action are tremendously enthralling, but are a mere bonus to "Gravity's" true brilliance… Which is the inevitable, disconcerting truth that no matter how far we stretch from the bounds of Earth, we will never truly leave the atmosphere.
Engineer Dr. Ryan Stone (Bullock) is on her first space shuttle mission. Accompanying her is veteran astronaut Matt Kowalsky (Clooney) who is on his final expedition. During a routine spacewalk to issue some repairs to the Hubble telescope, debris from a satellite collides with the space shuttle Explorer. The impact delivers catastrophic damage to the ship, kills the other astronauts on board the ship, and leaves Stone spinning alone in space. Now, with no means of communication to Earth, Kowalsky must retrieve Stone and the two must figure out a way to return to Earth.
Listen, I'm a sucker when it comes to specific sub-genres, and none more so than sci-fi driven by actual science, space, and drama. Granted, there isn't exactly a name for this particular tangent, but we all know the films that fall into the category. They are astonishing feats of cinema that reach out and connect with our humanity, leave us in awe of the universe and marvelling at our technological advances. Films such as Danny Boyle's "Sunshine," Duncan Jones' "Moon," and more recently Sebastian Cordero's "Europa Report." These films capture the very essence of science-fiction while never forgetting our benevolence, flaws, and irrelevance. The visuals are unprecedented and leave the audience winded. It's nearly impossible to find a cinematic experience that rivals this strand's immaculacy and for good reason. I can tell you with pure confidence that "Gravity" is the newest and possible best member of my favourite genre.
Now, you might think that my passion for this very precise sub-genre hampers my ability to distinguish the truly brilliant from the utterly lacking. When in actuality, it's quite the contrary. If anything, my fascination has made me even more skeptical and critical of new entries. I respect the art too much to compromise it with childish crushes. So when I tell you that Alfonso Cuaron's "Gravity" is resplendent, heart-stopping, and impassioned…you better believe I am telling you the truth. It's unlike anything you've ever witnessed on the big screen. Which is why I can deem it the best film I saw at TIFF 2013 without hesitation. And the argument could be made that I attended a majority of the screenings for Oscar favourites at the festival, such as "12 Years a Slave," "The Fifth Estate," "Dallas Buyers Club," "August: Osage County," and "Mandela: Long Walk to Freedom." So it's not like I'm comparing it to mediocrity. There's no doubt in my mind that you will not see a better film than "Gravity" released so far this year. As for November and December releases, only time will tell, but I can't see it being trumped.
The film itself literally has no weaknesses. From the soundtrack, the story, its graphics and performances. "Gravity" is as completely and structurally sound as they come. Even more astonishing is the scientific, visual, and technological authenticity. And of course with astronaut Chris Hadfield on hand to verify the film's successes at the screening, I rendered it pointless to argue. The story is not overly complex, but it is real and believable. Which is why I feel it is so effective and relatable. With "Gravity," Cuaron definitely understands that less is more. Once you've settled in for the ride, there is no escaping. You might as well strap yourself into a spacesuit, buckle up, and prepare for the physically and mentally draining journey that is "Gravity."
From the get go, two things hit you, the music and the imagery. And there's this beautiful dissonance between the two that you have to experience to believe. The original score shifts, swiftly I might add from a sweet, atmospheric hum to a terrifying, exploding, tense onslaught that wreaks havoc on your nerves. It's similar to an ascending, ear-piercing rumble that, at a point becomes impossible to withstand. It is undeniably one of the most definitive, creative soundtracks I've ever heard. Alongside the score in this intoxicating concoction is Cuaron's stunning, panoramic imagery that'll leave you breathless and in disbelief. All I can say is that it's sure to resonate with you long after the closing credits. Above all however, is the genuine interpretation of the space just outside our planet. All the beauty that the universe has to offer present in "Gravity" is no substitute for the authenticity on display here.
As revolutionary, engaging, and stunning as Cuaron's sci-fi thriller is, the fact of the matter is that "Gravity" would be totally lost without its two phenomenal stars. Leads George Clooney and Sandra Bullock are thoroughly outstanding and remind us all of their deep talent and why they are so revered in the first place. The truth is that it's been a while since either have tastefully and fully wowed cinephiles, but no longer. Even more remarkable is what makes their performances so compelling and down-right impressive. It's not merely the conventional dramatic element, although they do provide that abundantly. The duo's physical maneuvers and delicate mannerisms in the vacuum is what really stupefies. It is immensely strenuous and difficult to make it look like your floating and working in space. Yet Clooney and Bullock pull it off with sheer immaculacy and make it look so easy. Their performances are just another facet in "Gravity's" long line of sublime accomplishments.
As totally immersive of an experience that you'll likely ever be apart of in a cinema. Alfonso Cuaron's "Gravity" is performed flawlessly, visually impeccable, and as a whole, matchless.
Gravity: 10 out of 10.
Tags: Boyle, Bullock, Clooney, Cordero, Cuaron, Drama, Jones, Science Fiction, Thriller
TIFF 2013: Don Jon (2013)
It's about as close to the perverse truth as any romantic-comedy has come close to depicting. It delivers the goods on its premise and is unique enough to distance itself from the genre. There is no denying the chemistry between its two wonderful, handsome leads and the laughs are consistent and real. Yet, one can't help but feel that Joseph Gordon-Levitt's directorial debut "Don Jon" is missing that certain climactic element. Essentially, there is nothing utterly wrong with the film itself. The fault lies in its inability to provoke any kind of meaningful reaction or reward the viewer for tagging along in the journey. Granted, the plots skeletal structure is anything but common and Levitt isn't afraid to show a little skin, so to speak. However, the point in which the viewer joins the protagonist never diverts or scatters, resulting in a linear, anti-climactic, albeit impressive debut for Levitt.
Jon Martello (Levitt) is a present day Don Juan who objectifies everything in his life, specifically women. His friends call him Don Jon because he is consistently able to pull "10s" every week. Soon, Jon's addiction to internet pornography renders his sex life less than fulfilling and eventually his relationships begin to falter because of it. On his journey to discover a more satisfying love life, Jon falls for Barbara (Johansson), a beautiful woman who is obsessed with control.
Much like Joss Whedon did to the horror genre with "The Cabin in the Woods," Levitt has disassembled, dissected, and rebuilt the conventional stereotypes and outlook of the romantic comedy. However, when blatantly poking fun at countless years of tradition and canon, the revolt better be a game changer. And for the most part, Levitt has this transformation pointed in the right direction. His outing is a raunchy, veracious, satirical romp…of course not to the same height, success, or effectiveness as Whedon and Goddard's comedic fright-fest. However, with "Don Jon," Levitt has genuinely created something brash, original, and straightforward. It definitely bursts with the usual charisma and wit that typically defines films of this genre and manages to lure the viewer in with likeable, terrifically performed, over-the-top characters.
Although for the majority of its runtime, "Don Jon" is severely superficial. This reinvented concoction does offer more insight, intelligence, and endearing qualities than the majority of the genre's entries. "Don Jon" is merely a half-realized revelation for the rom-com genre and is heavily directed at the male populous. It's sure to not sit as well with the female market, but for those who can handle the harsh fact of differing motivations in opposite-gender relationships. It'll conjure up some big body-aching laughs and a veritable gaze into the logical and emotional differences that continuously baffle our co-existing genders. Compared to its counterparts, "Don Jon" is a breath of fresh, sexually charged air into a genre that would rather play pretend than focus on truth-telling and authentic, situational humour.
It's rather comical, yet seriously obscure that I'm having this much difficulty writing up this review. As I previously stated, there isn't anything actually wrong with the film. It's funny, different, and Levitt, again for the most part, has done everything with his usual flair and charm. I just feel that with "Don Jon," Levitt errs on the side of caution. As if he has intentionally pushed the envelope, but got cold feet halfway to his destination. You'll find yourself watching the film and feel a bit naughty and excited by this new, uncharted cinematic territory. And then, when you've finally reached the end, flustered and gleeful, the slow realization that you weren't overly wowed begins to take over. However, all this being said, "Don Jon" truly is an impassioned, touching, respectable debut for Joseph Gordon-Levitt. So long as he keeps chugging along this road of ingenuity and continues to carve out his own way. Levitt will have a long, prosperous career behind the camera.
The one thing you can rely on when heading into the theatre to experience "Don Jon" is the consistent cleverness and turbulent coexistence of all the characters. Which are incredibly and ably performed by the entire cast, which features Scarlett Johansson, Joseph Gordon-Levitt, Julianne Moore, and Tony Danza.
Marred in heavy makeup and a thick New Jersey accent, Scarlett Johansson is as striking as ever, even though she maybe a tad incoherent. Nonetheless, in a role that significantly depends on superficiality and surface pleasures. It's her ability to transform and power through the external distractions in order to reach internal importance that is truly remarkable. Tony Danza is down-right hilarious in his supporting role. Hopefully this will lead to his emergence from the shadows and launch him back into the mainstream. Moore is just phenomenal in her supporting role, she hasn't been this effective and stunning in a long while. As for Levitt, he's as effective and suave as ever, but we shouldn't have expected anything less. Levitt does a phenomenal job while pulling double duty and really adapted both physically and mentally, not only to play and capture the role, but create it. Although I have to admit, Levitt's portrayal here is quite the oddity when you associate him with the heartbroken romantic from "500 Days of Summer," quite the contrast.
It might dwell a little to close to safety, but its excess of honesty and hilarity is enough for "Don Jon" to overcome its faults. It is a respectable inception for director/writer Joseph Gordon-Levitt.
Don Jon: 7.5 out of 10.
Posted in Rom-Com
Tags: Comedy, Danza, Drama, Goddard, Johansson, Levitt, Moore, Reviews: TIFF 2013, Rom-com, TIFF, Whedon
Tags: The Guest List, Top 10
TIFF 2013: The Fifth Estate (2013)
Although it deserved stronger direction and a more structurally sound script. "The Fifth Estate" is lifted above mediocrity thanks to sublime performances from its entire cast and truly captivating, at times unsettling source material. This Bill Condon thriller, despite all the hype and speculation, has fizzled amongst the high-profile Oscar contenders at this years TIFF. Which really shouldn't come as a surprise when you consider the plethora of high-quality films in the race this year. That being said, it is this very unfortunate circumstance that puts "The Fifth Estate" on the receiving end of some seriously negative and potentially irrefutably damaging, undeserved cynical criticism. Thankfully, the essence of film is to forge an opinion of one's own. Mine is here to tell you not to believe in the bad-mouthing and reputation smashing being directed at "The Fifth Estate." While definitely not a sure-shot when it comes to award season, it certainly isn't as abhorrent as critics are making it seem.
To expand, it's extremely difficult to go into a screening without any preconceived notions. And as hard as you may try to weed out bias and judgement, whether it be positive or negative, inevitably some influence will sink in. This undeniable logic swirled around my mind throughout "The Fifth Estate" as I tussled with my masculine infatuation and deep admiration for the film's star Benedict Cumberbatch. I tried, valiantly I might add, to focus on the film and details surrounding him and to distance myself from the other interpretations of the film. While I was able to fight off the majority of my weakness, Cumberbatch's seemingly immaculate prowess and pure devotion, amongst the film's other infaliable qualities were just too alluring and impressive to ignore. That being said, I succeeded in forging my own opinion. The film isn't without faults, and it just so happens that Cumberbatch is arguably the only Oscar contender to emerge from this specific film, slim chances for the outstanding Daniel Bruhl. However, we don't simply condemn films that don't garner nominations, so by no means avoid this flick.
For those who don't know. "The Fifth Estate" is the story of how the news-leaking website Wikileaks came to existence. Created by Julian Assange (Cumberbatch) with the help of Daniel Domsheit-Berg (Bruhl).
There are more than a few bright spots throughout the film that don't revolve around the performances, just to insure my words don't mislead you. Director Bill Condon occasionally spurts the innovation and brilliance that solidified his high status and previous flicks like "Gods and Monsters," managing to sporadically encompass the sheer immensity of the film and find the core of its true story. However, Condon consistently struggles to make the transitional aspect of his vision smooth, resulting in a bumpy, divided entity. The film rises and dips far too often to ignore and the highs aren't nearly impressive enough to discard the lows. I'm sure that the "The Fifth Estate" appeared much more alluring on paper and it's a pity that the structure and story didn't translate to the big screen. Regardless, the source material remains as hypnotic, honest, and horrid as ever, toss in some terrific, astonishing performances and "The Fifth Estate" is strong enough to overcome its faults.
Perhaps what ultimately led to the high-standard and unreal expectations of "The Fifth Estate," aside from the trailer and Cumberbatch's remarkable portrayal and resemblance to Julian Assange, is the astounding success of David Fincher's "The Social Network." The two films share more than a few similarities which can be easily spotted while watching the film. Additionally, the film is no where near as symbolic or deceptive. Everything is laid out, flat on the table. "The Fifth Estate" comes off a bit to modernized and contrived. As if Condon and crew modelled the film after Fincher's Facebook masterpiece, with good reason. I mean, if you could capture some of "The Social Network's" Oscar winning astuteness, why wouldn't you? There's nothing wrong with being inspired and influenced, but masquerading these mind-sets and commonalities with cheap ploys and abstract techniques didn't pay off for Condon.
Even though "The Fifth Estate" is stifled mightily by skeletal simplicity and seemingly forced direction. The film's performances burst forth from the screen and are the only thing standing in the way of this flick from being thrown into an incinerator. The film stars the preposterously immaculate Benedict Cumberbatch, Daniel Bruhl, who is absolutely sky-rocketing to stardom, David Thewlis who continues to thrive despite being underused, and a plethora of high-profile supporting talent that features Laura Linney, Stanley Tucci, and Anthony Mackie.
Off the top of my head, there is no one who impressed me more than Daniel Bruhl (I've simply come to expect perfection from Cumberbatch). After launching his career into orbit with Quentin Tarantino's "Inglorious Basterds," it's been nothing but full-throttle ahead for Bruhl, who has two films premiering at this year's festival. Bruhl does everything in his power to upstage Cumberbatch and salvage this film from its free-fall. I don't think I can issue much higher praise than declaring his performance just under that of Cumberbatch's. Speaking of Benedict, his portrayal of Assange is nothing short of spectacular. His mannerisms, voice, hair, literally everything about Assange is captured perfectly. There's really nothing else to say. Cumberbatch's performance alone is enough to make "The Fifth Estate" recommended viewing.
"The Fifth Estate" is fortunate enough to have its spellbinding cast come to the rescue. Other than its performances, which I highly insist you check out, and its source material, there isn't anything here you haven't been previously exposed to. This being said, do not take my rough dissection as hatred, I rather enjoyed this flick…even if I am a tad bias.
The FIfth Estate: 7.5 out of 10.
Posted in Thriller
Tags: Bruhl, Condon, Cumberbatch, Drama, Linney, Mackie, Reviews: TIFF 2013, Thewlis, Thriller, TIFF, Tucci


I am excited to be joining the Warwick International Programme this year. I have been a teacher for 15 years, working in a variety of different schools in Coventry/ Warwickshire teaching Religion, Philosophy and Ethics up to A level. During this time I have been a head of department, a pastoral head of year, Director of Sixth Form and an EPQ co-ordinator. I have also worked as both a GCSE and an A level examiner and a private tutor. I have had a lot of experience of preparing students for university study as well as overseeing UCAS applications.
I graduated from the University of Cambridge in 2001, with an MA (Hons) in Theology. I then came to Warwick University in 2001-2 to complete the teaching certificate: PGCE (Secondary) in Religious Studies.
Outside of the classroom I can usually be found running and taking part in exerise classes as well as spending time with my children.


text:
ROXETTE SINGER MARIE FREDRIKSSON DEAD AT 61
Marie Fredriksson, the lead singer of the Swedish pop duo Roxette, died on December 10th at age 61. Fredriksson, who was first diagnosed with brain cancer back in 2002, will be best remembered for her and guitarist Per Gessle's six Top 10 hits between 1989 and 1991 -- including the chart-toppers, "The Look," "Listen To Your Heart," "Joyride," and "It Must Have Been Love" -- which was featured in 1990's Pretty Woman.
Billboard reported, "After her initial diagnosis and treatment that reportedly left her nearly blind in one eye and with limited hearing, Fredriksson returned to the stage for a Roxette comeback tour in 2009."
Fredriksson is survived by her husband, keyboardist Mikael "Micke" Bolyos, and their son and daughter.


Panama is home to one of world's modern engineering marvels, the incredible Panama Canal. Whether you see the canal on a cruise ship or by land, Panama has much more to discover. There are vast jungles, magical rainforests, and lush mountain forests that boast of amazing biological diversity in both flora and fauna. With miles of coastline, it's easy to find uncrowded beaches as well as idyllic islands ringed with coral reefs; and there are more than 500 rivers, hosting indigenous villages. For an urban experience, Panama City is a vibrant and diverse metropolis with superb dining, lodging, and nightlife.
Panama is a tropical wonderland that offers fun and adventure for animal and nature lovers alike. With Panama's compact size, you can easily use Panama City as a base, and explore the country on day-tours. Lakani World Tours can create a travel itinerary best suited for you – depending on your time, interests, and budget.
Panama City & the Panama Canal – Explore the city's historic Casco Viejo (Old Quarter) with its noted Spanish colonial architecture. Visit Paseo Las Bóvedas and witness Miraflores, one of the Panama Canal's impressive locks, including a stop at the Miraflores Visitor Center.
Soberania National Park and Monkey Island – Explore lush jungle replete with thousands of exotic bird species and native wildlife. Take a boat trip to Monkey Island, with its plethora of monkey species; visit an authentic Indian village to learn about the area's rich local culture.
San Blas Islands – Enjoy, snorkeling among reefs and coral in crystal clear water. Connect with nature and discover the Guna culture and people.
Anton Valley – Visit Panama's wild side, hiking to hot springs nestled in the broad crater of a stratovolcano. See ancient petroglyphs, a hidden waterfall, and then soak in a steaming pool. Tour the Nispero Zoo to see endangered species and exotic orchids.
Panama Canal Train and Colon Tour – Take the train from Panama City to Colon through a scenic route with the Panama Canal, the Chagres River and tropical mountain range on both sides. Tour the city of Colon, its forts, and the Agua Clara Lock Center.
Gatun River & Embera Indigenous People – Travel through tropical rainforest by piragua (canoe) to a Embera Quera village. See sloth and howler monkeys, as well as a variety of birdlife. Enjoy a cultural experience with the Embera that includes music, dancing and visiting their unique traditional homes built on stilts.
Explore Panama City's historic Casco Viejo with its noted Spanish colonial Architecture.
Take a boat trip to Monkey Island, with its plethora of monkey species.


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Iraq War Report Buries Oil Evidence, Fails To Address Motive
When the UK invaded, Iraq had nearly a tenth of the world's oil reserves — and government documents "explicitly state" oil was a consideration before the war. Why didn't Chilcot explore it further?
By Open Democracy UK
The long-awaited Chilcot Report was finally released today, examining the UK's involvement in the Iraq War and occupation. Unfortunately, on the most important question, the report's conclusions are all but silent: why did the UK go to war? Chilcot takes at face value the Blair government's
Rachel Riley Libel Ruling is the Latest Judicial Attack on Political Speech
Biden's "Diplomacy Is Back" Falls Flat as 2021 Middle East Policy a Miserable Flop
Over 500 Scholars Launch Fightback Against Israel Lobby's Antisemitism Smear of UK Academics
Chilcot: Iraq Was Not a Threat, War Was Not a Last Resort
"It is an account of an intervention that went badly wrong, with consequences to this day," said the U.K.'s John Chilcot.
By teleSUR
The long-awaited Chilcot report was released on Wednesday, detailing a years-long investigation into the U.K.'s role in the U.S.-led invasion of Iraq in 2003, with former Prime Minister Tony Blair facing accusations of war crimes. At a press conference Wednesday morning, John Chilcot, chairman of the investigation, described his report as "an
teleSUR English bring you world news with a focus on the people, the common citizen, and stories untold by traditional media. You will only find them at teleSUR.


Advocacy – The RVCOG Area Agency on Aging and Disabilities (AAAD) advocates to protect the independence, dignity, choice and safety of seniors and people with disabilities. Two Advisory Councils assist.
Senior Advisory Council (SAC) – An up to 21-member Senior Advisory Council appointed by the RVCOG Board of Directors, is mandated under the federal Older Americans Act to advise the Senior & Disability Services Director.
The Council provides advice and assistance with new program development and service implementation to meet the needs of seniors and people with disabilities, are advocates and sources of information to the community and advise on key issues and emerging trends affecting seniors.
Council members have the satisfaction of knowing that their involvement results in better services, timely information, and increased resources.
For more information about the Senior Advisory Council, click here.
Disability Services Advisory Council (DSAC) – An up-to-11 member Disability Services Advisory Council, appointed by the RVCOG Board of Directors, is mandated under Oregon Senate Bill 875. Although, SB 875 requires that the majority of the members have a disability, and that some of the individuals be Aging & People with Disabilities (APD) services recipients, interested members of the community are welcome to participate.
With members from both Jackson and Josephine counties, the DSAC meets monthly to advise local APD offices on program policy and the effectiveness of services provided (such as Medicaid and SNAP) to younger people (18-64) living with physical disabilities. Additionally and secondarily, the council advocates and collaborates on matters not related to the Department of Human Services, and addresses local issues affecting people experiencing disabilities. Meetings are open to the public and visitors are always welcome.
For more information about the Disability Services Advisory Council or to request an application, call Sharen at 541-776-6232.
Joint Disability and Senior Advisory Council Activities – DSAC Officers periodically meet with SAC Executive Committee members in order to assure synergy between SDS RVCOG and APD programs. When there are issues or topic areas of interest to both the DSAC and SAC, the two advisory councils will meet together.
Council or alternate members from both the SAC & DSAC may be appointed to serve on the Advocacy Committee. Staying informed of current and proposed, pertinent legislation, the joint SAC and DSAC Advocacy Committee focuses on engaging, educating and empowering SAC and DSAC members and the community in legislative advocacy.


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A B.C. Ambulance Service paramedic moves a stretcher outside an ambulance at Royal Columbia Hospital, in New Westminster on Nov. 29, 2020. The paramedics union has reached a tentative new agreement with BCEHS and the province as of Jan. 6, 2023. THE CANADIAN PRESS/Darryl Dyck
B.C. paramedics union, province agree on tentative new contract
Members will decide whether to ratify it or not over coming weeks
Jan. 8, 2023 9:51 a.m.
The union representing more than 4,500 paramedics and emergency dispatchers in B.C. and the provincial government reached a tentative deal on a new contract Friday (Jan. 6).
The announcement comes after more than nine months of negotiations between the Ambulance Paramedics of BC, its employer BC Emergency Health Services and the province, with their last collective agreement having expired on April 1, 2022.
Details of the potential new deal aren't being released yet, as it's now up to members of the union to vote on whether they want to ratify it or not. Ambulance Paramedics of BC said in a news release this will happen over the coming weeks.
Union president Troy Clifford did say that the new deal will acknowledge the unique challenges of the profession.
"Our members and service have been undervalued for years, making it impossible to keep up with recruitment and retention of highly trained paramedics and dispatchers. This has affected our ability to respond to people in their time of need. We have[n't] been acknowledged appropriately for a long time, and our service has deteriorated as a result."
READ ALSO: 'It's a broken system,' say emergency responders about B.C.'s rural paramedic shortages
READ ALSO: Lower Mainland paramedics warn ambulance service critically understaffed
Emergency callsHealthcare
This Korean-Canadian curler wants to make the sport more diverse. Here's how.
Alabama woman who joined Islamic State group hopes to return from Syria camp


Orla Murphy is from Cork, attended Immaculate Heart Secondary School in Ballyphehane (now Presentation Secondary School) and University College Cork where after a BA in English and Philosophy, with particular emphases on feminism, aesthetics and medieval culture, she completed a Higher Diploma funded by the European Science Foundation in Accounting and Information Systems, where she encountered programming for the first time. Coming back to the English Department she completed an interdisciplinary higher diploma in medieval studies leading to an MPhil on "Liturgical Event and Homiletic Response in Aelfric's First and Second Series Homilies on the Nativity", sparking an interest in acts of reading, writing and performativity in a range of media. Her PhD as part of the Foundations of Irish Culture Project, brought all the elements of her previous research together, evaluating 3D laser scanning in rereading early medieval inscriptions in Munster.
Orla is a lecturer in the Discipline of Digital Arts and Humanities in the School of English at University College Cork Ireland. She researches and teaches in the Digital Arts and Humanities Program at UCC and in the national, inter-institutional DAH PhD program in Ireland. She was awarded an inaugural Fulbright TechImpact Scholar award for 2014-2015. Named a Digital Champion at UCC in 2013 she now chairs the E-Learning strategy sub committee of the university's Academic Council.
She is chair of the Information Visualisation working group in the NeDiMAH.eu initiative (the European network for digital methods in the arts and humanities) with Fredrik Palm of the HumLAB, Umea U, Sweden, and vice-chair of the Algorithms group in the EU CoST Action Colour and Space in Cultural Heritage where she convenes the successful international Think Tank series for Early Stage Researchers.
Co-coordinator of the MA in Digital Arts and Humanities and the online MA program in Digital Cultures, she is also the Director of the innovative BA in Digital Humanities and Information Technology at UCC a transdisciplinary BA program working with colleagues in Computer Science over a 4 year program cycle, the first of its kind in Ireland.
(2019) Design Thinking for Digital Wellbeing.
(2013) Why and how do we use visualisation in our work?.
(2014) Selective Memory: Artists in the Archive.
(2009) BBC Coast Documentary - Cork to Dublin.
(2002) Ahenny. North Cross. West Face. Base Detail.
(2002) Ahenny. North Cross. North Side. Detail of Base.
(2002) Ahenny. North Cross. East Face.
(2002) Ahenny. North Cross. East Face. Base Detail. Close up.
(2002) Ahenny. North Cross. South Side. Detail Base.
(2002) Arboe. Old Cross of Ardboe.
(2002) Arboe: East face of Cross. Detail of Shaft.
(2002) Arboe. Old Cross of Ardboe. Detail Cross Shaft. West Face.
(2002) Arboe: West face of Cross. Detail of Shaft.
(2002) Arboe: South face of Cross. Detail of Shaft.
(2002) Arboe: North face of Cross. Detail of Shaft.
(2002) Armagh. Composite Cross. South Side. Lower and Upper fragments. ( Also known as The Market Cross).
(2002) Armagh. Composite Cross. North Side. Lower fragment. N3 Panel details. Saints Paul and Anthony break bread in the desert.
(2002) Ballyvourney. Close up of Slab.
(2002) Bantry. Cross shaft. Close up of West Face, panel W2.
(2002) Bantry. Cross shaft. Detail West face, top panels W3 and W4.
(2002) Camus. Cross Shaft. East Face.
(2002) Camus. Cross Shaft. West Face. Detail. Top of shaft.
(2002) Camus. Cross Shaft. East Face. Detail top of shaft.
(2002) Camus. Cross Shaft. East Face. Lower Panels Detail.
(2002) Carndonagh. Ringless Cross. Close up of the Crucifixion and the three women going to the tomb of Jesus.
(2002) Carndonagh. Ringless Cross. Close up of the three women going to the tomb of Jesus.
(2002) Carndonagh. Ringless Cross. Close up of the Head of the Cross.
(2002) Cashel. 'St. Patrick's Cross'. West Face.
(2002) Cashel. 'St. Patrick's Cross'. West Face. Cast - Outside. Crucifixion.
(2002) Castledermot. General View. North Cross. West Face.
(2002) Castledermot. General View. North Cross. South side.
(2002) Castledermot. General View. South Cross. West Face.
(2002) Castledermot. General View. South Cross. South Side.
(2002) Castledermot. General View. South Cross. North Side.
(2002) Clones. Composite Cross. North West Face. Detail of Shaft. Panel NW2.
(2002) Clones. Composite Cross. North West Face. Detail of Shaft. Panel NW3.
(2002) Clones. Composite Cross. North West Face. General View of Shaft.
(2002) Clones. Composite Cross. South East Face. Detailed View of Shaft. Panel SE 3.
(2002) Clones. Composite Cross. South East Face. Detailed View of Shaft. Panel SE 1.
(2002) Clones. Composite Cross. South East Face. Detailed View of Cross Head.
(2002) Clones. Composite Cross. South East Face. Detailed View of Shaft. Panel SE 2.
(2002) Clones. Composite Cross. South East Face. General View of Shaft.
(2002) Clones. Composite Cross. North West Face. Detailed View of Shaft. Panel NW 1.
(2002) Clonmacnois. Detailed View. Cross of the Scriptures. North Side.
(2002) Clonmacnois. Detailed View. Cross of the Scriptures. North Side. Panel N2.
(2002) Clonmacnois. Detailed View. Cross of the Scriptures. South Side. Panel S2.
(2002) Clonmacnois. Detailed View. Cross of the Scriptures. South Side.
(2002) Clonmacnois. Detailed View. Cross of the Scriptures.
(2002) Clonmacnois. Detailed View. Cross of the Scriptures. West Face. Panel W2.
(2002) Clonmacnois. Detailed View. Cross of the Scriptures. West Face. Panel W3.
(2002) Clonmacnois. Detailed View. Cross of the Scriptures. West Face. Panel W1.
(2002) Clonmacnois. General View. Cross of the Scriptures. West Face.
(2002) Clonmacnois. Detailed View. Cross of the Scriptures. West Face. Cross Head.
(2002) Clonmacnois. Detailed View. South Cross. West Face. Panel W3. Crucifixion.
(2002) Clonmacnois. General View. South Cross. West Face.
(2002) Clonmacnois. Detailed View. Cross of the Scriptures. East Face. Detail of Head.
(2002) Clonmacnois. General View. Cross of the Scriptures. East Face.
(2002) Clonmacnois. Detailed view of two panels. Cross of the Scriptures. East Face.
(2002) Donaghmore. Composite Cross. West Face. Detailed View of Shaft. Lower Panels.
(2002) Donaghmore. Composite Cross. West Face. Detailed View of Shaft. Lower Panel. E1 Adam and Eve.
(2002) Donaghmore. Composite Cross. West Face. Detailed View of Shaft. Lower Panel. E1 Adam and Eve knowing their nakedness.
(2002) Donaghmore. Composite Cross. West Face. Detailed View of Shaft. Panel W3: The Sacrifice of Isaac.
(2002) Donaghmore. Detailed View. West Face. Cross Shaft.
(2002) Donaghmore. Detailed View. West Face. Cross Shaft. Panel W1.
(2002) Donaghmore. Detailed View. West Face. Cross Shaft. Panel W4.
(2002) Donaghmore. General View. West Face. Cross Shaft.
(2002) Donaghmore. Detailed View. East Face. Cross Shaft.
(2002) Donaghmore. Detailed View. South Side. Cross Shaft.
(2002) Donaghmore. General View. North Side.
(2002) Donaghmore. Composite Cross. East Face. Detail of Shaft. Panel E2. Adoration of the Magi.
(2002) Downpatrick. North and South Crosses. General View of Shaft.
(2002) Downpatrick. Cross Head and Shaft Mounted outside the cathedral. East Face. General View of Shaft.
(2002) Drumcliff. General View of Cross. South Side.
(2002) Drumcliff. Detailed View of Cross Head. End of Cross Arm. South Side.
(2002) Drumcliff. Detailed View of East Face of Cross Head and End of Cross Arm, South Side.
(2002) Drumcliff. Detailed View of Cross Shaft South Side.
(2002) Drumcliff. General View of Cross.
(2002) Drumcliff. General View of Cross. East Face.
(2002) Drumcliff. General View of Cross. West Face.
(2002) Drumcliff. Detailed View of Cross Head. East Face.
(2002) Drumcliff. Detailed View of Cross. East Face.
(2002) Duleek. General View of Cross Head. South Cross. West Face.
(2002) Duleek. General View of Cross Shaft. North Cross. East Face.
(2002) Duleek. General View of Cross Shaft. North Cross. West Face and North Side.
(2002) Duleek. North Cross. North Side. Close up of panel at end of cross arm.
(2002) Duleek. General View of Cross Shaft. North Cross. West Face.
(2002) Duleek. Close Up View of Cross Head. North Cross. West Face.
(2002) Duleek. Cross Shaft. North Cross. West Face.
(2002) Duleek. General View of Cross. North Cross. North Face.
(2002) Duleek. General View of Cross Head. South Cross. East Face.
(2002) Duleek. Close up View of Cross Head. South Cross. East Face.
(2002) Dunfallandy Cross Slab, front.
(2002) Dunfallandy Cross Slab, back.
(2002) Durrow. South Side. Detail of Shaft.
(2002) Durrow. South Side. General View of Shaft.
(2002) Durrow. General View. East Face.
(2002) Durrow. East Face. Detail of Shaft.
(2002) Durrow. General View. West Face.
(2002) Durrow. North side. Close up of panel N1.
(2002) Durrow. North Side. General View.
(2002) Dysert O'Dea. East Face. General View.
(2002) Galloon. West Cross. East Face. General View.
(2002) Galloon. West Cross. South East Faces. General View.
(2002) Hoddam Cross Arm Fragment.
(2002) Inchbrayock (Rossie Island) Cross Slab.
(2002) Kells: Cross of Ss. Patrick and Columba.
(2002) Muiredach's Cross - Monasterboice.
(2002) North Cross - Monasterboice.
(2002) Monasterboice: Tall (or West) Cross.
(2002) Tuam; 'Market' / 'Tall' Cross.
(2001) Ahenny. North Cross. West Face.
(2011) BAR - New Voices on Early Medieval Sculpture in Britain and Ireland.
Consultant to BBC Coast documentary series on early writing and stone inscriptions in Munster. I met with the producer at the programme planning stage to discuss aspects of writing as a new technology in medieval munster on stone.
On the use of laser scanning as an appropriate methodology for recording previously inaccessible sculpture in Cornwall for the 'Corpus of Anglo-Saxon Stone Sculpture' project led by Prof. Rosemary Cramp.
Team development of Learning City videos with UIL, UNESCO Hamburg.
Working with Dr Danielle O'Donovan at Nano Nagle Place (NNP) on community building and outreach activities, involving students from PhDs to second year working with and for the community.
Irish National Coordinator, DARIAH-IE - an European Research Infrastructure Consortium (ERIC).
Co-Chair Arts and Culture in Education Research Repository with Dr Katie Sweeney from the Department of Education and Skills.
Irish National Representative - CoST Scientific Committee. The COST Scientific Committee (SC) advises the COST Association about the quality of the Open Call and in particular, the procedures related to the submission, evaluation, and selection of proposals. It also oversees the monitoring and final assessment of COST Actions. The CSO appoints the Committee's members.
I teach topics from the earliest literatures in English to the consideration of digital textualities and new modes of textual production in contemporary culture, knowledge technologies and remediation.
2018 Alison Killilea University College Cork PHD Translating the past: an analysis of Beowulf's reception history through the figures of Grendel and Grendel's mother.


text:
British Tech Stocks
HLMA
Halma plc provides technology solutions in the safety, health, and environmental markets.
Renishaw plc, an engineering and scientific technology company, designs, manufactures, distributes, sells, and services metrology and healthcare products worldwide.
Spectris plc manufactures and sells measuring instruments and controls worldwide.
Spirent Communications plc provides solutions to develop devices and equipment and to operate networks worldwide.
OXIG
Oxford Instruments plc, through its subsidiaries, researches, develops, manufactures, rents, sells, and services tools and systems in the United Kingdom, China, Japan, the United States, Germany, rest of Europe, rest of Asia, and internationally.
discoverIE Group
DSCV
discoverIE Group plc designs, manufactures, and supplies components for electronic applications worldwide.
BATM Advanced Communications
BATM Advanced Communications Ltd., together with its subsidiaries, provides real-time technologies for networking solutions and bio-medical systems in Israel, the United States, and Europe.
Strix Group
Strix Group Plc designs, manufactures, and supplies kettle safety controls and other complementary water products for use in temperature control, steam management, and water filtration applications worldwide.
Midwich Group
MIDW
Midwich Group Plc distributes audio visual (AV) and document solutions to the trade markets in the United Kingdom, Ireland, Continental Europe, Asia Pacific, and North America.
Seeing Machines
Seeing Machines Limited provides driver monitoring technologies in Australia, North America, the Asia Pacific, Europe, and internationally.
TT Electronics plc provides engineered electronics for performance critical applications in the industrial, medical, aerospace and defense, and transportation markets worldwide.
Gooch & Housego
Gooch & Housego PLC engages in the manufacture and sale of acousto-optics, electro-optics, fiber optics, and precision optics/systems in the United Kingdom, North America, Europe, the Asia Pacific, and internationally.
Telit Communications
Telit Communications PLC, together with its subsidiaries, provides a portfolio of integrated products and services to support and enable Internet of Things (IoT) deployments in the Europe, the Middle East, Africa, the Asia-Pacific, and the Americas.
Calnex Solutions
Calnex Solutions Limited provides test and measurement products for telecommunication networks.
Amino Technologies
Amino Technologies plc, together with its subsidiaries, develops Internet Protocol television (IPTV) software technologies and hardware platforms worldwide.
Xaar
XAR
Xaar plc develops digital inkjet technology in Europe, the Middle East, Africa, Asia, and the Americas.
Trackwise Designs
Trackwise Designs plc develops, manufactures, and sells printed circuit boards in the United Kingdom, Europe, and internationally.
Spectra Systems
Spectra Systems Corporation discovers, develops, and sells integrated optical systems in Rhode Island and internationally.
Concurrent Technologies Plc, together with its subsidiaries, designs, develops, manufactures, and markets single board computers for system integrators and original equipment manufacturers.
M.T.I Wireless Edge
M.T.I Wireless Edge Ltd. designs, develops, manufactures, and markets antennas and accessories for the commercial and military sectors.
SRT Marine Systems
SRT Marine Systems plc, together with its subsidiaries, develops and supplies automatic identification system (AIS) based maritime domain awareness technologies, derivative products, and system solutions.
Solid State plc manufactures and sells electronic equipment in the United Kingdom, rest of Europe, Asia, North America, and internationally.
CAP-XX Limited, together with its subsidiaries, develops, manufactures, and sells supercapacitors and energy management systems primarily in the Asia Pacific, Europe, and North America.
Thruvision Group
Thruvision Group plc engages in development, manufacture, and sale of passive people-screening technology in the United Kingdom, rest of Europe, the Americas, the Asia-Pacific, the Middle East, and Africa.


text:
A word of advice to anyone thinking of flying out to San Francisco to make a record. Give yourself a day off to get over the journey.
I'd got plenty of rest the night before – lulled to sleep by Metallica playing across the way at AT&T Park, briefly woken by the fireworks after the encore. But when I stirred this morning, I just wasn't in the mood. I know, you fly out all this way with your best songs to play with that fantastic band and you don't fancy it?! What a dufus! That's what I thought, too.
It's ok, everything around me was just as I hoped. The boys managed to shape the first song, I'm Gone, into something great. But, the endorphins needed to tell my brain I was having a good time had apparently caught a later flight.
Once the basic tracking was done, we did something we hadn't done so much last time round. The building up of the track with overdubs – extra percussion, handclaps, guitar fills and such – puzzling over the gaps and inventing ways to fill them. That bit was done as a group, everyone involved, everyone taking a share. It produced a great result that I can wait for you to hear.
It took up almost all of the day. But rather than pack up, Chuck suggested we have a go at breaking in a new song, even if we don't have time to, 'wrestle it to the ground'. I think we must have taken the energy that we'd built up in forming the last song into the studio because this one flew. By this time, my chemicals had landed and I was enjoying myself.
This next one was Take Me Down, a pretty dark tale of jealousy, murder and damnation. As usual, we start with the mutual agony of me trying to lead a sort of jam to show the band how the song is supposed to go. This is kind of like the little drummer boy leading the cavalry into battle. Thankfully someone soon yelled charge and the band surged past me in a blaze of howling guitars. They quickly knew the structure well enough to pick it by following only my singing. So I gratefully put down my guitar and relaxed into what became a wild and marathon groove. We went through the song three times without stopping – just easing up a little to denote when the outro had become the next intro. It was wild and ragged and diabolic. And it was exactly what I'd dreamed this song would be.
When the band eventually stopped, Matt shouted, "£*** yeah!" from the booth, expressing just what I was thinking. James said, "pick out the best twenty minutes and we're there" and that would do me just fine. But tempting as it is, we know we can't do that. It's too flawed, too formless and Chuck confessed he didn't know what chords he was supposed to be playing most of the time. So we have go at it again in the morning, map it out properly and do it right whilst trying to keep the feel. Everyone left thinking we'd made a good start. So, an early night, coffee in the morning and back on form for day two.
It's good to be back.


Pendant, carnelian (dyed / heated) and silver-plated brass, medium to large hand-cut wire-wrapped tumbled nugget. Sold individually.
Item Number: H20-6658JD Have a question about this item?
A tumbled carnelian nugget is given a high polish then wrapped in a spiral of silver-plated brass wire, creating a pendant with classic style that works with both formal and casual designs. Sizes, shapes and colors may vary with handcrafted items.
Pendant, red agate (dyed / heated) and silver-plated copper, medium to large hand-cut wire-wrapped tumbled nugget. Sold individually.
Pendant, agate (dyed) and silver-plated copper, yellow, medium to large hand-cut wire-wrapped tumbled nugget. Sold individually.
Pendant, agate (dyed) and silver-plated copper, pink, medium to large hand-cut wire-wrapped tumbled nugget. Sold individually.
Pendant, agate (dyed) and silver-plated copper, green, medium to large hand-cut wire-wrapped tumbled nugget. Sold individually.
Pendant, camel jasper (natural) and silver-plated copper, medium to large hand-cut wire-wrapped tumbled nugget. Sold individually.
Pendant, green aventurine (natural) and silver-plated copper, medium to large hand-cut wire-wrapped tumbled nugget. Sold individually.


A lush five-acre setting adjacent to the New Orleans Museum of Art is now home to the Sydney and Walda Besthoff Sculpture Garden. The collection is set within an architectural framework of cast-stone and bronze pavilions, meandering paths, pedestrian bridges and a reflecting lagoon – really a series of outdoor galleries designed by Lee Ledbetter Architects and landscape architects Sawyer/Berson. Imposing works by Louise Bourgeois, Henry Moore, George Segal, Joel Shapiro and others rest among the moss-laden, 200 year old live oaks, towering pines, magnolias and camellias, making this one of the premier sculpture gardens in the country.